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Toxique Magazine is a free online e-magazine featuring both established and upcoming artists form all over the world - from various artistic genres. This third issue of Toxique Magazine brings focus on three very different artists from urban experimental dance (Sara Gaardbo), from urban art (Fin Dac) and from the digital manipulated art scene (Branimir Jardic). Furthermore, you'll be able to learn more about urban art and dance and read a small extract of a reportage from todays biggest Nordic art fair, Art Copenhagen 2012. Enjoy!
Transcript of Toxique Magazine volume 3
To quemagazine
volume 3
Toxique Magazine is a free online art magazine which visually tries to describe relevant artistic events internationally.
Toxique is a magazine which normally seeks to capture current trends in arts and culture by bringing interviews, reportages and articles about galleries, organisations, art fairs, events and both established and upcoming artists from all kinds of artistic genres and styles.
In this third issue of Toxique, the magazine features three new fantastic and very different artists from various artistic genres. Sara Gaardbo is an amazing and incredible talented chore-ographer for experiemental modern urban dance. Toxique also features another urban artist - but this artist uses the picturesque expression and the city walls as his canvas. Meet the fantastic Finbarr Dac! Finally, Toxique gives you a visual journey through a manipulated and dreamy universe created by Branimir Jardic.
Zoom in by clicking at a page and zoom out by clicking once more. Turn pages by using the left/righ arrows on your keyboard. Remember to check out all the hidden links in the e-magazine!
ThIRD ISSue oF ToxIque MaGaZIne
editor and contemporary visual photographic artist Marie Wengler
www.mariewengler.com
Toxique Magazine
Marie Wengler
Caught In existence
artist Marie Wengler
Q
Quote of the month
An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way. - Charles Bukowski
C
ConversAtions sara Gaardbo p. 10 - 61finbarr Dac p. 64 - 113Branimir jaredic p. 116 - 133
DANCE
DANCE# 1
Experimental modern urban dance as an artistic lan-guage is fascinating and innovative. It changes the way we see dance, challanges the traditional dancing genres by combining these genres and create new untraditional dance forms. Toxique therefore creates an artistic theme - DANCE - to capture some of todys modern dance forms and cheographers. This is the first part of the DANCE theme, but the theme will develop during the coming issues of Toxique.
Gaardbosara
PHOTOGRAPHER
Atli Thor Alfredsson
Dear Sara, you are educated as a dance teacher in 1990 at Bjanov’s Danse-institut, have studied at Skolen For Mod-erne Dans in Copenhagen from 1992-1994 and are educated at Danshgskolan in Stokholm in 1996. Furthermore, I know you have danced yourself from 1938-85.
I met a fantastic contemporary teacher in 1990 called Ingrid Buchholtz. She was one of the founders of New Danish Dance Theatre. Her dance vocabulary was very physical and the way she related movement to the music was unique.
But I’m curious to know more about how, when and why you became interested in (modern/new) dance?
How come your own career as a dancer ended in ’85?
My own carrer as a profes-sionel dancer ended in 1999 because of to knee injuries.
PHOTOGRAPHER
Atli Thor Alfredsson
PHOTOGRAPHER
Atli Thor Alfredsson
PHOTOGRAPHER
Henrik Ohsten
PHOTOGRAPHER
Henrik Ohsten
Ever since I finished my first education at Bjarnovs Dance institute in 1990 I have been choreographing.
How and when did you became interested in choreography?
I established The danceed-ucation.dk in 2006
When did you establish you modern/new dance school Danseuddan-nelsen? And did you establish the dance school by ourself or do you collaborate with others?
I do collages, knitting, crochet, costumes, visit my house in Sweden, read-ing and listen to a lot of music.
Which interests do you have besides dance and choreography?
PHOTOGRAPHER
Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
To create dancers with open minds and a wider and more
interesting dance vocabulary.
What is your goal for the dance school?
