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LOGO & VISUAL IDENTITY CLIENT: THE DANISH BIBLE SOCIETY
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3 (alternativt) LOGO Michael Søndergaard Grafisk Design CLIENT: GENTOFTE PROVSTI
MICHAEL SØNDERGAARD IDENTITY PRINT SCREEN GRAPHIC DESIGN
DOUBLE SIDED POSTER DESIGN FOR JESPER JUST EXHIBITION Jesper Just Jesper Just 2007 2007 CLIENT: URSULA BLICKLE FOUNDATION
BOX DESIGN FOR AUDIO VERSION OF THE NEW TESTAMENT Det Nye Testamente 22 cd er Indtalt af Paul Hüttel Henrik Koefoed Sofie Gråbøl Lotte Andersen Lars Mikkelsen Ellen Hillingsø Det Nye Testamente indtalt af danske skuespillere En usædvanlig oplevelse I denne udgave giver seks danske skuespillere teksterne stemme. Stemmernes forskellighed afspejler, at Det Nye Testamente selv består af flere stemmer, der er fælles om at fortælle historien om Jesus Kristus. Sådan er historien blevet fortalt, hørt og fortalt igen igennem generationer. Nu kan du høre eller genhøre historien. Det Nye Testamente Det Nye Testamente Det Nye Testamente omfatter 27 skrifter, der spænder fra de fire evangelier over beretninger om den ældste kristne menighed i Apostlenes Gerninger til en lang række breve skrevet til personer og menigheder i den ældste kristenhed. Og som det sidste af de nytestamentlige skrifter den storladne og dramatiske Johannes Åbenbaring, der er en vision af de sidste tider. Det Nye Testamente Ingen anden tekst har sat så dybe rødder i kulturen som Det Nye Testamente. Et møde med Det Nye Testamentes fantastiske samling af skrifter er et berigende møde med tekster, der handler om tro, håb og kærlighed om liv og død. Indtalt af Paul Hüttel Henrik Koefoed Sofie Gråbøl Lotte Andersen Lars Mikkelsen Ellen Hillingsø 22 cd er Den indtalte tekst er den autoriserede danske bibeloversættelse fra 1992. Læs mere på www.bibelselskabet.dk Bibelselskabets Forlag ISBN 978-87-7523-552-0 Konsulent: Emmet Feigenberg Redaktion: Peter Birch Petersen Grafisk formgivning: Michael Søndergaard Foto: Rune Hansen (modeller) og Camilla Behr (skuespillere) 2. udgave, 2. oplag Optaget i Camp David lydstudier, København. Produceret af SONY/Austria. All rights reserved. Unauthorized copying, public performance, hiring or rental of this recording prohibited. Støttet af Danske Banks Fond. CLIENT: THE DANISH BIBLE SOCIETY DBS1360X3
PROFILE BROCHURE Master in Management of Technology MMT HoW Do WE ENABLE YoUr DEVELoPMENT? HoW THE MMT ProGrAM Took ME To NEW PLACES After completing the executive MBA I had some talks with the executive board and we agreed that I should step into the board instead of being the cfo and I have now got a totally new role in the company. While taking the executive MBA I had to cope with a lot of things: my personal life, my work life and the study itself. I really learned how to prioritize! To be honest I have never been more stressed in my entire life. But today it is such a gift, because I know how much I am capable of doing and I never feel stressed anymore. At DTU Business we strongly believe in the action learning principle; real learning only occurs once knowledge and frameworks have been applied to real life assignments and business challenges. Education that makes a difference The structure of the program ensures that theories and methods are applicable in practice. your effort will only be spend addressing topics, which have the potential for developing solution-oriented methods and tools. from asking relevant questions, conducting thorough analysis and producing valuable managerial recommendations, the MMT program is based on an ongoing interaction between participant experiences and relevant frameworks. During the course of the program roughly 50% of the study time is spent on company specific assignments and projects. Annette Egede nylander Nylander Executive Vice President, European Energy A/s, A/S, MMT class Class 12 The size of the class is limited to 30 participants, enabling lively discussions where all have a chance to contribute. Faculty since the start in 1998 a large network of international top faculty from leading business schools and universities around the world have been at the core of the MMT Program. Through a careful selection process we combine our external faculty with cherry picked internal faculty and senior practitioners for highly specialized topics. This ensures maximum flexibility and agility in order to meet industry needs. PagE 6 Click and Click and watch the video watch the video DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT