This could be the beginning of a Beautiful friendship

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1 This could be the beginning of a Beautiful friendship DET FYNSKE KUNSTAKADEMI FUNEN ART ACADEMY AFGANGSUDSTILLING GRADUATE SHOW 2007

2 INDHOLD/CONTENTS FORORD / Foreword This could be the beginning of a beautiful friendship Af / by Sanne Kofod Olsen Tidsnoter / TIME NOTES Af / by Nanna Guldhammer Wraae alternative slutninger / alternative endings Af / by Mikkel Bolt INTERVENTIONER I BELDRINGE LUFTHAVN / INTERVENTIONS AT BELDRINGE AIRPORT Af / by Solvej Helweg Ovesen heidi hove pedersen JANNIE MARTINUS SKOV anne bennike maria klarlund Marianne Bitsch & Brian Enevoldsen marie kolding lund jette olsen Morten espersen nanna guldhammer wraee

3 This could be the beginning of a Beautiful friendship Sanne Kofod Olsen, Rektor, Det Fynske Kunstakademi / Sanne Kofod Olsen, Principal, Funen Art Academy This could be the beginning of a beautiful friendship er udgangsreplikken i filmen Casablanca og også titlen på dette års afgangsudstilling fra Det Fynske kunstakademi. De afgangsstuderende på Det Fynske Kunstakademi har udarbejdet konceptet for udstillingen og har meget passende valgt placeringen af udstillingen i Odense Lufthavn. Afgang, forstået som afrejse og det at forlade noget, er den centrale idé, kombineret med en socialt relateret forståelse af begrebet. Det er svært ikke at tænke på begrebet afgang i forbindelse med en udstilling, der fungerer som en afgangseksamen for kunststuderende. Hvad er det, de som studerende forlader og hvad er det de bevæger sig ud i? Mange betragter det at være kunstner, som en selvvalgt frihed. Et valg af en beskæftigelse, hvor man er fri af arbejdslivets restriktioner og betingelser. Det er et valg, der fraviger normen, men som også implicerer et fravalg er normens goder: det sociale sikkerhedsnet, sikre arbejdsbetingelser og arbejdsmarkedsrettigheder, pensionsordninger, lønninger og tillæg, m.m. Det er et modigt valg, der viser den enkeltes determinisme i forhold til det at være kunstner. I det sidste år har der været meget snak om arbejdsløse kunstnere. Det er brugt bl.a. med den hensigt at begrænse antallet af uddannelsespladser på kunstneriske uddannelser. Er der for mange uddannede kunstnere i Danmark? Måske, hvis man mener, at kunst ikke er noget man kan lære, eller hvis man generelt bare ønsker færre skabere og udøvere på landsplan. Det er dog en overraskende holdning at have i et land, hvor man ved at kulturindustrien er en af vores helt store internationale ressourcer. Hvor man i erhvervslivet konstant taler om innovation og kreativitet. Et land, hvor man i mange år har haft et kreativt stimulerende undervisningsmiljø og hvor man kan bruge vores af og til antiautoritære grundholdning til fritænkning og kreativitet. This could be the beginning of a beautiful friendship is the final line in the film Casablanca and the title of this year s graduation exhibition from the Funen Academy of Art. The students now leaving the Funen Art Academy have created the concept for the exhibition and have very aptly chosen to locate the exhibition in Odense Airport departure, leaving something is the central idea, combined with a social understanding of the concept. It s hard not to think of the concept of departure in connection with an exhibition that functions as a leaving exam for art students. What is it that the students are leaving and what is it they are heading out into? Many people regard being an artist as a self-elected freedom, where you are free of the restrictions and conditions of working life. It s a choice that departs from the norm, but which also implies a renunciation of the benefits of the norm: the social safety net, secure working conditions and labour market rights, pension schemes, salaries and bonuses, etc. It s a courageous choice that shows the determination of the individual to be an artist. Over the past few years there has been much talk about unemployed artists. It has been used for example to justify limiting the number of students in artistic courses. Are there too many trained artists in Denmark? Maybe, if you think that art is not something you can learn, or if you generally just want fewer creators and practitioners at the national level. Yet this is a surprising attitude to have in a country where you know that the culture industry is one of our truly great international resources; where the business world is constantly talking about innovation and creativity; where for many years we have had a creatively stimulating educational environment; and where our sometimes antiauthoritarian attitude can be applied to freedom of thought and creativity. Hvor får man et kreativt miljø fra, hvis man ikke uddanner tilstrækkelig mange kunstner (inden for ethvert kunstområde)? Ikke alle uddannede kunstnere kommer til at praktisere deres fag, men de har til enhver tid kreativiteten som ressource. En ressource de har lært at stole på og at bruge konstruktivt i deres uddannelsesforløb og som de kan bruge i mange sammenhænge. Der er også et generelt fokus på kunstuddannelserne som sådan. Hvad uddanner vi folk til og hvordan, vil man gerne vide. Vi uddanner dem til kunstnere først og fremmest. Frie kunstnere med alle de forbehold et adjektiv som frie måtte afstedkomme. Hvis de ønsker at være børsmæglere, læger, kommunikationsmedarbejdere bør de vælge en anden uddannelse. Fokus på uddannelsens indhold er et stort plus. For det fordrer tanke på, hvordan man klare sig som fri kunstner og ikke hvordan man skal ernære sig som noget andet i fremtiden. Det må være uddannelsens fokus først og fremmest at udforske og uddanne sine studerende i kunstnerisk praksis og de praktiske elementer, der fordres hvis man skal klare sig overhovedet. Vi uddanner til kunst og kunstverden og hvordan disse verdener spiller sammen med det omsiggivende samfund. Frihed er et vidt begreb. Er det friheden, man går i møde, når man afslutter en uddannelse? Eller er det nye og flere forpligtigelser, krav om tilpasning til den verden vi lever i. Eller er det mere ansvar, hensyn til andre og nødvendigheden i at finde en plads til sig selv, som man kan leve med? Når man vælger at blive kunstner, udstikker man en vej for sig selv, som ikke hører til de lette løsninger. Man vælger en ekstrem individualistisk praksis, der er forbundet med mange kollektive krav. Som kunstner befinder man sig i en verden, der er en bizar blanding af liberalisme og socialisme. Hvor grænserne går, er svært at definere. På den ene side, er der intet sted som kunstverdenen, hvor den darwinistiske lov kun den stærkeste overlever gælder. Der er heller intet andet sted, hvor man hælder så meget til fælles beslutninger, når det gælder rammer for udstillinger, uddannelse, uddeling af penge, m.v. Det er prisværdigt, fordi det fungerer som en beskyttelse af demokrati, sig selv og hinanden i et felt, hvor den samfundsmæssige beskyttelse er minimal. Men det er også et symptom på denne ideologisk blandede kultur, hvor alle har taget sig ret til at bestemme over sig selv. Den individualistiske indstilling fastholdes selv i den kollektive struktur. Kunstverdenen er en slags krigszone, hvor alliancer og venskaber er en nødvendighed for overlevelsen. Derfor er titlen på Det Fynske Kunstakademis afgangsudstilling meget passende. Den henviser på mange måder til den kompleksitet, de studerende går i møde som færdige kunstnere. Casablanca er et godt scenario. Som det fremgår af Mikkel Bolts tekst i dette katalog, handler filmen om meget andet en kærlighed. Den handler om krig, alliancer, storpolitik og venskaber. Den handler om det enkelte menneskes handlinger og disse handlingers betydning og konsekvenser. Den er et lille billede på en virkelighed, der var engang, men som også er der nu. Den har en form for almen gyldighed i dens karakteristik af Where do you get a creative environment from if you don t train many artists (in every field of art)? Not everyone who trains as an artist ends up practicing their profession, but they will always have creativity as a resource a resource they have learned to rely on and use constructively during their education and which they can use in many contexts. There is also a general focus on art education as such. People want to know what we are educate people for, and how. We educate them first and foremost to be artists: free artists with all the reservations to which an adjective like free must give rise. If they want to be stockbrokers, doctors, communication staff, they should choose another course of education. A focus on the content of the education is a great benefit. For it prompts thought about how one can manage as a free artist, not about how one is to make a living as something else in the future. It must be the prime focus of the education to explore and educate art students in artistic practice and the practical elements that are required if they are to make their way in the world at all. We educate them for art and the art world, and the ways in which these worlds interact with the surrounding society. Freedom is a broad concept. Is freedom what you are facing when you finish a course of education? Or is it more new obligations, demands that you accommodate to the world we live in? Or is it more responsibility, consideration for others, and the need to find a place within yourself that you can live with? When you choose to become an artist you set out a path for yourself that isn t among the easy solutions. You choose an extremely individualist practice that is associated with many collective requirements. As an artist you find yourself in a world that is a bizarre mixture of liberalism and socialism. Where the boundaries are is hard to say. On the one hand there is nowhere the Darwinist law of the survival of the fittest applies as much as in the art world. Nor is there any other place where you have to rely as much on collective decisions when it comes to settings for exhibitions, training, the granting of funding, etc. That is laudable, because it functions as a protection of democracy, of oneself and one another in a field where other social protection is minimal. But it is also a symptom of this ideologically mixed culture where everyone has assumed the right to decide for oneself. The individualist attitude is maintained, even in the collective structure. The art world is a kind of war zone where alliances and friendships are a must for survival. That s why the title of the graduation exhibition of the Funen Art Academy is so very appropriate. In many ways it refers to the complexity the students are facing as trained artists. Casablanca is a fine scenario. As will be evident from Mikkel Bolt s text in this catalogue, the film is about much more than love. It s about war, alliances, international politics and friendships. It s about the actions of the individual and the significance and consequences of these actions. It s a small image of a reality that once was, but which also still is. It has a kind of uni- 0 0

4 venskaber, alliancer og situationer, som rækker langt ud over blot at handle om en bestemt krig, et bestemt venskab og en bestemt kærlighed. versality in its description of friendships, alliances and situations that go far beyond a particular war, a particular friendship and a particular love. Frihed er også blevet diskuteret i forbindelse med indholdet af dette katalog. Ytringsfriheden bør man værne om, hvad enten det er i forhold til kunstværker eller tekster. Et rummeligt samfund skal have plads til forskellige holdninger. Mangfoldighed også i forhold til meninger er et væsentligt princip, som fastholdes på Det Fynske Kunstakademi i den kunstneriske friheds navn. I forbindelse med teksterne til dette katalog har der været en del diskussion om indhold. Er man enig eller uenig? Som sådan tematiserer udstillingen på alle måder friheden både som eksistens og som princip. Smukke venskaber og kærlighed er der behov for i kunstverdenens Casablanca. Smukke venskaber, der er mere end blot netværk og alliancer. Smukke venskaber, der kan værne om friheden og fastholde kunstneren i sin frie rolle. Smukke venskaber, der vidner om solidaritet og forståelse. De studerende har gjort et fremragende stykke arbejde i forbindelse med idégrundlaget og planlægningen af denne udstilling og sidst men absolut ikke mindst kunstværkerne. Godt hjulpet af kurator og kunsthistoriker Solvej Helweg Ovesen, som har været kuratorisk vejleder på udstillingen. Deres arbejde med udstillingen viser, at de er parate til at bevæge sig ud i kunstverdenen og klare sig som professionelle kunstnere. Det Fynske Kunstakademi ønsker god vind med jeres forsatte kunstneriske karrierer, som vi til enhver tid vil støtte jer i så vidt det er muligt! Til slut vil jeg takke alle dem, der har hjulpet til at gøre realiseringen af This could be the beginning of a beautiful friendship mulig. Tak til Odense Lufthavn og Erry I. Knudsen for at stille lufthavnen til rådighed for afgangsudstillingen. Det er helt ekstraordinært og Det Fynske Kunstakademi er glade for, at de studerende på den måde har måttet forstyrre ledelse og personale i deres arbejds-dagligdag. Tak til Peter Lassen, direktør for møbelfirmaet Montana, som altid er en god støtte for det danske kunstliv og også har været det i forhold til afgangskataloget. Også tak til N.M.Knudsens fond for støtte til kataloget og tak til Odense kommune for at støtte de studerendes materialeomkostninger. En stor tak også til Cosmographic og Henrik Dresbøll som på helt fantastisk vis er gået ind i et sponsorsamarbejde med Det Fynske Kunstakademi og bl.a. har stået for grafikken på dette katalog. Det er vist det man kalder samarbejde med erhvervslivet. Vi håber på at kunne videreudvikle dette og andre samarbejder af denne art. Tak også til Solvej Helweg Ovesen for hendes flotte indsats som vejledende kurator og til Mikkel Bolt for den kontroversielle tekst til dette katalog. Sidst men ikke mindst en kæmpestor tak til alle afgangsstuderende, som har realiseret denne udstilling og dens værker. Det er ikke nogen let sag at skulle gøre begge dele! Sanne Kofod Olsen Rektor, Det Fynske Kunstakademi Freedom has also been discussed in connection with the content of this catalogue. Freedom of expression should be protected, whether in works of art or in texts. A spacious society must have room for different opinions. Diversity in thinking as in other things is an essential principle that is maintained at the Funen Art Academy in the name of artistic freedom. In connection with the texts for this catalogue there has been a good deal of discussion about the content. Does one agree or disagree? As such, the exhibition in every way makes a theme of freedom both as a mode of existence and as a principle. We need beautiful friendships and love in the Casablanca of the art world. Beautiful friendships that are more than just networks and alliances. Beautiful friendships that can protect freedom and keep the artist in his or her free role. Beautiful friendships that testify to solidarity and understanding. The students have done excellent work in connection with the conceptual basis and the planning of this exhibition, and last but by no means least the works of art well helped by the curator and art historian Solvej Helweg Ovesen, who has been the curatorial consultant on the exhibition. Their work with the exhibition shows that they are prepared to move out into the art world and give a good account of themselves as professional artists. The Funen Art Academy wishes you well with your continued artistic careers, in which we will always support you as far as possible! Finally I want to thank all those who have helped to make the realization of This could be the beginning of a beautiful friendship possible. Thanks to Odense Airport and Erry I. Knudsen for making the airport available for the graduation exhibition. This is quite extraordinary and the Funen Art Academy is happy that the students have in this way been permitted to disturb the management and staff in their everyday working life. Thanks to Peter Lassen, director of the furniture firm Montana, which always gives fine support to Danish artistic life, and has done so again with respect to the graduation catalogue. Thanks too to the N.M. Knudsen Foundation for support for the catalogue and to the Odense City Council for supporting the students material costs. Our warmest thanks to Cosmographic and Henrik Dresbøll who have in quite fantastic fashion entered into a sponsorship collaboration with the Funen Art Academy and among other things have been responsible for the graphic work in this catalogue. This can certainly be called collaboration with the business world! We hope to be able to develop this and other collaborations of the kind further in the future. Thanks also to Solvej Helweg Ovesen for her impressive contribution as curatorial consultant and to Mikkel Bolt for the controversial text for this catalogue. Last, but not least, a huge thank-you to all the graduating students who have realized this exhibition and its works. It s no easy matter to have to do both! Parkeringspladsen, Odense Lufthavn, 2007 / The parking lot, Odense Airport, 2007 Foto af / Photo by Maria Klarlund 0 Sanne Kofod Olsen Principal, Funen Art Academy

