Archive

Four Telegrams and a Short Story

catleya_gul

“Catleya I (after Josef Frank)”, walldrawing, Olseröds konsthall, 2016.

Four Telegrams and a Short Story

6.olseröd_catleya_2

“Catleya II (after Josef Frank)”, “Catleya III (after Josef Frank)”, Olseröds konsthall, 2016.

Four Telegrams and a Short Story

3.olserröd_babas

“Las babas del diablo I”, “Las babas del diablo II”, “Las babas del diablo III”, pencildrawings, 72 x 104 cm, 2009.

Las babas del diablo I

las babas I

“Las babas del diablo I”, pencildrawing, 72 x 104 cm, 2009.

Las babas del diablo II

las babas III

“Las babas del diablo II”, pencildrawing, 72 x 104 cm, 2009.

Las babas del diablo III

las babas II

“Las babas del diablo III”, pencildrawing, 72 x 104 cm, 2009.

Four Telegrams and a Short Story

2.olseröd_telegram A

“Telegram (Catleya)”, “Telegram (Lyon), pencildrawings, 50 x 65 cm, 2016.

Four Telegrams and a Short Story

4.olseröd_telegram B

“Telegram (Daffodil)”, “Telegram (US Tree), pencildrawings, 50 x 65 cm, 2016.

Telegram (Catleya)

telegram_catleya

“Telegram (Catleya)”, pencildrawing 50 x 65 cm, 2016.

Telegram (Lyon)

telegram_lyon

“Telegram (Lyon)”, pencildrawing, 50 x 65 cm, 2016.

Telegram (Daffodil)

telegram_daffodil

“Telegram (Daffodil)”, pencildrawing, 50 x 65 cm, 2016.

Four Telegrams and a Short story

1.olseröd_honeysuckle

“Honeysuckle (after Anna Freud and William Morris) I – IV”, pencildrawings, 50 65 cm, 2014.

The Spring Exhibition 2016

patterns of behaviour_frie

Installationview “The Spring Exhibition”, Den Frie, 2016, “Patterns of Behaviour”, 10 framed digital prints, 18 x 27 cm, 2014.

Patterns of Behaviour

indifference

“Patterns of Behaviour”, digital print in frame, 18 x 27 cm, 2014.

Patterns of Behaviour

restraint

“Patterns of Behaviour”, digital print in frame, 18 x 27 cm, 2014.

Patterns of Behaviour

absence

“Patterns of Behaviour”, digital print in frame, 18 x 27 cm, 2014.

The Spring Exhibition 2015

_MG_0490

Installationview at “The Spring Exhibition” at Den Frie – Centre for Contemporary Art. From left: “Blinded”, DVD 2:30 min., on table with 3 pencildrawings, “Unfinished # 8, 9, 10”, 2015.

The Spring Exhibition 2015

_MG_0488-1

“Unfinished # 11, 10, 12”, pencil on paper,29 x 42 cm, 2015.

Text:

Hun gik gennem parken mod museet. Da hun var fremme satte hun sig ned på en bænk. Foran sig opdagede hun projektørerne, som oplyste museet om natten. Hun forestillede sig, at man blev blændet, når de blev tændt og besluttede sig for at vente på, at det skete. Til sidst var det helt mørkt og hun forstod, at lysene ikke ville blive tændt. Det fik mørket til at føles anderledes, mindre kompakt og med flere konturer. Så vendte hun sig om og opdagede, at museet faktisk var oplyst, bare af andre projektører. Hun rejste sig og gik uden at være skuffet. Faktisk følte hun en tilfredsstillelse over, at det ikke blev, som hun havde forventet. Hun havde ønsket at et øjebliks blindhed kunne få billeder i hendes hukommelse til at forsvinde. Men i stedet opdagede hun, at mørket absorberede dem lige så godt.

 

She walked through the park towards the museum. When she got there she sat down on a bench. In front of her she discovered the projectors that lit up the museum at night. She imagined that you would be blinded when they were turned on and decided to wait for it to happen. Finally it was completely dark and she realized that the lights would not be turned on. It made the darkness feel different, less compact and with more contours. Then she turned around and realized that the museum actually was lit up, but only by other projectors. She raised herself from the bench and left without being disappointed. Instead she felt a satisfaction over the fact that it had not turned out as she had expected. She had wished that the flash of blindness could make images in her memory disappear. But instead she came to see that the darkness submerged them just as well.

