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Book of the art works of Danish artist Søren Dahlgaard.
SørenD
ahlgaard
—
Seei
ng
is B
elie
vin
g —
Søren
Dah
lgaard
Hex
ago
nal
Cyc
lop
s
2
Hex
ago
nal
Cyc
lop
s
3
Hex
ago
nal
Cyc
lop
s
6
Ellip
tic
Tou
chd
ow
n
7
Cir
cula
r A
lter
atio
n
10
The
Bre
ath
ing
Ro
om
At first glance The Breathing Room ap-pears to be an ordinary white room. As you enter the space—your expectations about the familiar white cube exhibition space is challenged. The walls are made from soft PVC canvas. As-sisted by air, which continuously is pushed and sucked into the space behind each wall —the canvas slowly curves into a convex
shape and after that a concave shape. This repeating movement mimics the human breathing. The mod-ernistic white cube ideal is challenged and in the broader perspective—the way of things. The art his-toric reference is the famous text—Inside the white cube— first published in 1976 by artist and writer Brian O’Doherty.
Inside measurements: 250 × 250 × 250 cm.—Materials: Wood, aluminum, PVC, ventilator, electronic control system.—Venue: Singapore Biennale, 2008.
11
3-H
ou
r Sc
ulp
ture
12
12-S
eco
nd
Scu
lptu
re
13
Katrine National Art Gallery, Denmark, 2008
14
Do
ug
h P
ort
rait
s
Karina National Art Gallery, Denmark, 2008
15
Khaleel National Art Gallery, Maldives, 2011
16
Mohamed National Art Gallery, Maldives, 2011
Do
ug
h P
ort
rait
s
17
Sarra & Marcus Andipa Gallery, London, 2010
Udi & Ran Digital Art Center, Israel, 2011
18
Ben & Asoka Jockey Club Creative Arts Centre, Hong Kong, 2011
Patrycja & Aisa Centre for Contemporary Art Ujazdowski Castle, Poland, 2011
Do
ug
h P
ort
rait
s
19
Melissa ECCO Contemporary Art Center, Brazil, 2011
20
Josefa ECCO Contemporary Art Center, Brazil, 2011
Do
ug
h P
ort
rait
s
21
Process in Vancouver.
22
Vancouver Biennale, 2010.
ECCO Contemporary Art Center, Brazil, 2011.
Do
ug
h P
ort
rait
s
23
The news stories from the daily news papers with opposing views of the same event are mixed together with fat and stuffed into sausages, so the different news stories digest together.
MoMA PS1, New York, 2007.
Clockwise from left to right:—Performance still.—Installation view of kitchen with pigs intestines, fat, newspaper articles, meat string, tags, sausage-grinder.—Detail view of news paper sausage.
24
Dig
esti
ng
Th
e N
ews
25
Inspiration to the architecture from Massa “bomb” houses Northern Cameroon.
26
500 baguettes & drum kit inside. The Bread Hut, Galleria Civica Museum of contemporary art, Trento, Italy, 2007. Th
e B
read
Hu
t
The
Bre
ad H
ut
Wal
l Rid
ing
30
Slid
e P
ain
tin
g
31
The painting process. Ruby, Bejing, 2009.
32
Po
rtra
it P
ain
tin
gs
The painting process. Gim, Bejing, 2009.
34
Po
rtra
it P
ain
tin
gs
The painting process. Disa, Iceland, 2009.
36
Po
rtra
it P
ain
tin
gs
Lan
dsc
ape
Pai
nti
ng
Søren Dahlgaard as The Dough Warrior created a landscape paint-ing in the park of Louisiana Museum of Modern Art, Humlebæk, Denmark, 2008.
40
Lan
dsc
ape
Pai
nti
ng
Installation view of the dried land- scape painting.
Lan
dsc
ape
Pai
nti
ng
The painting process. ECCO Contemporary Art Center, Brazil, 2011.
44
A H
edg
e Is
A L
ance
Monochrome landscape painting of plastic hedge, 2009.
46
Mo
no
chro
me
Hed
ge
Detail.
47
The Mobile Hedge can be an urban intervention, create temporary spaces on a city square or in the suburbs. The Mobile
Hedge project deals with architecture, borders, public space and the fear of what might be behind the hedge.
48
The
Mo
bile
Hed
ge
Installation view of Mobile Hedges inter-vention on the Oscar Niemeyer square in front of Museo National, Brasilia, Brazil.
49
From 2002–2004 Søren Dahlgaard initiated a large vegetable farm on a small coral island in the Maldives. The idea was to find out which veg-etables can grow in the humid and hot tropical climate of the Maldives in order to produce fresh vegetables for the inhab-itants and tourist resorts
in the area, since all vegetables were usually imported from far away. It was a pilot project in drip irrigation. This is an irrigation method, which saves water and fertilizer by allowing water to drip. It is a very successful alternative to the traditional methods. A cornucopia of many
different vegetables was cultivated. This system together with other new forms of technology has been introduced to many island communities and it has contributed to a better lifestyle for the inhabitants. “You went to the Maldives and initiated an idea there, which was productive
50
Gro
win
g V
eget
able
s O
n A
Co
ral I
slan
d
and it was then taken up by the people of the Maldives and expanded this idea through their own productivity. Once the people had taken up an idea and carried it for-ward through their own self-conscious productiv-ity and efforts, it was no longer dependent on the charity that initiated
the idea. This is indeed your achievement and I admire what you have done.” “What is more, you have made yourself as part of the work, thus collapsing the division of subject and object. They have become organ-ically and dynamically one, something the in-stitutionally recognized
conceptualism of Land Art could not achieve–as it became trapped within the museum walls.”
— Rasheed Araeen, artist & founding editor of the art journal Third Text, in Growing Vegetables on a Coral Island, Aarhus Art Building, Denmark 2011.
51
areal view of greenhouse—2500 m2 lettuce & cucumber inside greenhouse
Eskil & Amani
unloading material casting mould for well
52
The
Farm
, M
ald
ives
, 20
02–2
00
4
captain with squid Kalaam, ready for Friday prayers
construction of staff house sail fish
53
Edwin the agronomist & Søren cucumber plant & drip
chinese cabbage harvest going to market
54
Habenero chilies
sorting of chiliessmall chilies
taking harvest to boatcucumber harvest
The
Farm
, M
ald
ives
, 20
02–2
00
4
55
Drip irrigation system & 200 tomato, chili & cucumber plants, pollinating bees, grow lights. Aarhus Art Building, Denmark, 2011.
Red/blue LED grow lights for chili, Aarhus Art Building, Denmark, 2011.
56
Gro
win
g V
eget
able
s O
n A
Co
ral I
slan
d
Photo album, armchair, sand- bank. Galleri Image, Aarhus, 2011.
Exh
ibit
ion
of
Farm
Pro
ject
Exhib
ition vi
ews
—
Kunsthal
Brænder
igår
den,
Viborg
, 201
2
Dough Warrior Landscape Painting, 2008. Dough Portraits, 2008.
58
Exhib
ition vi
ews
—
Kunsthal
Brænder
igår
den,
Viborg
, 201
2
Convex/Concave, 40 kg of plaster, 2009.
The Mobile Hedge, 2 × 2 m, 2010.
Exh
ibit
ion
vie
ws
59
60
Exh
ibit
ion
vie
ws
61
Obstruction Painting, 2012.
62
Destruction of Obstruction Painting, video stills. 2001.
Exh
ibit
ion
vie
ws
63
Fore
word—Bodil Jo
hanne
Monra
d
Pu
blis
hed
by
Ku
nst
hal
Bræ
nd
eri-
går
den
Vib
org
, D
enm
ark,
on
th
e o
ccat
ion
of
the
exh
ibit
ion
Sø
ren
Dah
lgaa
rd—
Seei
ng
is
Bel
ievi
ng
, 9
Ju
ne
—12
Au
gu
st 2
012.
– Exh
ibit
ion
cu
rate
d b
y B
od
il Jo
han
ne
Mo
nra
d &
Hel
ene
Nyb
org
Bay
Exh
ibit
ion
ad
vise
rs:
Mei
r Ta
ti o
f
Bat
Yam
Mu
seu
m H
olo
n,
Isra
el &
Sø
ren
Dah
lgaa
rdG
rap
hic
des
ign
: D
esig
nb
ola
get
Imag
ing
: W
erks
tett
eTe
xts:
Els
e M
arie
Bu
kdah
l, L
isb
eth
B
on
de
& B
od
il Jo
han
ne
Mo
nra
dTr
ansl
atio
n:
KE
Hem
pel
-Jø
rgen
sen
Ph
oto
cre
dit
s: M
ikke
l Tje
llese
n,
Jo
n N
ord
dah
l & S
øre
n D
ahlg
aard
Pri
nte
d b
y: C
lau
sen
Gra
fisk
Ap
SEd
itio
n:
80
0, J
un
e 20
12IS
BN
: 97
8–8
7–9
0192
–74
–7
This
pu
blic
atio
n &
exh
ibit
ion
is s
up
-p
ort
ed b
y Th
e D
anis
h A
rts
Co
un
cil
& K
un
sth
al B
ræn
der
igår
den
Vib
org
.
Ku
nst
hal
Bræ
nd
erig
ård
en
Rid
der
gad
e 8,
DK
–88
00
Vib
org
ww
w.b
raen
der
igaa
rden
.dk
Ack
no
wle
dg
emen
ts:
Pat
rici
a &
Th
om
as A
sbæ
k, L
isel
ott
e H
.
Bir
kmo
se o
f G
alle
ry A
sbæ
k, S
am
Jed
ig S
talk
e G
alle
ri,
Dan
Ory
an o
f
Isra
eli e
mb
assy
Den
mar
k, K
arla
O
sori
o N
etto
of
ECC
O C
on
tem
po
-ra
ry A
rt C
ente
r, B
rasi
lia,
Bra
zil.
– Søre
n D
ahlg
aard
, b
orn
in C
op
en-
hag
en 1
973.
Ed
uca
ted
at
Slad
e Sc
ho
ol o
f Fi
ne
Art
, Lo
nd
on
19
97–
2002
. B
ased
in C
op
enh
agen
.
Sele
cted
exh
ibit
ion
s in
clu
de:
Th
e N
atio
nal
Art
Gal
lery
of
D
enm
ark;
Mo
MA
PS1
, N
ew Y
ork
; Si
ng
apo
re B
ien
nal
e; V
anco
uve
r B
ien
nal
e; B
lurr
per
form
ance
bie
n-
nal
e C
CA
, Te
l Avi
v; p
erfo
rman
ce a
t Lo
uis
ian
a M
use
um
of
Mo
der
n A
rt,
Den
mar
k; C
SW C
on
tem
po
rary
A
rt C
ente
r, W
arsz
awa;
CC
BB
Art
C
ente
r B
rasi
lia;
ECC
O C
on
tem
-p
ora
ry A
rt C
ente
r, B
rasi
lia,
Bra
zil;
A
arh
us
Art
Cen
ter,
Den
mar
k;
Gal
erie
Civ
ica
Tren
to,
Ital
y;
KIA
SMA
Mu
seu
m o
f C
on
tem
po
rary
A
rt,
Hel
sin
ki;
Nat
ion
al A
rt G
alle
ry
of
Mal
div
es;
CC
A A
nd
ratx
, M
allo
rca,
Sp
ain
; A
sbæ
k G
alle
ry,
Co
pen
hag
en;
Ch
isen
hal
e G
alle
ry,
Lon
do
n;
Gw
ang
ju In
tern
atio
nal
Art
Fes
tiva
l,
Sou
th K
ore
a; P
AN
, P
alaz
zo d
elle
A
rti N
apo
li, It
aly
& T
he
Dig
ital
Art
C
ente
r H
olo
n,
Isra
el.