PagE 7 ProGrAM STrUCTUrE MoDULE A MoDULE B MoDULE C MoDULE D Strategy Consultancy Project Internationalization Communication Management Marketing Strategic Strategic Problem Solving Problem Solving Service and operations Management Master Project Innovation Leadership (UC Berkeley) Leadership and organizational Innovation International Consultancy Project Innovation Management Financial Analytics & Management Management of Technology Philosophy of Business Techno-Trends: Emerging Technologies and Market opportunities leading Innovation and strategic growth leading organizational change and Performance Managing Business globally Master Project: Executing and Implementing (Part of the Management of Technology module) Personal Leadership PagE 8 DTU BUSINESS FACILITIES THE InTErnATIonAl InsPIrATIon THE canteen DTU Business is housed in its own department, designed specifically for the program. The facilities include an auditorium designed as an amphitheater with every modern teaching amenity. The structure of the auditorium stimulates dialogue and is designed to support the knowledge sharing between the participants. THE conference rooms DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT PagE 9 THE BEll THE AUDITorIUM six separate group rooms adjoin the auditorium, as well as a lounge area with a time out possibility. In addition to this DTU Business has a flexible and multipurpose dining area (the canteen) and its own reference library containing up-to-date literature. DTU Business has its own IT facilities and assists participants in connecting to the intranet (DTU s campusnet ), which gives the participants access to DTU library s database as well as the materials used during the courses. At the time of enrolment, each participant is given a password for access to DTU Business 24 hours a day. DTU Business facilities serve as a gathering place for meetings, assignments and projects. for reasons of confidentiality, DTU Business program participants are the only people allowed to use the facilities. THE TIME out THE library THE reception for participants not living in the copenhagen area, DTU Business has established agreements with nearby hotels. We invite WE INVITE you YoU for For A a GUIDED guided tour ToUr Click and watch the video PagE 14 DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT EErs EngIn PagE 15 PH.D. THE EngI MASTEr ProJECT ALoNE neer s WAS WorTH MorE THAN THE CoST of THE ENTIrE ProGrAM BUsInE ss DEV EloPEr My master project was about exploring the opportunities of a new acquisition. Most of the recommendations I made have been implemented in the organisation some directly as proposed others have been developed further. This implementation in real life has been very satisfying for me. for me the value of the master project more than equals the costs of the program, as the findings and decisions made on basis of the projects has been very beneficial for lundbeck. WHo ArE MY FELLoW PArTICIPANTS? QA MAnAgEr While 50% of the participants are engineers, the remaining 50% have other educational and professional background. All have leadership experiences, 71% with line management, the rest with project management. HEAD of DE PArT st ly na A IEf ch EErs EngIn Click and watch the video r ge na PP su CLIENT: DTU BUSINESS / TECHNICAL UNIVERSITY OF DENMARK, DTU nage r You are genuinely curious about how other experienced managers solve company and leadership challenges and you are willing to share your experiences with the peers in the class. cto Michael Bjerno DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT Hr MA The MMT program is designed for an international audience who are keenly interested in how companies innovate and create new business. You may have engineering, science, commercial or other background, and you feel a deep engagement in committing yourself to learn new skills and improve your leadership. Head of Pharmaceutical Engineering, H. lundbeck A/s, MMT class 11 PagE 18 AgEr An IT M ly AIn ch MA AgEr r&d MAn DTU BUSINESS MAsTEr In MAnAgEMEnT of TEcHnology MMT PagE 19 MEn T
