Joen Vedel Tine Tvergaard Ninna M. Poulsen Mia Isabel Edelgart Thea von der Maase Deirdre J. Humphrys Thomas Bo Ă˜stergaard Rasmus Brink Pedersen
PORTFOLIO (verdens kedeligste stykke fiktion)
Portfolio (verdens kedeligste stykke fiktion) Redigeret-, samlet- og med bidrag af: Rasmus Brink Pedersen, Joen Vedel, Ninna M. Poulsen, Thea von der Maase, Tine Tvergaard, Thomas Bo Ă˜stergaard, Deirdre J. Humphrys, Mia Isabel Edelgart København, 2020 Trykt hos KLD Repro i 100 eks. Omslag: kollektivt tekstarbejde til udstillingen Venskaber, 2015
INDHOLD Rasmus Brink Pedersen: Hi all s. 4-5 Mia Isabel Edelgart: TV-collager s. 7-10 Deirdre J. Humphrys: Never the less s. 12 Muse s. 13 Jellyfish s. 14 Violet s. 15 Ninna M. Poulsen: Drømmen er autoriteten s. 17-19 Joen Vedel: 4 sider fra min notesbog s. 20-23 Thea von der Maase: Traumatisk efterår s. 25-28 Tine Tvergaard: Kunstneren har mistet sin computer s. 30-31 Thomas Bo Østergaard: Venstrehåndsarbejder (1-5) s. 34-38
Hi all It has taken me a while to write this invitation. But I’ve been thinking, and last week my horoscope reminded me that it was about time.
So here goes: I would like to invite you to create a small publication together. I would like for us to make a collective portfolio. Basically it will be a lot like our exhibition I anledning af opløsningen, meaning that you can contribute with stuff that you are currently working on, have just finished, or send a report from your everyday life; if that everyday life does not allow you to engage in art work at this moment. Lastly it can of course be work related to our prior collective output. Some thoughts on the portfolio: • Being an artist you should keep your portfolio up to date, because you always have to be prepared to reapply for the position of being an artist. • The portfolio is the most boring kind of fiction ever. • The portfolio is an autofictional narrative. It is based on a series of omissions and willed linearity. • The portfolio is a “killer story” – always conflict and resolution. Never contemplation or trial and error. Never the story of the gatherer and the repetitive motion of filling the carrier bag – as Ursula le Guin has put it. • As an artist you have to prove yourself willing to fail, and never fail. • If a project falls through or productivity comes to a standstill, there is nothing to put into the portfolio. It is called a portfolio gap. A gap will always be the ruin of such a constricted narrative. 4
• In finance a portfolio is a collection of assets held by an individual or institution. An artist’s portfolio is a sample of an artist’s work, considered as assets – proof of the economic value of the artist. • At the Department of Walls and Space at the Royal Danish Academy of Fine Arts I once saw a drawing left on the blackboard that looked more or less like this:
• I imagine that we carry our individual portfolios in much the same way, as the person in the drawing carries their CV: As a filter in front of our eyes. Or as a very close horizon. • The portfolio should always be updated at the end of a project. But, considering the above, can one always be sure that said project wasn’t designed in a way, that its main function was to fit the narrative of the portfolio? • Most artists maintain a website or some other kind of online presence. Keeping these up to date is not necessarily done as afterthoughts, but alongside the creative-, researching-, whatever act. • Whom you create your portfolio for, might be a question of whom your art is for. • What could our collective portfolio look like?
Rasmus 5
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11
Is
up po
se
m Ia
er ov
fu re ca ly
m lia
ca
rin
gi
fee
n yo mi lia
we were all just trying to do our best we’re besting & our bests not really up for it as there are things that are too much it’s distruption
these are words we try to heal with
y i don’t wan ur wa t t ob
I think you know i think you know i t h i n k you know i think you know
y r wa ou ny ei
Tha t’ clen s where c will hes . H the clar OL ity yo u h old DS STR o O ff N G. Nevertheless that trembling raises certain questions, for instance that of the relationship between words and their phrasing.
Can i have a muse, hidden from sight dug deep in flesh plastic, implant, plug, transitioning contraption Contrapt. Contrapt What’s on your face friend, a cute smile almost smirks. I’m waiting a little, i’m watching. a cake in biscuit forms a grin, gingerly open i’m baking your face in my heart. i’m forming lines of i form i biscuit i dip i dip my biscuit changes form, sogs, eat. i eat my soggy biscuit formed like you. it’s a funny time & i think about it. i’m thinking, i’m blushing in my thoughts there’s a relation to the lines distance and perfection vibrates, shudder. shaking thoughts some call imagination, or fantasy.
jellyfish & worms
it holds us in inebriated togetherness, the walls so closed, the frame so utterly utterly tight and the same. we’re held back by your self imposed isolation, it is so boring. if we shared if i share tasting the sweetened bread becomes otherwise an enjoyable ritual Oh let’s eat that sweet sweet cake let’s eat the bitter sweet biscuit let us savour our bread and today it’ll rain droplets in a shade of violet so brilliant we’ll weep in joy joyous joy, oh joyful wet tears in shades of shade small petal shade tall grass shade brilliant lips shade wonderful milk shade eyes eyes eyes shade, shimmer tearing, crying wept tones, toneful tears of joy - oh.
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Kunstneren har mistet sin computer. Hun har mistet sin LaCie Rugged Mini 1TB harddisk og sin WD My Passport Ultra. Hun ved ikke om hun skal grine eller grĂŚde.
Kunstneren drømmer om en anden verden.
Servicemeddelelse: Pr. d.d. bliver portfoliet afskaffet. Billedrepræsentation af enhver art er ikke længere tilladt. Administrationen har lyttet til brugere, borgere, konsulenter og eksperter. Alt hidtidigt billedmateriale, digitalt og analogt, opsamles ved lokale centre. Herefter bliver det transporteret til et, af befolkningen ukendt, men centralt beliggende anlæg. Anlægget vil blive forsvarligt forskanset således at materialet ikke kan tilgås af samtiden. Vurderer fremtidige civilisationer at billedmaterialet ikke længere er skadeligt, kræver det yderst avanceret teknologi at bryde beskyttelsesapparatet. Teknologi som fremtidsforskere vurderer kan tage flere århundreder at udvikle. Administrationen har, i samråd med alle vigtige samarbejdspartnere, gjort de nødvendige foranstaltninger.