Pu
blic
Co
llect
ion
s:Th
e D
anis
h A
rts
Fou
nd
atio
n.
The
Co
pen
hag
en C
ity
Co
un
cil
Co
llect
ion
.EC
CO
Co
nte
mp
ora
ry A
rt C
ente
r,
Bra
silia
, B
razi
l.M
use
o N
atio
nal
Bra
silia
, B
razi
l.
Vid
eo A
rch
ives
:C
CA
—C
on
tem
po
rary
Art
Cen
ter,
Te
l Avi
v.Th
e Is
rael
i Cen
ter
for
Dig
ital
Art
.U
rsu
la B
lickl
e V
ideo
arch
ive,
K
un
sth
alle
Wie
n,
Au
stri
a.–
w
ww
.so
ren
dah
lgaa
rd.c
om
Dan
ish
per
form
ance
an
d c
on
cep
tual
ar
tist
, Sø
ren
Dah
lgaa
rd (
b. 1
973)
, u
ses
bo
th g
ravi
ty a
nd
hu
mo
ur
in
crea
tin
g h
is a
rtw
ork
s; t
hes
e ap
pea
l ae
sth
etic
ally
an
d v
isu
ally
to
ou
r in
-te
llect
, fe
elin
gs
and
imag
inat
ion
.
C
on
cep
tual
art
off
ers
an o
pp
or-
tun
ity
for
chal
len
gin
g t
he
stru
c-tu
res
of
ou
r d
aily
live
s an
d t
his
is t
he
star
tin
g p
oin
t fo
r Sø
ren
Dah
lgaa
rd’s
h
um
ou
r, w
hic
h is
th
e ca
pti
vati
ng
ch
arm
of
his
art
. H
is w
ork
s ca
use
a
shif
t in
ou
r p
erce
pti
on
or
des
tab
ilise
w
hat
are
“ac
cep
ted
” b
ut
invi
sib
le
con
ven
tio
ns,
bri
ng
ing
to
ou
r at
ten
-ti
on
rel
evan
t p
oin
ts f
or
dis
cuss
ion
, fo
r ex
amp
le,
abo
ut
iden
tity
, at
ti-
tud
es t
o t
he
un
fam
iliar
or
mo
re a
rt-
rela
ted
qu
esti
on
s su
ch a
s th
e ro
le
of
the
arti
st a
nd
art
his
tory
.
Søre
n D
ahlg
aard
’s w
ork
is u
sual
ly
refl
ecti
ve a
nd
ph
iloso
ph
ical
, p
os-
in
g q
ues
tio
ns
abo
ut
oth
erw
ise
ac-
cep
ted
tru
ths.
Wh
en a
pri
vet
hed
ge
is p
lace
d o
n w
hee
ls a
nd
can
mo
ve
(Th
e M
ob
ile H
edg
e) it
ch
ang
es,
e. g
.,
its
pu
rpo
se,
and
po
ses
qu
esti
on
s ab
ou
t o
ur
rela
tio
nsh
ips
wit
h lo
cal
nei
gh
bo
urs
an
d o
ur
atti
tud
es t
o th
ing
s th
at a
re s
tran
ge
and
un
-kn
ow
n.
Or,
wh
en w
alls
bre
ath
e an
d
mo
ve c
on
tin
uo
usl
y fr
om
co
nve
x to
co
nca
ve (
The
Bre
ath
ing
Ro
om
),
they
exa
min
e an
d c
hal
len
ge
the
stat
ic,
wh
ite
exh
ibit
ion
ro
om
.
Seei
ng
is B
elie
vin
g is
th
e la
rges
t sp
ecia
l exh
ibit
ion
to
dat
e o
f Sø
ren
D
ahlg
aard
’s w
ork
s, a
nd
it is
Ku
nst
-h
al B
ræn
der
igår
den
’s w
ish
to
pre
-se
nt
an a
rtis
t w
ho
se w
ork
s o
pen
up
n
ew m
ean
ing
s an
d e
nco
ura
ge
us
to
wo
nd
er a
bo
ut
and
ref
lect
ove
r w
hat
w
e se
e.
Sø
ren
Dah
lgaa
rd h
as a
lrea
dy
ach
ieve
d c
on
sid
erab
le r
eco
gn
itio
n
on
th
e in
tern
atio
nal
art
sce
ne
and
h
is w
ork
s h
ave
bee
n e
xhib
ited
in
imp
ort
ant
mu
seu
ms
aro
un
d t
he
wo
rld
. K
un
sth
al B
ræn
der
igår
den
h
op
es t
his
exh
ibit
ion
will
pro
vid
e th
e D
anis
h p
ub
lic w
ith
th
e o
pp
or-
tun
ity
to s
ee S
øre
n D
ahlg
aard
’s
wo
rk d
isp
laye
d in
a la
rger
fo
rmat
. K
un
sth
al B
ræn
der
igår
den
wo
uld
like
to
off
er m
any
than
ks t
o t
he
ow
ner
s w
ho
hav
e so
kin
dly
pla
ced
wo
rks
at o
ur
dis
po
sal.
We
wo
uld
als
o li
ke
to t
han
k th
e D
anis
h A
rt C
ou
nci
l’s
Vis
ual
Art
s C
om
mit
tee
for
eco
no
mic
su
pp
ort
to
war
ds
the
exh
ibit
ion
an
d
this
cat
alo
gu
e. L
ast
bu
t n
ot
leas
t,
we
wo
uld
like
to
th
ank
the
auth
ors
o
f th
e ca
talo
gu
e, E
lse
Mar
ie B
ukd
ahl
and
Lis
bet
h B
on
de;
an
d a
sp
ecia
l th
ank
you
to
Sø
ren
Dah
lgaa
rd f
or
bo
th h
is in
tere
st a
nd
par
tici
pat
ion
th
rou
gh
ou
t th
e en
tire
pro
cess
of
sett
ing
up
th
e ex
hib
itio
n,
and
fo
r h
avin
g c
reat
ed s
o m
any,
wo
nd
erfu
l,
fun
ny
and
rel
evan
t w
ork
s, w
hic
h w
e ar
e ve
ry p
rou
d t
o b
e ab
le t
o p
rese
nt
to t
he
visi
tors
of
the
Art
Cen
ter
Fore
word—Bodil Jo
hanne
Monra
d
65
The
Dad
aist
s–es
pec
ially
Mar
cel D
uch
amp
wh
o w
as t
he
mo
st in
flu
enti
al–
sho
cked
th
e ar
t w
orl
d in
th
e p
erio
d
1914
–192
0. T
hey
wer
e th
e fi
rst
to s
erio
usl
y ch
alle
ng
e th
e co
nce
pt
of
wh
at c
on
stit
ute
s a
wo
rk o
f ar
t an
d t
hey
init
i-at
ed n
ew a
rt f
orm
s su
ch a
s p
erfo
rman
ce a
nd
inst
alla
tio
n
art.
Dad
a w
as n
ot–
as e
xpla
ined
by
Han
s R
ich
ter
“an
ar
tist
ic m
ove
men
t in
th
e ac
cep
ted
sen
se;
it w
as a
sto
rm
that
bro
ke o
ver
the
wo
rld
of
art
as t
he
war
did
ove
r th
e n
atio
ns.
It c
ame
wit
ho
ut
war
nin
g,
ou
t o
f a
hea
vy,
bro
od
ing
sk
y, a
nd
left
beh
ind
it a
new
day
in w
hic
h t
he
sto
red
-up
en
erg
ies
rele
ased
by
Dad
a w
ere
evid
ence
d in
n
ew f
orm
s, n
ew m
ater
ials
, n
ew id
eas,
new
dir
ecti
on
s,
new
peo
ple
–an
d in
wh
ich
th
ey a
dd
ress
ed t
hem
selv
es
to n
ew p
eop
le”.
1
Th
e D
adai
sts
had
an
en
orm
ou
s im
pac
t u
po
n t
he
con
seq
uen
t b
reak
thro
ug
h in
th
e ar
t w
orl
d,
as w
ell a
s o
n
mo
re r
ecen
t b
reak
thro
ug
hs.
Yve
s K
lein
(19
28–1
962)
, fo
r ex
amp
le,
on
e o
f th
e N
eo-D
adai
sts,
exp
erim
ente
d w
ith
“l
ivin
g b
rush
es”
as a
new
met
ho
d o
f ap
ply
ing
pai
nt.
Th
e “b
rush
es”
that
he
pre
ferr
ed w
ere
usu
ally
wo
men
wh
o,
cove
red
in p
ain
t–p
refe
rab
ly b
lue
–cr
eate
d a
var
iety
of
imag
es o
n t
he
can
vas
by
pre
ssin
g t
hem
selv
es a
gai
nst
it,
as c
an b
e se
en in
his
fo
ur
so-c
alle
d A
nth
rop
om
étr
ies.
In t
he
spir
it o
f D
ada,
th
e Fl
uxu
s m
ove
men
t d
uri
ng
th
e 19
60
s w
as n
ote
d f
or
mix
ing
dif
fere
nt
arti
stic
med
ia
in s
urp
risi
ng
way
s to
cre
ate
new
art
fo
rms.
Flu
xus
art-
ists
, es
pec
ially
Jo
sep
h B
euys
(19
21–8
6),
love
d t
o w
ork
w
ith
wh
atev
er m
ater
ials
wer
e at
han
d a
nd
to
cre
ate
un
pre
dic
tab
le p
erfo
rman
ces.
In J
apan
, th
e G
uta
i gro
up
New ch
allen
ges fo
r
art &
socie
ty
—
Aspec
ts o
f Søre
n Dah
lgaa
rd’s
art
follo
wed
a m
anif
esto
wri
tten
by
Yosh
ihar
a in
195
6. H
e w
as c
on
vin
ced
th
at “
no
vel b
eau
ty w
as t
o b
e fo
un
d
in w
ork
s o
f ar
t an
d a
rch
itec
ture
of
the
pas
t w
hic
h h
ave
chan
ged
th
eir
app
eara
nce
du
e to
th
e d
amag
e o
f ti
me
or
des
tru
ctio
n b
y d
isas
ters
in
the
cou
rse
of
the
cen
turi
es.”
His
id
eas
fou
nd
exp
ress
ion
in s
tart
ling
p
erfo
rman
ce-b
ased
wo
rks,
su
ch a
s C
hal
len
gin
g M
ud
(19
55)
by
Kaz
uo
Shir
aga.