Blinded

100 x Spring

MF_1 2014

Installationview ”Honeysuckle I – IV”, 2014, ”100 x Spring”, Den Frie Centre of Contemporary Art.

100 x Spring

MF_2 2014

”Honeysuckle I – IV”, pencil on paper under glass, 2014.

Honeysuckle (after William Morris and Anna Freud) II

Honeysuckle II

“Honeysuckle (after William Morris and Anna Freud) II”, 50 X 65 cm, pencil on paper shown under glass, 2014.

Honeysuckle (after William Morris and Anna Freud) III

Honeysuckle III

“Honeysuckle (after William Morris and Anna Freud) III”, 50 X 65 cm, pencil on paper shown under glass, 2014.

Honeysuckle (after William Morris and Anna Freud) IV

Honeysuckle IV

“Honeysuckle (after William Morris and Anna Freud) IV, pencil on paper shown under glass, 50 x 65 cm, 2014.

Is it a Plane?

MF_4 2014

“The Lighthouse”, drawings and texts on table, installationview “Is it a Plane?”, Summer Sculpture Søby, 2014.

 

 

 

 

 

Is it a Plane?

MF_5 2014

”The Lighthouse”, drawings and texts on table, 2014.

”The Lighthouse”:

What she remembers most from her time on the island was when she bicycled down to the lighthouse. The dirt road that leads there is surrounded by fields, and she also remembers an impressive walnut tree that was growing in the courtyard of an old farm long the way. When she reached the lighthouse she never stayed there for long. But one warm day in August she took off her clothes and went bathing. One comes to the island by a ferry and when one gets off in the wintertime it is like walking into the darkness. When she thought of rainy, windy winter evenings it occurred to her that she had never seen the lighthouse at night. She also knew that she never would but she liked imagining it.

Quote from W. G. Sebald, ”Austerlitz”:

”On that summer night, said Austerlitz, we sat high above the estuary of the Mawddach in our hollow in the hills until daybreak, watching the moths fly to us, perhaps some ten thousands of them by Alphonso’s estimate. The trails of light which they seemed to leave behind them in all kinds of curlicues and streamers and spirals, and which Gerald in particular admired, did not really exist, explained Alphonso, but were merely phantom traces created by the sluggish reaction of the human eye, appearing to see a certain afterglow in the place from which the insect itself, shining for only the fraction of a second in the lamplight, had already gone.”

 

Refuge

1. MF_2013

“Summer after Monika, act IV”, walldrawing. “Refuge” with Anette Abrahamsson, Nässjö konsthall, 2013.

Refuge

2. MF_2013

From left: “Summer after Monika”, DVD 5:32 min., 2007. 8 sketches for walldrawings, “Summer after Monika, act I – VIII”, watercolour on paper, 28 x 40 cm, 2007 – 2013.

Refuge

SAM_5

“Summer after Monika, act V”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.

Refuge

SAM_VII

“Summer after Monika, act VII”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.

Refuge

SAM_6

“Summer after Monika, act VI”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.

Refuge

3. MF_2013

“Summer after Monika, act VIII”, sketch for wall drawing, watercolour on paper, 28 x 40 cm, 2013.

The Spring Exhibition 2013

5. MF_2013

“Defence Mechanisms”, pencil on paper, 29 x 42 cm, installationview “The Spring Exhibition”, Den Frie – Centre for Contemporary Art”, 2013.

The Spring Exhibition 2013

6.-MF_2013b

“Defence Mechanisms”, 10 pencildrawings on paper, 29 x 42 cm, 2013.

Defence Mechanisms: Sublimation

sublimation

“Defence Mechanisms: Sublimation”, pencil on paper, 29 x 42 cm, 2013.

Defence Mechanisms: Isolation

isolation

“Defence Mechanisms: Isolation”, pencil on paper, 29 x 42 cm, 2013.

Defence Mechanisms: Undoing

undoing

“Defence Mechanisms: Undoing”, pencil on paper, 29 x 42 cm, 2013.

Retake

IMG_5043-kopi

“Hidingplaces”, walldrawing, installationview ”Retake”, Traneudstillingen, Gentofte hovedbibliotek, 2012.

