Fjernsyn

"Fjernsyn" is Galleri Images contribution to Copenhagen Photo Festival 2010.
Henrik Vering, Mette Juul, Tomas Lagermand Lundme, Hans E. Madsen og Mette Bersang are zooming in on things that may seem remote, and reveal how they contain elements of something recognizable and everyday-like.
Exhibition duration:
12-05-2010 - 20-05-2010
Medium:
Photography
Title:
Fjernsyn
Artist:
Henrik Vering, Mette Juul, Tomas Lagermand Lundme, Hans E. Madsen og Mette Bersang
"Fjern Syn" (Tele Vision) For the upcoming Copenhagen Photo Festival, Galleri Image has curated a new exhibition consisting of five Danish artists working with photography who have all exhibited in our gallery within the past three years. It gives us great pleasure to present "Fjern Syn" (Tele Vision) with Henrik Vering, Mette Juul, Tomas Lagermand Lundme, Hans E. Madsen and Mette Bersang. In the exhibition "Fjern Syn", the five artists look at things that may seem remote but are recognizable and everyday-like. Indeed it is in the recognizable and the everyday that the five artists stage the unseen and the overlooked, zoom in on the detail and enlarge it beyond recognition. For better or for worse they put into play the beauty of the everyday in the context of the possibility of change.
Tomas Lagermand Lundme 
Tomas Lagermand Lundme mixes together photography, text and collage into odd, enticing narratives about the everyday, about politics, belief, responsibility, love and morals. The son of a working class family, Lagermand Lundme shows a poetic sensitivity towards the communities of the 70s that have disappeared. His photographs (such as the image of a mobile home overgrown with moss and left hiding in the woods) are like symbolic relics that express a longing for solidarity and togetherness. Lundme's belief is that community should be able to create new foundations for a major dialogue. The texts put the photographs into a private context that opens a direct dialogue with the viewer. Lagermand Lundme poses questions that offer food for thought and which are at the same time calls for action. He dares you to take a stand and to overturn social injustice. In his work as a writer, a dramatist and a fine artist Tomas Lagermand Lundme insists on the right of the individual to strive to create a society where dreams are more than mere unattainable states based on fantasy holidays in some distant future. As red as a fox, as an artist he nonetheless comes across with a liberating cheeky grin.
Mette Bersang
Over the years the artistic practice of Mette Bersang has developed into a conceptually based photographic project in which she explores the possibilities of the photographic medium. Bersang's project is motivated by the idea of making a cut in the surface of the photograph: the idea is that such a photographic cut will also cut open our world. Focusing on minimalistic interiors, Mette Bersang challenges the surface of the image (and the surface of the white wall) by cutting and piercing the photographic space. Overexposed streaks of sunlight are the means of doing this, for the breached surface is at the same time an image, and an actual breach in the photographic object. The narrow streaks of sunlight indeed "burn holes" in the picture, leaving no "information" in that particular part of the image but merely a blank space.While her works often border on the absolute abstract, Mette Bersang leaves tiny parts of reality (the corner of a table, a radiator or some other everyday object) sticking onto or into the photographs in order to give the viewer something to relate to - a space that they will recognize. Poetry and magic emerge out of this everyday space. The artist utilizes the allegedly close relationship between photography and "reality" to scratch the surface of the world, and to leave the viewer with a sense of possibility.
Henrik Vering
In his photographs of Berlin, Henrik Vering captures the rapid change and intense vigour of the city. Two decades of living there have furnished him with powerful glimpses of fleeting meetings in a time of unrest and upheaval. Intense and sensuous moments are caught from the hidden Berlin: the love as well as the scars it has brought the artist. Vering brings the city and its architecture into focus like a renaissance in reverse. Rebirth and decay take place in blurry, foggy night pictures in which states of being blend easily, and the border between the beginning of one thing and the end of another things becomes erased.Vering's photographs display a strong personal story, connected to the documentary image of people who experienced the dream of freedom fulfilled after the fall of the Wall. Ahead of them, for the first time, was the invisible city in all its unity and splendour. To Henrik Vering, photographs are the management of memories.
Mette Juul
Mette Juul's work is based on the idea of the potential narrative to be found in the personal archive of the photographer. Outside, with her camera, she likes the presence of the uncertain because it demands your full attention: she has a positive preference for the unpredictable and uncontrollable. Thus she does not plan in detail her journeys with the camera, but reacts instinctively when passing by quirky places and odd situations. In a word, she snaps on feeling. Afterwards, she works on the raw material as if putting together a jigsaw puzzle. A tale or tales slowly emerge from the pieces. The fragments can stand alone, but together they create a whole experience. Narrative is important to Mette Juul. It can be either very concrete or very abstract. She often deals with the relationship between documentary and fiction by offering a formal, challenging and ambiguous view on the world. Her photographs are neither holiday snaps nor neutral observations, since reality is seen through a frame of mind, her own, loading every observation with meaning.
Hans E. Madsen
The myth of the photograph says that the image connects to the real world like some kind of mirror, as a result of which the camera lens reproduces the real world accurately and exactly. In this sense, the photographs of Hans E. Madsen do indeed resemble reality. Yet if this is so, the resemblance, as such, has little importance for him. In his photographs we become uncertain as to what we are looking at, not because we do not "recognize" it, but because the photographer has made it seem totally different. Familiar things are placed in unusual contexts. Instead of describing what typically surround us, these photographs establish their own universe. Nothing is necessarily what it appears to be. Hans E. Madsen shows how the camera might perceive reality if it was an independent entity. The reality of the lens appears even more thrilling than the "reality" of our eyes.