Th
ese
inn
ova
tio
ns
hav
e in
spir
ed
the
inte
r-co
nn
ecte
d a
rtis
tic
exp
eri-
men
ts t
hat
hav
e u
nco
vere
d n
ew
pat
hs
in a
fam
iliar
wo
rld
. Th
is d
evel
-o
pm
ent
inte
nsi
fied
co
nsi
der
ably
d
uri
ng
th
e 19
80
s. A
rtis
t d
uo
Pet
er
Fisc
hli
(195
2–)
and
Dav
id W
eiss
(1
946
–201
2) m
ade
a si
gn
ific
ant
co
ntr
ibu
tio
n;
to e
xper
ien
ce t
hei
r
inst
alla
tio
ns
and
film
s, f
or
exam
ple
, Th
e W
ay T
hin
gs
Go
(19
84
–87)
, ca
n
giv
e n
ew d
imen
sio
ns
to o
ur
con
ven
-ti
on
al,
ever
yday
live
s. T
hei
r w
ork
s h
ave
bee
n d
escr
ibed
as
“po
st a
po
c-al
ypti
c”,
bec
ause
th
ey d
ealt
wit
h
chai
n r
eact
ion
s an
d t
he
way
in
wh
ich
dif
fere
nt
ob
ject
s ta
ke f
ligh
t,
lan
d a
nd
exp
lod
e. In
th
e 19
90
s th
e im
pac
t o
f th
is a
rtis
t d
uo
sp
read
as
rin
gs
in w
ater
. R
om
an S
ign
er
(193
8–)
, w
ho
cre
ates
“ac
tio
n s
culp
-tu
res”
, u
ses
a w
ork
ing
vo
cab
ula
ry
of
ever
yday
item
s, f
or
exam
ple
, u
m-
bre
llas,
tab
les,
ch
airs
an
d c
on
tain
-er
s. W
ith
wo
rks,
su
ch a
s K
urh
aus
Wei
ssb
ad (
1992
), h
e cr
eate
s a
forc
e-fu
l vis
ual
an
d a
ffec
tive
exp
erie
nce
. Th
e C
hin
ese
arti
st C
ai G
uo
-Qia
ng
(1
957–
) h
as m
ade
new
co
ntr
ibu
tio
ns
to t
his
par
ticu
lar
fiel
d o
f d
ynam
ic
inst
alla
tio
n a
rt.
In 1
993
he
crea
ted
th
e si
te s
pec
ific
Pro
ject
to
ext
end
th
e G
reat
Wal
l of
Ch
ina
by
10,
00
0 M
ete
rs:
Pro
ject
fo
r E
xtra
terr
estr
ials
N
o 10,
wh
ich
co
nsi
sted
of
an a
pp
rox-
imat
ely
six-
mile
lon
g g
un
po
wd
er
fuse
th
at e
xten
ded
, in
a d
rag
on
-lik
e p
atte
rn,
bey
on
d t
he
Wes
tern
en
d o
f th
e G
reat
Wal
l, a
t th
e ed
ge
of
the
Go
bi d
eser
t.
In
stal
lati
on
s b
y Fr
anci
s A
lÿs
(195
9–)
, su
ch a
s W
hen
Fai
th M
ove
s M
ou
nta
ins
(20
02),
pre
sen
t u
s w
ith
n
ew o
bse
rvat
ion
s o
f so
cial
an
d c
ul-
tura
l co
nd
itio
ns
in a
par
ticu
lar
area
. Th
ese
are
oft
en in
terp
rete
d t
hro
ug
h
wal
ks in
urb
an s
pac
es.
Vik
Mu
niz
(1
961–
) cr
eate
s n
ew in
terp
reta
tio
ns
of
fam
ou
s ar
two
rks,
fo
r ex
amp
le,
Do
ub
le M
on
a Li
sa,
Aft
er W
arh
ol
(19
99)
, b
ased
on
a 1
963
scr
een
pri
nt
by
An
dy
War
ho
l. F
avo
uri
ng
un
usu
al
mat
eria
ls h
e h
as u
sed
jel
ly a
nd
pea
-n
ut
bu
tter
giv
ing
it a
th
ou
gh
t-p
ro-
voki
ng
tra
nsf
orm
atio
n.
In t
he
star
t o
f 20
12,
MA
SS M
oC
A p
rovi
ded
an
ed
uca
tio
nal
op
po
rtu
nit
y in
co
nn
ec-
tio
n w
ith
th
eir
Sol L
eWit
t re
spec
tive
ex
hib
itio
n,
by
aski
ng
th
e p
ub
lic t
o “s
imp
ly m
ake
a sa
nd
wic
h o
f o
ne
of
his
wo
rks”
an
d s
end
an
imag
e o
f it
to
th
e m
use
um
.
The
wel
l-kn
ow
n D
anis
h p
erfo
r-m
ance
an
d c
on
cep
tual
art
ist,
Sø
ren
D
ahlg
aard
(19
73–)
, w
as in
flu
ence
d
qu
ite
earl
y o
n in
his
car
eer
by
the
Dad
aist
s, e
spec
ially
Du
cham
p,
as
wel
l as
the
Neo
-Dad
aist
s, a
mo
ng
o
ther
s Y
ves
Kle
in.
Oth
er in
flu
ence
s w
ere
bo
th t
he
Flu
xus
mo
vem
ent
an
d t
he
Gu
tai g
rou
p’s
inn
ova
tio
ns.
Sø
ren
Dah
lgaa
rd’s
mee
tin
g w
ith
C
hri
s B
urd
en’s
exp
erim
enta
l per
for-
man
ces
and
sel
f-in
flic
ted
dan
ger
w
as a
new
so
urc
e o
f in
spir
atio
n,
New ch
allen
ges fo
r
art &
socie
ty
—
Aspec
ts o
f Søre
n Dah
lgaa
rd’s
art
Asp
ects
of
Søre
n D
ahlg
aard
’s a
rt67
as w
as P
aul M
cCar
thy’
s vi
deo
-tap
ed
per
form
ance
s an
d p
rovo
cati
ve
mu
ltim
edia
inst
alla
tio
ns
and
Jo
hn
B
ald
essa
ri’s
wo
rks
that
qu
esti
on
ed
the
idea
of
arti
stic
au
tho
rsh
ip.
Th
ere
is m
uch
to
su
gg
est
that
it
was
wh
en S
øre
n D
ahlg
aard
was
in
tro
du
ced
to
th
e in
no
vati
ve,
oft
en
larg
e sc
ale,
inst
alla
tio
ns
crea
ted
by
Fisc
hli
and
Wei
ss,
Ro
man
Sig
ner
an
d
Cai
Gu
o-Q
ian
g,
that
he
seri
ou
sly
dev
elo
ped
a k
een
inte
rest
in c
reat
-in
g h
is o
wn
evo
cati
ve,
arti
stic
ex-
per
imen
ts in
his
ow
n p
erso
nal
sty
le.
Sø
ren
Dah
lgaa
rd w
ou
ld d
ou
bt-
less
ag
ree
wit
h J
ean
Fis
cher
’s
com
men
t re
gar
din
g t
he
abo
vem
en-
tio
ned
art
wo
rks
“th
e ra
dic
al e
ven
t o
f ar
t p
reci
pit
ates
a c
risi
s o
f m
ean
-in
g o
r, r
ath
er,
it e
xpo
ses
the
void
o
f m
ean
ing
at
the
core
of
a g
iven
so
cial
sit
uat
ion
, w
hic
h is
its
tru
th.”
Søre
n D
ahlg
aard
has
als
o b
een
fa
scin
ated
by
the
du
al n
atu
re o
f th
e o
ften
bo
un
dar
y-b
reak
ing
inst
al-
lati
on
s, p
erfo
rman
ces
and
vid
eos
mad
e b
y th
ese
arti
sts;
hu
mo
ur
and
g
ravi
ty,
amu
sem
ent
and
imp
ort
ant
exis
ten
tial
pro
ble
ms
are
bo
un
d
tog
eth
er in
an
aes
thet
ic w
ay t
hat
ap
pea
ls t
o t
he
inte
llect
, fe
elin
gs,
fa
nta
sy a
nd
sen
ses.
M
any
of
Søre
n D
ahlg
aard
’s o
wn
p
erfo
rman
ces
and
inst
alla
tio
ns
re-
veal
th
at h
e, li
ke D
uch
amp
, p
ose
s th
e q
ues
tio
n t
hat
if t
he
wo
rld
ex-
ists
bec
ause
I p
erce
ive
it,
can
it b
e p
rove
d t
hat
an
y re
alit
y, a
ny
Din
g a
n
sich
, u
nd
erlie
s it
? O
r, a
s M
arti
n H
ei-
deg
ger
has
exp
ress
ed it
: “H
ow
can
I kn
ow
th
at t
his
wo
rld
is n
ot
sim
ply
a
dre
am,
a sh
imm
erin
g h
allu
cin
atio
n,
a h
ori
zon
no
lon
ger
su
ffu
sed
wit
h
its
ow
n li
gh
t b
ut
wit
h m
ine.
” 2 T
wo
of
his
ear
lier
wo
rks
crea
ted
in 1
997
d
epic
t a
cod
wit
h la
mb
’s w
oo
l an
d a
ka
ng
aro
o w
ith
fea
ther
s. B
oth
wo
rks
sug
ges
t th
at t
hin
gs
and
th
e w
orl
d
as s
uch
can
be
dif
fere
nt
to w
hat
we
bel
ieve
it t
o b
e. T
he
wo
rld
aro
un
d u
s is
no
t ea
sily
un
der
sto
od
. Th
e sa
me
idea
is p
rese
nte
d in
an
oth
er w
ay in
th
e vi
deo
Ho
use
Sla
mm
ing
(19
99)
, in
wh
ich
hig
h-r
ise
bu
ildin
gs
fall
ove
r th
en r
ise
up
rig
ht
agai
n.
It is
a
refe
ren
ce t
o t
hin
gs
that
we
thin
k ar
e st
abile
, m
ay a
ctu
ally
co
nta
in u
n-
pre
dic
tab
le p
atte
rns
of
mo
vem
ent.
Wat
chin
g t
his
vid
eo b
rin
gs
to m
ind
th
e w
ord
s o
f th
e Fr
ench
ph
iloso
ph
er
Pas
cal,
wh
o w
rote
in 1
670:
“W
e sa
il w
ith
in a
vas
t sp
her
e,
ever
dri
ftin
g in
un
cert
ain
ty,
dri
ven
fr
om
en
d t
o e
nd
. W
hen
we
thin
k to
at
tach
ou
rsel
ves
to a
ny
po
int
and
to
fas
ten
to
it,
it w
aver
s an
d le
aves
u
s; a
nd
if w
e fo
llow
it,
it e
lud
es o
ur
gra
sp,
slip
s p
ast
us,
an
d v
anis
hes
fo
r ev
er.
No
thin
g s
tays
fo
r u
s. T
his
is
ou
r n
atu
ral c
on
dit
ion
an
d y
et m
ost
co
ntr
ary
to o
ur
incl
inat
ion
; w
e b
urn
w
ith
des
ire
to f
ind
so
lid g
rou
nd
an
d
an u
ltim
ate
sure
fo
un
dat
ion
wh
ere-
on
to
bu
ild a
to
wer
rea
chin
g t
o t
he
Infi
nit
e. B
ut
ou
r w
ho
le g
rou
nd
wo
rk
crac
ks,
and
th
e ea
rth
op
ens
to
abys
ses.
” 3
P
hilo
sop
her
an
d N
ob
el P
rize
w
inn
er,
Ilya
Pri
go
gin
e, h
as e
mp
ha-
sizi
d t
hat
ou
r w
orl
d “
is b
ran
ded
wit
h
the
mar
k o
f ra
dic
al u
nce
rtai
nty
.” 4
This
ass
erti
on
, w
hic
h is
a r
adic
al,
mo
der
n in
terp
reta
tio
n o
f P
asca
l’s
view
s, p
erm
eate
s va
rio
us
vers
ion
s o
f Sø
ren
Dah
lgaa
rd’s
inst
alla
tio
ns,
p
erfo
rman
ces
and
vid
eos.
