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THE NATIONAL COLLECTION OF PHOTOGRAPHY

November 2021,

From Friday the 19 November 2021 until 1 October 2023 a selection of The National Collection of
Photography are exhibited under the title The Camera and Us.

It's a rare opportunity to take of advantage because The National Collection of Photography do not
have a permanent exhibition for the 50.000 photos in their storage.

In one room at the exhibition you will find an installation of five portraits, among them 
one my works, a portrait of Christian Lemmerz from 1989. It's from an era where they only bought
portraits like at the National Portrait Gallery in London.

It's hard to get hold on what is in the storage of The National Collection of Photography,
so I’ll use the occasion to facilitate that, If you dig into their collection storage, you will
find this work :

Rabbit Lab, 1994-96


Title : Rabbit Lab. Year : 1995. Material : Montage of 35mm roll film. Dimensions : 175 cm x 120 cm.
Purchase by The National Collection of Photography in 1996.(Click for detail view).


Passage from upcoming book about the work  :

As in cinematography the camera shoots 24 frames per second for later to be projected in the
same frame rate to create the illusion of motion, but in reality nothing is moving. 
It is all fixed images: an illusion. 
In Rabbit Lab one get exposed to a different illusion, every single frame on a film roll is only
a fragment of a lager image. The rabbit laboratory keeps producing rabbits, on one film roll after
another, a continual accumulation of film rolls, accumulation of fragments and finally accumulation
of rabbits. 
Trying to fulfil our insatiable desire for images, 
The rabbits are posing, first in one posing and then in another posing. In one image you see 
a single rabbit posing solo, in another image a rabbit duo are posing.

The Rabbit Lab sequence was followed two years later with the Film City sequence, where the 
point of view are taking out of the laboratory and into the sum of all there is to be seen.


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ON 31 OCTOBER 1981 ABEL CATHRINES STIFTELSE WAS SQUATTE

I discovered 40 year has gone.

what to say today :
- Another scene.
- An Intervention in the urban space year 1981.

Abel Cathrines Stiftelse was squatted On 31 October 1981.
Its somehow a beautiful building, despite its sad history of being a residence for impoverished
women and homeless. The building has a layout as monastery, with an inner courtyard in the center,
encircled by walkways connecting to the dormitories, and with a chapel at the end of the courtyard.

It was the third building in a row to be squatted, in an unsuccessful attempt to create an autonomous
culture space later to be known as Ungdomshuset.

The chapel at Abel Cathrines Stiftelse was far to small to host music venues, the dormitories 
were like minimal monastery cells. It's not so easy to see on the photo, but walls had been 
knockdown between the small cells to be able to create space for a cafe. 
Abel Cathrines Stiftelse could not be the framework for expression needed and was abandoned 
14. februar 1982. 


 Abel Cathrines Stiftelse 1981.


What could I bring to the party ? Only a few experiences from the squatter movement in West-Berlin.



Squatted house West-Berlin :
Paint it black, starting in one corner.



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THE PINA BAUSCH FOUNDATION

October 2021,
The Pina Bausch Foundation is in the long process of creating what they title :
“An Invitation from Pina. An Archive as a Workshop for the Future”.
An archive of material Pina Bausch selected when she was still alive.
Five of my photos are to be found in the archive.
Pina Bausch was one of our truly outstanding artists in postwar Europa, so its a pleasure 
to be able to contribute to her legacy.

In 1985 I spent time with The Pina Bausch Company in Paris, where they were rehearsing and
performing “Café Müller”. The following year 1986 I visited the company again in Wuppertal,
here they were performing “Two cigarettes in the dark” and were working on the creation 
of new pieces.
What caught my eye, at the time I was 24 years, was the way she used improvisations to create
the characters and situations. How she composed and disrupted the stage space,
and the spirit the can emerge by of working as an ensemble.

It's my impression, that it will take time before the archive is ready for the public,
for now, I will endorse watching the film “Un jour Pina a demandé” by Chantal Akerman,
she spent five weeks with the company in the 80s.