 

 

Retake

IMG_5054-kopi

From left: “Hidingplaces”, c-prints with text, 2012, “Behind the Face”, DVD, 2012, “Parkscenario”, c-prints with text, 1999 – 2009.

Retake

4 MF_2012

 

Location for the sound piece “Hidingplaces” in Øregårdsparken.

English translation below:

HIDING PLACES

He lowered his head and crawled under the table. After a while his neck started hurting and he was forced to lie on one side. He lay perfectly still and fell asleep.

She crawled under the bed. From there she could see feet walking past and then stopping. When the sound of footsteps disappeared from the room, she moved closer to the wall, feeling out of breath.

She squeezed herself in between the sofa and the desk. She had to lower her head and pull her feet back so as not to be seem. It felt very uncomfortable and after a while she started to panic.

She sneaked behind the kitchen door, closing it so that it would be more difficult to be seen. Time and again she heard someone go past without noticing her. Her pulse beat more rapidly whenever there was someone moving around in the room.

He hid himself behind the curtain in the hall. His feet stuck out and he tried making himself as flat as possible so as not to be noticed. He held his breath but in the end he sighed deeply and hoped this would reveal his presence.

She opened the cupboard door and crept in amongst the clothes, closing the door behind her. It was reopened several times without her being discovered. As the footsteps disappeared out of the room, she dreaded the thought of having to remain there for very much longer.

Hidingplaces I

Hiding_1

“Hidingplace I”, c-print 20 x 30 cm, 2012.

Han bøjede nakken og krøb ind under bordet. Efter et stykke tid begyndte hans nakke at gøre ondt og han var nødt til at lægge sig på siden. Han lå helt stille og døsede hen.

He lowered his head and crawled under the table. After a while his neck started hurting and he was forced to lie on one side. He lay perfectly still and dozed off.

Hidingplaces II

Hiding_2

“Hidingplaces II”, c-print 20 x 30 cm, 2012.

Hun kravlede ind under sengen og kunne derfra se fødder passere som siden standsede op. Når skridtene forsvandt ud af værelset rullede hun forpustet tættere på væggen.

She crawled under the bed. From there she could see feet walking past and then stopping. When the sound of footsteps disappeared from the room, she moved closer to the wall, feeling out of breath.

Hidingplaces V

Hiding_5

“Hidingplaces V”, c-print 20 x 30 cm, 2012.

Han gemte sig bagved gardinerne i entréen. Fødderne stak ud og han prøvede på at gøre sig så flad som muligt for ikke at blive opdaget. Han holdt vejret, men gav til sidst slip på luften med et dybt suk som han håbede ikke skulle afsløre ham.

He hid himself behind the curtain in the hall. His feet stuck out and he tried making himself as flat as possible so as not to be noticed. He held his breath but in the end he sighed deeply and hoped this would not reveal his presence.

Hidden Narratives

001-kopi

”Hidden Narratives” with Vesna Pavloviç, BKS Garage, 2012.

Hidden Narratives

7 MF_2012

“Unfinished” # 2 – 7, pencil on paper, 2011 – 2012.

Hidden Narratives

008-kopi

“Boxes”, DVD, 5:32 min., 2012.

Boxes

Unfinished # 3

unfinished_3

“Unfinished # 3”, pencil on paper, 29 x 42 cm, 2012.

Unfinished # 4

unfinished_4

“Unfinished # 4”, pencil on paper, 29 x 42 cm, 2012.

Unfinished # 6

unfinished_6

“Unfinished # 6”, pencil on paper, 29 x 42 cm, 2012.

Plum Velvet # 5, 2012.

plum 5_1

Collaboration with Vesna Pavloviç.

Plum Velvet # 5.

plum 5_2

Found travel slide.

The Exception and the Rule

exception 1

Installationview with “The Go-Between”, DVD, 7:30 min., at “The Exception and the Rule”, SAK, Svendborg, 2012.

The Exception and the Rule

P1080255

“11 x The Go-Between”, used paperback copies.

 

 

 

 

 

The Go-Between

Restless

restless view

“Restless”, installationview Danske Grafikers hus, 2012. From left: “Grey # 6”, “Grey # 1”, “Grey # 3”, “Grey # 2”, “Grey # 4”, “Grey # 5”.