Ho
w-
ever
, in
co
ntr
ast
to p
hilo
sop
hic
an
d
New
ch
alle
ng
es f
or
art
and
so
ciet
y–6
8
scie
nti
fic
des
crip
tio
ns
of
this
to
pic
, h
is v
isu
alis
atio
ns
are
char
acte
rise
d
by
hu
mo
ur,
co
mic
per
form
ance
an
d
amu
sin
g,
un
pre
dic
tab
le t
acti
cs.
Wh
en w
e co
nsi
der
his
wo
rk w
e ar
e n
ot
ove
rwh
elm
ed b
y co
nce
pts
an
d
cate
go
ries
or
a p
oet
ic d
isco
urs
e,
bu
t an
inte
nse
, vi
tal a
nd
per
son
al
arti
stic
inte
rpre
tati
on
, w
hic
h a
l-m
ost
etc
hes
itse
lf in
to o
ur
imag
i-n
atio
n.
This
is k
een
ly e
xper
ien
ced
w
hen
wat
chin
g H
exag
on
al C
yclo
ps
(20
00)
in w
hic
h a
man
is t
ryin
g t
o p
rote
ct h
imse
lf a
gai
nst
th
e lu
mp
s o
f d
ou
gh
bei
ng
flu
ng
at
him
. Th
ere
is n
o e
nd
ing
to
th
e st
ory
. W
e ar
e ca
ug
ht
up
in a
ten
se s
itu
atio
n in
a
roo
m t
hat
see
ms
to b
e u
nd
er s
ur-
veill
ance
, si
mila
r to
th
at f
ou
nd
in
pri
son
s. W
hen
we
view
Ob
stru
ctio
n
Pai
nti
ng
(20
01),
we
get
a s
tro
ng
fe
elin
g o
f b
ein
g c
on
fro
nte
d b
y a
con
cep
t o
f m
atte
r, w
her
e m
atte
r is
“a
ctiv
e”,
lead
ing
to
irre
vers
ible
pro
-ce
sses
. Th
is w
ork
dem
on
stra
tes
to
us
wh
at h
app
ens
wh
en t
he
“fra
me”
ta
kes
ove
r co
ntr
ol a
nd
sp
read
s o
ut
into
th
e ro
om
min
imal
isin
g t
he
con
ten
ts.
3
-Ho
ur
Scu
lptu
re (
200
6) e
x-em
plif
ies
the
du
alit
y o
f g
ravi
ty a
nd
h
um
ou
r th
at is
ch
arac
teri
stic
of
Søre
n D
ahlg
aard
’s a
rtis
tic
acti
viti
es.
A 1
00
kg
lum
p o
f d
ou
gh
slo
wly
an
d
wit
h p
red
icta
ble
mo
vem
ent
flo
ws
ove
r th
e ed
ge
of
a ri
gid
, sp
ecia
lly
pre
par
ed a
qu
ariu
m.
It is
a s
culp
ture
w
ith
a li
mit
ed t
ime
span
an
d h
as
ther
efo
re b
een
do
cum
ente
d b
y a
seri
es o
f p
ho
tos,
wh
ich
is t
he
cul-
min
atio
n o
f th
e w
ork
. A
gai
n,
wit
h
12-
Seco
nd
Scu
lptu
re (
200
6),
wh
ich
sh
ow
s a
lum
p o
f d
ou
gh
th
at f
alls
al
mo
st r
yth
mic
ally
off
a c
hai
r o
nto
th
e fl
oo
r, w
e ex
per
ien
ce h
ow
an
art
-w
ork
loo
ks,
lives
an
d m
ove
s. W
ith
b
oth
th
ese
wo
rks
Søre
n D
ahlg
aard
h
as u
sed
a f
orm
of
exp
ress
ion
th
at
com
mu
nic
ates
dir
ectl
y–an
d w
ith
h
um
ou
r–to
th
e vi
ewer
s, r
egar
dle
ss
of
wh
o t
hey
are
.
In T
he
Do
ug
h W
arri
or
lan
dsc
ape
pai
nti
ng
per
form
ance
(20
08)
Sø
ren
D
ahlg
aard
has
bec
om
e tr
ansf
orm
ed
into
a c
om
ical
an
d h
ard
-wo
rkin
g
pai
nte
r, w
ho
is c
ove
red
fro
m t
op
to
toe
in b
agu
ette
s. H
e th
row
s h
imse
lf
into
his
pai
nti
ng
tas
k w
ith
an
alm
ost
war
like
inte
nsi
ty a
nd
is t
her
efo
re
calle
d t
he
Do
ug
h W
arri
or.
He
fig
hts
to
cre
ate
his
mas
terp
iece
an
d
thro
ug
h t
his
pro
cess
he
reve
als
a n
ew u
nd
erst
and
ing
ab
ou
t th
e te
ch-
niq
ues
an
d h
isto
ry o
f ar
t. H
e u
ses
abo
ut
100
litr
es o
f p
ain
t, w
hic
h is
u
sed
alm
ost
exp
losi
vely
an
d u
np
re-
dic
tab
ly.
In t
he
vid
eo s
ho
win
g t
his
p
roce
ss w
e w
itn
ess
ho
w o
ne
min
ute
h
is w
ork
ru
ns
smo
oth
ly,
the
nex
t q
uit
e b
adly
, th
en s
om
ewh
ere
in b
e-tw
een
. W
e w
atch
so
mew
hat
am
azed
an
d in
su
spen
se w
hile
hed
ge
and
p
ain
ter
bec
om
e co
vere
d in
bri
gh
tly
colo
ure
d a
nd
tex
ture
d p
ain
t, b
oth
b
eco
min
g a
livi
ng
, ex
pre
ssiv
e la
nd
-sc
ape
scen
e w
ith
qu
ick
chan
ges
in
tem
po.
Th
e tr
adit
ion
al la
nd
scap
e p
ain
tin
g h
as b
een
co
nve
rted
into
an
exc
itin
g p
erfo
rman
ce.
This
wo
rk
sho
ws
ho
w S
øre
n D
ahlg
aard
wo
rks
bo
th in
tuit
ivel
y an
d r
efle
ctiv
ely,
as
he
reve
als
new
asp
ects
of
the
oft
en
un
ruly
an
d o
ften
un
con
tro
llab
le
arti
stic
pro
cess
an
d d
raw
s u
s in
to
his
dyn
amic
art
isti
c u
niv
erse
.
Do
ug
h P
ort
rait
s (2
00
8–2
012)
ar
e p
rom
inen
t w
ork
s in
Sø
ren
Asp
ects
of
Søre
n D
ahlg
aard
’s a
rt6
9
Dah
lgaa
rd’s
pro
du
ctio
n.
He
has
cr
eate
d a
bo
ut
100
0 o
f th
em a
nd
h
as p
rese
nte
d t
hem
su
cces
sfu
lly in
te
n d
iffe
ren
t co
un
trie
s. T
he
peo
-p
le b
ein
g p
ort
raye
d c
ho
ose
wh
ich
d
ou
gh
th
ey w
ill u
se a
nd
mo
uld
it
so it
co
vers
th
eir
face
s; t
hey
are
p
arti
cip
atin
g in
th
e ar
tist
ic p
roce
ss
them
selv
es.
In t
his
way
th
e “s
itte
rs”
reve
al o
ther
imp
ort
ant
asp
ects
of
thei
r p
erso
nal
itie
s, o
ther
th
an t
ho
se
reve
aled
by
thei
r fa
ces.
The
Mo
bile
Hed
ge
(201
1) w
as
exh
ibit
ed a
t th
e C
on
tem
po
rary
Art
C
entr
e in
Bra
silia
, B
razi
l. T
he
hed
ge
was
set
on
wh
eels
so
th
at it
co
uld
in
terv
ene
in u
rban
sp
ace
and
fa-
cilit
ate
new
dia
log
ue
situ
atio
ns
be-
twee
n p
eop
le;
peo
ple
wh
o p
erh
aps
wo
uld
no
t o
ther
wis
e m
eet
or
wo
uld
ju
st b
e p
assi
ve.
The
Mo
bile
Hed
ge
was
mo
ved
aro
un
d t
he
ou
tsid
e o
f th
e o
val b
uild
ing
. D
uri
ng
th
is c
ircu
it
the
mo
bile
hed
ge
met
a g
rou
p o
f si
xth
gra
de
sch
oo
l ch
ildre
n,
wh
o im
med
iate
ly s
tart
ed t
o p
lay
and
tal
k to
get
her
, w
hils
t ea
tin
g p
op
corn
.
A li
vin
g s
pac
e h
ad s
ud
den
ly b
een
es
tab
lish
ed–
an e
xam
ple
of
ho
w
The
Mo
bile
Hed
ge
can
fac
ilita
te
soci
al c
om
mu
nic
atio
n.
Si
nce
th
e 19
70s
ther
e h
ave
bee
n
seve
ral b
reak
thro
ug
hs
in t
he
USA
, w
hic
h h
ave
bro
ken
aw
ay f
rom
tra
di-
tio
nal
co
nce
pts
of
wh
at c
on
stit
ute
s a
wo
rk o
f ar
t. S
om
e o
f th
e ea
rlie
r ar
tist
s, f
or
exam
ple
, R
ob
ert
Smit
h-
son
, cr
eate
d L
and
Art
. Th
eir
mat
eri-
als
con
sist
ed o
f n
atu
ral p
hen
om
ena
or
of
nat
ure
itse
lf.
Seve
ral o
f th
em,
esp
ecia
lly M
ich
ael S
ing
er,
wer
e at
th
e fo
refr
on
t o
f en
viro
nm
enta
l co
n-
scio
usn
ess
and
nat
ure
-bas
ed a
rt.
The
eco
log
ical
fo
rm o
f La
nd
Art
has
b
een
th
e in
spir
atio
n b
ehin
d S
øre
n
Dah
lgaa
rd’s
mo
st c
om
pre
hen
sive
w
ork
–G
row
ing
Veg
eta
ble
s o
n a
C
ora
l Isl
and
Hib
alh
idh
oo.
Fro
m
2002
–20
04
he
bu
ilt a
larg
e ve
get
able
fa
rm o
n a
sm
all c
ora
l isl
and
in t
he
Mal
div
es.
The
idea
was
to
fin
d o
ut
wh
ich
veg
etab
les
cou
ld b
e g
row
n in
th
e h
um
id a
nd
ho
t tr
op
ical
clim
ate
of
the
Mal
div
es.
Th
e ai
m w
as t
o p
rod
uce
fre
sh
veg
etab
les
for
the
inh
abit
ants
an
d
tou
rist
res
ort
s in
th
e ar
ea a
s n
earl
y al
l veg
etab
les
wer
e im
po
rted
fro
m
far
away
. It
was
a p
ilot
pro
ject
in
dri
p ir
rig
atio
n.
This
met
ho
d s
aves
w
ater
an
d f
erti
lizer
by
allo
win
g
wat
er t
o d
rip
slo
wly
into
so
il b
y th
e p
lan
ts.
It is
a v
ery
succ
essf
ul
alte
rnat
ive
to t
rad
itio
nal
met
ho
ds.
A
co
rnu
cop
ia o
f m
any
dif
fere
nt
veg
-et
able
s w
as c
ult
ivat
ed.