PHOTOGRAPHER
Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
I have collaborated with other choreographers in the com-mercial dance environment.
Have you ever tried to work together with other choreographs and create a collaborative perfor-mance?
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER
Henrik Ohsten
The Danceeducation is devided in moduls. The teaching all the time challenge and lead the students into new areas. I follow the students intensively. The ed-ucation focus on contemporary dance and Hip Hop and through that how to improvise and create material.
The education at Dan-seuddannelsen last 1 year. But could you tell me more
about how the education is organized? What do you fo-cus on in your training of the students? And which genres of dance do Danseuddan-nelsen focus on during the
education?
PHOTOGRAPHER
Henrik Ohsten
Besides dancing I see how open minded they are. My education has
a strong profile and through that they all know what the chal-lenge will be as well mentally, artistic and
technical.
Every year Dan-seuddannelsen has an audition for new talented dancers in
the age of 17-26. But which criteria do you moreover
have to the hopeful aspirants? What do you focus on in your
judgement of the young dancers?
To create a professional dancer in 10 month is
very ambitious. It surpris-es a lot of my students
how much is takes to be a dancer. From that
perspective I find it very interesting to see how
fare I can take them and further more how effective and succes-ful the result can be if
you give them the right teaching and skills.
How do you expe-rience working with
young and relatively unexperienced indi-viduals as a dance teacher and chore-
ographer?
When I was a little girl a was danc-ing jazz dance
only.
Have you ex-perimented with
other forms of dance genres yourself before
modern/new dance?
A finish choreographer called Kenneth Kvarn-strøm and the isralien company Batsheva has been a great inspira-tion. The dancers are fantastic and especially Batshevas dancers almost dances with the same out going energy that takes place in Hip Hop.
Do you have a fa-vorite composition of you own? If so, which piece is it? Why?
How to continue my work in the dance envoriment in spite of my injuries. And of course a challenge, but also the best experience when I established my own education and through that my performances.
What has been the biggest challenge and best experience in your career so far?
I am a very open minded and attentive person realizing that if you look careful enough there might be inspiration to find almost everywhere. But of course music and art are some of my main sources in the creative pro-cess and yes the dancers that I work with of course. The inspira-tion also comes from the chal-lenge how to create “everything out of nothing”. Being creative and ambitious even though you don’t get any financiel support.
What or who inspires you? Do you relate to or consult with other choreographers or maybe the students in your creative process when you experiment with new ideas?
PHOTOGRAPHER
Atli Thor Alfredsson
When I start creating a new piece my preparation is first of all to find the music and then to mix it. I put a lot of effort in all the transi-tions in the music, to get the right flow and to create a feeling and atmosphere that all the time takes the audience to new places. Then I start to improvise with my dancers, giving them images and pictures to fill into my world.
What is your creative workflow when creating a new piece/performance? How do you create a new piece?
PHOTOGRAPHER Atli Thor Alfredsson
I have always got a lot of support from both family and friends. During my career as a chore-ographer the feedback has all the time been positive.
How has your family and close friends re-lated to your choice of career as a danc-er, dance teacher and choreographer and to your choreog-raphy in general?
PHOTOGRAPHER Atli Thor Alfredsson
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
I always have a full picture in my mind . I am loaded with ideas and
very clear about the atmosphere in the piece and I always aime for my ideas in the proces. I often have a colaberation with a designer. The
input and atmosphere that it gives me combined with my ideas and
emotions helps to create the perfor-mance and to give the choreogra-phy an extra input and dimension.
As a choreographer I try to variate and play with different emotions. I
like to play with contrastes such as melancholy, humour, overload, sim-
plicity, minimalistic, less is moreYou will also see it in the way I use
my costumes and in my music.
At this moment I have only had the opportunity to enjoy you wonderful piece ON AND ON - one of the best dance
performances I have ever seen. As a part of your non-dance
audience I feel very drawn by your choreographic style and
I will follow your future works without doubt. But I’m curious to get to know, whether you have certain themes and ideas that you pursue? Which emotions or moods do you try to bring out
in your pieces?