5 0 01 Filmen CASABLANCA (1942) er et amerikansk, oscarbelønnet og romantisk melodrama. Den udspilles i et 2. verdenskrigsscenario i Casablanca i Marokko, der styres af Vichy-regeringen i Frankrig, som er i alliance med Nazityskland. Filmen er instrueret af Michael Curtiz, og i hovedrollerne finder man Humphrey Bogart som Rick Blaine en amerikansk soldat i eksil og natklubejer i Casablanca og Ingrid Bergman som Ilsa Lund. Ilsa og hendes mand, modstandsbevægelseshelten, Victor Laszlo, er på flugt fra et Europa, som står i flammer. Rick indfinder sig snart i en konflikt mellem kærlighed og moral. Han må vælge mellem sin kærlighed til Ilsa og sit behov for at hjælpe hendes mand med at flygte fra Casablanca for at fortsætte kampen mod nazisterne. The movie CASABLANCA (1942) is an American Oscar rewarded and romantic melodrama. It unfolds in a Second World War scenario in Casablanca, Marocco that is controlled by the Vichy government in France, who is in alliance with Nazi Germany. The movie is directed by Michael Curtiz and is starring Humphrey Bogart as Rick Blaine - an expatriate American soldier and nightclub owner in Casablanca, and Ingrid Bergman as Ilsa Lund. Ilsa and her husband, the resistance fighter Victor Laszlo, is on the run from a Europe in flames. Rick soon finds himself in a conflict between love and moral. He must choose between his love for Ilsa and his need to help her husband to take flight from Casablanca to continue the fight against the Nazis. Tidsnoter / Time Notes Af Nanna Guldhammer Wraae / by Nanna Guldhammer Wraae 04 Den første storstilede allierede modoffensiv mod de såkaldte aksemagter i 2. verdenskrig kom i Nordafrika i Med 650 skibe og engelske og amerikanske soldater invaderedes fransk Nordvestafrika den 8. november, under navnet Operation Torch. Det var det største amfibiske angreb i historien op til den tid. Under kommando af den amerikanske general Dwight Eisenhower foretog de allierede styrker tre landgange - ved Casablanca på Marokkos vestkyst, Algier på den algeriske kyst og Oran i det vestlige Algeriet. The first allied large-scale counter offensive against the so-called Axis Powers in The Second World War came in North Africa in With 650 ships and English and American soldiers, French North-west Africa was invaded, the 8th of November, under the name of Operation Torch. It was the largest amphibian attack in history until this time. Under the command of General Dwight Eisenhower the allied troops conducted three landings by Casablanca on Marocco s west coast, Algier on the Algerian coast and Oran in western Algeria. 03 USA blev først draget ind i 2. verdenskrig, da Japan i 1941 angreb Pearl Harbour. Samme dag erklærede Hollands eksilregering i London, krig mod Japan og næste dag gjorde USA og England det samme. Herefter fulgte Adolf Hitler trop ved at erklære krig mod USA, hvilket bevirkede, at USA blev medinddraget i krigen i Europa. USA got involved in the Second World War when Japan attacked Pearl Harbour in The same day, The Netherlands exile government in London declared war on Japan and the next day USA and England did the same. Hereafter Adolf Hitler followed suit by declaring war on USA, which caused that USA got involved in the war in Europe. 02 Vichy Frankrig eller Vichy regimet som er kendetegnet ved arbejde, familie, fædreland, udgjorde den franske regering fra juli 1940 til august Den Franske Stat, som den kaldte sig selv i kontrast til Den Franske Republik, samarbejdede velvilligt med Nazi Tyskland i meget stor udstrækning. Vichy France or the Vichy regime which is characterized by work, family, fatherland, constituted the french government from July 1940 to August The French State, as it named itself in contrast to The French Republic, willfully collaborated with Nazi Germany to a great extent. 05 Udstillingen Airways to Peace, designet af Herbert Bayer og kurateret af Monroe Wheeler, på Museum of Modern Art, New York, i Udstillingen bestod bl.a af en kronologisk gennemgang af Kortlægningens historie, Flyets udviklingshistorie og Globale strategier. Hele verden set i ét øjekast, som Newsweek formulerede det. Mary Anne Staniszewski skriver i 1998, i bogen, The Power of Display : Museumsgængeren var opmuntret til at føle at han eller hun stod i verdens centrum. Dette perspektiv var indskrevet i udstillingen som inddrog beskueren i nationens fremtidige skæbne: at den ikke ville lide nederlag i krigen. Wendell Willkie skrev udstillingsteksten. Han var special amerikansk diplomatisk repræsentant. I 1940 havde han tabt kampen om den republikanske præsidentpost. Siden sommeren 1942 havde han rejst verden rundt i fly på vegne af den amerikanske regering. Han fløj rundt om kloden i 49 dage og hans diplomatiske udflugter blev ekstravagant dækket i medierne. De blev opsummeret i hans bestseller ONE WORLD fra ONE WORLD var visionen om en forenet verden takket være flyteknologiens mirakler. Den talte imod enhver form for isolationisme og imperialisme. Visionen var at de forenede allierede ville vinde krigen og følgeligt ville en forenet verden etabelere varig fred. Instrumentet der skulle forsikre denne vision om frihed og fred for alle, ifølge Willkie, skulle være FN, som netop var blevet stiftet i januar The exhibition Airways to Peace designed by Herbert Bayer and curated by Monroe Wheeler, at the Museum of Modern Art in New York, The exhibition consisted of, among other things, a chronological review of The History of Mapmaking, The Progress in Flight and Global Strategies. You saw the entire world at a glance, as Newsweek put it. In her book The Power of Display from 1998, Mary Anne Staniszewski writes: The museum visitor who experienced Airways to Peace was encouraged to feel as if he or she stood at the center of the world. This perspective was inscribed within an exhibition that implicated viewers in the fate of their nations future, that they wouldn t suffer a defeat in the ongoing war. Wendell Willkie wrote the text for the exhibition. He was a special US diplomatic representative. In 1940 he failed to be elected president for the Republican Party. Since the summer 1942, Willkie had been touring the world, by plane, on behalf of the U.S. Government. He flew around the globe in 49 days, and his diplomatic exploits - extravagantly covered in media - were summarized in his 1943 bestseller ONE WORLD. ONE WORLD was a vision of a united world caused by the miracle of airpower. Arguing against all forms of isolationism and imperialism, wilkie envisioned the united allies winning the war and consequently a united world would estabilish lasting peace. The instrument ensuring this vison of freedom and peace for everyone, according to Willkie, would be the United Nations, which had just been instituted in January I oktober 1943 bemærkede man flere gange en tysk officer og en civil dansker i markerne ved Beldringe. Den 7. december anmodede Oberamtmann Taubert fra Luftgaukommando XI, Århus, amtet om rømning af ejendommene i landsbyerne. 200 familier måtte forlade huse og gårde, samtidig afspærredes området, og man påbegyndte anlæggelsen af flyvepladsen. Sidst i december 1944 ankom det første tyske personel til flyvepladsen, og i starten af 1945 var der omkring 800 tyskere på pladsen. In October 1943 a German officer and a Danish civilian were noticed several times in the fields of Beldringe. The 7th of December Oberamtmann Taubert from Luftgaukommando XI, Århus, requested the county authorities for a clearing of the properties in the villages. 200 families had to leave their houses and farms while the area simultaneously were sealedoff and the construction of the airfield begun. In end of December 1944 the first German personnel arrived to the airfield and in the beginning of 1945, 800 Germans were in the area. 08 Som den første by i verdenshistorien blev Hiroshima udsat for atomvåben, da USA den 6. august 1945, under 2. verdenskrig, kastede en atombombe over byen. Hiroshima was the first city in history to be exposed to nuclear weapons, when the United States of America dropped a bomb on the 6th of August Den 24. oktober 1945 blev FN grundlagt med valg af den første genralsekretær. FNs to største målsætninger var at udforme en fælles menneskerettighedserklæring for alle mennesker på jorden og at afkolonisere de tidligere kolonier og indføre demokratiske afstemninger i de nye selvstændige stater. On the 24th of October 1945 the United Nations was founded and the first UN sectretary-general elected. The two primary goals of the UN were to compose a declaration of human rights common to all people on earth, to decolonize all former colonies and to introduce democratic elections in these new independent states. 10 Europarådet udarbejdede i 1950 Den Europæiske Menneskerettighedskonvention (med senere tillægsprotokoller), der indeholder juridisk forpligtende regler til sikring af menneskerettigheder, for de europæiske medlemsstater. In 1950 the Council of Europe developed the European Human Rights Convention (later with additional protocols), which consists of legally binding rules securing the human rights of the European member states. 13 I 2003 gik Danmark i krig i Irak, allieret med USA. In 2003 Denmark went to war in Iraq as an ally to the USA. 07 Krigen var den endelige løsning på USAs økonomiske problemer. Som en langsigtet konsekvens lagde det udarmede Europa efter anden verdenskrig scenen åben for USA og Sovjetunionen som det nye supermagtspar. The war was the final solution to the financial problems of the USA. As a long term consequence the empoverished Europe paved the way for the United States and the Soviet Union as the new super powers. 11 Trumandoktrinen blev offentliggjort den 12. marts 1947 af den amerikanske præsident Harry S. Truman. USA havde tidligere ført en udenrigspolitik, hvor man blandede sig så lidt som muligt i andre landes anliggender. Efter 2. verdenskrig fandt man det nødvendigt at ændre denne politik. Med Trumandoktrinen hed det at man skulle støtte nationer der forsvarede sig imod et autoritært regime. Denne poltik ændrede USAs udenrigspolitik drastisk. The Truman Doctrine was published on the 12th of March 1947 by the American president Harry S. Truman. Formerly the United States had led a foreign policy of interfering as little as possible with the affairs of other countries. After the Second World War it was considered necessary to change this policy. The Truman Doctrine declared that the USA must support nations, who are defending themselves against an authoritarian regime. This changed the American foreign policy drastically. 12 Odense lufthavn nåede aldrig at blive taget i brug af Luftwaffe. Indtil 1997 drev Mærsk Air (oprindeligt Falck Air) ruteflyvning mellem København og Odense. Ruten indstilledes umiddelbart efter åbningen af Storebæltsforbindelsen. I 1998 blev det besluttet ikke længere at drive lufthavnen i rent statsligt regi og denne blev derfor omstruktureret til et selskab med begrænset ansvar (S.m.b.a.), ejet af Bogense, Munkebo, Odense, Otterup og Søndersø kommuner, samt Fyns Amt. The airport in Odense was never put to use by the Luftwaffe. Up until 1997 Maersk Air (originally Falck Air) ran scheduled traffic between Odense and Copenhagen. The flight route was cancelled shortly after the opening of the Great Belt link. In 1998 it was decided to no longer run the airport within governmental framework and it was therefore changed into a corporation with limited responsibility owned by the municipalities Bogense, Munkebo, Odense, Otterup and Søndersø as well as the Funen County. Oversat af Marianne Bitsch / Translated by Marianne Bitsch Billeder fra internettet og Historiecenter Beldringe / Images from the Internet and Historycentre Beldringe 0