The
fou
nd
er
of
Eco
Aes
thet
ic,
Ras
hee
d A
raee
n,
has
str
esse
d t
hat
th
is p
roje
ct h
as
imp
ress
ivel
y co
ntr
ibu
ted
to
“d
emo
l-is
h t
he
dif
fere
nce
bet
wee
n in
stru
-m
enta
l pro
du
ctiv
ity
and
art
isti
c cr
eati
vity
.” 5
A
nd
ers
Ko
ld,
cura
tor
at L
ou
i-si
ana
Mu
seu
m o
f M
od
ern
Art
, h
as
stre
ssed
th
at S
øre
n D
ahlg
aard
“is
fu
nd
amen
tally
an
art
ist
con
cern
ed
wit
h d
ialo
gu
e”.6
It is
pre
cise
ly f
rom
th
is d
ialo
gu
e th
at n
ew u
nd
erst
and
-in
g o
r kn
ow
led
ge
can
ari
se.
Søre
n
Dah
lgaa
rd is
co
nst
antl
y d
raw
ing
n
ew b
ou
nd
arie
s in
th
e ar
t w
orl
d.
H
e b
rin
gs
us
to a
th
resh
old
of
a
visi
on
cap
able
of
tran
scen
din
g o
ur
pre
sen
t ex
per
ien
ce a
nd
insp
irin
g
us
to t
hin
k an
d f
eel i
n a
new
way
an
d d
isco
ver
un
exp
ecte
d a
spec
ts
of
the
surr
ou
nd
ing
wo
rld
.
New
ch
alle
ng
es f
or
art
and
so
ciet
y–70
In
all
his
wo
rks
he
incl
ud
es h
im-
self
wit
hin
th
e sc
op
e o
f ir
on
y an
d
hu
mo
ur,
dra
ws
us
into
a m
agic
al
sph
ere
and
sti
mu
late
s u
s to
exp
eri-
ence
it w
ith
th
e en
tire
bo
dy
and
all
its
sen
ses
– Else
Mar
ie B
ukd
ahl,
dr.
ph
il.,
fo
rmer
rec
tor
of
The
Ro
yal D
anis
h
Aca
dem
y o
f Fi
ne
Art
s, T
he
Sch
oo
l o
f V
isu
al A
rts.
1 H
. R
ich
ter,
Dad
a. A
rt a
nd
A
nti
-Art
, Lo
nd
on
196
4,
p. 9
2 Q
uo
ted
by
H.
Ric
hte
r in
o
p c
it,
p. 9
1.
3 P
asca
l. (
Sele
cted
tex
ts).
Wit
h
intr
od
uct
ion
an
d n
ote
s b
y Jø
rgen
B
ukd
ahl.
Tra
nsl
ated
to
Dan
ish
by
Ast
a K
rau
se-J
ense
n,
Ber
ling
ske,
19
70,
p. 1
61 &
p. 1
64.
En
glis
h
tran
slat
ion
fro
m T
he
Pro
ject
Gu
ten
-b
erg
eB
oo
k o
f P
asca
l’s P
ensé
es,
Sect
ion
II,
72,
p. 1
9. h
ttp
://
ww
w.g
ute
nb
erg
.org
/file
s/18
269/
18
269-
h/1
8269
-h.h
tm.
4 Il
ya P
rig
og
ine
and
Isab
elle
St
eng
ers,
Ord
er o
ut
of
Ch
aos.
M
an’s
new
Dia
log
ue
wit
h N
atu
re,
Lon
do
n,
198
4,
p. 3
13.
5 Sø
ren
Dah
lgaa
rd,
“Dis
cuss
ion
: R
ash
eed
Ara
een
an
d S
øre
n
Dah
lgaa
rd”
in t
he
cata
log
ue
to
the
exh
ibit
ion
Gro
win
g V
ege
tab
les
on
a C
ora
l Isl
and
in A
arh
us
Co
nte
m-
po
rary
Art
Cen
tre,
22
Jan
uar
y—
3 A
pri
l, 2
011.
6 Sø
ren
Dah
lgaa
rd,
The
Do
ug
h
War
rio
r p
roje
ct!
Text
by
An
der
s K
old
. C
op
enh
agen
, 20
08,
p. 5
1.
Asp
ects
of
Søre
n D
ahlg
aard
’s a
rt71
Co
nte
mp
ora
ry a
rt,
wh
ich
th
rive
s o
n t
he
man
ifo
ld e
ner
-g
ies
of
tod
ay,
is t
hat
art
th
at g
ives
us
a g
limp
se o
f th
ese
ener
gie
s w
hile
un
fold
ing
th
emse
lves
; is
th
at a
rt w
hic
h
tran
sfo
rms
thes
e en
erg
ies
in w
ays
that
mak
e u
s in
ter-
este
d in
wh
at is
to
co
me.
1
Søre
n D
ahlg
aard
’s (
b. 1
973
Co
pen
hag
en)
con
cep
tual
w
ork
s ar
e ex
oti
c, c
olo
urf
ul a
nd
fu
ll o
f h
um
ou
r. T
hey
are
m
ost
oft
en e
xpre
ssed
per
form
ativ
ely
in t
he
zon
e b
e-tw
een
th
eatr
e an
d a
rt,
wit
h t
he
arti
st p
rod
uci
ng
a s
erie
s o
f ac
tio
ns
that
invo
lve
him
act
ivel
y an
d p
hys
ical
ly.
Like
a
spo
rtsm
an p
ush
ing
him
self
to
th
e lim
its,
he
is d
eter
-m
ined
to
rea
ch h
is g
oal
, d
esp
ite
any
erro
rs o
n t
he
way
th
at m
ay m
ake
his
au
die
nce
lau
gh
at
him
. H
ow
ever
, at
th
e sa
me
tim
e th
e vi
ewer
s ar
e af
fect
ed s
ensu
ou
sly
and
in
telle
ctu
ally
by
his
hig
hly
ori
gin
al p
erfo
rman
ces;
th
eir
feel
ing
s ar
e al
so a
ffec
ted
as
his
art
oft
en c
on
tain
s a
trag
ico
mic
po
etry
.
Mo
st o
f h
is w
ork
s d
evel
op
ove
r ti
me.
His
lon
ges
t, t
o n
ame
on
e, is
his
inn
ova
tive
ag
ricu
ltu
ral p
roje
ct G
row
ing
ve
ge
tab
les
on
a C
ora
l Isl
and
on
th
e M
ald
ives
, w
hic
h r
an
ove
r tw
o y
ears
fro
m 2
002
–20
04.
Th
ou
gh
, h
e h
esit
ates
to
call
it a
n a
rt p
roje
ct.
He
feel
s th
at it
was
no
t so
mu
ch
his
kn
ow
led
ge
of
art
as h
is p
ract
ical
cap
abili
ties
th
at h
e re
lied
on
fo
r h
is in
no
vati
ve,
eco
log
ical
fo
od
pro
du
ctio
n
on
th
is li
ttle
isla
nd
kin
gd
om
in t
he
Ind
ian
Oce
an.
Søre
n
Dah
lgaa
rd’s
vid
eos,
wh
ich
are
oft
en d
ocu
men
tati
on
fo
r h
is p
erfo
rman
ces,
are
als
o t
ime-
bas
ed.
The
very
fu
nn
y an
d q
uit
e ab
surd
Th
e D
rum
min
g B
read
Hu
t p
erfo
rman
ce
is a
no
tew
ort
hy
exam
ple
, in
volv
ing
a h
ut
bu
ilt f
rom
50
0
Inte
rview
with
Søre
n Dah
lgaa
rd
—
Perfo
rmat
ive a
esth
etics
bag
uet
tes,
wh
ich
pro
ves
to b
e a
som
ewh
at f
rag
ile a
nd
sh
ort
-liv
ed
form
fo
r ar
chit
ectu
re.
Insi
de
is a
set
o
f d
rum
s. T
his
wo
rk w
as e
xhib
ited
to
get
her
wit
h o
ther
wo
rks
at E
CC
O
Co
nte
mp
ora
ry A
rt C
ente
r in
Bra
silia
in
201
1 a
nd
can
no
w b
e vi
ewed
o
n Y
ouT
ub
e o
r h
is w
ebsi
te w
ww
.so
ren
dah
lgaa
rd.c
om
. In
th
is w
ork
h
is a
lter
eg
o, t
he
Do
ug
h W
arri
or,
p
lays
wild
ly o
n t
he
dru
ms
wit
h t
he
bre
ad w
hic
h b
reak
s u
p,
so t
he
hu
t is
ev
entu
ally
use
d u
p a
nd
dec
imat
ed.
W
hen
Sø
ren
Dah
lgaa
rd p
er-
form
s h
e u
tilis
es a
pre
cise
ly p
lan
ned
ch
ore
og
rap
hy.
Wea
rin
g h
is a
rmo
ur
of
bre
ad h
e p
ain
ts in
fro
nt
of
an
aud
ien
ce,
for
exam
ple
, as
he
did
in
Lo
uis
ian
a M
use
um
in 2
00
8,
wh
en h
e p
ain
ted
a m
ult
i-co
lou
red
, ab
stra
ct-e
xpre
ssiv
e p
ain
tin
g o
n a
p
rive
t h
edg
e! A
t th
e fi
nal
e, c
ove
red
in
pai
nt
and
wit
h h
is b
read
arm
ou
r se
rio
usl
y d
amag
ed,
he
dep
arte
d
the
scen
e, w
hic
h w
as s
trew
n w
ith
b
roke
n p
rop
s an
d s
pla
shes
of
pai
nt.
Th
ey r
esem
ble
d r
elic
s fr
om
a h
oly
ri
tual
. Th
is r
itu
al a
ctio
n-p
ain
tin
g o
r p
ain
tin
g p
erfo
rman
ce is
co
nd
uct
ed
wit
h e
qu
al a
mo
un
ts o
f p
assi
on
an
d
agg
ress
ion
–an
d a
t th
e sa
me
tim
e it
is
a c
riti
cal r
esp
on
se t
o p
ain
tin
g a
s a
feti
sh-o
bje
ct a
nd
to
pri
vet-
hed
ge
Den
mar
k.
W
e m
et o
ne
day
in M
ay 2
012
in
his
wel
l-lit
, h
igh
-cei
ling
ed s
tud
io
on
Ref
shal
e Is
lan
d;
it h
as a
vie
w
ove
r C
op
enh
agen
cit
y an
d o
ver
the
har
bo
ur
on
th
e o
ther
sid
e. T
he
larg
e ro
om
is f
ull
of
dra
win
gs,
ph
oto
s
and
3-D
wo
rks,
as
wel
l a n
um
ber
o
f p
rop
s th
at h
e u
ses
in h
is p
erfo
r-m
ance
s. B
ut
ho
w d
id S
øre
n D
ahl-
gaa
rd a
ctu
ally
sta
rt a
s an
art
ist?
– Spo
rt &
sco
uts
– M
y in
tere
st in
art
sta
rted
wh
en I
was
yo
un
g a
nd
wen
t o
n a
co
urs
e at
th
e A
rt F
olk
Hig
h S
cho
ol i
n H
olb
æk.
Th
ere
I was
tau
gh
t b
y th
e Sw
edis
h
vid
eo a
rtis
t, M
agn
us
Wal
lin,
and
I ca
n s
ee t
hat
he
was
th
e m
ost
im-
po
rtan
t so
urc
e o
f in
spir
atio
n w
hen
I lo
ok
bac
k at
th
ose
day
s. H
e sh
ow
ed
me,
fo
r ex
amp
le,
Fisc
hli
& W
eiss
’ fa
mo
us
vid
eo:
Der
Lau
f d
er D
ing
e.
(T
his
am
usi
ng
vid
eo w
as m
ade
in a
so
rt o
f ex
per
imen
tal l
abo
rato
ry
and
sh
ow
s a
seq
uen
ce o
f ar
ran
ged
o
bje
cts
that
inte
ract
, se
ttin
g t
hin
gs
in m
oti
on
in a
ch
ain
rea
ctio
n a
c-co
rdin
g t
o t
he
law
s o
f p
hys
ics.
