Copenhagen Photo Festival 2010

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Copenhagen Photo Festival 2010

Text of Copenhagen Photo Festival 2010

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  • 3Stop op og se dig tilbage. Brug lidt energi p at undersge, om du lever livet, som om du var et hjhastighedstog koblet p en skinne uden mulighed for at styre selv. Vileverientid,hvordeflestekankommunikere med hinanden nr som helst og hvor som helst. Netop fordi vi har mulighed for at rette fokus i alle mulige retninger samtidig, ender vi med slet ikke at fokusere overhovedet. Faren ved ikke at have tid til at vre sig selv er, at man ikke skelner mellem det vsentlige og det uvsentlige og derfor lever mindre i nuet. Nogetafdet,somfotografietkan,erat fastholde jeblikket, som det var, lige prcis da man oplevede det. Med foto-grafietihndenblivermanistandtilattrde et skridt tilbage og anskue oplev-elsen mere nuanceret. Men det krver nogetafen,forfotografiettagerikkesigselv. Man skal rammes p flelserne, s ensfotografiskeintuitionvkkes,ogsanserne skrpes. Man skal bestemme, i hvilken retning objektivet skal pege. Og man skal trykke p knappen, s kamer-aspejlet lfter sig og efterlader den karak-teristiske lyd, som fortller, at endnu et fotografierfangetfortidogevighed. Tid er ikke uvsentlig. For tiden gr ualmindelig hurtigt, og det virker, som om den er accelereret. Mske skyldes det, at vi altid er p. P computeren, p mail, p sms, p fjernsynskanaler dgnet rundt. P Facebook, p Twitter, p farten og mindre p os selv. Det er selvflgelig etvalg,vitrffer,menstrktpressedeaf omgivelserne ender det ofte med, at vi

    Stop and take a look back at yourself. Try to imagine that you've lived your life as a high-speed train, restricted to the track along which you hurtle. We live in an age where most peo-ple can communicate with each other anytime and anywhere. Because we try to focus in all possible directions simul-taneously, we end up, paradoxically, with no focus at all. The danger of having less time to be ourselves is the inability to distinguish between the essential and the unimportant and subsequently, life lived less in the here-and-now. One aspect of photography is the ability to capture the moment, as it hap-pened, and exactly as it was experienced. Looking at a photograph allows us to step back and take a more nuanced view of the experience. However, it demands some-thing of us, for the photograph doesn't take itself. One must strike the emotions, awakening photographic intuition and reinforcing the senses. One must decide where to point the lens. And one must press the shutter button, creating the characteristic sound that signals an image being captured forever. Timeisnotinsignificant.Itpassesbyremarkably fast, and seems as though it has accelerated. Perhaps it's because we are always on. On line, on the phone, on the road, on Facebook, on Twitter and lessonourselves.It'sachoiceofourownmaking, of course, but more often than not, the insistence of others determines our pace. My dream is that we recover slow-

    ForordForeword

    With this snapshot Culture Minister Per Stig MlleropensCopenhagenPhotoFestival2010.

  • 4ness in our age and in our lives. Slowness that allows us to not answer the mobile phone as it mercilessly pursues us even in our best hiding places. The absence of haste required to sit on a bench for a whole morning and stare at people. People marching purposefully by, abagunderthearmandacoffee-to-goin the hand. Imaginehavingthetimetositonthebench and wait for something to possibly happen. Waiting for that little movement that slows down the high-speed train or causes the carriages to wobble. Enough timetoseizethemomentasthecoffeesplatters down the shirt of the passer-by. Sitting as a quiet observer of events requires that one is not locked into the accelerating pace of life. Try it, and you'll be rewarded with rich experiences simply by being present in the situation. However, our way of life means that there are fewer places from which to observe life. The mental oasis from where you can sit in a bell jar and look at the world through the glass is being taken over by noise, visual pollution and time thieves. Take for example a trip on a train. Earlier one rumbled along at a steady pace,whilethemindcouldflyfreelybetween stations. Often it was your own reflectioncapturedinthedirtywindow.At other times, your focus switched as something on the horizon caught your at-tention. You could sit in peace and think of nothing and everything. Today, advertising and TV pervade the train carriage an intrusion you can neitherturnoffnorshutout.Ifwewantpeace to think, the only solution is to lock ourselves in. Some use headphones and loud music which simply adds more noise for everyone else to contend with.

