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Henrik Lund Jørgensen [Videonale.13]
* 1975 in Maribo DEN, lives in Malmö SWE
Studied at Konsthögskolan Malmö SWE, at Kungliga konsthögskolan, Stockholm SWE, at Akademin Valand, Göteborg SWE and at Högskolan för fotografi och film, Göteborg SWE
Exhibitions [selection]
2012 Farb - The Story About A Polyester Soldier (the 3rd (class) passenger), Lilith Performance Studio, Malmö SWE [S]
Telling the Baltic, Contemporary Art Centre Laznia, Danzig POL
2011 North By New York, American-Scandinavian Foundation, New York USA
Friends He Lost at Sea, Galleri Box, Göteborg SWE
2010 Meerstücke, Museum Kunst der Westküste, Alkersum/Föhr GER [S]
Friends He Lost at Sea, Den Hirschsprungske Samlingen, Kopenhagen DEN [S]
2009 Tangential Documentaries, Kiasma, Helsinki FIN
Rum 46, Århus DEN
2008 Cast some light, Glasgow International, Centre for Contemporary Art, Glasgow GBR
2007 Wir sind Woanders, European Art Festival, Hamburg GER
Henrik Lund Jørgensen [Videonale.13]
Friends he lost at sea, 2009, 5:36 (4:00) min., sound, colour [Videonale.13]
The opening of this video introduces a man in a museum, who is sitting, contemplating a collection of paintings by Michael Ancher, a Danish artist known for his realistic portrayals of the fishermen from port of Skagen. Suddenly, the camera switches from the representation of a museum scene to the portrayal of the man's memory. As if being planted into his brain, the camera projects the man's vision of two of Ancher's paintings coming alive. In a tableau vivant, the viewer sees a representation of Ancher's Will He Round the Point? (1879) and the Crew is Saved (1894). The man's vision features one notable difference from the Dutch original: in the place of the heroic Danish fishermen, the man envisages people of various ethnic backgrounds staring pensively into the vastness of the sea or being rescued from a shipwreck. The man's inner monologue, filtered through the female narrator's voice, reveals the man's trauma of dislocation and of isolation from those he holds dear. However, by the substitution of the Danish fishermen for a group of mixed ethnicities, the friends that the man lost at sea come to be understood metaphorically as refugees lost to emigration. Thus Jørgensen 's video serves as a springboard for considering the issues of escape and survival, of intimacy and the rupture of personal connections triggered by social mobility and dislocation.
Olena Chervonik