Th
e vi
deo
mak
es a
dee
p im
pre
ssio
n o
n
ever
yon
e re
gar
dle
ss o
f b
ackg
rou
nd
, ag
e o
r ed
uca
tio
n–
LB).
Dah
lgaa
rd:
It w
as a
lso
my
firs
t re
al e
xper
ien
ce w
ith
art
as
I cam
e fr
om
a h
om
e w
her
e sp
ort
s an
d
sco
uts
wer
e th
e m
ain
inte
rest
s.
Ther
efo
re I
kn
ew v
ery
littl
e ab
ou
t ar
t. It
was
th
e m
oth
er o
f m
y g
irl-
frie
nd
at
that
tim
e, a
cer
amic
art
-is
t, w
ho
en
cou
rag
ed m
e to
att
end
H
olb
æk
Art
Sch
oo
l wh
en I
had
a g
ap
year
aft
er s
eco
nd
ary
sch
oo
l. A
t th
e sc
ho
ol I
als
o le
arn
t ab
ou
t A
mer
ican
w
est-
coas
t ar
tist
s su
ch a
s C
hri
s B
urd
en (
b. 1
946)
an
d P
aul M
cCar
thy
(b. 1
945
) an
d o
ther
co
nce
ptu
al a
rt-
ists
. I f
ou
nd
ou
t h
ow
exc
itin
g t
his
g
enre
was
to
op
erat
e in
. Th
eir
craz
y p
oin
ts o
f vi
ew a
nd
rad
ical
use
of
arti
stic
exp
ress
ion
intr
igu
ed m
e.
The
lan
d a
rt a
rtis
t R
ob
ert
Smit
hso
n
(19
38
–73
) al
so m
ade
an im
pre
ssio
n
Inte
rview
with
Søre
n Dah
lgaa
rd
—
Perfo
rmat
ive a
esth
etics
Per
form
ativ
e ae
sth
etic
s73
on
me
at t
hat
tim
e–
esp
ecia
lly h
is
Spir
al J
ett
y, w
hic
h I
resp
on
ded
to.
H
e w
ork
ed a
lot,
by
the
way
, w
ith
h
exag
on
s, w
hic
h in
spir
ed m
e to
m
ake
Hex
ago
nal
Cyc
lop
s, w
hic
h is
a
vid
eo t
aken
fro
m a
bo
ve a
nd
loo
k-in
g d
ow
n in
to a
hex
ago
nal
ro
om
. It
is
a p
ano
pti
con
wit
h 6
win
do
ws.
A
wh
ite-
clad
fig
ure
sta
nd
s in
th
e m
id-
dle
an
d h
e is
bei
ng
bo
mb
ard
ed w
ith
lu
mp
s o
f d
ou
gh
, w
hic
h a
re t
hro
wn
at
him
th
rou
gh
all
six
win
do
ws.
Th
is
wo
rk is
incl
ud
ed in
th
e ex
hib
itio
n
in V
ibo
rg,
says
Sø
ren
Dah
lgaa
rd.
Th
e ro
om
is a
vis
ual
isat
ion
of
a p
an-o
pti
c p
riso
n,
des
ign
ed b
y th
e B
riti
sh p
hilo
sop
her
Jer
emy
Ben
tham
(1
748
–18
32).
It is
a v
ery
effe
ctiv
e fo
rm o
f su
rvei
llan
ce a
rch
itec
ture
as
it w
as p
oss
ible
fo
r p
riso
n g
uar
ds
to k
eep
an
eye
on
all
the
pri
son
ers,
w
ith
ou
t th
em k
no
win
g p
reci
sely
w
ho
was
bei
ng
wat
ched
. Th
is in
vis-
ible
co
ntr
ol g
ives
th
e p
riso
ner
s th
e im
pre
ssio
n t
hat
th
ey a
re in
th
e ca
re
of
om
nis
cien
t g
uar
ds.
An
ear
ly v
er-
sio
n o
f B
ig B
roth
er.
It
is t
he
nat
ure
of
do
ug
h t
o ch
ang
e fo
rm–
like
clo
ud
s th
at g
row
big
ger
an
d c
han
ge
shap
e as
yo
u f
ol-
low
th
em a
cro
ss t
he
sky.
Do
ug
h is
an
org
anic
an
d m
alle
able
mat
eria
l th
at a
lter
s o
ver
a p
erio
d o
f ti
me.
It
can
be
said
of
Søre
n D
ahlg
aard
’s
wo
rks–
also
th
ose
th
at h
ave
a m
ore
o
bje
ct-l
ike
char
acte
r ra
ther
th
an
tim
e-o
rien
ted
–th
at t
hey
res
po
nd
to
th
e ar
tist
’s w
ish
to
cre
ate
art
that
w
ill b
e m
ore
th
an j
ust
art
fo
r ar
t’s
sake
. A
n a
rt t
hat
is a
ble
to
co
mm
u-
nic
ate
wit
h a
wid
er p
ub
lic,
rath
er
than
ju
st a
n in
ner
cir
cle
of
the
art
pu
blic
th
at is
oft
en t
oo
co
nse
nti
ent.
A
t th
e sa
me
tim
e h
is w
ork
s re
veal
th
e p
roce
ss o
f th
eir
gen
erat
ion
.
Søre
n D
ahlg
aard
has
pla
yed
a lo
t o
f sp
ort
an
d h
as b
een
a c
om
pet
ent
dru
mm
er f
or
17 y
ears
in a
po
st-
rock
gro
up
cal
led
Silo
. Th
ere
is a
lso
gre
at d
eal o
f b
od
y an
d r
hyt
hm
in h
is
wo
rks,
wh
ich
sep
arat
es h
is f
rom
a
lot
of
oth
er c
on
tem
po
rary
art
. H
e is
a r
are
pro
du
ctiv
e, u
no
rth
od
ox
and
far
fro
m a
nae
mic
art
ist.
As
you
ca
n s
ee in
th
e ex
hib
itio
n a
t B
ræn
-d
erig
ård
en,
he
use
s a
con
sid
erab
le
vari
ety
of
med
ia a
nd
mat
eria
ls,
esp
ecia
lly s
ince
his
wo
rks
are
so
con
cep
t-b
ased
an
d t
her
efo
re c
rave
ve
ry d
iffe
ren
t fo
rmat
s an
d t
extu
res,
ac
cord
ing
to
wh
atev
er h
e w
ish
es
to e
xpre
ss o
r ch
alle
ng
e. H
ow
can
w
e, f
or
exam
ple
, u
nd
erst
and
his
d
ou
gh
po
rtra
its?
He
is p
layi
ng
wit
h
the
cen
turi
es o
ld g
enre
of
po
rtra
it
pai
nti
ng
: w
ith
his
su
rrea
l hu
mo
ur
he
hid
es t
he
sitt
er’s
ph
ysio
gn
om
y b
ehin
d 1
0 k
g o
f d
ou
gh
. If
yo
u t
hin
k it
is a
mat
ter
of
focu
sin
g o
n t
he
si
tter
’s id
enti
ty a
nd
rev
ealin
g
secr
ets
abo
ut
his
/her
per
son
alit
y,
thin
k ag
ain
. O
n t
he
con
trar
y, t
he
sitt
er in
sid
e h
is/h
er d
ou
gh
fee
ls li
ke
a ch
ang
elin
g in
th
e d
ark,
bu
t al
so
feel
s p
rote
cted
ag
ain
st t
he
lau
gh
ter
that
bef
alls
th
em w
hile
bei
ng
ph
o-
tog
rap
hed
. B
ut
wh
o a
re t
hes
e u
n-
iden
tifi
ed p
eop
le b
uri
ed u
nd
er t
he
do
ug
h,
the
view
er m
ay a
sk,
wh
en
they
sta
nd
loo
kin
g a
t th
e p
ho
to-
gra
ph
aft
erw
ard
s? W
e n
eed
to
loo
k at
th
e si
tter
’s c
loth
ing
, p
ost
ure
, p
osi
tio
n,
and
so
on
, in
ord
er t
o p
lay
det
ecti
ve a
nd
try
to
iden
tify
th
em.
In t
his
way
Dah
lgaa
rd a
wak
ens
ou
r cu
rio
sity
in a
n a
ctiv
e an
d p
osi
tive
w
ay.
At
the
sam
e ti
me
he
is p
ush
-
Inte
rvie
w w
ith
Sø
ren
Dah
lgaa
rd–
74
ing
th
is o
rgan
ic m
ater
ial i
n a
new
d
irec
tio
n,
so t
hat
it a
pp
roac
hes
th
e sc
ulp
tor’
s tr
adit
ion
al m
ater
ials
su
ch a
s p
last
er o
r st
on
e, w
hic
h c
or-
resp
on
d t
o t
he
do
ug
h’s
mal
leab
le
wh
iten
ess.
Søre
n D
ahlg
aard
wo
rks
wit
h
vid
eo in
stal
lati
on
s, a
n e
xam
ple
is
Ho
use
Sla
mm
ing
fro
m 1
998
, in
w
hic
h h
igh
-ris
e b
uild
ing
s b
uck
le
ove
r th
en r
ise
up
ag
ain
–as
if h
e co
uld
fo
rese
e th
e d
emo
litio
n o
f th
e b
lock
s at
Ru
skæ
r an
d A
ger
kær
in
Rø
do
vre
earl
ier
in M
ay 2
012.
Ho
use
Sl
amm
ing
is s
ho
wn
insi
de
a m
od
el
of
a h
igh
-ris
e b
uild
ing
. H
e al
so
mak
es v
ideo
s as
do
cum
enta
tio
n o
f h
is p
erfo
rman
ces
or
hap
pen
ing
s.
Ho
wev
er,
he
can
als
o m
ake
his
po
int
wit
h 3
-dim
ensi
on
al w
ork
s, f
or
ex
amp
le w
hen
he
tran
sfo
rmed
a
nat
ura
l fea
ture
, a
hed
ge,
into
a
fun
ctio
nal
ob
ject
. In
th
is p
roje
ct,
calle
d T
he
Mo
bile
Hed
ge,
he
pu
t w
hee
ls u
nd
er p
rive
t h
edg
es s
o t
hey
b
ecam
e m
ob
ile a
nd
fri
end
ly–
crea
t-in
g n
ew u
rban
sp
aces
rat
her
th
an
sep
arat
ing
pro
per
ties
, w
hic
h is
ty
pic
al h
ere
in D
enm
ark,
wh
ere
hed
ges
like
wal
ls b
lock
th
e vi
ew a
nd
p
reve
nt
com
mu
nic
atio
n b
etw
een
n
eig
hb
ou
rs.
In o
ther
wo
rds:
Sø
ren
D
ahlg
aard
’s m
ult
i-m
edia
art
is
mu
lti-
face
tted
, ri
ch a
nd
inve
nti
ve.
H
e al
so h
as a
glo
bal
ou
tlo
ok
and
a lo
ng
, in
tern
atio
nal
ser
ies
of
exh
ibit
ion
s b
ehin
d h
im–
and
bef
ore
h
im.
Alo
ne
in 2
012
he
has
exh
ibit
ed
in 1
4 p
lace
s ar
ou
nd
th
e w
orl
d–
fro
m N
ew Z
eala
nd
an
d t
he
Mal
div
es
to G
reec
e an
d F
inla
nd
. N
ot
to
men
tio
n t
he
spec
ial e
xhib
itio
n T
he
K
abo
om
! P
roce
ss,
wh
ich
was
sh
ow
n
in A
sbæ
k’s
Art
Cen
ter,
CC
A A
nd
ratx
, M
allo
rca.
