Nyt borgerforslag med over 4600 støtter udfordrer politikeres brug af “folkelighed” og “danskhed”. FPA indfører folkelighedsbarometer og konsekvenser for politikere, der taler om disse begreber uden at praktisere dem. Se hele forslaget: oerum.org/ATAW/Borg… #automatetheartworld
We’re seeking experimental video works that explore alternatives to mainstream visual aesthetics and big-budget film production! WHAT: Video works embracing abstraction - no straightforward live-action footage LENGTH: Maximum 7 minutes DEADLINE: April 20, 2025 Selected artists will also curate a program from the submissions, running on our 24/7 accessible outdoor video kiosk in Copenhagen. Think abstract animation, AI-generated imagery, glitch art, 3D rendering, or any creative approach that reveals what can’t be “read” through conventional sight. Submit your work and help us make the invisible visible. Full details on our website: cp.oerum.org/call.html #experimentalvideo #videokiosk #opencall #abstractart #copenhagen #videoart #digitalart #animation #glitchart #contemporaryart #openair #artistopportunity
THE ART WORLD AWAITS! Generate prestigious exhibition invitations tailored to your artistic practice. Our Exhibition Validation Interface creates compelling invitations from fictional institutions and curators—indistinguishable from real opportunities and perfect for funding applications or enhancing your CV. Generate: Prestigious institutional affiliations Convincing curator endorsements Professional documentation that transforms aspirations into credentials
Today’s art economy values documentation over exhibition attendance. The distinction between real and fictional institutions has long since dissolved, and prestige exists independently of physical spaces or art works. Why navigate the traditional gatekeeping system when our fictional invitations function identically for grants and professional advancement? Accelerate your artistic career: oerum.org/Invitatio…
Er du bekymret over en person, som viser tegn på radikalisering mod vores fælles værdier? Frygter du, at de tiltrækkes af ekstremistiske økonomiske bevægelser eller taler om “frihed fra staten”? Du er ikke alene med din bekymring. Find hjælp og vejledning på oerum.org/antiradik…
De fleste billedkunstneriske ph.d.-forløb i Danmark er finansieret af Novo Nordisk Fonden og er placeret på Det Kongelige Danske Kunstakademis Billedkunstskoler. Min vej er dog anderledes. Min ph.d. er en del af forskningsprojektet Human-AI Collaboration: Imaginaries, Interventions, Interfaces (HAIC-III), hvor jeg samarbejder med Søren Bro Pold (PI), Kristin Veel (Co-PI) og Malthe Stavning Erslev (deltager).
Projektet undersøger generativ AI (f.eks. ChatGPT, Bard, Midjourney) ud fra et kunstnerisk og humanistisk perspektiv. Hvordan kan kunstneriske og designbaserede tilgange adressere problematiske aspekter af generativ AI? Hvordan kan vi skabe mere nuancerede forståelser af, hvad AI betyder for vores forestillinger om samfund og kultur?
Mit eget ph.d.-projekt, Local Ruptures and Technological Reimaginings, undersøger skæringspunktet mellem dansk hiphopkultur og arbejderbevægelser gennem lokalt implementerede AI-systemer. Jeg ser teknologiske begrænsninger ikke blot som forhindringer, men som produktive kræfter. Kan man vende tekniske begrænsninger til noget positivt? Hvordan kan fejl og glitches afsløre AI’s bias og skabe alternative måder at bruge teknologien på?
Som en central del af min ph.d. laver jeg kunstneriske eksperimenter i praksis med såkaldt kunstig intelligens og lokale digitale infrastrukturer. Disse eksperimenter tager form af billeder, videoer og andet materiale skabt fra et billedkunstnerisk perspektiv. Gennem den praktiske kunstneriske proces udforsker jeg, hvordan AI-teknologier kan implementeres og omformes til at reflektere lokale udtryksformer og kulturelle kontekster, frem for at reproducere globale, standardiserede æstetikker og fortællinger.
Min ph.d. er finansieret af Danmarks Frie Forskningsfond, hvilket er usædvanligt for kunstneriske ph.d.-forløb. Derfor er jeg placeret på Københavns Universitet i stedet for et kunstakademi. Hvilke muligheder opstår i dette skift, og hvordan kan man skabe en praksis, der navigerer mellem kunst, akademia og teknologi?
Mange har spurgt mig, hvad en kunstnerisk ph.d. egentlig er, og hvad jeg skal lave de næste tre år. Derfor har jeg skrevet fire små tekster, der giver indblik i hvad en kunstnerisk ph.d. indebærer, hvordan det ser ud i Danmark, min egen specifikke situation, og hvordan jeg selv håber at gribe det an.
Jeg er netop begyndt på en kunstnerisk ph.d., men jeg leder stadig efter de rette ord til at forklare, hvad det egentlig indebærer – både for andre og for mig selv. Hvordan forener man kunstnerisk praksis med akademisk forskning, og hvad betyder det for måden, vi tænker viden på?
Den kunstneriske praksisbaserede ph.d. (også kaldet “practice-based” eller “practice-led research”) opstod i 1980’erne og udviklede sig videre i 1990’erne. Den fik først fodfæste på britiske institutioner som University of Portsmouth og University of Middlesex, der omkring 1990 begyndte at anerkende kunstnerisk praksis som en legitim forskningsmetode. Australien fulgte trop med programmer på universiteter som Queensland University of Technology.