If I don’ t get anything from the dancers it’ s difficult to create a performance. I tried it once, but still managed to finish the piece.
Which performance has been the most difficult for you to create?
PHOTOGRAPHER Henrik Ohsten
Through my Danceeducation i try to create dancers with a wider dance vocabulary, to combine Contempo-rary Dance with Hip hop. In Denmark there is a lack of being open min- ded and from that perspective I find the Contemporary Dance Scene not being as various as it could be. I would love to see the “ underground” dance scene more represented in the so called experimental dance in Den-mark. New trends should be accept-ed, visible and indeed get much more support from the Ministry Of Culture.
Sara, you live in the Denmark like myself. But I only have an under-standing a small part of the art
scene in Denmark and I there-fore have a lack of knowledge regarding artistic experimental
modern dancing. How would you describe the dance scene and the political incitement for sup-porting new modern experimen-
tal artistic dance in Denmark?
PHOTOGRAPHER Henrik Ohsten
My ambition is to establish my own company and from that platform to invite different kinds of artistic and inspiring people coming from different backgrounds, such as music, design, art installation, visuel art etc. My goal is also to get financial support to my education and extend it from 1 year to 3 years and to go on tour with my student performances.
Personally, I find that your choreography and per-formances have a very international approach, and I wouldn’t be surprised to see some of your pieces across border in a very near future. But what are your ambitions and dreams for the future in relation to this?
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
Art in all forms is a “ must” in the society. It brings perspective and make people see things from differ-ent angles. In all crises the world has been through, art seems to be able to survive and brings fuel and hope to the people.
What role does an artist (which I really believe you are) and art in all forms in general have in society according to you?
I see myself doing what I do now, but being larger, still progressive, more established in Denmark and abroad both as a choreographer and with my Danceeducation.
Dear Sara, where do you hope to see yourself in the future?
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
Urban Art is a new artistic theme which Toxique Magazine will bring focus on in both this issue and several of the future issues. Urban Arts has developed from street art, but is not only concerned about graffiti culutre as an artistic expression. This artistic genre relates to cities and city life, often created by artists who live in and have a passion for city life. The artists tematize urban live style by combining different visual art forms. Sometimes the urban arts are character-ized as vandalism in public space, but the urban arts can also be innovative, creative, beautiful and provocative by bringing focus on relevant subjects re-garding contemporary urban culture and political issues in todays society.
FinDac
I am originally from Cork (Ireland) but, having lived in Lon-don most of my life, I am essentially a Lon-don boy. I became an urban artist just over 4 years ago: mainly to drag myself out of a very nega-tive period of my life and to help redefine a life that had lost its way completely.
Dear Fin DAC, please make a
brief description of yourself. Where are
you from, what is your background,
how, when and why did you become an urban artist?
Alabaster
Beautiful Crime existed long before I had even an inkling of being an urban artist. It was originally the brainchild of 2 urban art enthusiasts and was the first company selling urban art online. It has morphed and changed over the years to incorpo-rate much more and is now a hub for all types of artistic creativity. I got involved on a very ad-hoc basis over 3 years ago but the relationship blossomed very quickly due to our mutual hard work. I am now a partner in the company and the Artistic Director.
I’ve read that you’re the creator/a part of the
urban/digital art brand called Beautiful Crime. Would you like to give me some more details
about this?
Berlin, Zaza Weisgerber
Porcelain in Vitry Sur Seine.
Copyright Nath Oxygene.
Urban Aesthetics came about because of a need to differentiate myself from other artists. I wasn’t happy with a lot of what I saw in the English urban art scene and experienced a lot of nega-tivity. I didn’t fit in but, more importantly, I actually didn’t want to. I became an artist to make myself happier... not to keep other people happy. So, getting negative opinions from people who I had nothing in common with and very little respect for was debilitating. Separating myself deliberately from them set me on the path to being a much stronger person: because I knew inside that they would hate me more because of it. I realised I was capable of much more by embracing my outsider status.