Sø
ren
Dah
lgaa
rd w
as
edu
cate
d a
t Sl
ade
Sch
oo
l of
Fin
e
Art
in L
on
do
n,
1997
–20
02.
W
e w
alk
aro
un
d h
is s
tud
io a
nd
lo
ok
at h
is m
any
wo
rks.
If I
tell
you
so
me
thin
g a
bo
ut
all
of
them
it w
ill t
ake
far
too
lon
g,
so
we
had
be
tter
lim
it o
urs
elve
s, h
e sa
ys,
wh
ile p
oin
tin
g o
ut
a se
ries
of
A4
dra
win
gs
enti
tled
A H
edg
e is
a
Lan
ce.
Thes
e w
ork
s w
ere
exh
ibit
ed
in a
utu
mn
201
1 in
Gal
lery
Asb
æk
in
Co
pen
hag
en.
It is
a s
erie
s o
f p
ho
tos
of
pai
nti
ng
s th
at S
øre
n D
ahlg
aard
crea
ted
in Ø
reg
aard
Mu
seu
m’s
par
k la
te s
um
mer
201
1. H
e w
as g
arb
ed in
a
cost
um
e o
f b
ran
ches
an
d g
rass
–al
ias
the
Hed
ge
War
rio
r–an
d r
an
tow
ard
s th
ree
larg
e ca
nva
ses
ho
ld-
ing
2 m
etre
lon
g h
edg
e p
lan
ts u
nd
er
his
arm
, u
sin
g t
hes
e as
lan
ces-
cum
-p
ain
t b
rush
es.
No
t w
ith
ou
t h
um
ou
r h
e p
oin
ts o
ut
the
lon
g h
isto
ry o
f o
rig
inal
pai
nti
ng
s an
d t
he
bat
tle
to
pai
nt
mas
terp
iece
s.
B
ut
I am
als
o g
oin
g t
o e
xhib
it a
se
ries
of
ink
dra
win
gs
that
illu
stra
te
in s
ketc
h f
orm
th
e p
rob
lem
s th
at
I am
wo
rkin
g w
ith
. So
me
of
them
b
eco
me
actu
alis
ed,
wh
ile o
ther
s fu
nct
ion
as
par
t o
f an
idea
ban
k.
I val
ue
thes
e g
reat
ly a
nd
co
nsi
der
th
em t
he
core
of
my
arti
stic
wo
rk.
A
s co
nce
ptu
al a
rtis
t Sø
ren
D
ahlg
aard
co
mb
ines
sev
eral
art
isti
c m
eth
od
s w
ith
, fo
r ex
amp
le,
soci
al
inte
rven
tio
n,
inte
ract
ivit
y an
d
dev
elo
pm
ent
of
alte
rnat
ive
urb
an
spac
es,
as il
lust
rate
d b
y th
e ab
ove
m
enti
on
ed p
rive
t h
edg
e o
n w
hee
ls.
I g
rew
up
in S
org
enfr
i an
d
lived
on
a s
tree
t ca
lled
Pri
vet
Lan
e,
lau
gh
s Sø
ren
Dah
lgaa
rd,
so it
is
Per
form
ativ
e ae
sth
etic
s75
qu
ite
nat
ura
l fo
r m
e to
wo
rk w
ith
th
is b
ush
, th
at is
ver
y co
mm
on
in
Den
mar
k an
d w
hic
h m
ean
s so
m
uch
, b
ecau
se it
pu
ts b
ou
nd
arie
s b
etw
een
peo
ple
an
d p
rop
erti
es.
W
ith
reg
ard
s to
inte
ract
ivit
y I
no
tice
th
at t
he
pu
blic
en
joy
join
ing
in
–th
is is
th
e ca
se w
ith
bo
th m
y d
ou
gh
po
rtra
its
and
pai
nte
d p
or-
trai
ts.
Wit
h t
he
live-
per
form
ance
s th
is r
esu
lts
in a
co
nst
ruct
ive
col-
lab
ora
tio
n w
ith
th
e p
ort
rait
sit
ters
w
ho
off
er t
hei
r se
rvic
es.
They
are
w
illin
g t
o le
t th
emse
lves
be
cov-
ered
in p
ain
t o
r p
ack
thei
r fa
ces
in
do
ug
h,
even
th
ou
gh
th
ey a
re a
lit
tle
un
sure
ab
ou
t w
he
ther
th
ey
will
be
able
to
bre
ath
e. B
ut
they
can
an
d it
on
ly la
sts
abo
ut
10
sec
on
ds
un
til I
hav
e ta
ken
th
e p
ho
tog
rap
h,
wh
ich
fu
nct
ion
s as
an
ind
epen
den
t ar
two
rk.
–
Off
ensi
ve c
riti
qu
e o
f m
inim
alis
m’s
as
ceti
c ae
sth
etic
s–
Bo
th w
hen
yo
u a
re p
layi
ng
th
e ro
le o
f D
ou
gh
War
rio
r an
d w
hen
yo
u
pai
nt
you
r p
ort
rait
s yo
u a
re c
on
tin
u-
ing
a lo
ng
tra
dit
ion
of
mo
der
n a
rt:
Am
eric
an a
ctio
n p
ain
tin
g o
r Fr
ench
Ta
chis
m.
Bu
t ap
art
fro
m t
hat
, yo
u
hav
e al
so b
een
infl
uen
ced
by
the
neo
-Dad
aist
Yve
s K
lein
’s a
nth
ro-
po
met
ric
wo
rks.
Du
rin
g t
he
196
0s
he
use
d b
eau
tifu
l, n
aked
wo
men
to
pai
nt
wit
h;
usi
ng
his
inte
rnat
ion
al
Kle
in-b
lue
colo
ur
on
th
eir
bo
die
s th
ey r
olle
d t
hem
selv
es o
ver
the
can
vase
s le
avin
g b
od
y-p
rin
ts a
s th
e p
ictu
re’s
mo
tif.
Wh
en I
see,
fo
r ex
-am
ple
, yo
ur
Slid
e p
ain
tin
gs
wh
ere
you
slid
e d
ow
n a
ch
ute
wit
h b
lack
p
ain
t an
d im
po
se y
ou
r b
od
y p
rin
t o
n
a w
hit
e b
oar
d,
then
I th
ink
that
yo
u
are
con
scio
usl
y re
lati
ng
yo
urs
elf
to
this
tra
dit
ion?
Ye
s, I
qu
ite
def
init
ely
con
tin
ue
the
trad
itio
ns
you
men
tio
n,
bu
t I d
o tr
y at
th
e sa
me
tim
e to
invo
ke n
ew
mea
nin
gs
by
com
bin
ing
so
me
of
the
bef
ore
men
tio
ned
art
isti
c
exp
erim
ents
. B
esid
es t
hat
I am
ac
tual
ly v
ery
inte
rest
ed in
, fo
r
exam
ple
, m
inim
alis
m’s
aes
the
tics
.
An
d lo
oki
ng
at
you
r ve
ry g
es-
tura
l pai
nti
ng
s th
at r
esu
lt f
rom
yo
ur
acti
on
pai
nti
ng
as
the
Do
ug
h
War
rio
r, a
lso
ab
stra
ct e
xpre
ssio
nis
m
and
Po
llock
’s d
rip
pai
nti
ng
s?
Pro
bab
ly m
ore
of
an ir
on
ic-
crit
ical
rea
ctio
n t
o a
bst
ract
-ex
pre
ssiv
e p
ain
tin
g,
bec
ause
I am
m
ore
inte
rest
ed in
th
e p
roce
ss t
han
th
e en
d r
esu
lt t
han
th
e ab
stra
ct-
exp
ress
ive
pai
nte
rs,
wh
o r
elat
ed in
a
less
co
nce
ptu
al w
ay t
o t
he
gen
re
of
pai
nti
ng
. I p
lace
mys
elf
at a
hu
-m
oro
us
dis
tan
ce t
o t
hei
r, a
t ti
mes
p
ath
eti
c, a
ttit
ud
e to
pai
nti
ng
as
a fe
tish
-ob
ject
. B
esid
es,
I try
to
gra
sp p
hen
om
ena
in o
ur
envi
ron
-m
ent
that
tro
ub
le m
e–
incl
ud
ing
p
ink
po
od
les.
So,
inst
ead
of
go
ing
ar
ou
nd
th
ese
issu
es I
turn
th
em
into
th
emes
, w
he
ther
cri
tica
l or
hu
mo
rou
s.
Som
e ye
ars
ago,
as
a h
um
oro
us
resp
on
se t
o t
he
pu
blic
’s e
xclu
sio
n
by
the
mo
no
chro
me,
min
imal
isti
c
Inte
rvie
w w
ith
Sø
ren
Dah
lgaa
rd–
76
pai
nte
rs,
Søre
n D
ahlg
aard
“g
reas
ed”
som
e p
ain
tin
gs
wit
h c
oco
nu
t fa
t in
stea
d o
f u
sin
g p
ain
t.
It
’s f
un
to
pai
nt
mo
no
chro
me
for
the
firs
t ti
me,
bu
t p
oin
tles
s to
co
nti
nu
e h
avin
g d
on
e so
, fo
r th
en
you
are
just
an
ep
igo
ne,
say
s Sø
ren
D
ahlg
aard
, w
ho
ab
solu
tely
go
es h
is
ow
n w
ay.
At
the
Ch
arlo
tten
bo
rg
Spri
ng
Exh
ibit
ion
19
98,
for
exam
ple
, h
e ex
hib
ited
his
pro
ject
Bo
xin
g
Poo
dle
, w
ith
his
loat
hed
, p
ink
po
o-
dle
s. T
he
wo
rk c
on
sist
ed o
f th
ree
pin
k p
oo
dle
s m
ade
fro
m s
teel
sp
rin
gs
and
fo
am-r
ub
ber
, co
vere
d
wit
h la
tex,
wh
ich
th
e p
ub
lic c
ou
ld
eith
er h
it o
r ki
ck in
ord
er t
o s
atis
fy
thei
r p
arti
cula
r id
iosy
ncr
asie
s.
Søre
n D
ahlg
aard
loo
ks q
uit
e “n
orm
al”,
ho
wev
er h
e th
inks
qu
ite
dif
fere
ntl
y fr
om
no
rmal
. H
e th
inks
th
ing
s o
ver
ad a
bsu
rdu
m a
nd
rea
cts
to t
he
wo
rld
’s s
itu
atio
n b
y cr
eati
ng
tw
o o
r th
ree-
dim
ensi
on
al p
ictu
res.
A
nd
wh
ile d
oin
g s
o h
e al
so p
on
der
s o
ver
art,
esp
ecia
lly p
ain
tin
g,
wh
ich
h
e at
tack
s p
hys
ical
ly a
nd
by
usi
ng
m
oti
fs t
hat
cro
p u
p b
y ch
ance
. A
n
exam
ple
is w
hen
he
mad
e te
mp
late
-
like
pri
nts
of
his
bo
dy
on
a p
oly
-ch
rom
e, a
bst
ract
-exp
ress
ive
col-
ou
red
bac
kgro
un
d w
hils
t m
akin
g a
se
ries
of
neg
ativ
e-p
ain
tin
gs
as t
he
Do
ug
h W
arri
or.