    lader andre bestemme vores tempo. Min drm er, at vi fr langsomheden tilbage i vores tid og vores liv. Langsom-heden til ikke at svare mobilen, nr den ndeslst jagter os p selv vores bedste gemmesteder. Langsomheden til at sidde p en bnk en hel formiddag og stirre p mennesker. Mennesker p vej med hurtige mlrettede skridt, en taske under armenogencoffee-to-goihnden. Tnk at have tid til at sidde der p bnken og vente p, at der mske sker noget. Vente p den lille bevgelse, som stter tempoet p hjhastighedstoget ned eller fr togvognen til at slingre. Tid til at fange det jeblik, hvor overbalancen fr kaffentilatskvulpeoverogmaleuheldigemnstre p den travle mands skjorte. Det krver, at man ikke selv er lst af det hje tempo, men blot sidder som en rolig iagttager af begivenhedernes gang. Gr man det, vil man f oplevelser forret alene ved at vre til stede i situationen. Men vores mde at leve p gr, at der bliver frre steder at iagttage livet fra. De mentale oaser, hvor man kan sidde som i en osteklokke og kigge ud p verden p den anden side af glasset, er ved at blive overtaget af larm, visuel forurening og tidsrvere. Tag for eksempel en tur med S-toget. Tidligere rumlede man af sted i jvnt tempo,menstankernekunneflyvefritmellem stationerne. Ofte var det ens eget spejlbillede, man fangede i den snavsede rude. Andre gange skiftede fokus til noget i horisonten, der fangede ens opmrk-somhed. Man kunne sidde i fred og tnke p ingenting og alting. Nu krer der reklamer p tv-skrme, som man ikke kan slukke for eller lukke ude. Den eneste lsning, hvis man vil have ro til sine tanker, er derfor at lukke sig inde. Nogen gr det med hretelefoner

    Foreword

  • 5Neitherreflectionsuponthepastnordreamsofthefuturefitinsuchauniverse.The brain occasionally needs a break, but when you are always on, no matter where you are, you deny yourself the room for recuperation. Imagineforcingoneselftositonabenchwithacameraandacoffee-to-staysimplytowatchlifepassby.Imagineif we at least varied the pace of life to provide time for both acceleration and complete relaxation. With time to grasp the present, wewouldautomaticallyreflectuponthestamp of time. Such a scenario would allow us to better distinguish the impor-tant from the trivial. To begin with, one can spend several hours on a bench without a camera and just take pictures with the retina and its memory. Focusing practice can continue later with an actual camera between your hands. Photography is a sensual language without boundaries or ownership. Everyone can tell stories with all kinds of cameras. But it requires focus and time to avoid joining the general level of dissonance and turmoil. Later in life, sensual impressions will only be able to recall smells, sounds and experiences if those impressions are strong enough either captured on photographic paper or residing in one's own mind. Stop, look at life around you, and reclaim slowness. Then you can tell us your story about what you saw, while you were sitting on the bench.

    Thomas Borberg Photo Editor-in-Chief, Politiken

    og hj musik. Det skaber blot endnu mere larm for alle andre. Eftertnksomheden kan ikke f plads i sdan et univers. Hverken til at tnke tilbage eller drmme sig frem. Hjernen har brug for en pause i ny og n, men nr man altid er 'p' alle steder, giver man ikke sig selv plads til at restituere. Tnk, hvis man tvang sig selv til at sidde p en bnk med et kamera og en 'coffee-to-stay'forbareatflgelivetpas-sere forbi. Tnk, hvis man i det mindste varierede tempoet i dagligdagen, s der bde var tid til at give den gas og til at koble helt fra. Nr man giver sig tid til at fastholde nuet,vilmanautomatiskreflektereoverde indtryk, som tiden efterlader. P den mde vil man ogs i fremtiden vre bedre stillet, nr man skal adskille det vigtige fra det mindre vigtige. Til at begynde med kan man bruge nogle timer p en bnk uden kamera og kun tage billeder med nethinden og sin hukommelse. Fokuser-ingsvelsen kan senere fortstte med et kamera imellem hnderne. Fotografieteretsanseligtsprogudengrnser eller ejerskab. Alle kan fortlle historier med alle slags kameraer. Men det krver fokus og tid, hvis det ikke skal endeimngdenafandenoverfladisklarm og uro. Sanseindtrykkene vil senere i livet kunne genskabe lugte, lyde og oplev-elser, hvis bare indtrykkene er strke nok. Hvad enten de er fanget p foto-grafiskpapirelleriensegenbevidsthed. Stop op, betragt livet omkring dig, og f langsomheden tilbage. Derefter kan du fortlle os din historie om, hvad du oplevede, mens du sad p bnken.

    Thomas Borberg Fotochef, Politiken

    Copenhagen Photo Festival

  • 6Founders of Copenhagen Photo Festival:Julie Navne Klitbo, Rasmus RanumManagingDirectorofCopenhagenPhotoFestival2010:Charlotte SprogeProject Coordinator of printed edition: Anders GasbjergCurators: Charlotte Sproge: Day, Jesper Elg: Night Design and editing: MegaIntro:ThomasBorberg,PhotoEditor-in-Chief,PolitikenPR & Press: Maria Wernberg

    Set in Aktiv GroteskPrintedby:JTO/Elboa/s,Essen22,6000Kolding,www.jto.dkPublisher: Copenhagen Photo Festival, Denmarkwww.copenhagenphotofestival.comISBN:978-87-99422-20-3Printyear:2010

    Thanks to all the galleries, collaborators, partners, sponsors, cultural institutions and volunteers. And a special thanks to the crew of Copenhagen PhotoFestival2010:KristinaValborgValberg