It Will All End In Tears And Dreaming Is Nursed In Darkness A Little Fall of Rain And Dreaming Is Nursed In Darkness A Little Fall of Rain It Will All End In Tears I I I I I I EXHIBITION PROGRAM / POSTER z Graphic design : Michael Søndergaard / Printed by : Sangill-grafisk PERRY RUBENSTEIN GALLERY 527 WEST 23RD STREET, NEW YORK, NY 10011 T 212.627.8000 clutching, yet he seems to strut with a greater sense of his own films as work to examine and quote. Like Cervantes in Don Quixote, Just s larger body of work is multi-layered and self-referential. Film wrapped within film, a Russian doll effect, each tale somehow interlinked with the next so that the multitude of fictions and characters seem to chime together over time in unexpected ways. This enveloping structure invests Just s whole corpus with an almost choral quality. But the trilogy explores that choral quality in ways that can seem cacophonous and even disturbing. Voice competes with voice, character with character, identity with identity and all is so tightly controlled and technically accomplished that the viewer gains the sense that they are in the presence of a ruthless self-interrogation on the part of the filmmaker. Through referencing his other films, Just unravels his previous endeavors from the inside out. Just seems willing to interrogate his characters in the Trilogy in ways unprecedented in previous films. The electricity that supports the various charged relationships in his earlier works now overspills. His familiar faces confront their indiscretions, emotional gambles and self-deception while relationships are questioned and redemption is actively sought. If Just had previously been fascinated with the emotional or sexual gambling of his older characters, he appears to have shifted emphasis in the Trilogy. Unrequited expressions are taken to task; ends are heavily implied if not visualized. The role of the Finnish Screaming Men s Choir, a recurring motif in each three instalments, becomes an agent of this interrogation, ultimately performing as the onscreen personification of the older man s state of mind self-flagellating and suicidal. Of course, a certain ambiguity remains: despite their air of resolution the films are still punctuated by a firework display. Although this may be read as an ejaculatory metaphor of sated lust and the emptiness that follows, it is probably at best an abstraction Just s definitively ambiguous last word. The spirit of self-examination lends a new color to Just s cinephilic embrace. His practice has always raised questions about the position of film and film works in the context of the gallery. Just s high-production values, his insistence on working with trained actors, composers, sound engineers and singers and his commitment to acting as both director and editor stand in stark contrast to the low-fi aesthetic, with its accompanying set of ethical rules, pursued by a slew of other young artists working today with this medium. But these new films go further. Paul Auster, who famously authored a New York Trilogy of his own (which ironically also explores the nature of identity), provides an intriguing parallel: Private Eye. The term held a triple meaning for Quinn. Not only was it the letter i, standing for investigator, it was I in the upper case, the tiny life-bud buried in the body of the breathing self. At the same time, it was also the physical eye of the writer, the eye of the man who looks out from himself into the world and demands that the world reveal itself to him. Auster s thoughts in City of Glass mirror Just s heightened level of self-examination. He even turns the mirror on his elected film location America. In the same way that Auster grapples with the peculiarities of the American condition in his Trilogy, Just s films with their covert references to America (the warmongering drum roll; the New York courtroom; the July 4 th firework ritual) try to unpack a specifically American malaise. The intensity of analysis extends also to the strategy Just chooses to display his new films: the gallery will be transformed for the duration of the exhibition into a makeshift cinema, further questioning the context of the gallery as a site for his practice. The Trilogy still demonstrates Just s desire to make films about other films and continues to consciously play on the idea of video art as a construct that can verge on the real through the invention of fictions and the picturing of other worlds. Just s new work broadens his range: by making films about films that he himself has authored, Just subjects his methods and characters to intense scrutiny. In so doing he is not merely flirting with cinematic clichés, but instead is dicing with the presumptions of falsity that usually accompany filmic cultural transmissions, deftly exploiting the shady commerce between art and truth. Jesper Just JESPER JUST 2006 IT WILL ALL END END IN TEARS By James Lindon Jesper Just is known for making