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Theis Capion Andersen (DK)
Untitled, 2009

The two exhibited works by Theis Capion Andersen convinced the jury by the understatement at play in both works. Simple and rough-hewn wooden plates attached on top of one another with simple geometric forms on their almost white surface consciously refuse the attempt to charge them with a concrete meaning or interpretation. At a time when art and artists are expected to perform and compete for attention, this refusal convinced the jury to nominate the artist for both sculptures.

Peter Boel (DK)
Je mehr wir zusammen sind #18, 2007

The rectangular shaped photographic prints take on the shape of the flat and unspectacular landscapes they at first a first glance seem to portray. Only upon a closer look does the spectator discover the massive rows of police vehicles and officers scattered along the roads. The photographs, which are from a police operation in Germany, deliberately stage a visual contrast between the overwhelming power represented by the police and the peaceful, almost boring scenery in which they are set.

Qohtaiwoo (CN)
Dual Dawn, 2009

In the nominated work ”Dual dawn” Qohtaiwoo has programmed a website to react to the real-time light of Copenhagen at the time of accessing the website. The user or viewer might thus be baffled by the light grey, completely white or sometimes almost black screen in his or her browser window when accessing the work. Only upon a second visit, at a different time of the day, will one find the colour of the screen to have changed. The jury was convinced by the understated, almost invisible interactivity of the work, which does not merely use a the internet as a secondary medium for conveying still or moving images.

Jens Frederiksen (DK)
Untitled, 2007

In remarkably technically perfect images the artist has captured the normally unseen moments of an amusement park at night. The distorted colour scheme, which is due to the long exposure of each image, creates an uneasy or even uncanny moment in the otherwise banal setting. The fact that this effect was created through a perfect technical use of the camera rather than through the use of light effects or post-production editing convinced the jury to nominate the work for the prize.

Kristina Kersa (NL)
I sing as the bird sings, 2008

In her work nominated for the Prize of the ”Forårsudstilling” 2010, Kristina Kersa has depicted a series of almost motionless people. They sit with their backs to the audience, hunched over a hardly visible object, so that the viewer has to invest a certain amount of time in order to discover the just audible sounds of a bird as the focus of the portrayed persons’ attention. In the work the traditional Flemish sport of ”Finching”, in which bird breeders compete about how many calls each finch can make in an hour, is turned into a poetic moment of intense observation through the cropping of the image and the installation on almost life-size screens.

Rasmus Høj Mygind (DK) & Emilie Bergrem (NO)
Uden titel (levels), 2010
By removing part of the surface of the wall in the exhibition space the two artists have produced a simple and understated installation. The varying depths of the cuts into the wall follow a simple pattern, stopping at the depth allowed by the tool. The height of 220 cm too is created by the natural restriction of how high a person using the tool can reach. The work places itself within a tradition of spatial interventions, which since the 1960s have become part of the artistic discourse.

Stine Gro Pedersen (DK)
Timber-raft, 2009

The timber of the raft in Stine Gro Pedersen's work, for which she is nominated for the prize, appears at once heavy and very light. The form itself, designed to be the simplest boat design, would have a weight of more than a hundred kilos, if it was built with timber. The frail paper mock-up, however, weighs only a fraction of this, and thus mirrors the weightlessness of the real raft when waterborne.

Meriç Algün Ringborg (TR/SE)
Our Home Weighs 1,223,990 Grams, 2010

The works of Meric Algün Ringborg show an interest of the artist in systems of categorization and ways of visualizing such categorizations. In ”Our Home Weighs 1,223,990 Grams” one finds a list of all the individual objects in the artist’s home, listed with the exact weight of each object. The jury noted the duality of the work which deals with the almost private or intimate insights into the details of the artist’s everyday life, combined with the rational way in which the objects are listed and weighed. Yet at a second glance, the rational categorization turns irrational or absurd, whilst the private insights become opaque.

Emilie Sadra (DK)
Cultural Kinetic Theory, 2009

In the video with the title “Cultural Kinetic Theory” for which Emilie Sadra was nominated by the jury, the artist shows how a thick layer of dust is being shaken out of a traditional, Islamic carpet. The small sequence filmed in front of a black background is played in extreme slow motion which allows the viewer to follow the movements of the man, the clouds of dust rising from the carpet as well as the movements of the carpet itself. The silent video creates a quiet, almost contemplative, yet compelling commentary to virulent political debates of recent years.

Stefan Törner (SE)
Center of Attention, 2008
Upon entering Stefan Törner's architectural sculpture, the viewer is met by his own reflection broken up into hundreds of little squares. With this broken reflection Törner's sculpture, which forces the viewer into the centre of attention, the artist also comments on the function of art as a tool of critical reflection rather than a question of decorative aesthetics.