Grey # 1

grey_1

Grey # 2

grey_2

“Grey # 2”, pencil on paper, 50 x 65 cm, 2011.

Grey # 3

grey_3

“Grey # 3”, pencil on paper, 50 x 65 cm, 2011.

Grey # 4

grey_4

“Grey # 4”, pencil on paper, 50 x 65 cm, 2012.

Grey # 6

grey_6

“Grey # 6”, 50 x 65 cm, pencil on paper, 2012.

Allusion

allusion_view2

Installationview “Allusion” with Anette Abrahamsson at Antechamber – Project for Drawing and other Research, Copenhagen. From left: “T-shirt I + II”, c-print 20 x 30 cm, soundpiece “Allusion session” a mix of the sounds in the space, “Grey # 7”, pencil drawing 50 x 65 cm, 2012.

Grey # 7

_MG_0607

“Grey # 7”, 50 x 65 cm, pencil on paper, 2012.

Les Paris sont ouvert

2_dad_freud

“Dad”, b/w photographs, installed in “Les Paris sont ouvert” at The Freud Museum, London.

Dad

2.dad_19x28

“Dad”, b/w photograph 19 x 28 cm, 1997.

Dad

3.dad_17x25

“Dad”, b/w photograph 17 x 25 cm, 1997.

Loves me, Loves me not

ELSKER_HOLDER

A folder with a narratitve text and photos, “Loves, Loves me not”, was available in two holders for all visitors to the park Østre anlæg in Copenhagen in August 2011.

 

 

Loves me, Loves me not

ELSKER_PABLO

At the opening of “Loves, Loves me not” Pablo Llambias read from his reinterpretation of Suzanne Brøggers essay “Kærlighedens veje & vildveje”.

Loves me, Loves me not

ELSKER_FOLDER

The folder “Loves me, Loves me not”

Paris

005pavlovic

“Las Babas del diablo”, DVD, 5:44 min., 2010, installed in “Paris”, a show with Vesna Pavloviç at Raum 58, Münich.

Pieces in Conversation, 2011

PC_1

Collaboration with Yvette Brackman

Pieces in Conversation

PC_2

“Sometimes the Desert is Red”, photos and drawings, 2005.

Images Between the Word and the film

view images1

Installationview with “Gaps in the Landscape” at “Images Between the Word and the Film”, Overgaden. The show was open for two weeks as a supplement to the practicebased Ph.D thesis with the same title.

Images Between the Word and the Film

view images7

Installationview “Images Between the Word and the Film” at Overgaden June 2010. From left: “Sometimes the Desert is Red”, 2004 & 2009, “Parkscenario”, “Summer after Monika”, DVD, 5:32 min., 2007, “Las babas del diablo”, DVD, 5:44 min., 2010.

Images Between the Word and the Film

view images9

“Parkscenario: Parc de la Villette, Parc André Citroën, Parc de Buttes Chaumont, Bois de Boulogne” 24 c-prints 15 x 22 cm,1999 – 2009.

Images Between the Word and the film

_MG_2898

“Behind the Face”, DVD, 9:17 min., 2010.

Parkscenario

view images15

“Parkscenario: Parc de la Villette I”, c-print 15 x 22 cm, 1999.

Parkscenario

view images16

“Parkscenario: Parc de la Villette II”, c-print 15 x 22 cm, 1999.

Parkscenario

view images14

“Parkscenario: Parc de Buttes-Chaumont I”, c-print 15 x 22 cm, 1999.

Behind the Face

Las babas del diablo

Soundtrack for a Park

armory_booth

Solopresentation with The Apartment, Athens, Greece at Armory Show, New York, 2009.

Soundtrack for a Park

butte chaumont

“Soundtrack for a Park”, c-print, 122 x 250 cm, 1999.

Plum Velvet # 4, 2009.

PLUM 4A

Contributors: Lars Mathisen, Vesna Pavloviç, Pia Rönicke, Elisabeth Apelmo, Adam Frelin, Caroline May, Anna Ling, Yvette Brackman.

Plum Velvet # 4

PLUM 4D

Photo: Caroline May

Technically Sweet, New York

view participant_0762

Installation view “Technically Sweet, Participant Inc., New York.