Fin, I know you have developed
a unique painting style - an urban
artistic language - which you call
Urban Aesthetics. Can you tell me more about it?
Bogota, Colombia.Copyright Rainbow Nelson
It’s totally changed and that’s a good thing. One of the things I disliked most about street art was how a person could become known for one image or one stencil. That to me doesn’t make u an artist and right from the start I reneged against that way of thinking. I know of artists who still paint the same thing now as they did when I first came across their work... I would never be happy doing that.
I experiment all the time... and experi-mentation was what led me to Urban Aesthetics. I do quite a lot of corpo-rate work to broaden my knowledge base. Designing to someone else’s brief stretches u creatively because u have other minds/eyes to please. I learn way more from those situations where I really have no idea what or how I’m going to deliver.
Has your artistic style changed over the years and have
you ever tried to experiment with oth-
er types of artistic genres?
I have pieces in urban art group shows from time to time but I don’t do a lot I have to admit. In London espe-cially, I don’t think my work is appreci-ated much and is not really the type of thing that people are expecting at those shows. It’s changing slowly but there’s a long way to go. The public response to the street pieces is what gives me the most pleasure. People coming to chat and take pics when ur painting is a unique experience. But, also, when u realise that somebody somewhere has posted something online about u and it’s being liked/re-blogged/reposted all over the world... that’s very satisfying.
Have your works been exhibited
in galleries (I re-ally believe they should)? And do
you have any mem-orable experiences
as regards the public response to
your works?
BlackJack
Blackjack in Bogota.Copyright David Bushell
In all honesty it was mainly be-cause there was so much bad stencil art in London. I honestly thought I could do better so I set myself a challenge and it worked out. Also, not many art-forms have the ability to speak directly to its audience but streetart is one of them. That definitely appealed to me. I was working in advertising at the time and it seemed to me that this was simply a purer format of that.
Why did you choose spe-cific to create street art? I mean, it’s an art form which
is more easily exposed to damage, but also an ar-
tistic genre that adorn the city and bring art closer
to ‘ordinary’ people.
Agent O
Agent O in Warsaw, Polnad.Copyright Agata Radzinska
I certainly don’t see myself in that way. In my mind I am a ‘newbie’ and I take very little no-tice of what people are saying about me. I am a humble person who doesn’t think he has any particular talent: just a determination to be everything that I wasn’t for so many years. The desire not to go back to being desperately unhappy is all the inspi-ration any man should need
Dear Fin, you are one of the most
recognised street artists today and can be ‘catego-
rised’ with other big street artists such
as Banksy, Os Ge-melos, BLU, Shepard Fairey, etc. But you
have your own very unique artistic style. I’m therefore curious to know more about what or who inspires
you when creating art and furthermore
whether there are certain themes and
ideas in your art that you pursue?
Canine Feline
Ever She Comes on a Mountain Breeze in Brest,
France
I’ve loved all forms of Asian art for so many years and have always been drawn to the softness and mystery of Asian beauty. But being a westerner I struggled to see how I could incorporate that into my work. But I decided to paint an Asian influenced piece on a trip to Paris 2 years ago and needed a particular face. I searched online and found, by pure chance, Nicole Wu (a 15 year old girl who took the most exquisite self-portraits) and luckily she (and her par-ents) agreed to me using her imagery.
When I wanted to expand that repertoire (by doing edgier pieces) I searched for another face and found Meghna Lall who, unbelievably, it turned out, was a friend of Nicole’s. When that kind of synchronicity occurs it just tells u that there are forces beyond our comprehension at work in this universe.
I’ve noticed that you often use
(beautiful) Asian looking girls. How come?
Two things: a positive mind and an open heart.
Generally speak-ing, what single most important
factor is important for you to make a great art piece?