films about other films. He has shot more than a dozen short films altogether, identified by their shared romance-soaked sensibility and exploration of (often erotically) charged relationships between older and younger men. With his mandatory casting of a winsome and blond youth, Johannes Lilleøre, and a rotating repertory of dustier types, Just s works splice film noir aesthetics with camp ballads and music-box tearjerkers to carry the viewer to an emotional semi-climax. He mixes real life situations with their absurd emotional outgrowths, taking both halfway to Melancholia but stopping before anything concrete can be declared. Eponine whispers to Marius just before she expires in Les Misérables: passed he stuffs his pockets with the fallen rose petals that lay strewn around him. the roof of an abandoned building. A smiling Lilleøre casually pursues him, but the camera never unites the two again. A cutaway then reintroduces the twelve shouting choristers, who are perched and teetering on the edge of the building, holding hands. They perform their Utilegumenn (the Icelandic word for Outlaw ) and jump in unison from the ledge. Their action is followed swiftly by an eruption of jubilant fireworks. Crackle after crackle in red, white and blue, redolent of the colours of the American flag, the electricity of events passed sparks and explodes. The old man, still clinging to an iron pylon, is crying as the innocuous crackle evolves into a rasping burr of artillery fire. The film fades with the Manhattan skyline scored raw, flayed by fireworks. Don t you fret, M sieur Marius I don t feel any pain A little fall of rain Can hardly hurt me now The second film, And Dreaming Is Nursed In Darkness (a title appropriated from Jean Genet s The Miracle of the Rose) opens in the New York Supreme Court with a wide-angle shot of an empty Jury Box whose twelve empty chairs are stiff and expectant. Careful pools of light create a characteristically cinematic and dreamlike atmosphere that suggests the labyrinthine hotel in Alain Resnais s psychoarchitectural classic L Année Dernière à Marienbad. The camera angles out revealing the old man on the stand, caged by a dappled light that pours down upon him. Lilleøre watches on. The silent compact is broken by the Jurors, played by the Finnish Screaming Men s Choir (Mieskuro Huutajat), who rapidly file in to announce their judgement. Their bawling reinterpretation of Cole Porter s I Got You Under My Skin cuts through the calm. Torturous and accusatory, their shouting symphony offers the old man no respite, culminating in the verse, Don t you know you fool, you never can win/ Use your mentality, wake up to reality. Embarrassed and judged and apparently choking on unspoken words, the old man vomits up red rose petals. Lilleøre intervenes and leads him away. Just appropriates these sentiments for the title of the first part of his Trilogy and pilfers the campy spirit of Eponine s passing as well. Emerging from the swirling mist of a Japanese Garden and a hauntingly arranged score, A Little Fall of Rain, the first installment in Just s trilogy is brimming with pruned bushes, flowing waterfalls and shuffling Koi. Enter a gently perspiring older man who stumbles upon Just s ubiquitous protagonist Johannes Lilleøre through a void in the garden wall. The old man lingers on an ornamental bridge an awkward denizen in the almost dark. With a seemingly divine extension of his arm, Lilleøre touches the old man who is swiftly consumed by the gesture and ossified by ecstasy. Cue Prestissimo drum roll from Lilleøre and the old man gurgling with delight as a confetti of love and rose petals cascade around him. He bursts into a falsetto rendition of Buck Ram s Only You, but the camera is separating the two figures now and Lilleøre s drum roll strikes a sombre reveille. The roll reaches crescendo and the old man is knocked unconscious by a sudden gust of wind. When he awakes he is being ogled by a band of sinister onlookers, and in a desperate effort to hide/recapture the incident just Just premieres his new filmic trilogy shot in anamorphic 35-mm, It Will All End In Tears, this September at Perry Rubenstein Gallery. Deeply indebted to the noir aesthetics of Hitchcock and Fassbinder, Hayne and von Trier, if playful with noir conventions, each of the films that comprise the Trilogy (A Little Fall of Rain, And Dreaming Is Nursed In Darkness and It Will All End In Tears) take the viewer on surreal, elliptical, smoke and mirrors journeys in which ends are