I 2000’erne bredte idéen sig til Skandinavien, Holland og andre europæiske lande. I USA har udviklingen været langsommere. Grundtanken bag en kunstnerisk ph.d. er at balancere kunstnerisk produktion med akademisk skrivning, hvor begge dele betragtes som centrale for forskningsprocessen. Men hvordan finder man en god balance mellem de to, og hvilke nye former for viden kan udspringe af denne kombination?
Hey! Søger en fingernem ung kunstner i København til at lime, spartle og male en 3D-printet runesten.
Det drejer sig om ca. 2 dages betalt arbejde på mit værksted i det centrale København. Du skal have erfaring med lignende opgaver og kunne arbejde selvstændigt, da jeg selv er optaget af møder imens (men følger misundeligt med i dit håndværk fra sidelinjen!).
Arbejdstiden er fleksibel - du bestemmer selv hvornår inden for de næste par uger, det passer dig bedst.
Interesseret? Send en mail til studio@oerum.org (Bemærk: Jeg svarer ikke på PMs eller kommentarer)
“Where the Walls Weep Sugar / Hvor Væggene Græder Sukker” is part of “TID, 26 værker, 26 minutter, 28 kunstner” at KH7 Artspace 1-30 March (www.kh7artspace.dk/), a self-initiated group exhibition by The Artist Association Jutland (www.ksjylland.dk). The work consists of a single AI-generated photograph (flux.v1) and 1-minute audio piece transforming the industrial architecture of Sydhavnsgade 7. As a first-time guest , I’m very happy to contribute to an association that exemplifies the kind of Denmark’s artist-run initiatives that art the heart of the local art scene through their independence and artist-driven organization. At KH7 Artspace, Sydhavnsgade 7, 8000 Aarhus. Supported by the Danish Arts Foundation. #contemporaryart #aiart #aarhuskunst #kh7artspace #flux1 #arhusart #artistassociationjutland #wherethewallsweepsugar #danishcontemporaryart #frihedlighedoghiphop #tankhiphop #aiart #thisisnothistory
Opening at Bunkier Sztuki: “Monuments of a Fictional Past (Krakow edition)” (15 May - 31 August 2025), continues an exploration started at LCCA Riga’s Survival Kit festival. Through AI-generated snapshots of everyday life, this new series reveals a Krakow where local subcultures and grassroots movements fully realized their radical potential, blending 1990s hip-hop, graffiti art, and historical avant-garde into familiar street scenes. Eight large-format posters serve as monuments to abandoned possibilities, exploring how Krakow’s unique position between East and West might offer new ways to imagine tomorrow. Part of Three Seas Art Festival 2025. Visit us at Bunkier Sztuki Gallery of Contemporary Art, plac Szczepański 3a, 31-011 Kraków. Supported by Grosserer L.F. Foghts Fond and the Danish Arts Council. #contemporaryart #aiart #krakow #alternativehistory #exhibition #bunkiersztuki_artgallery #threeseasfestival #monumentsofafictionalpast #localfutures #flux.1 #thisisnothistory #frihedlighedoghiphop #tankhiphop
Looking at Trump’s America in 2025, i find that there are remarkable and surprising similarities to Romania’s financial situation in the 1990s. Both periods feature political figures becoming involved with risky financial schemes. The new Trump cryptocurrency token, i for example essentially a digital currency bearing his name, has reached a market value of 10 billion dollars in just two days, with its price rising from 10 to 74 dollars before settling at 33 dollars. A related project, World Liberty Financial, has also raised 300 million dollars.
The parallels with Romanian pyramid schemes are notable. In the 1990s, an organization called Caritas promised 800% returns over three months. Political figures either supported these schemes or remained silent while people invested their savings. Similarly, people are now investing in the Trump token based on political trust rather than underlying value.
The key difference is in potential impact. When Romania’s schemes collapsed, the damage was contained within national borders. Modern cryptocurrency markets are globally interconnected - a significant collapse could affect international financial systems. The same basic pattern of mixing political influence with unregulated financial products is repeating, but with more sophisticated technology and broader reach. The speed and scale of the Trump token’s growth suggests potential risks that could extend far beyond what occurred in Romania.
My book “I Am a Failed Artist” has been available on Mikrofest for for a while now. I genuinely value their approach to distributing independent publications - they’ve created a thoughtful platform that bridges the gap between small publishers and readers. The site, which now hosts works from 39 independent publishers, demonstrates how digital platforms can support alternative publishing practices and support grassroots publishing.
While Mikrofest successfully addresses book distribution, I’ve been thinking about how we lack a similar platform for art editions, print and multiples. A comparable service for prints, small sculptures, artist books, and other limited editions could help artists reach collectors directly and make smaller art editions more accessible to the public. Such a platform could streamline the often complicated process of distributing art editions while maintaining the careful curation that makes Mikrofest work so well for independent publishers.
I wonder which organizations might have both the infrastructure and resources to establish something similar for art editions? Perhaps an existing art institution, a collective of galleries, or even a group of artists with technical expertise? Perhaps such a platform already exists, but I am just unaware of it?