6 Alternative slutninger / Alternative endings Af Mikkel Bolt, Kunsthistoriker / By Mikkel Bolt, Art Historian Krig, kunst og kærlighed / War, art and love Still fra filmen, Casablanca (1942) med Humphrey Bogart og Ingrid Bergman i hovedrollerne som Rick Blaine og Ilsa Lund. Still from the movie, Casablanca (1942) staring Humphrey Bogart and Ingrid Bergman as Rick Blaine and Ilsa Lund. Kilde / Source: Filmen Casablanca er omgærdet af megen mystik og mange myter. En af disse myter handler om filmens afslutning, hvordan filmen slutter. Vi ved alle, at Rick viser sig at være på det godes side, idet han lader Victor og Ilsa tage af sted fra Casablanca for selv at blive tilbage. Han ofrer sig, idet han sender sin store kærlighed, Ilsa, af sted med hendes mand, modstandskæmperen og helten Victor. Heldigvis viser det sig samtidigt, at Rick ikke er den eneste, der er på det godes side, det viser sig nemlig, at den franske kommandant Louis Renault ligeledes er et godt menneske og derfor ikke arresterer Rick for mordet på en tysk major. Den håbløse situation forvandles med ét; den kyniske, dameglade og småkriminelle Rick, som ikke involverer sig i krigen, er ikke ligeglad, han er engageret, og han overvinder sit egoistiske begær efter at få Ilsa tilbage. En kompliceret plan udtænkes, hvor intet er, hvad det ser ud til: myndighederne tror, Rick og Ilsa vil tage afsted og efterlade Victor; Victor tror, Ilsa og han må tage af sted; Ilsa tror, Victor kan slippe væk, men at hun må blive tilbage med Rick. Men i slutscenen bliver det tydeligt, at Rick som en god patriot ofrer sig og lader Ilsa og Victor flyve bort. Da flyet letter med Ilsa og Victor udtaler Rick følgende sætning, som vi alle har hørt et utal af gange, og som er blevet en del af den vestlige kulturs ubevidste: Louis, I think this is the beginning of a beautiful friendship. Alt går op i en højere enhed, Victor slipper væk og kan fortsætte sin kamp mod nazismen, mens Ilsa bevarer sin selvrespekt, idet hun tager med sin mand. Rick mister sin elskede, men han har minderne We will always have Paris og kommer ud på den anden side som en af de gode. Når man tager i betragtning, at filmen blev indspillet i 1942 og udsendt midt under Anden Verdenskrig, er denne udgang ikke nogen stor overraskelse, på dette tidspunkt havde den tyske hær stadigvæk vind i sejlene og behovet for klare demarkationer det gode over for det onde var stort. Men filmen kunne måske være endt på en anden måde. Ifølge filmhistorikeren Frank Miller var der faktisk ingen, der vidste, hvordan filmen ville ende. Ingrid Bergman udtalte således også efterfølgende, at hun under indspilningen af filmen ikke kunne få at vide hvem, hun ville være sammen med til sidst: Rick eller Victor. Det er interessant at overveje alternative udgange på historien: Ville Ilsa forråde sin mand, Victor, for at blive genforenet med sin elsker? Ville Renault arrestere Rick eller få ham skudt? Som et symptom på denne uafklarede situation, opererede filmholdet længe med fire The film Casablanca is surrounded by a great deal of mystery and many myths. One of these myths is about the ending of the film. We all know that Rick turns out to be on the side of the angels, since he lets Victor and Ilsa get away from Casablanca only to remain there himself. He sacrifices himself, as he sends his great love, Ilsa, off with her husband, the resistance fighter and hero Victor. Fortunately, it turns out at the same time that Rick is not the only one on the good side; for it emerges that the French prefect of police Louis Renault is also a good man and so doesn t arrest Rick for the murder of a German major. The hopeless situation is transformed all at once: the cynical ladies man and petty criminal Rick, who refuses to get involved in the war, is not indifferent after all, he is involved, and he overcomes his egoistic desire to get Ilsa back. A complicated plan is worked out where nothing is what it seems to be: the authorities think Rick and Ilsa will leave Casablanca and abandon Victor; Victor believes he and Ilsa will leave; Ilsa believes Victor can escape but that she must stay with Rick. In the final scene, though, it becomes clear that Rick, like a good patriot, sacrifices himself and lets Ilsa and Victor fly off. When the plane takes off with Ilsa and Victor, Rick says the following sentence that we have all heard innumerable times, and which has become part of the subconscious of the western world: Louis, I think this is the beginning of a beautiful friendship. Everything comes out right in the end, Victor escapes and can continue his struggle against Nazism, while Ilsa retains her self-respect, as she leaves with her husband. Rick loses the woman he loves, but he has the memories We will always have Paris and comes out on the other side as one of the good guys. Considering that the film was shot in 1942 and released in the middle of World War II, this outcome is no great surprise: at the time the German army still had the wind in its sails and there was a great need for clear demarcations good against evil. But the film might have ended differently. According to the film historian Frank Miller, there was in fact no one who knew how the film was going to end. Ingrid Bergman said afterwards, for example, that during the shooting of the film she couldn t find out who she would be with at the end: Rick or Victor. It s interesting to think about alternative conclusions to the story. Would Ilsa betray her husband, Victor, to be reunited with her lover? Would Renault arrest Rick or have him shot? As a symptom of this unclarified situa- 11

7 forskellige afslutningsreplikker, hvoraf der blev udvalgt to, som begge blev indspillet, og produceren Hal Wallis havde så disse to at vælge imellem, da filmen skulle klippes sammen. Ud over den som faktisk blev brugt gik overvejelserne på at få Rick til at sige følgende: Louis, I begin to see a reason for your sudden attack of patriotism. While you defend your country, you also protect your investment ; If you ever die a hero s death, Heaven protect the Angels! samt Louis, I might have known you d mix your patriotism with a little larceny. At krigen var direkte faktor i produktionen af filmen er åbenbart, og krigens udvikling gjorde det da også nødvendigt at fremskynde premieren på filmen, da allierede styrker invaderede Nordafrika den 8. november Få dage senere blev byen Casablanca befriet og filmen blev i al hast færdigklippet og vist den 26. november i New York. Det hele var timet perfekt; de allierede invaderede Marokko og publikum stormede i biografen. Biografsalene var knapt begyndt at være halvtomme, før historien igen bragte Casablanca overskrifterne, da Churchill og Roosevelt afholdt møder i Casablanca i januar På sin vis afspejler indspilningen af filmen det rum, som filmen skulle gengive: Casablanca under Anden Verdenskrig. Filmen begynder da karakteristisk nok også med, at kameraet sænker sig ned midt i byens markedsplads, hvor det ikke blot er almindelige genstande som mad og tøj der handles med, men også mennesker. Mennesker på flugt fra krigens rædsler og død. Nogle er heldige og slipper væk, kommer til USA, andre er mindre heldige og må, som voice-overen siger: Wait, and wait and wait. Casablanca er et rum, hvor alt kan ske for de mennesker, som opholder sig der. Det er et ingenmandsland, hvor mennesker har en dødstrussel hængende over hovedet, er flygtet eller bare er skyllet op, som Rick der har brændt sine broer bag sig og ikke kan vende hjem til USA. I dette rum er det svært at skelne sandt fra falsk, og det bliver aldrig rigtigt klart i filmen, om for eksempel Ilsa lyver i Paris, da hun siger til Rick, at Victor er død. I filmen gives der intet definitivt svar, personernes motiver bliver aldrig blotlagt. Mens vi aldrig finder ud, om de enkelte karakterer er sandfærdige eller ikke, så er konteksten, kærlighedshistorien udspilles i, derimod klar nok: de allierede versus nazisterne. Filmens afslutning er også rimeligt klar: Rick viser sig at være på det godes side, idet han sørger for, at Victor og Ilsa slipper væk, og idet han skyder den nazistiske major Strasser, der dør, fordi han forsøger at foretage et telefonopkald og rækker ud efter sin pistol. Derfor er Rick nød til at slå til og skyde ham; men han kommer ikke i problemer, da Renault arresterer de sædvanlige tion, the film crew operated for a long time with four different last lines, two of which were selected. Both scenes were shot, and the producer Hal Wallis then had these two to choose from when the film was edited. Besides the one that was actually used, the following last lines from Rick were considered: Louis, I begin to see a reason for your sudden attack of patriotism. While you defend your country, you also protect your investment ; If you ever die a hero s death, Heaven protect the Angels! ; and Louis, I might have known you d mix your patriotism with a little larceny. That the war was a direct factor in the production of the film is obvious, and the course of the war made it necessary to bring forward the premiere of the film when the allied forces invaded North Africa on 8th November A few days later, the city of Casablanca was liberated and the film was hastily edited and shown on 26th November in New York. It was all perfectly timed; the Allies invaded Morocco and the public thronged into the cinema. The movie houses had hardly begun to be half-empty before history again put Casablanca in the headlines, when Churchill and Roosevelt held meetings in Casablanca in January In a way, the shooting of the film reflected the context that it was meant to represent: Casablanca during World War II. The film indeed begins characteristically enough with the camera being lowered into the middle of the market place, where it is not only ordinary items like food and clothes that are being traded, but also people; people seeking refuge from the horror and death of the war. Some are lucky and get away, and go to the USA, others are less fortunate and, as the voice-over says, must wait, and wait and wait. Casablanca is a space where anything can happen to the people who are staying there. It s a no-man s-land where people have the threat of death hanging over them, are refugees or have just drifted there, like Rick, who has burnt his boats behind him and cannot return to the USA. In this space it s hard to tell true from false, and it never really becomes clear in the film, for example, whether Ilsa had been lying in Paris when she told Rick that Victor was dead. The film provides no definitive answer, the motives of the characters are never revealed. While we never find out whether the individual characters are truthful or not, the context in which the love story is played out is clear enough: the Allies versus the Nazis. The end of the film is reasonably clear, too: Rick turns out to be one of the good guys, since he makes sure Victor and Ilsa get away, and since he shoots the Nazi Major Strasser, who dies because he tries to make a phone call and reaches for his pistol. That is why Rick has to make his move and shoot him; but he doesn t have any problems, since mistænkte og på den måde holder hånden over Rick. Modstandsmanden Victor slipper væk og kan fortsætte sin kamp mod nazismen med Ilsa ved sin side. Filmen fik altså en slutning, og en slutning som passede glimrende til den amerikanske regering, der ønskede at mobilisere Hollywood og bruge filmindustriens store produktionsapparat i ideologisk øjemed. Selvom regeringens fingeraftryk ikke direkte er synligt i Casablanca, så fungerede filmen perfekt: den lidt slørede kærlighedshistorie og de godes kamp mod de onde. Historien benytter sig af et persongalleri, som passede som fod i hose til tidens ideologiske hensyn, Ricks handlinger kunne således omtales af kaptajn Renault i termer, der umiskendeligt pegede på krigen: isolationism og bad foreign policy. I krigstider er der altid et stort pres på kunst og kultur, alt forsøges skruet ind i konflikten: du er enten med os eller mod os. Vi er selv konfronteret med problemstillingen aktuelt: Danmark har i strid med tidligere ført udenrigspolitik meldt sig under fanerne og stillet sig trofast bag den amerikanske præsident George W. Bush og deltaget i invasionen af først Afghanistan og siden Irak. Med henvisning til repræsentationer som demokrati og behovet for hævn er Mellemøsten blevet sat i flammer og hundredetusinde mennesker døde. Et vanvittigt og surreelt scenarium udspiller sig for vores øjne: fundamentalistiske kræfter er fanget i en dødedans og gør det mere og mere umuligt at skabe en kosmopolitisk ligeværdig globalisering. Det kan kun blive værre. Men krigen mod terror finder ikke kun sted under fjerne himmelstrøg, aktuelt føres der en kampagne mod alternative livsformer i Danmark, det være sig indvandrere og unge. Regeringen og dens racistiske støtteparti dæmoniserer muslimer og prøver antiterrorstrategier af på unge aktivister. Den såkaldte kulturkamp, hvor der udarbejdes kanoner over stor dansk kunst og lægges pres på Danmarks Radio og universiteterne, er også en dimension i denne kampagne. Det er som om, vi er fanget i en lufthavn, hvor det sidste fly allerede er lettet. Der er ikke nogen andre afgange. Nu står vi tilbage med resterne, og det er ikke et kønt syn, der møder vores øjne, når vi kigger rundt. En trykkende stemning har indfundet sig over forsamlingen. I denne situation kan man ikke undgå at ville ønske sig væk, lægge afstand til den danske racisme og kriminaliseringen af anderledes livsstile. Men intet er endnu tabt. Kampen er først lige begyndt; og der er ikke nogen, der siger, at slutningen nødvendigvis er givet på forhånd. Mikkel Bolt Renault rounds up the usual suspects and thus covers up for Rick. The resistance leader Victor escapes and can continue his struggle against Nazism with Ilsa at his side. So the film was given an ending, an ending that excellently suited the American Government, which wanted to mobilize Hollywood and use its huge production apparatus for ideological purposes. Although the Government s fingerprints are not directly visible in Casablanca, the film worked perfectly: the lightly veiled love story and the battle of good against evil. The story makes use of a gallery of characters that fit the ideological aims of the period like a glove. Rick s actions could for example be described by Captain Renault in terms that unmistakably referred to the war: isolationism and bad foreign policy. In wartime there is always a lot of pressure on art and culture. Attempts are made to tie everything to the conflict: you re either with us or against us. We are ourselves confronted with the issue at present: Denmark, contrary to its earlier foreign policy, has reported for duty and placed itself loyally behind the American President George W. Bush, and participated in the invasion, first of Afghanistan and then of Iraq. Under cover of notions like democracy and the need for revenge the Middle East has been set on fire, and hundreds of thousands of people are dead. An insane, surreal scenario is being played out before our eyes: fundamentalist forces are locked in a dance of death and are making it more and more impossible to create a cosmopolitan, fair globalization. It can only get worse. But the war on terror doesn t only take place under foreign skies; at present a campaign is being waged against alternative lifestyles in Denmark, whether among immigrants or the young. The Government and its racist support party are demonizing Muslims and testing anti-terror strategies on young activists. The so-called battle of cultures, in which canons of great Danish art are being drawn up and pressure is being brought to bear on the national broadcasting corporation DR and the universities is also a dimension in this campaign. It is as if we are trapped in an airport where the last plane has already taken off. There are no more flights. Now we stand here with the remains, and it is not a pretty sight that meets our eyes when we look around. An oppressive atmosphere has descended on the gathering. In this situation you can t help wanting to be somewhere else, to dissociate yourself from Danish racism and the criminalization of different lifestyles. But nothing is lost yet. The struggle has only just begun; and who is to say that the ending is necessarily a foregone conclusion? Mikkel Bolt 12 13