In g
ener
al,
Søre
n
Dah
lgaa
rd u
ses
his
man
y ac
tio
ns
to
exp
ress
th
e d
iffi
cult
ies
wit
hin
pai
nt-
ing
in a
tim
e w
hen
all
exp
erim
ents
se
em t
o h
ave
bee
n t
ried
. H
e se
es
art
and
dai
ly li
fe in
a n
ew li
gh
t an
d
mix
es d
iffe
ren
t le
vels
of
real
ity
wit
h t
he
resu
lt t
hat
th
e w
orl
d a
p-
pea
rs j
ust
as
mys
teri
ou
s an
d a
bsu
rd,
bo
rder
ing
on
th
e fu
nn
y, a
s w
hen
ex
per
ien
cin
g it
fo
r th
e fi
rst
tim
e as
a c
hild
. Th
e ab
surd
is a
par
t o
f h
is o
wn
“p
sych
og
eog
rap
hy”
an
d
he
thin
ks it
is j
ust
as
absu
rd t
o b
e a
ban
ker
as a
n a
rtis
t, e
ven
th
ou
gh
h
e is
no
t so
kee
n t
o p
ut
his
pic
ture
s in
to w
ord
s–th
ere
is a
rea
son
wh
y I b
ecam
e a
visu
al a
rtis
t as
pic
ture
s ca
n s
ay s
om
eth
ing
th
at w
ord
s ca
n’t
.
Wh
en lo
oki
ng
at
you
r w
ork
s an
d
you
r p
erfo
rman
ces
as t
he
Do
ug
h
War
rio
r–w
her
e yo
u s
tan
d in
fro
nt
of
a la
rge
aud
ien
ce v
ery
visi
bly
as
a si
gn
ific
ant
and
ver
y d
iffe
ren
t so
rt o
f ch
arac
ter–
I fee
l th
at y
ou
hav
e in
-
clu
ded
eve
ryth
ing
–fr
om
th
e co
mic
to
th
e tr
agic
. Yo
u a
re p
acke
d in
ar-
mo
ur
mad
e o
f b
read
th
at s
epar
ates
yo
u f
rom
th
e re
st o
f th
e w
orl
d.
The
bre
ad r
emin
ds
us
of
ou
r d
epen
d-
ence
on
fo
od
an
d d
aily
fo
od
rit
ual
s as
dic
tate
d b
y o
ur
bo
die
s’ n
eed
s.
Do
th
ese
per
form
ance
s o
r ac
tio
ns
fun
ctio
n a
s a
sort
of
per
son
al “
act-
ing
ou
t” f
or
you
rsel
f?
It is
like
a s
po
rt,
bal
let
or
pla
y.
Ever
yth
ing
is t
ho
rou
gh
ly p
rep
ared
an
d t
her
e is
a p
lan
fo
r th
e w
ho
le
thin
g.
I th
ink
wh
at s
hal
l I d
o, h
ow
w
ill I
sin
g,
ho
w w
ill I
mo
ve?
Will
I w
alk
in p
arti
cula
r w
ay o
r w
ill I
pai
nt
in a
par
ticu
lar
way
? D
uri
ng
th
e ac
-ti
on
I am
rea
lly ju
st m
ysel
f an
d q
uit
e ca
lm,
bu
t w
hen
I ed
it t
he
vid
eo
afte
rwar
ds
I sel
ect
the
situ
atio
ns
wit
h m
ost
act
ion
. I o
rig
inal
ly d
evel
-o
ped
th
e D
ou
gh
War
rio
r as
a d
raw
-in
g.
Aft
erw
ard
s I b
aked
th
e lo
aves
o
f b
read
an
d a
ttac
hed
th
em t
o m
y b
od
y. T
hen
I st
arte
d t
o t
hin
k ab
ou
t w
hat
I w
ou
ld d
o w
eari
ng
th
e co
s-tu
me.
At
the
star
t th
e b
read
loo
ks
like
a p
rote
ctiv
e co
veri
ng
, b
ut
as
it b
eco
mes
co
vere
d in
pai
nt
it g
ets
Per
form
ativ
e ae
sth
etic
s7
7
soft
an
d b
reak
s u
p,
so it
all
star
ts t
o d
evel
op
as
a sl
apst
ick
trag
ico
med
y in
Ch
arlie
Ch
aplin
sty
le.
Bu
t it
is
also
ab
ou
t a
fru
stra
ted
art
ist
wh
o is
try
ing
to
pai
nt
a m
aste
rpie
ce a
nd
h
ow
will
he
man
age
it?
It is
th
e p
ro-
cess
th
at is
imp
ort
ant.
Th
e p
rim
ary
po
int
is t
o r
efle
ct c
riti
cally
ab
ou
t th
e p
ain
tin
g g
eniu
s, w
ho
sit
s al
on
e in
his
stu
dio
an
d p
ain
ts a
nd
pai
nts
u
nti
l th
e w
ork
is c
om
ple
ted
, an
d w
e n
ever
see
ho
w it
is d
on
e. A
fter
war
ds
the
pai
nti
ng
han
gs
fore
ver
in a
n a
rt
mu
seu
m c
om
ple
tely
de
tach
ed f
rom
th
e p
roce
ss.
It is
bo
th e
nte
rtai
nin
g
and
tra
gic
mak
ing
th
ese
do
ug
h w
ar-
rio
r p
erfo
rman
ces,
an
d in
th
e en
d I
bec
om
e a
par
t o
f th
e su
rro
un
din
g
scen
ery.
I w
ant
to g
ive
the
pu
blic
th
e ch
ance
to
exp
erie
nce
th
e st
ud
io
pro
cess
, w
hic
h w
ith
th
ese
per
for-
man
ces
is a
cces
sib
le t
o t
hem
. It
is
very
bas
ic.
Ea
rlie
r yo
u m
ade
absu
rd w
ork
s o
f a
mo
re o
bje
ct-l
ike
nat
ure
su
ch
as a
co
d w
ith
lam
b’s
wo
ol c
oat
o
r a
kan
gar
oo
wit
h f
eath
ers.
Wh
at
tho
ug
hts
did
yo
u h
ave
in t
his
co
nn
ecti
on?
I l
ike
to a
sk q
ues
tio
ns
abo
ut
thin
gs
and
th
ink
thin
gs
ou
t fr
om
sc
ratc
h.
I exh
ibit
ed t
hes
e an
imal
s at
KE
(ju
ried
Art
ists
’ A
utu
mn
Ex-
hib
itio
n)
in 1
996
. A
fiv
e-ye
ar o
ld
bo
y as
ked
his
fat
her
if k
ang
aro
os
hav
e fe
ath
ers
and
th
is is
an
ob
vio
us
qu
esti
on
to
ask
sin
ce h
e h
as n
ever
se
en a
livi
ng
kan
gar
oo
–u
nle
ss h
e co
uld
rem
emb
er it
fro
m a
vis
it t
o th
e zo
o. W
hen
yo
u a
re n
ew-b
orn
, yo
u k
no
w n
oth
ing
. Th
en o
ver
tim
e yo
u le
arn
eve
ryth
ing
an
d s
top
as
kin
g q
ues
tio
ns
abo
ut
the
wo
rld
’s
ph
eno
men
a. B
ut
thin
gs
can
be
d
iffe
ren
t fr
om
wh
at y
ou
th
ink
they
ar
e an
d it
is im
po
rtan
t to
kee
p o
n
ask
ing
qu
esti
on
s th
rou
gh
ou
t yo
ur
enti
re li
fe.
Aes
the
tics
als
o p
lay
an
imp
ort
ant
role
fo
r m
e w
hen
I w
ork
.
Wh
y h
ave
you
ch
ose
n t
o u
se
do
ug
h in
so
man
y o
f yo
ur
wo
rks?
B
ecau
se d
ou
gh
–an
d b
read
–h
ave
inte
rest
ing
ref
eren
ces
to r
eli-
gio
n–
for
exam
ple
th
e sa
cram
ents
. B
ut
wh
en I
wo
rk w
ith
th
is m
ater
ial,
w
ith
its
inte
rest
ing
tex
ture
, I a
m
also
pu
shin
g s
culp
ture
in a
new
d
irec
tio
n.
Do
ug
h is
sim
ilar
to p
las-
ter,
cla
y an
d m
arb
le b
ecau
se o
f it
s w
hit
enes
s. B
ut
in c
on
tras
t to
mar
-b
le,
for
exam
ple
, it
is n
ot
a lo
ng
-la
stin
g m
ater
ial a
s it
can
on
ly k
eep
fo
r h
alf
a d
ay.
So w
hen
I m
ake
my
scu
lptu
re s
cen
ario
s I h
ave
to m
ake
vid
eos
or
take
ph
oto
gra
ph
s in
ord
er
to d
ocu
men
t th
em f
or
po
ster
ity
– Lisb
eth
Bo
nd
e is
Can
d. M
ag.
an
d a
rt j
ou
rnal
ist
for
Wee
ken
d-
avis
en.
She
has
pu
blis
hed
sev
eral
b
oo
ks a
bo
ut
con
tem
po
rary
art
.
1 Te
rry
Smit
h:
Wh
at is
co
nte
m-
po
rary
Art
? C
on
tem
po
ran
eity
an
d A
rt t
o C
om
e, in
Ko
nst
his
tori
sk
Tid
skri
ft,
vol.
71,
häf
te 1
–2,
2002
, p
. 13.
Cit
ed f
rom
So
lvei
g G
ade:
In
terv
enti
on
& K
un
st,
Ræ
ven
s So
rte
B
iblio
tek,
Co
pen
hag
en,
2010
.
Inte
rvie
w w
ith
Sø
ren
Dah
lgaa
rd–
78
–
Lite
ratu
re– Li
sbet
h B
on
de
and
Met
te S
and
bye
: M
anu
al t
il sa
mti
dsk
un
st (
Man
ual
fo
r C
on
tem
po
rary
Art
), G
yld
end
al,
C
op
enh
agen
, 20
06.
– Cam
illa
Jalv
ing
an
d R
un
e G
ade:
N
ybru
d—
dan
sk k
un
st i
199
0’e
rne
(Bre
akth
rou
gh
—D
anis
h a
rt in
th
e 19
90
s),
Asc
heh
ou
g,
Co
pen
hag
en,
200
6.
– An
der
s K
old
: Sø
ren
Dah
lgaa
rd.
Th
e D
ou
gh
War
rio
r P
roje
ct!
(c
atal
og
ue,
20
09)
– See
also
: Sø
ren
Dah
lgaa
rd’s
web
-si
te,
pac
ked
wit
h in
form
atio
n.
Fo
r ex
amp
le,
text
s b
y A
nd
ers
Ko
ld
& R
ash
eed
Ara
een
’s in
terv
iew
(20
11)
wit
h S
øre
n D
ahlg
aard
ab
ou
t h
is
veg
etab
le f
arm
.
– The
Dan
ish
Art
Co
un
cil’s
b
iog
rap
hie
s o
n a
rtis
ts (
Ku
nst
- st
yrel
sen
, ku
nst
ner
bio
gra
fier
).
– The
Nat
ion
al A
rt M
use
um
’s w
eb-
site
wit
h a
pre
sen
tati
on
art
icle
in
con
nec
tio
n w
ith
th
e ex
hib
itio
n
10
0 d
raw
ing
s C
hal
len
gin
g R
ealit
y in
20
08.
Per
form
ativ
e ae
sth
etic
s79
Seei
ng
isB
elie
vin
g
Seei
ng
is B
elie
vin
g —
Søren
Dah
lgaard