Delicate in Bogota, Colombia.Copyright David Bushell
Delicate in a secert location,
France.Copyright Nath
Oxygene
I do quite a lot of collaborations but, as with the This Is Cartagena project, they are never instigated by me. I guess for me it’s preferable if there is an underlying idea rather than me simply going somewhere to paint. The TIC pro-ject came about by chance but the idea of painting with underprivileged kids in a rundown barrio was too tempting to turn down. The TIC people were amazing and really I didn’t have to do anything except paint. Colombia and its people were fascinating to me and I was treated with the utmost respect and kindness wherever I went. A return trip is definitely on the cards to see if we can spread even more goodwill amongst those who are less fortunate than ourselves.
Dear Fin, I already know that you have been involved in different
projects - for instance This is Cartagena. Do
you often work together with other artists cre-
ating collaborative art projects? And would
you like to tell me more about your experience
as a part of This is Cartagena and the
goal for the project?
Tron Geisha (with Morten Andersen) in Brest, France.Copyright Awll
To be honest I don’t paint very often in Lon-don. Walls are very hard to find and I would rath-er travel abroad where the attitude to my work is so much better than in the UK. It’s the whole positive versus negative thing again.
Living in UK as an urban artist I’m curious how you handle the judicial aspect
of painting in public space?
I guess the biggest challenge was starting. I never studied art so I always had an inferiority complex about my abilities (or lack of them) and allowed those feelings to destroy my desire to be an artist. But working in digital advertising (as a developer) where, for the first time in my life, I was surrounded by super-creative people I had an epiphany: none of them were any more creative than I was and all of them were racked with the same doubts as I had all my life. It made me realise that the only thing stopping me from being what I wanted to be was me. Those events coincided with a seismic change in my life that could very easily have destroyed me but, I found strength in moments where I thought I’d have none and slowly but surely I was able to turn my life around. The experience of just being an artist and feeling in my soul that I had finally found my path was nothing short of life-saving
What has been the biggest
challenge and best experience
in your artistic career so far?
Tron Geisha (with Morten Andersen)
in Brest, France.Copyright Awll
A Pleasure Un-known in Brick Lane, London
Copyright Adversmedia
I live a very closed-off existence. I rarely watch TV or read newspapers so I am completely unaware most of the time what is happening in the world outside. But that to me is very liberating: TV and ad-vertising (and society in general) lead us to believe that we need lots of things in our life that ultimately mean little or nothing. It’s only when u eradicate those things that u realise just how negative it all is, how it clogs up ur mind and stifles ur creativity.
How do British cul-ture, politics, social
environment, etc. affect your art, if
they do?
Killer Instinct
They couldn’t be more delighted. I think they thought, as I did myself, that I had missed my calling
How do your family and close
friends relate to your choice
of career as an artist and to your
art in general?
Kid Viper
I can only speak for myself when I say that, in these particularly trying times, I hope what I do brings a smile to people’s faces and maybe a little warmth to their heart... that’s the principal point of depar-ture anyway.
What role does an artist and art
in general have in society according
to you?
Tarantina
There is no plan, nothing in my head that tells me where I need to be within a certain period of time. I take every day as it comes and listen to my intuition to guide me. Somebody, somewhere has a plan for me I’m sure but I’m ok to entrust that power to whatever it is that has guided me this far... I don’t think they’ve done a bad job?
Where do you hope to see
yourself in the future?
Sakuran II in Vitry Sur Seine, Paris. Copyright
Zemotion
Success comes not from fit-ting in... but by standing out.
Any words of advice for
aspiring urban artists?
Swagger
To quemagazine
Branimir Jaredic
Branimir Jaredic
United 11
I actually started developing my creative expression at early age. I remember me as a kid always draw-ing something and annoying my older sister to draw me a batman because I was fascinated by that movie. Later in my puberty I was in rap faze and graffiti art, but at this moment am interested in photogra-phy and digital art.