8 Interventioner i Beldringe Lufthavn / Interventions at Beldringe Airport Kunstnere fra Det Fynske Kunstakademi i transit / Artists from Funen Art Academy in transit Af Solvej Helweg Ovesen, udstillingskurator og kunsthistoriker / By Solvej Helweg Ovesen, exhibition curator and art historian. Rullebanen ( Rollbahn ) i dag ved Odense Lufthavn (også kendt som Beldringe Lufthavn, som er en mindre lufthavn beliggende i landsbyen Beldringe, 10 km nord-nordvest for Odense). Den 10 km lange rullebane blev bygget af tyskerne under besættelsen i 1940 erne. Den forbandt bl.a. startbane, hangar, værksteder, flyverskjul og optankningsanlæg i lufthavnsområdet, men tyske Luftwaffe nåede dog aldrig rigtig at tage flyvepladsen i brug, og de tyske fly kom aldrig videre. The Taxiway ( Rollbahn ) at Odense Airport today (also called Beldring Airport, which is a smaller airport placed in the village Beldringe 10 km north-northwest from Odense). The about 10 km taxiway was build by the Germans during the Occupation in the 1940s. The taxiway was connecting a runway, hangar, workshops, cover from air attack, tank installation in the airport area. Planes flew in from Germany to prevent destruction. However, the planes never got to fly again, due to the lack of gasoline. Therefore, the German Luftwaffe never really got to use the Airport. Kilde: Historiecenter Beldringe / Source: Historycentre Beldringe Foto af / Photo by Heidi Hove Pedersen, 2007 This could be the beginning of a beautiful friendship er en udstilling, der skal ses horisontalt fra værk til værk. Ikke fra luften og ned selvom den finder sted i en lufthavn og denne er det første man ser på invitationskortet. Kort sagt - hvis rent tematiske udstillinger ses vertikalt, fra overskriften og nedefter til værkerne, så kunne netværks-baserede udstillinger ses fra én kunstnerisk manifestation til den næste. Og på den måde giver titlen mening også på et konkret plan, This could be the beginning of a beautiful friendship. Udstillingen er en alternativ afslutning, som rummer en begyndelse. Med andre ord har det, der var Det Fynske Kunstakademis afgangsudstilling i 2007, udviklet sig til en begyndelse på noget, der er større end en samling af kunstværker og kunstnere en helhed, der skaber et billede af og samtidig er venskab, kunst, fremtid og liv. Dette understreges bl.a. ved at kunstnerne efter udstillingen tager på en fælles rejse til Casablanca og der i samarbejde med lokale kunstnere, videreudvikler projektet. De enkelte værker på udstillingen kan i denne sammenhæng stadig ses som en række præstationer med et individuelt præg. I det følgende vil jeg derfor gå en virtuel tur igennem udstillingen, som vi har planlagt den (ændringer vil med garanti forekomme) og introducere kunstnerne med deres værker eller projekter på vejen. Jeg vil forsøge i min tekst at fange nogle af de mange historier, der knytter sig til værkerne. Forhallen Det er vigtigt at understrege fra starten, at Beldringe lufthavn som kontekst for udstillingen bliver aktiveret på flere planer som historisk og arkitektonisk reminiscens fra 2. verdenskrig og som lufthavn, en transit situation. Forhallen er det store areal centralt i lufthavnen, hvor man ankommer, når man skal ud at flyve. Her befinder sig en række værker, som jeg vil fortælle om og derpå bevæge mig videre til de andre rum i lufthavnen. Inden turen begynder, vil jeg formulere et par spørgsmål, som giver mening at holde i mente, når vi går rundt: This Could Be the Beginning of a Beautiful Friendship is an exhibition intended for horizontal viewing, i.e. from work to work as opposed to top-down. Nevertheless, it takes place in an airport, which is also the first thing you see on the invitation. In other words: if purely thematic exhibitions are viewed vertically, from the title down to the works, then network-based exhibitions like this one can be seen from one artistic manifestation to the next. In this way the title This could be the beginning of a beautiful friendship also makes sense at a more specific level. The exhibition is an alternative ending, one that contains a beginning. In other words the 2007 graduate exhibition of Funen Art Academy has evolved into the beginning of something greater than a gathering of artists and their works - an entity coming together creating, or even constituting an image as well as friendship, art, life and future. This is emphasized i.a. by the artists going to Casablanca together after the end of the exhibition where they will develop the project further in cooperation with local artists. The individual works at the exhibition may still in this respect be considered a series of individual efforts. Therefore, in the following, I shall take a virtual walk through the exhibition, as it was planned (changes are sure to occur), introducing the artists with their works or projects en route. In the following text I shall attempt to capture some of the numerous stories attached to the works. The Front Hall It is important to emphasize from the outset that the exhibition location of Beldringe Airport will be activated at several levels, both as a historical and architectural reminiscence of World War II and as an airport, a transit situation. The front hall is the large central area of the airport, where passengers arrive before departing on a flight. A number of works are located here, which I shall discuss before moving on to other spaces in the airport. Before the tour begins I shall formulate a couple of questions that are relevant to keep in mind as we proceed: Hvordan forholder kunsten sig til souveniren, turismen, de mentale og fysiske rejser? Hvad sker der med kultur-begrebet, den lokale historie og med mødet mellem mennesker i transit? Hvilken historie er forbundet med Beldringe Lufthavn og hvordan relaterer kunstværkerne sig til den? How does art relate to souvenirs and tourism, to mental and physical journeys? What happens to the concept of culture, to local history and to inter-personal meetings between people in transit? What is the story of Beldringe Airport and how do the works relate to it? 15

9 På et tv ved et af bordene i forhallen ser man videoen Duty free, som er optaget i Sheremetyevo lufthavn i Moskva. Her går en person ind i en toldfri butik og køber en typisk russisk souvenir, en Babushka dukke med mindre trædukker indeni. Personen tømmer de små dukker ud i en skraldespand lige udenfor den toldfrie butik og beholder den yderste del, hylstret, som han tager med. Kunstneren Morten Espersen demonstrerer her og i andre værker på udstillingen evnen til at skabe præcise og kortfattede konceptuelle kortslutninger af cirklerne i udbytte- og nytte-forhold, som han sporer i forskellige hverdagssituationer. Han står ligeledes bag videoen Milk, 2006, som omhandler det samme tema samt det ubeskårede træ (blandt de beskårne) foran lufthavnen Unpruned tree, På gulvet i forhallen sidder en Bratz dukke, som en del af installationen Girl on blanket af Heidi Hove Pedersen, Bratz er legetøjsdukker i Barbie størrelse med make-up, stilet sexet outfit, som matcher forskellige stil-ikoner som f.eks. også figurerne i Spice Girls gjorde. Der findes også DVD er og computerspil f.eks. med Bratz Rock Angelz. Bratz er på mange måder indbegrebet af 5-årige pigers drømme i dag. Bratz dukken er til denne installation ændret den fremstår med en krop på størrelse med en femårig piges (1:1), men har stadig et teenage-ansigt med fuld make-up. Derudover er dukkens påklædning en prinsessekjole delvist i camouflagestof; på det symbolske plan et spil med to magtfulde identiteter. Bratz er rykket ud i det virkelige liv i lufthavnen med en fysik, der er en kloning af barn og teenager, som mærkværdigt sidder på sit tæppe - midt i al ræset. Heidi Hove Pedersen er derudover repræsenteret med værket Prohibition sign udenfor lufthavnsbygningen, som tematiserer importen af et andet amerikansk fænomen: privatiseringen og reguleringen af det offentlige rum med forbud. Kig efter forbudsskiltet No Dogs, No Alcohol & Don t feed the birds, som er en direkte kopi af et lignende skilt, som står på The Board Walk i Santa Cruz (CA). På væggen i forhallen hænger serien af malerier Romance mistakes. The Cream collection som jeg også vil kalde en dream collection af poserende kvinder for kvinder bl.a. inspireret af reklame og magasinbilleder. Billederne er af Jannie Martinus Skov, som har fremmalet en erotisk historie om uopnåelige gudinder i hvert billede. En historie, der virkningsfuldt føder fantasien og med et twist holder blikket, hvor reklamen ville have sluppet. Hvad forgår der her? Hvem taler billederne til og er de virkelig for og om kvinder? Motiverne er skåret ud i pop-plastiske flader og understreges af et til tider skingrende farve-brug med hårde kontraster, som i denne serie blødes op af cremede toner. Romance mistakes. The Cream Collection omgives af et spind af maleriets, reklamens og virkelighedens forførende kræfter og tilbyder en mental og kropslig udtur i et erotisk univers hvor kvinde-figuren og begæret står i centrum. De fremstår i lufthavnen, som en slags reklamer, der ikke skal sælge, men hvor der er digtet et langt stykke videre på forførelsen. A television screen at one of the tables in the front hall is showing the video Duty Free, recorded in Sheremetyevo Airport in Moscow: A person walks into a duty-free shop and buys a typical Russian souvenir, a Babushka doll with smaller dolls inside. The buyer empties the little dolls into a bin right outside the duty-free shop, keeping the outer part, the case, which he takes with him. Both here and in his other featured works, Artist Morten Espersen demonstrates his ability to create brief, precise, conceptual, short-circuits within the circles of the utilization/exploitation relations that he traces through various everyday situations. He is also the artist behind the 2006 video Milk dealing with the same theme, as well as the unpruned tree (among all the pruned ones) in front of the airport in his Unpruned Tree, A Bratz doll is sitting on the floor of the front hall as part of the installation Girl on Blanket by Heidi Hove Pedersen, Bratz are Barbie-size toy dolls sporting make-up and a stylish, sexy outfit to match various style-icons like e.g. the Spice Girls. There are also DVDs and computer games available featuring, say, Bratz Rock Angelz. In many ways the Bratz concept epitomizes the dreams of contemporary 5-year old girls. For this installation, the Bratz doll has been altered. It has a body the size of five-year-old girl s (1:1), but still sports a fully made-up teenage face. The doll s clothing is a princess-style dress made partially from camouflage-patterned fabric, a symbolic interplay between two powerful identities. Bratz has moved into the real life-situation of the airport - a physical clone of child and teenager, sitting strangely on her blanket in the middle of everything. Heidi Hove Pedersen is also represented with the work Prohibition Sign outside the terminal building, thematising the import of another American phenomenon: privatization and the regulation of public space by prohibitions. Look for the prohibition sign No Dogs, No Alcohol & Don t feed the birds, which is a direct copy of a similar sign on Board Walk in Santa Cruz (CA). The front hall features a series of paintings on the wall entitled Romance Mistakes. The Cream Collection which I would also call a dream collection of women posing for women, inspired by i.a. advertisements and magazine-images. The pictures are by Jannie Martinus Skov who has painted up an erotic story of inobtainable goddesses in every image. A story that effectively feeds the imagination with a twist that holds our gaze where commercials would normally have released it. What is going on here? Who are these images addressing and are they really by and for women? The motives are carved in pop-plastic surfaces underlined by occasionally harsh colours softened by creamy shades. Romance Mistakes. The Cream Collection is surrounded by a web spun by the seductive powers of painting, commercials and reality, offering a mental and physical excursion into an erotic universe centering around desire and the female figure. At the airport they appear as a kind of commercials, intending not to sell, but rather to considerably expand the process of seduction. The Prohibition Sign (Forbudsskilt) af Heidi Hove Pedersen ved hovedindgangen til Odense Lufthavn, 2007 / The Prohibition Sign by Heidi Hove Pedersen next to the main entrance at Odense Airport, 2007 Ved et andet bord i forhallen kravler sætninger som to Cross a gap one must become the void som en organisme under loop over skærmen på en monitor. No feathers no doubt, 2006, hedder videoen af Another table in the front hall features sentences like to Cross a gap Maria Klarlund, der som kunstner bevæger sig i et litterært og filosofisk one must become the void crawling across a monitor like organisms univers. Det manifesterer sig også som et rent visuelt og anime- under a microscope. The 2006 video entitled No Feathers No Doubt ret landskab i en anden video med titlen Lost layers, Dette by Maria Klarlund moves within a literary and philosophical universe, værk er bl.a. inspireret af Bram Strokers roman Dracula, I also manifest as a purely visual and animated landscape in another begge disse arbejder fornemmer man et vidtstrakt mentalt rum, som video entitled Lost Layers from This work is partly inspired overskrider det, der kan siges med ord. Dette kommer helt konkret til by Bram Stoker s 1897 novel Dracula. Both of these works present udtryk i det tredje værk, som hun præsenterer - videoen, Too much us with a sense of expansive mental space extending beyond the to say, I Too much to say danner en person sætningen Too verbal. This is quite specifically expressed in her third work, the video Videoinstallation af Maria Klarlund og Affald i reklameskilt af Anne Bennike i forhallen i Odense Lufthavn, 2007 / 16 much to say, and I don t have the heart for it today (citeret fra Den Too Much to Say from Here a person forms the sentence Too Videoinstallation by Maria Klarlund and above, an installation in the advertising sign by Anne Bennike, The Front Hall, Odense Airport,