Mechthild Großmann in Two Cigarettes in the Dark, Pina Bausch Tanztheater Wuppertal 1986.


POSTSCRIPT : THE ABSENT PHOTO

There is one image I would like to describe, it's an image thats not on any photo :

On the January 28 1986 the space shuttle Challenger exploded right after takeoff. 
That day the I flew from New York to Europa on my way to Wuppertal, there was a remarkable
silence among the passengers in the terminal and on the plan.

The images : The silence passengers in the terminal are watching the news coverage of the 
Challenger disaster on coin-operated television’s.
An older and smaller version of a coin-operated television look like this :


Challenger explosion.


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NEW-IN NEW YORK AND THE CONNECTICUT.

July 2021,
Over the past months my last two books has arrived at New York Public Library System,
Yale University Library and Columbia University in the City of New York.
The books can be looked up here and here.

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JEAN-FRANÇOIS DUROURE.

Spring 2021,
In remembrance Jean-François Duroure 1964 - 2021

From 1985 to 1987 I had the privilege of working with Jean-François in Copenhagen, Wuppertal,
Paris and Angers.

My photos below are from the piece “Extasis” 1985, Jean-François Duroure in the rare and unique
duo with Mathilde Monnier.

Their ecstasy was highly transmittable. 

For now this photo material is online, and will be stored in the memory of the world wide web.


Liberation, 6 November 1985, Article by Birgitte Paulino-Neto.


Flyer Theatre De La Bastille, November 1985, and article Liberation, 1 January 1986


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“LE THÉÂTRE DE LA CRUAUTÉ” - 1985.

Febuary 2021,
The lockdown can be an opportunity to have a look at one´s back catalogue, 
here a photograph from the exhibition “Le Théâtre de la cruauté” held at Hvidovre Art Library
and at Institut Français, Copenhagen in 1985.

The book that never got realized.

The title of the exhibition was taken from the essay by Antonin Artaud. 
After Michael Strunge saw the photographs, he encouraged me to take contact with Peter Laugesen
for a translation of Artaud that could companion my photographs in a book publication. 
On Strunge´s introduction I traveled to Laugesen residency in Gellerupparken, where we talked
about which content the book should have.
The Institut Français had access to fonds for translations of French litteratur,
but I never manage to find a Danish publisher that would take on the book production.


Photography from the 1985 exhibition.

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BOOK PREVIEW + LOCKDOWN WORK

July 2020, I spend the lockdown period during spring working on a new book, a single images
from the book is featured in the since april ongoing GagProject and exhibition in Adelaide,
Australia under the title : Love in the Time of Covid-19.

September - November 2020,
Exhibited and acquired for the collection at The Art Gallery of South Australia
and the National Museum of Australia..


60 x 80cm, giclée print on archival rag paper, framed edition of 5

The images is a Study for the Rabbit Lab serie from 1995 and first now in 2020 it meets the public.
Enquire about the work can be addressed to the Gagprojects.

Further information on the upcoming book will be posted here.

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"REVERSE COLLECTION" ISBN 978-87-987920-3-1 

NOVEMBER 2019, First edition of is sold out,
however the book can possibly still be found on the shelves at :

The bookstore at Kunsthal Charlottenborg 
The bookstore at Louisiana Museum of Modern Art
The bookstor Buchhandlung Walther König
Oneline at Abebooks Abebooks.com

A second edition are in consideration.
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NOVEMBER 2018 "FILMCITY" A BETTER VIEW : 

Video quality has improved over the last 20 years, this is an 2018 updated HD version of a 
1996 artwork documentation.

Filmcity 1996 visualising of photographic work, montage of 35 mm filmstrip.

        

Filmcity is a montage made of 35 mm roll film, as used in regular analog film cameras or in
35 mm film cameras, It was the standard cinema format.

In a film camera you shoot 24 frames per second and later project in the same frame rate,
this gives the illusion of motion, moving pictures, but in reality its all 24 fxed images.
In Filmcity it's a different illusion, and another representation of time,
its not 24 frames per second but all frames at once. Filmcity try to capture everything
all together. Get everything on to film.