Dear Branimir Jaredic. I know you’re a 28-year-old pho-tographer from Rijeka, Croa-tia, currently living in Limerick, Ireland. But I’m curious to know more about your background and furthermore how and why you began creating art?
United 7
I had a big desire to express myself crea-
tively, so photography was a logically choice
because I suck at drawing. At Chrismas 2009 Santa seemed
to have heard my prayers and brought
me my first digital camera.
I have read at the Internet, that your interest for pho-
tography began at Christmas 2009. What happened?
United 5
No am not, unfortu-nately, all though I have sold a few prints so far. Instead I have become educated as a hairdresser.
Are you able to live solely from your art? What is your profession besides creating art?
Not at the moment, but I have had an offer from two galleries one in based in London and other one in Madrid.
Are you assigned to a gallery at this moment?
Yes, I mostly use photoshop CS5. At the beginning I was using GIMP, which is a free-ware software. My favourite PS-tools are mixer brush, adjustment layer option and clipping mask. As regards photography equipment, I am using Pentax KX, 18-55mm lens.
Branimir, I assume you use Photoshop in your creative process when creating art. What are your favorite features in Photoshop and which version of the software do you use? Moreover, which photo-graphic equipment do you use?
To be honest I stopped worrying about creating my unique style, because everything has been done before. Only thing that I am focusing on when creating is the quality of finished prod-uct - all the rest is unimpor-tant to me.
There’s huge amount of photographic art on the market today and it can therefore be hard as an artist to have the best media and galleries fea-turing your art (I know this from my own ca-reer as a digital artist). Therefore, what do you do in order to differenti-ate your works?
It really depends, but mostly I am using stock images because I like to realise my ideas as soon as possible, but sometimes it can really be quite a time consuming process to find right stock image ...
Do you solely use your own images in your creative process or do you also use stock pictures bought from the Internet - or per-haps a combination?
United 3
It really depends from artwork to artwork. From 3 days to one week. I normally don’t work more than 2 hours in a row per day on project because is too hard to be focused and stare at the computer monitor in a longer period. I like to break my work in 3 steps: 1. composition and adding elements 2. setting right color and mood 3. final touches and fixing the errors
How much time do you spend creating a series of images or a single image? When and how do you know that a picture/series of images is finished?
United 9
Being part of selected artists to be represented at ARTPARIS show-down was a great thing and I must say that that it was one of my best experience related to my art carrier, but the majority of positive public
reaction came trough various magazine presentation of my work.
Dear Branimir, your works have been featured in many vari-ous magazines and have won different international photo-
graphic artistic competitions and moreover you have had the incredible honor to have your winning work from Saatchy
Gallery competition featured in Grand Palais during ART-PARIS in 2011. Therefore, how have the public reaction to
your art been in general? Do you have any memorable experiences you want to share?
Yes, you are right,i often use children to tell a story because the emotional impact on image is greater - it’s easier for me to tell story about loneliness in that way. The Little Prince is such a great story to which we can all related. I personally had a bad childhood, so creating images with these themes becomes as form of therapy for me.
When I study your pictures I feel both solitude and timelessness. Furthermore, I have often noticed that you use children as models, and for me you thereby create a kind of childlike wonderment of the greatness in the surroundings. Actually, I get an association to the story of The Little Prince by Antoine de Saint-Exupéry! Therefore, I’m very curious to hear from you, which themes in your art you pursue? What is the idea be-hind each of your different series of images?
Yes, I agree, music is my big mo-tivator. My taste of music is wide - from Placebo and Sonic Youth,
to Nine inch nails, Interpol etc. are big inspirations, but when I am in
a creating process I prefer to work in silence. I find music to be too
distracting at that moment...
I could not imagine a life without music and I always lis-ten to music when I’m creating
a new piece of art. Are you inspired by music and listen-
ing to music when you are creative? If yes, what type of
music?