10 franske filosof Jaques Derrida) ved at pege på ord i bøger, som tages ud fra en reol og holdes op foran kameraet. Sammen danner videoværkerne en kontemplativ station i udstillingen som en mental pendant til den fysiske rejse, der forbindes med lufthavn-situationen. Sikkerheds check rum I sikkerheds-check passagen hænger der 2 plakater med hver deres tegning af en yogi-lignende figur, der mediterer over materialismen, Materiel Tantra I & II, 2007 af Anne Bennike. I sit kunstneriske arbejde beskæftiger Anne Bennike sig, som er en talentfuld tegner og iagttager, med kulturelle integrations- og oversættelsesspørgsmål samt misforståelser kulturer imellem. Hendes kunstneriske tilgang er i den grad politisk og etisk bevidst, og man fornemmer et stærkt samfundsmæssigt engagement, som i tegningerne udtrykker sig i et surrealistisk univers med en urban, hip-hop-agtig slagkraftighed. Anne Bennike udstiller også i bunkeren udenfor lufthavnen (jvf. tekst nedenfor). Venterum, afgang I afgangshallen viser Nanna Guldhammer Wraae en kort film, som omhandler måder at være tilstede på i det offentlige rum med dets systemer og infrastruktur f.eks. i og mellem tog! Hendes videoinstallation kalder hun Tab af vejret, I filmen klipper hun mellem en person, der bevæger sig næsten gymnastisk og forpustet fra tog til tog og en intim samtale. På den måde blandes to forskellige rum og måder at være tilstede på - fysisk og mentalt - i et pust af en filmisk rejse. Guldhammer Wraae præsenterer også hendes omfangsrige bog-projekt, Er det Tilladt at Høre sin Egen Stemme Skrige, When I was a Child I had a Fever My Hands Felt like Two Balloons, Det er en publikation på dansk, som undersøger begrebet kollektiv hukommelse som den uendelige sum af subjektive historier. Bogen rummer bl.a. interviews med fire danskere med overskriften Anonymous som enkeltvis beretter om deres historie. Denne del er inspireret af Nietzches navnkundige formulering Every name in history is I. Bogen indeholder også fiktionstekster og vil være tilgængelig i lufthavnen nær Tab af vejret. Ankomsthal På en informations-væg hænger to indrammede artikler med overskrifterne Pattaya. Mystery Jump Man leaps from chartered plane, Bangkok Post, og Italian Tourist jumps from plane, The Nation, begge dateret 6. december I samarbejde præsenterer Brian Enevoldsen og Marianne Bitsch værket Mr. G, 2007, som består af de to artikler, der omhandler Mr. G s (i en anden artikel Mr. T s) udspring fra et fly med en pose med uvist indhold. Mest af alt afslører læsningen af artiklerne spekulationen om denne uudgrundede begivenhed og motivationen herfor, som nedfælder sig i sprogbruget hos journalisterne. Samme kunstner-duo, som med en undersøgende tilgang interesserer sig for mediernes omgang med sager, hvor mennesker på mystisk vis forsvinder, viser også værket Untitled (Natascha Kampusch), Det er to fotografier - et af Natascha Kampusch som barn, før hun forsvandt samt et computergenereret fotografi af hende som teenager, hvilket viser, hvordan hun ville være, hvis man i dag skulle lede efter hende. Billederne ledsages af en planche, som blotlægger research i Kampusch sagen. I afgangshallen finder vi også sporene fra Pica Pica, Pica Pica betyder husskade, men her er Pica Pica navnet på en figur skabt Solvej Helweg Ovesen af Marie Kolding Lund, en persona, som også er er et billede på en materielt og sted-bunden person, som rejser rundt i lufthavnen med Solvej Helweg Ovesen destinationen i sin kuffert. Skadens rede er som bekendt et samlercontext, the traces of Pica Pica -who will have traveled through the much to say, and I don t have the heart for it today (quoting French Philosopher Jacques Derrida) by pointing to words in books taken out from a shelf and held in front of the camera. Viewed as a whole, the video works form a contemplative station in the exhibition, constituting a mental parallel to the physical journey associated with the airport-situation. Security The security-passage features 2 posters each showing a drawing of a yogi-like figure meditating on the concept of materialism, Material Tantra I & II from 2007 by Anne Bennike. A talented observer, Anne Bennike s drawings deal with questions of translation and cultural integration as well as with inter-cultural misunderstandings. Her artistic approach is highly political and ethical with a strong sense of social involvement expressed through the surrealistic urban, hiphop universe of the drawings. Anne Bennike s work can also be seen in the bunker outside the airport (see below). Waiting Room, Departures In departures, Nanna Guldhammer Wraae presents a short film about ways of being present in the public sphere with its systems and infrastructures, e.g. in and between trains! Her 2007 video installation is called Loss of Breath, In it she cuts between a person moving almost gymnastically and breathlessly from train to train and an intimate conversation; mixing two different spaces and ways of being present - physically and mentally- in a filmic journey. Guldhammer Wraae is also presenting her voluminous 2007 bookproject Er det Tilladt at Høre sin Egen Stemme Skrige, When I was a Child I had a Fever My Hands Felt like Two Balloons, This is a Danish-language publication examining the concept of the collective memory as the infinite sum of subjective histories. The book includes interviews with four Danes - entitled Anonymous - these interviews feature each person individually telling their story. This part was inspired by Nietzsche s notorious wording Every name in history is I. The book also contains fictional texts and will be on display at the airport near Tab af vejret. Arrivals One wall features two framed articles entitled Pattaya. Mystery Jump - Man leaps from chartered plane, Bangkok Post and Italian Tourist jumps from plane, The Nation, both dated 6. December Brian Enevoldsen and Marianne Bitsch have worked together to present the work Mr. G from 2007, consisting of the two articles about Mr. G s (elsewhere entitled Mr. T) jump from a plane holding a bag of unknown content. On closer inspection the articles above all reveal speculations as to this unreasoned event and the motivations behind it, linguistically articulated by the journalists. The same artistic duo s use of an inquiring approach to investigate how the media deal with cases where people mysteriously disappear is apparent in their other piece Untitled (Natascha Kampusch) from There are two photographs - one showing Natascha Kampusch as a child, before she disappeared and a computer-generated image of her as a teenager, as she would look today. The images are accompanied by a poster showing research on the Kampusch case. In departures we also see the traces of Pica Pica from Pica Pica means magpie, but here the name indicates a figure created by Marie Kolding Lund: This persona, the image of a materially and situationally bound being, travels around the airport with a suitcase-ful of destination. As we know, the magpie s nest is a collector s trove and in this work- gemme og i denne værk-sammenhæng vil sporene efter Pica Pica, som inden udstillingens åbning har rejst gennem lufthavnen (dokumenteret på film), bl.a. bestå af Pica Picas kuffert, som når den klappes ud, er en palme-ø samt ansamlinger af alt det, der glimter. I Marie Kolding Lunds katalogtekst Historien om Pica Pica og rejsen til Global Village er Pica Picas rede et sted, hvorfra man kan se hele verden. Pica Pica kan fra reden være allestedsnærværende, ligesom en person, der surfer Internettet. Den behøver ikke at bevæge sig for at få alle de rejse-oplevelser eller den information den vil have. Filmen Pica Pica og Global Village sammenfatter Pica Picas færd på stedet dvs. i lufthavnen. Pica Pica (huskaden) tager jo aldrig virkelig af sted, men kan samtidig selv bygge bro fra dens medbragte ø. Glasgangen Jette Olsen udstiller værkerne, Crash og Illustreret Passage i glasgangen, som leder ud af fælleshallen og ud af lufthavnen som en passage. Her forlader vi transit-situationen (eller også kommer vi til den). Jette Olsen skaber i denne gang endnu et mellemrum i form af en stedspecifik ophængning af tegninger med mønstre, der bevæger sig mellem virkelighed og abstraktion, vender op og ned på rummet og sammen med en projektion skaber en intens stemning af at træde ind midt i en ukendt fortælling. Installationen fungerer som en tatovering af rummet i glasgangen, der kommer tæt på beskueren i den smalle glasgang (normalt skjuler glasset og udsynet gangens bredde). På den måde overskrides en intimgrænse måske, og tegningerne opløser tyngdekraften og distraherer orienteringen i passagen til trods for, at man her måske troede at havde begge fødder solidt plantet på jorden. Bunkeren Anne Bennike udstiller en installation af tegninger Uden Titel Portrætter af civile Irakere tegnet ud fra fotos hentet på Internettet placeret i Beldringe Historiecenter, 2007, i bunkeren, som sammen en del af lufthavnen, er fra besættelsestiden. Bunkeren ligger som udstillingsdel udenfor lufthavnsbygningen og rummer i dag allerede en udstilling om bunkerens brug under besættelsen. Installationen består af en serie portrætter af civile irakere, som Anne Bennike har tegnet og integreret i bunkerens eksisterende interiør. Dermed en krydsning af to historiske situationer (Danmark under besættelsen og Irak under USAs indtog i 2003), der sammen vender opmærksomheden imod det civile liv under krigstilstande. Udstillingen This could be the beginning of a beautiful friendship spørger hvilke værdier, der kan udfordre forfladigelsen af kulturer, lokale historier, i en global landsby? Den rummelige transit-situation i Beldringe lufthavn er på mange måder et billede på den måde konsum-kulturen skaber situationer, hvor mennesker tilskrives rollen som en-dimensionelle forbrugere af oplevelser og rejser. En potentiel amnesi er faren ved at rejse gennem forskellige kulturer og for den sags skyld projekter uden virkelig at lande. Arbejdsformen og udstillingen i Beldringe Lufthavn har nogle af de etiske kvaliteter som den indflydelsesrige komponist og teoretiker William Richard Wagner bl.a. tilskrev Gesamtkunstwerket Das Kunstwerk der Zukunft (oversat: fremtidens kunstværk) i Nemlig en glæde ved helheden og den viden at summen af de kunstneriske bidrag, kan blive større end summen af værkerne hver for sig, fordi der opstår en historie og samspil af kunstnerisk handlen. airport prior to the opening of the exhibition (and will have been video-documented) - will include Pica Pica s suitcase, which opens out to reveal a tropical island as well as collections of all things shiny. Marie Kolding Lund s catalogue text Historien om Pica Pica og rejsen til Global Village - the Story of Pica Pica and the Journey to Global Village - describes Pica Pica s nest as a place from which one can see the whole world. From its nest Pica Pica can be ubiquitous, like a person surfing the internet. It not need even move to get all the travel-experience or information it wants. The film Pica Pica og Global Village - Pica Pica and Global Village - describes Pica Pica s journey on the spot i.e. at the airport. After all Pica Pica (the magpie) never really departs, but is at the same time always able to build bridges from its portable island. The Glass Corridor Jette Olsen is exhibiting the artworks, Crash and Illustreret Passage in the glass corridor leading out from the main hallway and out of the airport. This is where we leave (or arrive at) the transit-situation. In this corridor Jette Olsen creates another space in the form of a specifically situated display of pattern-drawings moving between reality and abstraction. Space is turned upside-down and projections are used to create an intense atmosphere of stepping into the middle of an unfamiliar story. The installation works like a tattoo on the space of the glass corridor, approaching the viewer in the narrow hallway (normally the glass and the view beyond obscure the actual width of the corridor). Thus a personal border is perhaps broached as the drawings dissolve gravity and distracts viewers from finding their bearings in the passageway where they may have thought themselves to be on solid ground. The Bunker Anne Bennike is exhibiting an installation of drawings entitled Untitled Iraqi civilians copied and drawn portraits from the internet and placed in Beldringe Center of History - in the bunker, which like part of the airport dates back to the German occupation of Denmark during World War II. Located as a separate part of the exhibition space outside the terminal building, the bunker already houses an exhibition on its use during the German occupation. The installation consists of a series of portraits of Iraqi civilians which Anne Bennike has drawn and integrated into the existing interior, thereby creating an intersection between two historical situations (occupied Denmark and Iraq during the Americans invasion in 2003) that between them draw attention to civilian life in times of war. The exhibition This could be the beginning of a beautiful friendship poses the question of what values can challenge the leveling of cultures and local histories in the global village? The spacious transit-situation at Beldringe Airport is in many ways an image of the way in which our culture assigns people the role of one-dimensional consumers of journeys and experiences. The danger of traveling through various cultures - or projects for that matter - without ever really landing is potential amnesia. The form of the works and of this exhibition at Beldringe Airport hold some of the ethical qualities that influential Composer and Theorist William Richard Wagner ascribed to the Gesamtkunstwerk Das Kunstwerk der Zukunft -the artwork of the future - in : The knowledge that the whole comprised by artistic contributions can be greater than the sum of the individual works since they create both a story and an interplay of artistic action.

11 Heidi Hove Pedersen Jannie Martinus Skov Anne Bennike Maria Klarlund Marianne Bitsch & Brian Enevoldsen Marie Kolding Lund Jette Olsen Morten Espersen Nanna Guldhammer Wraee

12 heidi hove pedersen heidi hove pedersen Celebration Celebration betyder fest, festlighed, højtideligholdelse eller lovprisning, når man slår det op i ordbogen, men Celebration 1 er også et nøje planlagt byområde lidt udenfor Orlando, Florida. Byen tilhører The Walt Disney Company, som har taget initiativ til grundlæggelsen af den postmoderne by i 1996 med det formål at skabe et alternativ til USA s kriminalitetsplagede byer og forstæder. Man forsøger at gøre op med den i dag ukontrollable byvækst og vil genindføre den historiske bys kvaliteter, der bygger på begreber som naboskab, fællesskab og arv. På deres hjemmeside skriver de bl.a.: In the spirit of neighborliness, CELEBRATION residents gather at front porches, park benches, recreational areas, and downtown events celebrating a place they call home. Celebration Celebration means party, festivity, feast or praise when you look it up in the dictionary, but Celebration 1 is also a carefully planned town area a little outside Orlando in Florida. The town belongs to The Walt Disney Company that in 1996 took the initiative to found this post-modern town in order to create an alternative to the crime-plagued cities and suburbs in the US. The idea is to deal with today s uncontrollable city growth and reinstate the qualities of the historical town based on concepts such as neighbourliness, community and heritage. On their website, they write among other things: In the spirit of neighborliness, CELEBRATION residents gather at front porches, park benches, recreational areas, and downtown events celebrating a place they call home. Selve konceptet bygger på en mytologi og drøm om et small-town America, som man også finder i Disney s egne film og forlystelsesparker. Celebration ligger da også udenfor selveste Disney World, og The Walt Disney Company er det styrende organ i Celebration s drift og planlægning. Her ønsker man at bevare udtrykket af en virkelig og naturlig voksende by med et urbant udtryk. Man approprierer bygninger fra fortidens tid og har blandt andet skabt en golfbane omkring byen, som skal fungere som en slags bymur. I byplanlægningen har Disney bl.a. hentet inspiration fra New Urbanism 2, som er en bevægelse, der startede i 1980 erne. Begge ønsker de at genskabe den amerikanske bys tabte kvaliteter og skabe et bedre og trygt samfund ved at genintroducere fællesskabet fra det gode, gamle bysamfund i USA: A place where memories of a lifetime are made, it s more than a home; it s a community rich with old-fashioned appeal and an eye on the future. Homes are a blend of traditional southeastern exteriors with welcoming front porches and interiors that enhance today s lifestyles. The concept itself is based on a mythology and dream about smalltown America you also find in Disneys own movies and entertainment parks. Celebration is also located outside Disney World itself, and The Walt Disney Company is the ruling authority in the running and planning of Celebration. Here they wish to conserve the features of a real and naturally growing town with an urban face. Buildings from the past are being allotted, and they have made a golf course around the town that also functions as a kind of town wall. In the town planning, Disney drew inspiration from the movement New Urbanism 2 that started in the 1980s. Both organisations wish to restore the lost qualities of the American town and create a better and safer society by reintroducing the community from the good old townships in the USA. A place where memories of a lifetime are made, it s more than a home; it s a community rich with old-fashioned appeal and an eye on the future. Homes are a blend of traditional southeastern exteriors with welcoming front porches and interiors that enhance today s lifestyles. Downtown Celebration, Florida. Foto fra: Stetson Universitet ( og Wikipedia (foto af Bobak Ha eri, Februar, 2006) / Downtown Celebration, Florida. Photo from: Stetson University ( and Wikipedia (photo by Bobak Ha eri, February, 2006) Samfund som disse er blevet populære i USA trods de skyhøje huspriser. Communities such as these have become popular in the US, de- 1 Celebration strækker sig over 99km 2 og i år 2000 var der 2736 indbyggere, Celebration covers more than 99km 2, and in year 2000 there were 2736 in- Man ser nærmest en flugt fra virkelighedens samfund. Ifølspite the skyrocketing prices. What you see here is a kind of es- husstande og 716 familier i Celebration, hvoraf ca. 93% af disse var hvide og med habitants, 952 households and 716 families in Celebration, and out of these en gennemsnitsalder på 37 år per indbygger. Siden hen er byen ekspanderet og i around 93% were white with an average age of 37 years. Since then the town ge New Urbanism er den naturligt voksende og moderne by fremmedgørende, angstfremkaldende og syg. De vil derfor genoprette growing and modern town is alienating, provoking anxiety, and ill. 2 Der findes i dag over 600 New Urbanist samfund og omkring 100 af disse har ( cape from real society. According to New Urbanism, the naturally 2004 var der indbyggere og husstande. ( has grown, and in 2004 there were inhabitants and households. det tabte og helbrede byen. Man vil rense og udskille det syge fra That is why they want to restore what is lost and cure the town. beliggenhed i Florida. En af disse, som er værd at nævne i denne sammenhæng, 2 Today there are more than 600 New Urbanist communities and around 100 det raske og normale. Man foretager nærmest en rensning af byen They want to cleanse and remove what is ill from what is healthy er byen, Seaside, som har fungeret som kulisse i filmen The Truman Show. Filmen are located in Florida. One worth mentioning in this context is the town Seaside, for at skabe autencitet (og normalitet) med det formål at skabe en and normal. They are performing a kind of cleansing of the town in handler om en film om Truman, som i al uvidenhed er offer og hovedperson which functioned as a setting in the movie called The Truman Show. This film bedre verden. order to create authenticity (and normality) with the aim of creating i et tv-realityshow. Han er ufrivilligt blevet en skuespiller i sit eget samfund. is a film about Truman who unknowingly is the dupe and main character in a TV ( reality show. He has involuntarily become an actor in his own community. (www. a better world. a-aarhus.dk/velfaerdsbyen) Heidi Hove Pedersen, Maj Heidi Hove Pedersen, May