Technically Sweet, New York

participant_view 2

Installation view “Technically Sweet”, Participant Inc., New York.

Technically Sweet, New York

TS_rome

Installationview “Technically Sweet”, Participant Inc., New York, 2008.

The Making of Technically Sweet

Making TS_1

Catalogue for Technically Sweet, contributing artists: Elisabeth Subrin, Elsebeth Jørgensen, Frans Jacobi, Fredrik Jacobi, John Brattin, Lars Mathisen, Laura Parnes, Maria Finn, Mark Orange, Michel Auder, Michael Stickrod, Pia Rönicke, Ulrik Heltoft, Yvette Brackman.

The Making of Technically Sweet

Making TS2

Catalogue for Technically Sweet.

In Silent Conversation with Ingmar Bergman

Style: "Porcelain vivid"

Installationview “Summer after Monica act III”, walldrawing in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.

 

 

In Silent Conversation with Ingmar Bergman

kunstmuseum_thun_bord-kopi

Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, and drawings “Summer after Monika I – VII”, pencil on paper, 29 x 42 cm, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.

In Silent Conversation with Ingmar Bergman

kunstmuseum_thun_dvd

Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.

Summer after Monika

1_SAM.

“Summer after Monika I”, pencil on paper, 29 x 42 cm, 2007.

Summer after Monika

2_SAM

“Summer after Monika II”, pencil on paper, 29 x 42 cm, 2007.

Summer after Monika

5_SAM

“Summer after Monika V”, pencil on paper, 29 x 42 cm, 2007.

Technically Sweet, Copenhagen

TS_overgaden

Installationview “Technically Sweet” at Overgaden 2008.

Technically Sweet, Copenhagen

asberg_012888

“A Technical Problem”, DVD 16 min., 2008 in “Technically Sweet” at Overgaden.

Summer after Monika

SAMact I

“Summer after Monika act I”, walldrawing at The Apartment, Athens.

Summer after Monika

mf07v

“Summer after Monika act II”, walldrawing at The Apartment, Athens.

Summer after Monika

Sometimes the Desert is Red

view Red Desert 05

“Sometimes the Desert is Red”, installationview at The Apartment, Athens, Greece, 2005.

Sometimes the Desert is Red

PHOTO13

“Sometimes the Desert is Red # 13”, c-print 30 x 45 cm, 2004.

 

Sometimes the Desert is Red

PHOTO14

“Sometimes the Desert is Red # 14”, c-print 30 x 45 cm, 2004.

Sometimes the Desert is Red

RD drawing 3b

“Sometimes the Desert is Red # 3”, pencil drawing 31 x 44 cm, 2004.

Sometimes the Desert is Red

RD drawing 5a

“Sometimes the Desert is Red # 5”, pencil drawing 31 x 44 cm, 2004.

Sometimes the Desert is Red

RD drawing 13

“Sometimes the Desert is Red # 13”, pencil drawing 31 x 44 cm, 2004.1

Sometimes the Desert is Red

Plum Velvet # 3, 2003.

PLUM 3A

Contributors: Søren Andreasen, Pia Kriegbaum Sørensen, Laura Thors, Jacob Kamp, Mette Vase, Katya Sander.

Plum Velvet # 3

PLUM 3B

Drawing: Jacob Kamp.

Plum Velvet # 2, 1999.

PLUM 2A

Contributors: Lars Jörgen Svensson, Oliver Hangl, Andrea Creutz, Klaus Thejll Jakobsen, Katinka Ahlbom, Petri Raapana, Christine Melchiors, Cecilie Høgsbro Østergård, Peter Holst Henckel, Magnus Engstedt, Håkan Sandell, Elisabeth Apelmo, Johan Röing, Katya Sander.

Plum Velvet # 2

PLUM 2B

Drawing: Klaus Thejll Jakobsen.

Plum Velvet # 1, 1996.

PLUM 1A

Contributors: Thomas Björk, Staffan Boije af Gennäs, Andra Creutz, Daniel Rose, Magnus Wallin, Benny R. Jørgensen, Annika Lundgren, Lise Nelleman, Petri Raappana, Annika Ström, Rikke Ruhwald, Simon Sheikh, Lisa Strömbeck, Fredrik Sandblom.

Plum Velvet # 1

PLUM 1B

Model: Mona Erling