Bridge In The fog was the most challenging for me, because
it was my first complicated Photoshop artwork at the be-ginning of my interaction with photo manipulation. I remem-ber that I took me 2 days to
create the fog effect!
Which art piece has been the most difficult to create
for you?
United 4
Summers gone III, Untitled(boy with
horns in forest), picture of a male angel, Stay With
Me etc.
Which of your own art pieces
is your personal favorite?
Yes, I do. I must admit, that since
I took a break some time ago
from my art cre-ating process, my
head has been full of new ideas!
Do you have a new series of images in mind for the future?
United 6
Not as big as we often like to think. When it comes to changing things for better in this world artists are helpless compared to the majority of people in the world. For instance, nothing much has changed since we first time saw Kevin Carters picture of starv-ing child in Africa. That image had a shock effect on people for 10 sec. But afterwards each one of us go back to our everyday worries, for some empty fridge or start caring more about what designer clothing to wear again.
What role does an artist and art in gen-eral have in society according to you?
A
Art explAineD moDern DAnCe
starting in the early 20th century
as a rebellion against the classical ballet, modern dance emerged in the early 20th century and has developed extremely through the years. Instead of using rigid structured steps, techniques and dance rules as used in traditional ballet, modern dance focuses on the dancer’s own interpretation of the dance. hereby, modern dance become a kind of bodily artistic expression.
The dancers use their own feelings and unique bodily expressions to create an experimental movement in their dancing. Before attempt-ing to choreograph a routine, the modern dancers decides which emotions to try to convey to the audience - and in this connection the dancers also choose both the music and clothes that will help emphasise the chosen emotions the most.
Besides turing against the traditional rules for the classical ballet, another characteristic of modern dance is the deliberate use of gravity. In traditional ballet the dancers often strive to be ‘unaf-fected’ by gravity, whereas modern dancers often use their body weight to enhance their movements.
Pioneering dancers from the early 20th century are for instance Isadora Duncan and Martha Graham.
R
reportAGe from the Art sCene
Want to experience small visuel voyage through Art Copenhagen 2012, the biggest and most regonized nordic art fair at todays art scene?
the following photographic reportage is only a small excerpt from the entire reportage from the art fair with more than 100 different art pieces and more detalis about the art fair.
read the entire reportage in this special edtion of toxique magazine.
aRT CoPenhaGen 2012
14th - 16th of September
art Copenhagen 2012 runs from 14th of September - 16th of September 2012 in Forum Copenhagen for the 16th year in a row. This unique nordic art fair has existed since 1997 and last year the art fair had more than 11,600 visitors, including art collectors, artists, galleries, curators and other art lovers.
For the first time art Copenhagen 2012 has a more international profile. Several of the participating foreign galleries has never exhibited in Denmark before. In the past years national or Scan-dinavian galleries have been in focus on art fair, but this year there have been some major changes and welcomed galleries form outside Scaninavia. This means that among the 71 galleries at the art fair 2012 visitors are able to meet both upcoming and established galleries from around the world. The new international profile is created in a collaboration be-tween the Danish galleries and art Copenhagen. The 10 new international galleries are: aLICe (Be), Jochen hempel (De), Paul andriesse (nL) Work Projects (GB) and neon Parc (au), Laden für nichts - Leipzig (De), Mario Mazzoli - Berlin ( D), Martin Kudlek - Cologne (De) and TYD - Berlin (De) and Rolando anselmi (IT).In addition, you can of course still meeting the leading Danish and nordic galleries and a collection of museums and exhibition venues - including aRoS and the national Gallery of art. another significant change at art Copenhagen 2012 is a special focus on solo presentations. actually, 18 galleries have chosen to showcase a single artist’s works and not selected works by several of their artists.
a unIque noRDIC aRT FaIR
The different participating galleries, art
institutes, muse-ums, etc. at art Copenhagen
2012 at ground floor and first floor in Forum
GaLLeRI LaRS oLSen
Want to read the entire reportage?