13 O C K E R M A N D E S I G N heidi hove pedersen Location 2.6a, b & c No fires Location 2.6d, e, f & g Do not feed birds Do not feed sea lions Location 6.2 Santa Cruz Wharf Gateway Location 2.5a, b, c, d, e, f, g, h, i, j, l, & m Do not feed sea lions Location 2.7a No fires Location 1.7 No dogs No alcohol Do not feed birds No dogs No alcohol Do not feed birds Location 2.8a No fishing Location 2.4 a, b, & c No fires Do not feed birds Do not feed sea lions Location 2.9a No fires Location 6.3 Santa Cruz Wharf Gateway Location 1.8, 1.9 & 1.10 Do not feed birds Do not feed birds No dogs No dogs No alcohol No alcohol Location 1.6 No Skates/boards No Skates/boards Do not feed birds Do not feed birds Location 6.1 Santa Cruz Wharf Gateway Location 3.1 THE COMMONS Location 2.10a, b, c, d, e, f, g, h, i & j Do not feed birds Do not feed sea lions Location 1.5 No alcohol The Commons parallel to street No alcohol The Commons Location 2.11a, b, c, d & e No fires Location 6.4 Santa Cruz Wharf Gateway Location 2.12a No fires Location 2.13a, b, c & d No Crabbing or Fishing Location 1.4 No bikes on sidewalk No skates/boards Telephone Restrooms parallel to street No skates/boards No dogs No alcohol Location 2.14a & b No fires No Crabbing or Fishing Location 1.3 No alcohol Do not feed birds Location 4.1 ATM Location 2.15a& b No fires No Crabbing or Fishing parallel to street Location 1.11 No Dogs No dogs No alcohol No alcohol No skates/boards No bikes on sidewalks Location 2.16a & b No fires Location 1.2 No dogs No Skates/boards No bikes on sidewalk The Agora Location 2.3a, b, & c No overhead casting Location 2.2a No jumping or diving parallel to street No dogs No alcohol No skates/boards The Agora Location 2.17a & b No Crabbing or Fishing No Jumping or Diving Location 2.1a, b, c, & d No overhead casting (3ea) No jumping or diving (1ea) Prohibition Sign (Forbudsskilt) ved Odense Lufthavn, Rustfrit stål, plastik og træ, 275 x 60 x 60 cm / Prohibition Sign at Odense Airport, Stainless steel, plastic, and wood, 275 x 60 x 60 cm Location 1.12 SANTA CRUZ MUNI CODE No alcohol No fires No bikes on sidewalk No skates/boards No dogs Do not feed wildlife Location 1.1 SANTA CRUZ MUNI CODE No alcohol No fires No bikes on sidewalk No skates/boards No dogs Do not feed wildlife J a n W H A R F O C K E R M A N D E S I G N J a n W H A R F Et af de originale forbudsskilte på havnen i Santa Cruz, Californien / Pige på tæppe, 2007, flamingo, jesmonite, papmaché, lak, akrylmaling, kunstigt hår, tekstil m.m., 80 x 120 x 115 cm / Oversigt over forbudsskiltene ved havnen i Santa Cruz, Californien - designet af Eunice Ockerman (USA) / Foto: Jo Ann Oss, 2007 / One of the original prohibition signs at The Wharf in Santa Girl on Blanket, 2007, expanded polystyrene, jesmonite, paper mache, laquer, acylic paint, synthesized hair and more, 80 x 120 x 115 cm. Location Map of the prohibition signs at The Wharf in Santa Cruz (CA) designed by Ounice Ockerman (US) Cruz (CA), Photo: Jo Ann Oss, Tak til / Thanks to: Eunice Ockerman, Ockerman Design, CA Marty Ackerman, City of Santa Cruz, CA Benny Poul Pedersen, Nørtorup Auto, DK Henrik Schütt, De Danske Producenter, DK 24 25

14 JANNIE MARTINUS SKOV JANNIE MARTINUS SKOV ROMANCE MISTAKES, the Cream Collection Ornamenter, rum og cremede farver udgør sammenkædningen i denne billedserie. Et hint af noget romantisk der alligevel indeholder en vis hårdhed i udtrykket. Hvert værk er en historie i sig selv, en illustration; forfatning til en dagdrøm. Jeg har med denne billedserie prøvet at indarbejde en vis rumlighed og har til dels holdt værkerne i bløde, cremede farver: to ting jeg normalt ikke beskæftiger mig med. Selve handlingen er dog den samme som altid; et homo-erotisk kvindeunivers - dagdrømme - fantasier. Det er vigtigt for mig at mine motiver (kvinder) optræder som uopnåelige, nærmest gudinder, da de jo er fantasifostre og ikke noget realistisk. Jeg frabeder mig romantiske fortællinger, da værkerne handler om erotik og sex, ikke kærlighed og følelser. Materialet er hentet fra modemagasiner og reklamer, bearbejdet i hånden og kombineret på lærredet i hvad der for mig giver god mening; små erotiske historier, der fortæller sig selv mens de bliver til på lærredet: en delvis ubevidst fortælling fra min underbevidsthed der flyder ud gennem penslen via hånden og som afsløres for mine øjne i det øjeblik den tager form. ROMANCE MISTAKES, the Cream Collection Ornaments, space and creamy colours are what unite this picture series. There is a hint of something romantic, yet with a degree of hardness in its expression. Each work is a story in itself, an illustration; formation of a daydream. In this picture series I tried to incorporate a degree of spaciousness and partially kept these works in soft creamy colours: Two things I normally don t work with. Yet the story itself is the same as always a homo-erotic female universe daydreams fantasies. It is important to me that my motifs (women) appear to be unattainable, virtually goddesses, since they are figments of the imagination and not realistic. I object to romantic stories since my works are about eroticism and sex, not about love and emotions. The material is taken from fashion magazines and advertisements, handled manually and combined on the canvas in a manner that makes sense to me short erotic stories telling themselves as they emerge on the canvas. A partly unconscious story from my subconscious flows out through the brush via my hand and reveals itself before my eyes in the very moment it takes shape. Jannie Martinus Skov Jannie Martinus Skov Trouble At Joan s house, 2007, Olie på lærred, 100x80 cm / Trouble At Joan s house, 2007, Oil on canvas, 100x80 cm 26 27

15 JANNIE MARTINUS SKOV Lily Addict, 2007, Olie på lærred, 200X150 cm / Lily Addict, 2007, Oil on canvas, 200x150cm Installationsfoto, Odense Lufthavn, 2007 / Installationview, Odense Airport, 2007 Miranda in The Mirror, 2007, Olie på lærred, 100X80 cm / 28 Miranda in The Mirror, 2007, Oil on canvas, 100X80 cm 29

16 anne bennike ANNE BENNIKE Jeg drømmer vågen i et postmoderne eventyr gennem elektroniske tråde der flyder med nyheder, reklamer og film med skjulte agendaer. Har så svært ved at nå hen, hvor det føles rigtigt, fordi alt larmer så meget, at jeg hele tiden svæver en meter fra mig selv. I Colombia er der demokrati og fri markedsøkonomi, her skydes studerende som terrorister, fordi de er kritiske overfor privatiseringen af deres uddannelser, der så kun er for en elite af de rigeste. Paramilitsen i Colombia arbejder for regeringen på den måde, at den officielt sørger for at holde kriminaliteten nede men anholder også alle der er kritiske over for regeringen. Amnesti og størstedelen af N.G.O. arbejdere betragtes som terroristforherligere i Colombia, fordi de har kritiseret menneskerettighederne der. Mens jeg elsker med dig, ser jeg ufrivilligt glimt fra en pornofilm, jeg kom til at slå over på, da jeg zappede...og store silikone bryster fra kiosker og billboards forurener min underbevidsthed. Når jeg bliver gammel, skal jeg så opereres for at holde på dig, mens du brokker dig over kvinder i slør? Eller vil du løbe efter de unge piger, som ser sin far i dig og som giver dig den bekræftelse du higer efter? Det vil du nok. Lige som jeg vil hige efter den. Jeg vender mig i ryk af angstfuld søvn, liv uden mening fordi alt er så grusomt og løgnagtigt ansvarsløst... Da kurdere blev giftgasset i Irak, havde det krigeriske neoliberalistiske projekt ikke synderligt travlt med at vælte Saddam Hussein, men det fik de da olien brændte i Kuwait, og med i købet døde civile Irakere. Hvem stemte derefter demokratisk om at få bomber i hovedet marts 2003, da demokratiske jagerfly fløj med bomber over Bagdad og alt blev mørkelagt, da strømmen gik? Det hele rystede, sod fra afbrændte bildæk og olie lagde sig overalt på huden og inde i luftvejene, ingen vidste, hvor nogen var og dem der gjorde knugede sig ind til hinanden, mens bragende fra eksplosionerne var så høje, at verden styrtede sammen inden i og udenom? Børn står tilbage i ruinerne, de griner og fyrer jokes af med store brune øjne, der tæt på er så sørgelige og voksne, at de er meget meget ældre end dine beslutningstageres øjne, som stadig er så kolde og grusomt stive i et smil. Hvorfor fortæller du mig ikke bare, hvem du er fra starten, så kan jeg i det mindste nå at træffe et valg, inden jeg vælger dig. Fordi du vil vinde mig uanset hvad og uanset hvor hårde slag jeg får, fordi du ikke var den, du foregav at være. I tåger stiller jeg spørgsmålstegn ved den nationale ide om, at man tror sig isoleret fra omverden? Et andet sted foregår handlinger man tror sig fri for, fordi de foregår udenfor vores konkrete virkelighed og hverdag. Kan man det? For hvordan fungerer penge-kaoset? Hvem handler med hvem, og hvad handles der med? Det er der ingen, der kan overskue på verdensplan, det er i sig selv en umulighed. Hvor kommer rigdommen i Danmark fra? Hvem arbejder for den? Hvem dør for den? Hvem sulter for den? Hvem tjener kassen på den hvide sne og de afblegede giftdampede stoffer? Hvem får hænderne ætset i stykker? Og hvilke børns maver rumler og knurrer i nattens stilhed? Colombias regering er netop ved at underskrive en frihandelsaftale med U.S.A. Paramilitsen i Colombia hænger sammen med den overordnede narkohandel i Colombia. Og her i de bløde tågede bakkedale, i det U.S. A allierede land shopper vi videre med højt humør og glorie-ren samvittighed mens solen titter frem af og til i knivskarpe glimt, det en heldig dag og strålerne rækker sig ned mod mit ansigt men gad vide om jeg er terroristforherliger? Jeg har lige meldt mig ind i en organisation der støtter et undertrykt mindretals frihedskamp. I kalder dette terrorisme, som I kalder alt og alle, der forsvarer sig mod uretfærdighed. Jeg føler at jeg ingenting ved. Nyhederne, jeg serveres hver dag, fortæller nyheds begivenheder uden rod eller historisk sammenhæng ligesom jeg ikke ved, hvor skal jeg nu skal gå hen, når fællesskabet føles som en middag i et køleskab. De smadrede en ungdomskulturs vigtigste symbol og der var bål i gaderne og vrede sten panser bilerne var udrustet i metal og ungernes hud var så tynd, at prikkes der med en nål, kommer der blod De har intet offentligt talerør, kun ballade klippes sammen, og slagene, chikanen, provokationerne fra regeringens pistol udrustede soldater klippes fra. Fredelige aktioner har intet blikfang eller nyheds værdi, men det har 50 udbrændte biler, som hvis du sætter dem op i et grusomt regnestykke mod lig p.t. i Irak, så mangler forargelsens sammenhæng fuldstændig for mig? Her i det frie demokratiske glansbilledland proppes den kreative ungdom i fængsel og de mindre kreative kræfter får æren at blive sendt til Irak for at sikre de frie markeds kræfter adgang til olie. Nu står børn og forældre tilbage i de sidste 9 asylcentre. 341 blev stiltiende blev lukket de sidste år. Der er ingen indgang derfra til et af verdens rigeste lande men kun en udgang til??? Det udifferentierede, det uendelige, et vandret 8 tal. Her kastes ingen brosten derfor kastes der for dem et andet sted Anne Bennike I am dreaming wide awake in a post-modern fairy tale via electronic wires in which news, advertisements and films with hidden agendas are floating. Finding it difficult to get to where it feels just right because of all the noise everything is making so I am constantly suspended one meter from myself. There is democracy and a free market economy in Colombia; here students are shot as terrorists because they criticize the privatization of their educations, which are thus only for an elite among the wealthy. Officially, the paramilitary forces in Colombia are working for the government by ensuring that the crime rate is reduced, but also by arresting all those daring to criticise the government. Amnesty and most of the NGO workers are regarded as terrorist glorifiers in Colombia because of their criticism of human rights there. While I make love to you, I involuntarily watch glimpses from a porn movie I stumbled upon while zapping... and big silicone boobs from newsstands and billboards are polluting my subconscious. When I become old, am I then to undergo surgery in order to keep you while you grumble about women in burqas? Or are you going to chase young girls who are seeing their father in you and giving you the approval you are yearning for? You probably will. Just as I am going to yearn for it. I turn around fitfully in anguished sleep, life without meaning because everything is so cruel and deceitfully irresponsible When the Kurds were poisoned with gas in Iraq, the aggressive neo-liberalistic project was in no particular hurry to overturn Saddam Hussein, but they were indeed when oil was burning in Kuwait and the collateral damage was dead Iraqi civilians. Who were afterwards voting democratically about having their heads bombed off in March 2003 when democratic fighter planes flew their bombs over Baghdad and everything blacked out when the electric power supply failed? Everything shook, soot from burning car tires and oil stuck all over your skin and within the respiratory system nobody knew where anybody were, and those who did embraced each other while explosions sounded so loudly that the world came crashing down both within and without? Children are left standing in the middle of the ruins, laughing and joking with their big brown eyes that close up are so sad and mature so much, much older than the eyes of your decision makers who are still smiling stiffly, cold and cruel. Why don t you just tell me who you are right from the beginning, then I would at least have a choice before I vote for you. That s because you want to win me no matter what and no matter how hard I am beaten up since you were not the one you pretended to be. Out of this fog I question the nationalist idea of thinking that you are isolated from the world around you? Somewhere else acts are done that are unimaginable to you because they occur outside our tangible reality and everyday lives. Can they do that? For how is this money chaos working? Who are trading with whom, and what are they trading? Nobody are able to oversee all of this globally, it is impossible. From where does the wealth in Denmark come? Who are working for it? Who are dying for it? Who are starving for it? Who are cashing in on the white snow and the bleached cloths steaming in toxic fumes? Who are having their hands eaten away by acids? And whose children s tummies rumble and roar in the silence of the night? The government in Colombia is just now about to sign a free trade agreement with the US. The paramilitary forces in Colombia are coupled to the widespread drug trade in Colombia. And here in this foggy, gently undulating landscape, in this US-ally country, we go on shopping cheerfully with a perfectly clean conscience while the sun shows itself briefly in piercing glimpses; it is a lucky day, the rays are stretching towards my face yet I wonder whether I am a terrorist glorifier? I just joined an organisation supporting a repressed minority s struggle for freedom? What you call terrorism you are also calling everything and anybody who defend themselves against injustice. I feel I know nothing. My daily news serving serve me news events without roots or historical context just as I don t know where to go when the community is like having dinner inside a fridge. They smashed the most important symbol of a youth culture, and there were bonfires in the streets and angry stones the police cars were encased in metal, and the kids skin was so thin that if you prick it with a needle, blood flows They have no public mouthpiece, only trouble is cut and pasted together, and all the beatings, the harassment, the provocations from the government s gun-toting soldiers are cut away. Peaceful actions are neither conspicuous nor news-worthy, but 50 burnt-out cars are, and if you enter them into a cruel calculation comparing those to currently corpses in Iraq, then I just cannot see where indignation fits in? Here, in this free democratic facade country, creative youths are crowded into jails, and the less creative forces are honoured by being sent to Iraq in order to ensure that the free marked forces have access to oil. Now children and parents are left behind in the last 9 asylum centres. 341 were quietly shut down in the last few years. One of the richest countries in the world has no entrance only an exit to??? The undifferentiated, the infinite, a horizontal figure 8. Here no paving stones are thrown which is why some are throwing on their behalf somewhere else Anne Bennike 30 31

