"Photography is a balance between darkness and light." | Astrid Kruse Jensen | Louisiana Channel
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- Опубліковано 30 лис 2024
- “There is no beauty without pain.” Enter the world of Danish photographer Astrid Kruse Jensen whose fascinating images float between reality and memory.
“Contrasts, duality, beauty, pain. There is no darkness without light. Nothing is visible without something being invisible. That definitely fascinates me, and I work very deliberately with it.”
In this incredibly personal portrait, Astrid Kruse Jensen speaks openly about tragic events that have influenced and formed her work and practice in recent years.
“Photography is always a balance between darkness and light. Where do you place the shadow? What do you overexpose? Which parts do you burn out?”
“I've been looking for the same things in my work and my life after I lost my husband three and a half years ago. I've sought a place where we could start over, a new chapter, but also find some sort of resonance in the world. This feeling of everything coming together.”
Astrid Kruse Jensen was born in Aarhus, Denmark, in 1975 and lived as a child in Tanzania for several years. She studied at The Gerrit Rietveld Académie in the Netherlands and continued her studies at The Glasgow School of Art, where she graduated in 2002.
Since then, she has been living in Denmark. She has exhibited widely and abroad, including solo exhibitions in Canada, Denmark, Germany, Finland, France, Iceland, Lithuania, Luxemburg, Poland, Slovenia, Sweden, The Netherlands and the UK.
Astrid Kruse Jensen’s works can be found in international collections, including ARoS Aarhus Art Museum (DK), The National Photography Museum (DK), Museet for Fotokunst (DK), Kunstmuseet Brundlund Slot (DK), Vestsjællands Kunstmuseum, The Danish Arts Foundation, Ny Carlsberg Fondet (DK), Hafnarborg Institute of Culture and Fine Art (IS), Fondazione Cassa di Risparmio di Modena (I), Artotheque de Caen (F), The John Kobal Foundation (UK), Manchester City Gallery (UK), The George Eastman House (USA) and Moderna Museet in Stockholm (SE).
She has received prizes such as Arkens Rejselegat, Palle Fogtdal Photography Prize, The Niels Wessel Bagge’s Foundation for the Arts Award, and the Anne Marie Telmányi’s Honours Award for female artists.
Astrid Kruse Jensen was interviewed by Marc-Christoph Wagner on several occasions during spring 2023. The interviews took place at her studio on Refshaleøen in Copenhagen and Malergården, Museum Vestsjælland, Denmark. In May 2023, she opened the exhibition Traces of Resonance at Odsherreds Kunstmuseum, showing works included in this film. Louisiana Channel would like to thank its colleagues at Museum Vestsjælland for their cooperation.
Camera: Simon Weyhe
Edited by: Helle Pagter
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2023
Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet and C.L. Davids Fond og Samling.
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An artist who brings out the joy,the risks, uncertainties and beauty to be discovered in photography. Loved it. Thank you.
So insightful and inspiring. What a joy to discover this special artist. Thank you.
Wonderful and heartfelt story. Incredibly courageous person.
Thank you for this beautiful depiction of a lifetime artistic and mutually human process. It seems exemplary in its uniqueness and at the same time in its universality.
Wow. So powerful and inspirational, thank you for sharing.
Thanks a lot for the work on this project. Jensen really allowed us to see an extremely intimate window into her life. Wonderful editing and direction as usual.
thank you for this video. thank you to ms. jensen for very intimate sharing of herself with us. i wish i could talk to her for about a week straight. her work is gorgeous.
SO BEAUTIFUL!
Beautiful... heart touching...
Great therapy...
@@mamumonkan I don't know... Every one of us has a personal way of dealing with pain and loss and other emotions, be they positive or negative emotions... And I believe photography is wonderful in helping us deal with our own emotions and maybe make us feel better in the process... It's a deeply personal thing... I see it as a positive thing... Photography as therapy... Everyone has his own little way of working with photography to feel better... I only hope it is a positive way.
Sally Mann likes the wet plate process for similar reasons, a sense of timelessness and a limited ability to control the results.
❤
"I find photography fascinating because it's so dependent on reality"... how ironic that someone would articulate that thought in a video released the same week the internet is being flooded with reactions to the new (and frankly disorienting) AI-powered features in the latest beta of Adobe's Photoshop. At best, the notion that photography is dependent on reality has only ever sort of been true. It's certainly not true any longer. It seems a strangely outdated assertion with which to begin the interview.
A really strange idea is that what Photoshop produces can be called a 'photograph'. The flood of images makes us forget the meaning and weight of words, but its discourse makes sense if we consider photography today as an invitation to contemplate reality rather than to manipulate it...
@@tchouros Editing is fundamental to photography. Always has been. Lens selection, aperture, darkroom... computer. The supposed indexical relationship between reality and the medium of photography has always been a lie we tell ourselves. While I agree that it would certainly be comforting to reframe photography as an invitation to contemplate reality, doing so because of anything supposedly fundamental to the medium would ironically mean ignoring reality.
@@fellfromspace Of course, I understand that photography itself does not '(re)create' reality, and that the notion of truth emanating from an image is a delicate one... However, it seems to me that the medium's fairly recent autonomy within the arts forces us to make choices; in the sense that an a posteriori construction is no longer a fantasy that forms part of a research project (e.g. 'surrealist') but a photographic production that stands on its own. The discourse that accompanies an image has always been as important as its montage; for photography, we could perhaps consider the discourse as a tool... In other words, we dose our words like we dose the cursor in Photoshop, just as a painter would choose to put a touch of acrylic in the middle of his oil painting to access its colour... It's a matter of choices and putting boundaries to our tools
Fornemme mennesker fornemmer uden at være for nær
men må ikke være for nem ellers bliver de fornærmende
@@mamumonkan devindrcn2377 shows better here at YT