Press video

Installation view

See 7" video on metal stands

Re-arranged sculpture with YouTube video
Maiken Bent Untitled 2011, mixed materials, 240 x 125 cm. Daz3D Introducing Male 3D Model Michael 5 for GenesisTM 2012, YouTube video, 4:09 mins

See video

Light sculpture hung crooked - with newspaper
Torben Ribe Light Sculpture (unplugged) with accidental purchase 2012, neon tubes, light fittings, plaster, shirt. Børsen Kinesisk Rovdrift På Danske Varemærker 2012, Monday 13th August, no. 155/2012

Daydream about Assange with illustration
Ferdinand Ahm Kragh Untitled 2012, painting on MDF, 170 x 190 cm. Wall paper and poem

See poem

Painting with exchanged reading material
Torben Ribe Untitled (with magazines) 2012, acrylic, spray, pen, wallpaper, magazine holder, canvas, 100 x 120 cm. Catalogues for Modeling Agency, curated by Janus Høm & Martyn Reynolds

See catalogue

iPhone re-shoot with ambient sound
Marie Kølbæk Iversen Autonambule 2012, HD Video, 29 mins. iPhone recording, 12 mins

See excerpt of video (turn up sound-volume)

Photo with sculpture and shadow
Torben Zenth in his office. Jan S. Hansen Untitled 2009, ceramics, wooden beads. Shadow from A Kassen Permanent Visitor 2008. Photograph 60 x 88 cm

Documentation photos Metal stands 170 x 100 cm

Documentation photos Metal stands 170 x 100 cm

Documentation photos Metal stands 170 x 100 cm

Documentation photos Metal stands 170 x 100 cm

Live video circuit from exhibition with green-screened information
Jan S. Hansen København Struktur 2012, mixed materials. Green screen cloth, cotton, 600 x 300 cm. Monitor, 110 x 65 cm. Digital animation with information of works, 4:30 mins

See simulation of how the green-screened circuit looked like

Installation view

Installation view

Endless Scroll Deregulated Generation

curated by Janus Høm and Martyn Reynolds

w. A Kassen, Maiken Bent, Jan S. Hansen, Marie Kølbæk Iversen, Ferdinand Ahm Krag, Torben Ribe

September 9th – October 15th, 2012
IMO Projects, Ny Carlsberg Vej 68 OG, 1760 Copenhagen V, Denmark


So Toke invited us back to Copenhagen because of our show last year, Modeling Agency. Like that show, we came to IMO to curate the artists' work in the stockroom into new configurations, collages, take them in new directions, infecting the agency of curation with the subjectivity of an artist.

Of course this seemed very appealing, a wider field for play, more established practices, some nicer lighting. What we didn't consider was the way in which this different environment complicates what we're doing. We realized it's stranger to willfully misunderstand and misuse artwork from people we don't know so well socially. Our actions tend to be a bit superficial - dealing with material surfaces or simply picking up a newspaper lying nearby. But for us this didn't really matter as we weren't interested in critique anyway, but rather to co-opt in the same way that capitalism absorbs its critics by rearranging form and content.

And we're pretty attention deficit as well - doing the same thing twice started to bore the shit out of us anyway. We started looking at past IMO shows on the website and imagining the ideal stock show, combined with free associations and free appropriations. What really came to the fore was looking at things online and how that double of the gallery space has become a way better experience. It can be a bit stressful to go on a trip to the gallery and often we'd rather sit in bed with the laptop, that's pretty nice. So to reassure ourselves in the big white expanse we took some documentation shots and spread them around, collapsing the destinations of art production into one space. And actually it's funny how similar documentation and appropriation can be.

In our ear we have the conversation about the post-internet artist, and of course the viewer too - prosumers who act under the terms of web life. And here we are, curators acting under the same influence, seeing art and the gallery as things available to be altered, equally mutable whether appropriated or documented. Modeling a subjective expression of our relationship to culture, channelling material ideas through this small sliver of time in the gallery space.


Review by Corinna Kirsch, Art Fag City: We Went to Copenhagen (English)