One visible representation of our whole civilisation are our cities, they are testimony of
our history, politic, economy, technology, architecture, culture........

In Filmcity you are looking at film strips that forms images of urban landscapes.

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BOOK APRIL 2018 "REVERSE COLLECTION" ISBN 978-87-987920-3-1

ABOUT 

"Reverse collection" is a montage of documentary photography from 1976 to 2012 spread over 124
pages, color and black & white.

Its about treating an archive of documentary photography.
An attempt to create an overview over the material, and a connection between the diffrent 
observations or missing connection.
The simultaneity and the contradictions and the seduction of the photography.

The only thing the images has in common is they all derive from from the same collection.


A montage of photography representing events, locations and people as tableau or scenes.



Book cover : front & back




6 x page spreads. Cut and continuation : The images continue across and on the back of the pages. 




HISTORY :

"Reverse Collection” initiated as a web publication in 2012 and from there evolved into a 
book publication.

In 2016-17 a preliminary print was circulating and was nominated for Luma rencontres dummy
book award and exhibited at Luma Arles during Les rencontres de la photographie, Arles 2017.

September  2017, the preliminary print were part of "Burning with pleasure" exhibition
at Seen Fifteen in London.



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BOOK SEPTEMBER 2016

"THE CAT LAB BY PETER LIND"         80 pages, photographs only.         ISBN 978-87-987920-1-7


This book could contradict  André Malraux’s saying  : “An art book is a museum without walls”.
“The Cat Lab “ every page is a wall, with a window or a mirror, represented by documentary 
photographs, looking in and looking out.

Borrow the book from the library here or here
or purchase it from Buchhandlung Walther König Order number: 1558121

Redhead, May 2016

 



Bum sleeping among girls' legs, 2014





The picture is looking, 2014


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EXHIBITION MAY-JUNE 2016
"THE CAT LAB”

At Banja Rathnov Galleri & Kunsthandel Museumsbygningen. 
A montage of documentary photography across five exhibition spaces.

(The exhibition was supported by : The Danish Arts Foundation / Statens Kunstfond)



Overview wall space Museumsbygningen, May 2016




Spectators , 2013

 



Spectators spectators, 2013




Spectators spectators spectators, 2013

 


 
Overview space Museumsbygningen, May 2016



Overview space montage on floor : The Cat Lab


 


Overview wall space Museumsbygningen, May 2016

 



Beachscape, two Chinese ladies approaching the sea, 2015





Scenery, 2014
 

Fire exit Museumsbygningen, May 2016.


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ARTICLE MAY 2016

Katalog vol. 27, no. 1 2016

REVERSE ENGINEERING THE ARCHIVE: PETER LIND’S ARCHIVAL PROJECTS.
By Peter Alexander van der Meijden. 

Passages taken from the archicle : 

Saying what Peter Lind is not is easier than saying what he is, and the same goes for his work.
One thing that Lind certainly is not, is a photographer, even though photographs
are his primary material and he himself is the person who takes them.

Lind’s attitude towards photography seesaws between acceptance and resistance.

“Photography is a seductive medium”, ... “and the first one to be seduced is the one
who takes the picture"

”I want it to look like the myriad of other images that have been made earlier.”

Lind works with juxtaposition and association, but symbolism is alien to his world.

”I want to design my current exhibition like a movie, where you move from one scene to another,
where one image leads you to the next. It has to be fresh and alive; alive like walking 
into a movie”.

“In order to create an overview, you have to take a certain degree of distance”

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CONTINUE TO ARCHIVE : Video documentation 1996 to 2012


Film strips drying for the Rabbit Lab project, 1994

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CONTACT INFORMATION
PETER LIND
DRONNINGENSGADE 73 A1.
DK - 1420 COPENHAGEN
TEL: +45 42 49 44 34 
EMAIL: www(at)peterlind.org



************************************ ALL PHOTOGRAPHS © PETER LIND *****************************