not only left untied but fraying at the edges. Each film, in turn, attempts a search for personal meaning and the metaphysical crises that ensue if one accepts that the self is fractured and divided, rather than fixed and immutable. The films examine solitude and obsession, of how one informs the other, and underlying all three is a moody atmosphere of self-loathing and the absurdity of searching for something forbidden, something beyond reach, something which is by definition unknowable. Just s wholesale digestion of the formal language and methods of film media and history have long been evident in his artistic project. The quoting of camera shots, for example, such as the close-ups on mouths in The Lonely Villa (2004) a pithy homage to David Lynch (the baby in Eraserhead, Dorothy in Blue Velvet, and Mrs. Tremmond eating creamed corn in Fire Walk With Me) or the music-box kiss in Something to Love (2005), a clear allusion to James Stewart and Kim Novak s spinning kiss in Hitchcock s Vertigo. The Trilogy I T W I L L A L L E N D I N T E A R S High above the urban brawl, the Trilogy is resolved with a twinkling Manhattan skyline as backdrop and a Lynchian soundtrack percolating through a synthesizer. The old man, terrified having been awoken by a nightmare, darts across itself, inflected with elements of Todd Hayne s Poison, could certainly be read as an abstract homage to Volker Schlöndorff s The Tin Drum, W A the story E of a T T L N N E boy in Danzig, armed with a tin drum, who decides at his third birthday not to L L D A grow up on account of the Nazi horrors that surround him L on the eve of World R War II. Just s cinephilia in the new Trilogy is therefore just as S T W L L A E L N L D N T E A R S CLIENT: JESPER JUST / PERRY RUBENSTEIN GALLERY
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S ydafrika efter apartheid-regimets fald. Occupy-bevægelsen satte navn og Mulder en hollænder i 50-årsalderen adresse på kilderne til vor tids kriser: September 2011: Inspireret af Det Arabiske Forår er tilbage i det land, der er en del af hans Wall Streets banker, store virksomheder og oprørsbevægelser i Europa slår et par tusinde og andre af den ene procent, der gør historie og den mand, han engang var. En mennesker sig ned omkring Wall Street i New krav på verdens rigdom for dem selv gammel ven har inviteret ham til at komme på bekostning af de 99 procent. Denne driaan van Dis (f. 1946) eryorks en affinansdistrikt. sin generaførste bog om Occupy Wall Street-betions største forfattere i Holland. Han debuog lære det nye Sydafrika at kende se hvad der vægelsen, dens baggrund, målsætninpeter Kemp, f. 1937, er leder af Center for Etik terede med romanen Nathan Sid, historien Bevægelsen spreder sig hurtigt til Boston,er blevet af deres drøm. ger og krav, udgives på dansk endreng, måned om en som vokser op mellem to kulturer og Ret i København og professor emeritus i filochicago, Los Angeles og hundredvis af andre efter dens udgivelse i USA. det paradisiske, men koloniale Indonesien og sofi ved Institut for Uddannelse og Pædagogik byereri iusa. for få uger har besættelserne det grå, triste Holland. Van Dis det Inden hele taadriaan van Dis fortæller levende og komprimeret Vi er de 99% er en antologi. del af af kultursammenstød, en interesse (DPU), Århus Universitet. 2000-2005 var Kemp legeten optaget og protesterne spredt sig til hele verden, til over bogen handler om selve bevægelsen. to exceptionelle mænds eventyr. Begge bundet der gennemsyrer hele hans forfatterskab. Tik der af Institut for Pædagogisk Filosofi ved DPU,til 1.500erbyer fra Madrid til Cape Town og fra Buenos Hvordan startede Occupyer Wall Street hans niende roman. På dansk tidligere 1971-91 var han anmelder filosofi ved Poliet land de både elsker ogfast hader. Ogafderes drøm, helt konkret? Hvordan foregår det i romanerne HusetAires udkommet i klitterne (1996) til Hongkong. tiken og i 1980 medstifter de af foreningen Filosofisk deres farlige drøm de idealer, kæmpede for praksis? Hvad er sammenhængen mel- (2008). Han har vundet en række og Vandreren Forum, hvis sommermøder siden 1986 afspejles i litterære priser og bor i dag i Paris. lem bevægelserne i Spanien, GrækenVI ER DE 99% er en øjenvidneberetning fradengang for fyrre år siden, hvor modstanden mod land og Egypten og den i USA? Hvad er de filosofiske essays i bogen Den hvileløse tanke Det Amerikanske Efterår, Occupy Wall Streetapartheid også varpræsident deres kamp, deres skæbne.i fimetoderne og målene? (2007). for den 22. verdenskongres Danske