Jakob kolding biography sample

January 28: The photograph may be regarded as a box, an exhibit, or a museum vitrine.

Tonight Olga Chernysheva launches Cactus Seller & Others, Diehl Gallery, Berlin, while Jakob Kolding opens dislocated discolated, curated by Elodie Evers, tonight at Kunsthaus ACUD Gallery also in Berlin, which is supported by ACUD MACHT NEU artist cooperative.

In a sign of difficulties for artist organisations everywhere, in 2014, the ACUD MACHT NEU collective saved the space from bankruptcy, enabling interdisciplinary projects in art, music, performance and digital media in their Studio, Club and Gallery.

Jakob Kolding (born 1971 in Albertslund, Denmark) has exhibited extensively throughout Europe and the United States and this is the artist’s first solo show in Berlin. Best known for his hand made collages sampling art, architecture, literature, theatre, and music, he often remixes the same elements, re-contextualizing them for new meanings and narratives.

Kolding is also a writer with essays appearing regularly in the Berlin based magazine Starship . His interest there mirror his visual art; reinventing and (de)constructing meaning into texts that reflect on his favorite books, just as he draws on well-loved artistic imagery.

Early works reference a specific time and place contrasting urban planning with the actual use of space. New works are more open to broader interpretations and the collaged elements have become 3-dimensional as he installs arrangements of sculptural figures; life-sized wood cut-outs printed with black and white imagery. The settings invite viewers to walk amongst them.

Here is what could be a preview of the show at ACUD; sculptural figures with a selection of new small-scale collages.

A 2013 work entitled, literally, Making a Scene shows how he does just that by recalling historical dioramas which were originally miniature scenes in three dimensions with objects and figures placed in front of a painted background which were viewed

Vortrag von Jakob Kolding am 08.12.2016: Another world with difficulties.

Do., 08.12.2016, 18:00 Uhr
LfKF, City Passagen, 1. Stock

Wir freuen uns sehr Sie zum Werkvortrag „Another World with Difficulties“ von Jakob Kolding einladen zu können.
Die Veranstaltung findet in englischer Sprache statt.

How do found images function as a way of thinking about construction, de-construction and re-construction of meaning? Images are cut and pasted, re-contextualized and re-positioned, re-posted or re-presented, changing how they can be seen and understood and taking apart existing worlds and (re)making new ones. Images are everywhere every day. They are part of the construction of a physical, digital, psychological, social, economic and political space. Spaces defined by mutual interrelations and ever developing processes. As with images it is impossible to understand one part as isolated from its relationship to the world around it. In that sense re-working and re-positioning found images is a way of discussing the production of meaning and, at the end of the day, the production of power to define and represent. Images with difficulties.

Within this realm of image related politics Jakob Kolding discusses his artistic practice of the last decade and gives insight into his work with found and recontextualized footage.

Born in 1971 in Albertslund, Denmark, Jakob Kolding lives and works in Berlin. Kolding has exhibited in museums and galleries internationally, including the Neubauer Collegium, Chicago; Kunsthalle Wien; Museum of Contemporary Art, Chicago; Stedelijk Museum Bureau Amsterdam; Frankfurter Kunstverein; Museum Villa Stuck, Munich; Kunstverein in Hamburg; CCA Wattis Institute for Contemporary Arts, San Francisco; the Museum of Contemporary Art, San Diego; and the University of Michigan Museum of Art, Ann Arbor. His work is included in numerous public collections including the Museum of Modern Art in New York. He is represented by Team Gallery, New York; Galer

University of Michigan Museum of Art Jakob Kolding UM M A Projects: Shifting Realities Christoph Keller Editions Jakob Kolding Shifting Realities Jakob Kolding Shifting Realities Christoph Keller Editions Jakob Kolding Shifting Realities UMMA Projects 6 Edited by Jacob Proctor Designed by Jakob Kolding Photography: Anders Sune Berg (p. 39) Edo Kuipers (pp. 49-52) Fotostudio Paltrinieri (pp. 29, 31, 34/35, 72), Jacob Proctor (pp. 89, 92) Lisa Rastl (pp. 43-46) Adam Reich (pp. 66-71) Randal Stegmeyer (pp. 90/91) Antoine Turillon (p. 38) Jens Ziehe (p. 65) All other photographs by the artist Copyediting: Eugenia Bell Lithography: Licht & Tiefe, Berlin Printing & Binding: Medialis GmbH, Berlin Produced in Europe This publication is part of the artists’ books series Christoph Keller Editions published by JRP |Ringier, Zurich. © 2010 the artist, the authors, Christoph Keller Editions and JRP |Ringier Kunstverlag AG , Zurich. All rights reserved. No part of this publication may be reproduced in any manner whatsoever without prior permission in writing from the publisher. ISBN 978-3-03764-168-2 Contents Remixed Use Jacob Proctor 7 Germs Lars Bang Larsen 11 Like Shadows Jacob Proctor and Jakob Kolding Works 21 29 Insert List of works + Biography/Bibliography Remixed Use Jacob Proctor “The great obsession of the nineteenth century was, as we know, history… The present epoch will perhaps be above all the epoch of space.” 1 — Michel Foucault Since the late 1990s, Jakob Kolding has pursued a sustained investigation of the experience of space in the contemporary built environment. His vantage point is that of a generation born after modernism had already emerged victorious in its battle for cultural dominance, its idealist promises for the future already translated into the inevitable compromises of the present. Yet it is precisely in the relationships and contradictions that emerge in this slippage—between planning and reality, to

For his first solo museum exhibition in Denmark, Jakob Kolding introduced new elements to his oeuvre. Alongside delicate drawings, posters, and collages, he added large lambda prints of digital collages and fragile, site-specific sculptures that employ strategies of mixing and sampling similar to those of his graphic work. Placed on chipboard podiums and made of paper and little wooden sticks, the sculptures have a constructivist look but do not claim to be complete, thereby thwarting the constructivist impulse to create ideal or fundamental frameworks for social processes. Accordingly, the show’s installation encouraged various ways of seeing: A table presented books, CD covers, and publications on art, architecture, and social studies featuring Kolding’s projects, and posters were stacked on the floor for visitors to take. The show conveyed a sense of Kolding’s work having leapt from two to three dimensions. His dynamic collages with snippets of text, vistas of urban space, cartoon frames, and quotes from agitprop assumed spatial properties and played with scale in more aggressive ways than previously. The repetition of motifs in and between works created a distinct rhythm in the exhibition space and emphasized the overlaps between the personal, social, and artistic realms.

The large-scale urban planning and social housing schemes of the ’60s and ’70s are crucial to Kolding’s work, as they form the nexus where the artist’s biography meets a critique of space. Upsetting the knee-jerk causality that posits public housing as the origin of social ills, Kolding insists that his work on the subject is no rejection of it: The way modular architecture addressed the citizen had its ideological problems, sure, but it is also a heritage the artist accepts and pays homage to, for instance by pointing to its aesthetic affinities with Minimalist styles in art and music. Apart from overt references to places where he