17 Uden Titel Portrætter af civile Irakere tegnet ud fra fotos hentet på Internettet placeret i Beldringe Historiecenter, Installationsfoto, Bunkeren ved Odense Lufthavn, 2007 / Untitled Iraqi civilians copied and drawn portraits from the internet and placed in Beldringe Center of History, Installation View, The Bunker at Odense Airport, 2007.

18 maria klarlund maria klarlund Hun kradser uopmærksomt i pudset mens vi snakker og støvet lægger sig i hendes håndflade, som erindring. She is scratching distractedly in the plaster while we chat, and dust settles in the palm of her hand, like memory. Vi har fornægtet vores egen utilstrækkelighed og fortrængt døden og magien fra livet. Men den er her og lurer og hver gang vi aner et glimt af den her eller fra andre hjørner af virkeligheden, sættes alle sejl ind på at hæve sig over den, neglichere og forstumme den. Vil nogen overveje, antyde, skrige, at den virkelighed vi har muret op om os ikke er total, ikke i alle henseender er givende, human og demokratisk. Blasfemi. Mine ord, altid famlende, lægger sig i hullet hun har lavet og gør det til en afgrund. Her hersker en blind enten-eller logik uden blik for indskud og parentes. Uden ydmyghed og uden følsomhed. Et ganske lykkeligt og småparanoidt samfund. Murene står solidt, men jorden giver efter. Synker jeg i til halsen ændres nok lidt i bevægelsen. Alt der er er at fejle. Der er et vi, der er vanskeligt at undslippe, og det føles foruroligende og invasivt og det fylder luften jeg ånder, og mig og det sætter sig som en hinde. Hun nynner don t drive me blind. Der sker et skred et sted midt imellem og i skredet mister ordene deres betydning. Det er overstået hurtigere end nogen kan bemærke, og der er tilsyneladende intet at se. We have denied our own insufficient-ness and repressed death and magic from life. But it is here, lurking, and every time we catch a glimpse of it here or from other corners of reality, we strive by all means to rise above it, neglect and silence it. Is anybody going to consider, suggest or shout that the reality we have constructed around ourselves isn t total, that it isn t giving, humane and democratic in all regards. Blasphemy. My words, always hesitant, fill the hole she has made and turn it into a void. A blind either-or logic dominates here, ignoring interjections and parentheses. Without humility and sympathy. A rather happy and slightly paranoid society. The walls are solid, but the ground weak. If I sink in up to the neck, the movement may change a little. All there is - is to err. There is a we that is hard to escape, and it seems disturbing and invasive, filling the air I am breathing, and I and it stick like a thin film. She is humming, Don t drive me blind. A shift happens somewhere in between, and in this shift words become meaningless. It is over faster than anyone may notice, and, apparently, there is nothing to see. We talk or don t talk. Walk about and around ourselves. Vi taler eller taler ikke. Går rundt omkring og rundt om os selv. Hver tanke, ting, hændelse kaster en skygge der aldrig bliver konstant, og i lyset er de alle lige, når kun de smyger sig langs fladerne. Each thought, thing, event casts a shadow that never becomes constant, and in the light, they are all equal when only they are sneaking along surfaces. Jeg stirrer på trafikken over broen som på mine hænder eller skærmen, og jeg sidder dér og det eneste der forandres er lyset. Som i: stilstand. I stare at the traffic over the bridge like on my hands or the screen, and there I am sitting and the only changing thing is the light. Like in: Standstill. Jeg er den kollektive virkelighed og jeg oplever kollapset. Verden der falder med mit øjenlåg. I am collective reality and experiencing the collapse. The world falling with my eyelid. I am a part of it and amputated. Simultaneously. Jeg er en del af det her og amputeret. Samtidigt. En skygge rejser sig i solen og falder gennem luften, og de der bemærker den, og fæster deres blik på formen, der hænger ud i rummet, ser ud for de andre som fjerne, i dagdrøm. Og hvis de vovede det, ville de se at skyggen der spejles i deres pupil har form af en krop i frit fald. Der findes ingen eskapisme bare arrogance. A shadow is rising in the sun and falling through the air, and those who are noticing it and looking at its shape, suspended in space; for the others look remote, in a daydream. And if they risked it, they would see that the shadow reflected in their pupils is shaped like a falling body. There is no escapism, merely arrogance. Maria Klarlund Lost Layers, video-stills, 2007 / Lost Layers, video-stills, 2007 Maria Klarlund 34 35

19 maria klarlund Lost Layers, Installationsfoto, Odense Lufthavn, 2007 / Lost Layers, Installation view, Odense Airport, 2007 Too Much To Say (MutePoetry), video-stills, 2007 / Too Much To Say (MutePoetry), video-stills,

20 Marianne Bitsch & Brian Enevoldsen Marianne Bitsch & Brian Enevoldsen Mr. G, 2007 Reproductions of two articles from Bangkok Post & The Nation. Both articles printed December Next two pages: Mr. G. From the exhibition This Could Be the Beginning of a Beautiful Friendship in Odense Airport

21 Marianne Bitsch & Brian Enevoldsen 40 41

22 Marie Kolding Lund Marie Kolding Lund Pica Pica and Global Village, 2007 (Video performance (26 min.) and installation) Historien om Pica Pica og rejsen til Global Village Der var en gang et dyr med vinger der hed Pica Pica. Den boede i landsbyen Global Village, der var lige så stor som hele universet. Pica Pica havde den mest fantastiske fjerdragt af skinnende sort stof, som alle de andre dyr kiggede misundeligt efter og så havde den en lang skinnende hale, hvorfor nogle i tidernes morgen havde givet den øgenavnet Skade. Det var nu ikke fordi den brugte sin hale til at skade med, men fordi det næsten kunne være skadeligt for ørerne at lytte til dens skrattende snak om hvor smuk og fantastisk den var - og for tålmodigheden, fordi den brugte så meget tid på at pudse og polere de skinnende halefjer. Alligevel var Pica Pica et fantastisk dyr, der godt kunne lide at bestemme tingenes gang i landsbyen og den prøvede også så vidt muligt at sørge for, at de små dyr vidste, hvad der var rigtigt og forkert. Pica Pica kendte til vigtigheden af at samle på smukke ting til sin rede eller finde endnu blankere fjer, som den kunne tilføje sin allerede skinnende fjerdragt. På den måde kunne det imponerende væsen vise status over for de andre i Global Village. Et af de få problemer, der kunne kædes sammen med Pica Pica var dens samlermani, der til tider udviklede sig til kleptomani. Under sådanne omstændigheder kunne den ikke kontrollere sin pyntesyge og rapsede ting, der i virkeligheden tilhørte andre. Dog udviste den i sådanne tilfælde altid snilde og blev derfor sjældent opdaget under disse kriminelle handlinger. Pica Pica levede til dels med andre fjerklædte dyr, men var i bund og grund en rigtig enspænder, eller man kunne i en lidt mere negativ vending kalde den en egoist, eller måske kan vi bare omtale den som et selvstændigt dyr. Det var under disse omstændigheder, at det ellers så fantastiske væsen, kunne opfattes som lettere arrogant og anmasende, for Pica Pica prøvede altid at komme foran de andre i Global Village. The story about Pica Pica and the journey to Global Village Once upon a time there was a winged animal called Pica Pica. It lived in the village called Global Village that is just as big as the whole universe. Pica Pica had the most amazing feathers of a shiny black material, which all the other animals looked upon with envy, and it also had a long shiny and pointed tail, which was why somebody at the beginning of time gave it the nickname Skade meaning harm or damage in Danish (in English it is called Magpie ). It wasn t because it used its long tail to harm anybody, but because it almost hurt your ears to listen to its raucous chatter about how beautiful and fantastic it was and it tested your patience by using so much time to preen and polish its shiny tail feathers. Pica Pica was nevertheless a fantastic animal who liked to decide what went on in the village and it also tried, as far as possible, to ensure that the small animals knew right from wrong. Pica Pica knew the importance of gathering beautiful objects for its nest or of finding even more lustrous feathers to add to its already shiny feather coat. This impressive creature certainly showed its status to others in the Global Village. One of the few problems associated with Pica Pica is its collector mania that occasionally turns into kleptomania. In such circumstances it couldn t control its urge for finery, and it nicked things that really belonged to others. However, in such cases it always acted shrewdly and was therefore rarely caught red-handed during these criminal acts. Pica Pica lived to some extent together with other feathered animals, but it was basically a real loner, or you might with a slightly more negative phrase call it an egoist, or perhaps it was just an independent animal. It was in such situations this otherwise amazing creature might be perceived as somewhat arrogant and audacious because Pica Pica always tried to come ahead of the others in Global Village. Pica Pica and Global Village, 2007, video, 26 min Der var ikke det, den ikke kunne klare, hvad som helst, hele universet rundt på et minut. Pica Pica følte sig som en superhelt. Men dog en lidt ensom superhelt, som superhelte jo nu engang er, når de er hævet over andre mere jordiske væsener. Når Pica Pica var tilbage i dens smukke rede, planlagde den sit næste trip. Troperne, Alperne, safari, hvad som helst, ingen afstande var for store for et fantastisk dyr som Pica Pica. Pica Pica på Safari. Som overskriften på en avisartikel. Den kunne godt lide tanken om at den var helt speciel og meget anderledes end de andre fjerklædte dyr, men problemet lå i at de alle så ens ud og derfor tilbragte den mere og mere tid med at polere de skinnende halefjer. Foto af / photo by: Christian Elverdam all over the universe within one minute. Pica Pica felt like a super hero. But nevertheless a super hero who was a bit lonely, as super heroes usually are when they are raised above all other more earthly creatures. When Pica Pica was back in its beautiful nest, it planned its next trip. The Tropics, the Alps, a safari, anything, no distance was too far for an amazing animal like Pica Pica. Pica Pica on Safari. Like a newspaper heading. It liked the idea that it was unique and very different from other feathered animals, but the problem was that they all looked alike, and it consequently spent more and more time polishing its shiny tail feathers. Som sagt ville Pica Pica gerne frem i verden. Derfor kunne den ud In short, Pica Pica wanted to get ahead in the world. So apart from over dens arrogance også virke lidt skrap. Den skældte ofte ud og its arrogance, it might also seem rather aggressive. Often it scolded skubbede, hvis der var nogen, der var i vejen for dens udsyn, men others and pushed if anybody blocked its view, but, as mentioned, it dette var som sagt kun noget den gjorde, fordi det var af dens natur. only did so because such was its nature. Pica Pica was lucky to have Men så en dag tog den en beslutning: Jeg er ensom og må ud og se But one day it made a decision, I am lonely and need to get out and Pica Pica var så heldig at have en magisk rede, hvorfra den havde udsyn a magical nest from where it could overlook the whole world, and so verden tænkte den. Pica Pica pakkede straks sine kufferter med alt see the world, it thought. Pica Pica immediately packed its suitca- over hele verden og den tog derfor ofte på ekspeditioner til fjerne it often took off on expeditions to distant skies. Here it saw sunsets det, den kunne få brug for, satte sig godt til rette i reden og så beses with all the stuff it might need, settled itself comfortably in its himmelstrøg. Her oplevede den solnedgange over smukke laguner, over beautiful lagunas, dived to the bottom of the sea and found sunken gyndte den sin rejse... nest and then its journey began dykkede ned på havets bund og fandt sunkne skatte og klatrede på treasures and climbed the highest mountains. Pica Pica could in høje tinder og besteg de største bjerge. Faktisk kunne Pica Pica alt. fact do anything. There was nothing it couldn t do, no matter what, Marie Kolding Lund Marie Kolding Lund 42 43

23 Marie Kolding Lund Pica Pica and Global Village, Installationsfoto, Odense Lufthavn, 2007 / Pica Pica and Global Village, Installation view, Odense Airport, 2007 Pica Pica and Global Village Tropeøen, Installationsfoto, Odense Lufthavn, 2007 / Pica Pica and Global Village The Tropical Island, Installation view, Odense Airport, 2007 Special thanks to: Christian Elverdam: Photography, Editing and post production (video) Ditte Flink: Design and technical support (costume) Pica Pica and Global Village, 2007, video, 26 min Videostills: Christian Elverdam 44 45