kritikere skrev bl.a. bevægelsen om Vandreren: set indefra, et signalement af losofi i Seoul i 2008. Øjenvidneberetninger fra Zuccotti Park, van Dis får fortalt dens sin historie ideer ogpåkrav. Men det er også et budnu på, er Mulder tilbage. Han kigger ind i fattignew York, der er (var) det Adriaan helt centrale elegant Han mestrer antydningens kunst sted for bevægelsen, veksler med vis. taler hvordan den selv kan medvirke til at skabedommen, et ser Kemp det nye Sydafrikas uoverskuelige har deltaget i debatten om sprogfilosofi, til fuldkommenhed og samtidig refererer han og erklæringer. Om nødvendigheden fænomenologi, marxisme, teknologietik, til et af 1800-tallets hovedværker, Klokkeren fra for de 99 og ikke kun samfund, som fungerer for problemer, møder voldenteologi, og korruptionen, af forandringer. Og om at få styr på Notre Dame af Victor Hugo... men uden at der bioetik og medicinsk etik, pædagogik, politisk den ene procent. bankerne og de finansielle bevægelser, oplever splittelsen og umuligheden af nogensinde egentlig er tale om en gentagelse. Tværtimod filosofi m.m. og desuden skrevet bøger om bl.a. så grådigheden kan stoppes og de 99de gamle tematikker, så modviljen nyfortolkes at komme overens medderrida, fortiden. procent få ordentlige levevilkår. Marx, Sartre, Ricœur og Lévinas. Senest mod det fremmede og sammenstødet mellem forskellige kulturer bliver ført helt frem til er udkommet Verdensborgeren som pædagogisk En del er skrevet af folk, der har vævore dage med globalisering og alt hvad den ideal (2005), Den nye verdensorden (2007) og Kliret med fra begyndelsen. Men bogen indebærer. bringer også bidrag fra mere kendte mabevidsthedens barrierer (2009). - Fyens Stiftstidende skribenter som Naomi Klein, Richard Wilkinson, Rebecca Solnit Denne og Ralph lille store roman fortjener mange læsere, er, og at detde er derfor virkelig velkomment, at vi Nader. Det centrale synspunkt den deres så hurtigt på dansk, og at oversættel99 procent har magten til får at føre er så god. krav og ønsker igennem sen at der lige nu Ja, den er faktisk mere end god, simpelt i en klasse for sig selv. er et momentum, der skal ganske udnyttes. - Information ISBN 978-87-7973-530-9 Tiderne Skifter A Occupy Wall Street-bevægelsen Occupy Wall Street bevægelsen Tiderne Skifter 87-7973-521-7 Efter fyrre år vender Mu Foto: Merlijn Doomernik/Hollandse Hoogte k om etik, en og retsnkning, og. Som filobevist om, n samtidig hele er det e ideer og prøve vore hed. Peter Kemp FILOSOFIENS VERDEN vi i globaan tænke at ophæve orskellige okrati med BOOK COVERS En bog om at holde sig i form mentalt og have blik for det, man ikke ønsker at se. En tankevækkende bog. - Kristeligt Dagblad Tiderne Skifter ISBN: 978-87-7973-493-7 hollænder i 50-årsalderen i Paris tilbage til det land del af hans historie: Sydaf land, hvor han og hans ve begyndelsen af 1970 erne ret i kampen mod aparthe Det var en tid, hvor der idealisme og til romantik forelskede sig i den smukk Catherine, som blev arrest sendt i fængsel. Han rejste Europa og så hende aldrig Vennen Donald blev i Sy har nu inviteret ham på be der trænger til afveksling og flyver til Sydafrika. Et r syd for Cape Town indloge i en nedslidt feriebolig. USA er i dag det rigeste land, verden endnu har set, og har en overflod af naturressourcer såvel som af sygeplejersker, læger, universiteter, lærere, boliger og mad så også vores krise er en fordelingskrise. Alle kunne have alt, hvad de har brug for, og de rige ville stadig være rige nok, bortset fra at ordet nok ikke findes i deres ordbog. De er grådige, og deres trediveårige forsøg på at tilrane sig mere og mere har udhulet det, som er absolut nødvendigt for restens overlevelse og værdighed. Sydafrika efter aparthe Rebecca Solnit ROMAN TIDERNE SKIFTER anderledes, men fattigdom af utryghed og en mange forståelse tager til. De rig trukket sig tilbage til skarp tede boligområder højt op terne; fiskerbyen nedenfo af fattige sorte med desill misbrugerbørn. Hendrik er et af dem. H derløs dreng fra landsbyen af det stof, som de lokale Mulder finder ham på gad brækket arm, bringer ham let og udvikler sammen m et brændende behov: De venner vil genopleve de id engang kæmpede for, tag fortabte, gøre ham clean galt. Omslagsfoto Gian Paolo Barbieri Omslagsdesign: Michael Søndergaard CLIENT: FORLAGET TIDERNE SKIFTER
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FILM TITLES A QUE STION OF SILENCE A VOYAGE IN DWELLING A ROOM OF ONE'S OWN CLIENT: JESPER JUST
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