24 jette olsen jette olsen Vi lever i en verden som ikke kun er perfekt og fejlfri. Der sker uheld og fejl og der er ikke altid balance i tingene omkring. Man bliver somme tider både frastødt og tiltrukket af de fejl man laver. Alt efter temperament og hvor stor nysgerrighed man har overfor de ting, som ikke lige er til at regne ud på forhånd. Hvis alt var til at kontrollere, kunne man sikkert skjule uheld og fejl, og have et perfekt sted, funktionelle systemer og alt kunne rettes ind så det hele passede. Jeg synes at de steder med fejl på mange måder ville være spild af tid og slette. Hvor skulle man så placere alt det forkerte, i så fald det kunne lade sig gøre? Hvis mennesker ikke laver fejl mister de deres frihed,, ( til at lave fejl!) We are living in a world that isn t only perfect and flawless. Accidents and errors happen and the things around aren t always in equilibrium. At times you are both repulsed and attracted by the errors you make. All according to your temper and just how curious you are towards those things that aren t so easy to figure out beforehand. If everything was controllable, you could probably hide accidents and errors and have a perfect place, functional systems and everything could be adjusted to fit in. In many ways I think it would be a waste of time to delete those places with errors. Where would you place all the wrong things then, in case that was possible? If humans don t make errors they are losing their freedom (to make errors!) Det er tilfældigheder og en slags fire tre fem i en perspektiver. Jeg vil med vilje lave lidt rod i et sprog. Som om et sprog, kan blive en sammenhængende form af brudstykker, som er fragmenteret nok til, at man kan miste fokus i rastløshed og sanseløse sammenhæng. Jeg tegner de enkelte dele sammen til en helhed. Hvor i de enkelte dele bliver blæst op, eller minimeret ned i proportionerne, indtil der ikke længere er nogen historie i billederne. Kun en konstruktion af form, Fordi det som om nogengange at det ord på ord og nye vinkler, hvor man kun imiterer en orden. Jeg vil ud af de ord og hen til nogen andre ting. Hvor meget skal noget fungere, før det har en funktion? It is coincidences and a kind of four three five in a perspective. I deliberately want to mess language up a bit. As if language might be a coherent form of fragments, sufficiently fragmented that you could come out of focus in restlessness and mindless connectedness. I draw the separate parts together into a whole. The separate parts are then proportionally maximized or minimized. Until there is no story left in the pictures. Just a construction of form. Because it is as if sometimes it is word upon word and new angles in which order is only being imitated. I want to get myself out of those words and move on to other things. How much does something have to function before having a function? Detalje fra Illustreret Passage, Tusch på papir, Odense Lufthavn, 2007 / Detail from Illustreret Passage, Ink on paper, Odense Airport,

25 jette olsen Illustreret Passage og Crash, Installationsfoto, Odense Lufthavn, 2007 / Illustreret Passage, Installation view, Odense Airport, 2007 Tyngde kraften laver en orden omkring bygningerne er af mursten og beton det er meget trygt, at omgivelserne er de samme hver dag. Jeg går dagligt udenfor og videre ud. Jeg kommer senere hjem igen og låser mig ind ved døren med mit eget navn på. Jeg laver en konstruktion af udelukkende materiale med mure imellem hvert hjørne præcist på den anden led eller kant uden skæve og upræcise vinkler, idet punkt, hvor muren efter det næste hjørne bliver til endnu en konstruktion, uden huller af en anden slags end gennemsigtigt det ændrer den norm som giver sig selv og kanten den ligger på det punkt. Crash, Projektion på gennemsigtigt stof, Odense Lufthavn, 2007 / Crash, Projection on transparent fabric, Odense Airport, 2007 Gravity creates an order around buildings of brick and concrete, it is safe that our surroundings are the same every day. I go out every day and further out. Later I come home again and unlock the door bearing my own name. I make a construction solely from materials with walls between each corner exactly in the other direction or edge without odd or imprecise angles in that point where the wall after the next corner turn into another construction, without holes of another kind than transparent it is changing the self-given norm and the edge is resting on that point. Uddrag af tekst fra Crash. / Excerpts from the text in Crash Illustreret Passage, Tusch på papir, Odense Lufthavn, 2007 / Illustreret Passage, Ink on paper, Odense Airport,

26 Morten Espersen Morten Espersen about the works I think the works are very much about function or maybe rather non-function. Thank you to Louise Schrader for working the camcorder and Mikkel Mors for insights on the tree. Morten Espersen duty free The video was shot in January 2007 at Sheremetyevo InternationalAirport which serves Moscow. I bought a russian doll(babushka, in russian Matryoshka) in the duty free shop. I threw the inside dolls in the bin and kept only the outer layer of the doll. Duration 2 minutes 45 seconds milk The video was shot in December 2006 on Khao San Road in Bangkok. I walked into a 7 Eleven and bought 1 litre of milk. Then I walked across the road and poured the milk into the sewer. Duration 2 minutes 15 seconds Installationsfoto, Odense Lufthavn, 2007 / Installation View, Odense Airport,

27 Morten Espersen 52 Unpruned tree This year the tree ( a Robinia pseudoacacia ) right to the main entrance of Odense Airport is left unpruned. The tree would normally have been cut and pruned in the spring. In agreement with Odense Airport the tree won t be pruned until next year. 53

28 Nanna Guldhammer Wraee Nanna Guldhammer Wraee Det Foruroligende Underneden: Er vi mennesker eller maskiner, spyttet ud af et statsapparat, der lader sig styre af markedsmekanismer? Opblomstring af nationalisme, politikere der lyver om Danmarks fortid, fordømmer f.eks. en afdød politiker der imødegik nazisterne under besættelsen, hvad med en undersøgelse om, hvor stor opbakningen var på politisk og økonomisk plan omkring nazismen. Ulovlig krig i Irak, som har udviklet sig til en forfærdelig borgerkrig og et blodbad vi ikke kan se gennem fingre med. Danske soldaterne ind i Irak. Danske soldater ud af Irak. I Danmark, afviste asylansøgere fra krigen i Irak, børn der taler flydende dansk, født i Danmark udvist? Mennesker frem og tilbage! Jeg bliver væk, væk i systemer og mekanismer, kører rundt i toget frem og tilbage, frem og tilbage. Mottoet i alle toge er frem, frem og frem, mens for mig kører de tilbage halvdelen af gangene. Jeg bliver væk i dette. Er ikke på vej nogen steder hen, sidder bare fast på rejserne mellem det ene og det andet, midt i mottoet, frem, frem, frem. Øget kriminalisering. Det skal kontrolleres og ordnes og indskrænkes det rum menneskene er i. Systemer og mekanismer presses frem, De er trætte af at blive holdt tilbage, af mennesker og menneskelige krav. De kan ikke forstå hvorfor der skal tages højde for den slags? Jeg bliver helt svimmel. Ifølge dem selv er de ovenikøbet lig med menneskerettigheder, demokrati og humanisme, disse systemer og mekanismer. Ok tænker jeg, hvor er jeg lige nu? Det svimler for mig ved dette rod, frem og tilbage, det er ikke til at forstå og intet steds kan jeg se eller læse om jeg er i den ene eller den anden båd og den båd jeg lige sidder i kan som ingenting skifte over fra det ene til det andet. Jeg prøver at finde et sted, jeg leder, men det er en ørkesløs vandring i det offentlige rum efter endnu en blank side i hæftet, hvor der ellers skulle have stået noget. Nanna Guldhammer Wraee The Disturbing Underneath: Are we humans or machines, spat out by a state apparatus that is allowing itself to be controlled by market mechanisms? Rising nationalism, politicians telling lies about Denmark s past, f. ex. by condemning a late politician who confronted the Nazis during the occupation, why not look into how much support Nazism had on a political and financial level. Illegal war in Iraq that has turned into a horrifying civil war and a bloodbath we just cannot ignore. Danish soldiers into Iraq. Danish soldiers out of Iraq. In Denmark turned-down asylum applicants from the war in Iraq, children who speak Danish fluently, born in Denmark, are deported. Humans back and forth! I get lost, lost in systems and mechanisms, driving around in the train back and forth, back and forth. The motto in all trains is forward, forward and forward, but in my case they are driving backwards half the time. I am getting lost doing this. Am going nowhere, merely stuck on journeys between one place and another, in the middle of the motto, forward, forward, forward. Increased criminalization. It must be controlled and organized and restricted to the space in which humans are. Systems and mechanisms are pushed forward. They are fed up with being held back by humans and human demands. They just don t understand why such things have to be considered? I become dizzy. According to themselves, they are even equivalent with human rights, democracy and humanism, these systems and mechanisms. Ok I think, where am I just now? This mess makes me dizzy, back and forth, it is incomprehensible, and there is nowhere I can see or read whether I am in one or the other boat, and the boat I am sitting in may ever so easily switch from one to the other. I am trying to find a place, searching, but it is a futile walk in public space looking for another blank page in the book on which something ought to have been written. Nanna Guldhammer Wraee Er det Tilladt at Høre sin Egen Stemme Skrige - When I was a Child I had a Fever, my Hands Felt like Two Balloons. En bog der består af: 4 forord * For skulle vi ikke vende det om og se på vores hukommelse, som den samlede masse, ud fra det den består af, frem for det den burde bestå af ifølge monokulturelle og kulturkanoniserende perspektiver. 4 interviews. * Hvad er det frygtede ved det usammenhængende, der hører sammen i en masse? * Hvorfor intensiverer de grebet i øjeblikket? 3 fiktioner Epilog: (i telefonbogen) Noteapparat: Humanisme, Menneskerettigheder, FN, Hegemoni. Bagsidetekst: (Det foruroligende underneden) Is it Allowed to Hear ones Own Voice Scream - When I was a Child I had a Fever, my Hands Felt like Two Balloons. Is a book consisting of: 4 prefaces * For shouldn t we, turn it around and look at our collective memory as the gathered memories of the masses and at what they consist of rather than what they should consist of according to the Danish mono cultural and new culture/history canonising perspective. 4 interviews * What is the feared about the incoherent, joint together in a mass? * Why are they intensifying the grip on us at the moment? 3 fictions Epilogue: (In the phonebook) Notes on: Humanism, Human Rights, UN and Hegemony Text on the back of the book: (The disturbing underneath) 54 55

29 Nanna Guldhammer Wraee I think mutual memories means a lot. When two people share the memory of some things, it makes it easier for them to find out how to live together, than those who don t. Do you think that it is important to share your views and your experiences with the rest of the Danish population and with Denmark? Ehh, I really want to do that, very much indeed. One of the things I think is important is that that the Danish people, gets to hear the truth. The Danish population has a lot of faith in their media. But the media never tell the truth. One day a woman came into my shop. She came with a magazine, from DSB (the Danish State Railways), Ud og Se, or something like that ( Out Look or so...). She came with it and then she said to me, she was like really proud or how to put it. Happy that she could give me a magazine like that, where it said something about the Afghan women, where it said, that they just gained their freedom. I said to her, - That was a terrible ting for the Afghan women ehh! She said to me - Read the whole article there and right away! When I turned over the pages in the magazine, and came to the first image in the article of a woman, it is someone I know. I know her whole story and all of her family and everything. And I say to her, - Did you read it? She says - Yes, I did, it has been very, very terrible for the Afghan women, but it is good that the western countries interfere, so that they can have their freedom. I say, - Madam, you shall not believe in everything, that those magazines and newspapers are saying, they write stories from where their own interests are or their own politics, never from where the truth is. They write that the western countries interfered in Afghanistan in 2001 and it means that there is freedom for women from that point and on. But I myself have experienced, I grew up in Afghanistan, at the time around years ago. We had women shop owners, women bus drivers and young women who drove 56 57

30 Inbox Expand all Print all Forward all Dear Abdallah Karroum I wrote to you two times before and thank you Apr 22 to me show details Apr 25 Reply Dear Nana, I will send you a document by with the official informations... Yes for a meeting in september in Rabat. But you know it will be Ramadan period. Which meens we can do public meeting in the evening only. I am also organising an international conference in october (from 25-27th) in Rabat and Marrakech. Yes I am also very interested in a visual experiment in Copenhagen (and also to give a conference...). Maybe I could come to Copenhagen before you come to Casablanca-Rabat?! best wishes Abdellah Karroum

31 Udstilling / Exhibition: This could be the beginning of a beautiful friendship Beldringe Lufthavn/Beldringe Airport, 24. til 31. maj, 2007 Kunstnere / artists: Anne Bennike, Brian Enevoldsen & Marianne Bitsch, Morten Espersen, Maria Klarlund, Marie Kolding Lund, Jette Olsen, Heidi Hove Pedersen, Jannie Martinus Skov, Nanna Guldhammer Wraae Konceptudvikling / Concept: Kunstnerne / The artists Kurator / Curator: Solvej Helweg Ovesen Udgivet af / Published by: Det Fynske Kunstakademi Katalog / Catalogue: This could be the beginning of a beautiful friendship Kunstnere / Artists: Anne Bennike, Brian Enevoldsen & Marianne Bitsch, Morten Espersen, Maria Klarlund, Marie Kolding Lund, Jette Olsen, Heidi Hove Pedersen, Jannie Martinus Skov, Nanna Guldhammer Wraae Forfattere / Authors: Sanne Kofod Olsen, Mikkel Bolt og Solvej Helweg Ovesen Oversættelser ved / Translations by: Marianne Ajana, James Manley, Caitlin Madden Copyrights; kunstnerne og forfatterne Grafik / Layout: Cosmographic Fotografi på omslag af Brian Enevoldsen, 2007 / Image on cover by Brian Enevoldsen, 2007 Billede på side 59: Udsigt fra tagterrassen på Hotel Central med Mosquee Hassan II i baggrunden. Foto af Heidi Hove Pedersen, Casablanca, Sept / Image on page 59: View from the roof terrace of Hotel Central with Mosquee Hassan II in the background. Photo by: Heidi Hove Pedersen, Casablanca, Sept Tak til Bent Henriksen fra Historiecenter Beldringe / Thanks to Bent Henriksen from Historycentre Beldringe. Isbn: Kataloget kan rekvireres på / The catalogue can be ordered at: Det Fynske Kunstakademi Brandts Passage 43, Odense C. Tlf: Kataloget og udstilling er støttet af: Cosmographic, Montana, N.M. Knudsens Fond, Odense Kommune En stor tak til fonde og sponsorer og til Beldringe Lufthavn

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33 DET FYNSKE KUNSTAKADEMI FUNEN ART ACADEMY AFGANGSUDSTILLING GRADUATE SHOW 2007