AIP festival magazine 2014

OCT 2014MAGAZINE

PROGRAMMEsee the full programme

FESTIVALget to know AIP

AIP2014// MAGAZINE

THE EDITORSEDITOR Sarah Skyt Persson.

WRITERS Helene Lykke Skov Ref-

sgaard. Ditte Stache Dalsgaard.

Christoffer Rauff Heide. Birgit Toft.

Martin Ahm. Sarah Skyt Pers-

son. TRANSLATERS Sara Lodahl.

Mathias Nøhr Bertelsen. Feline

Busborg. Kathrine Skyt Persson.

LAYOUT Anders Bach Grønbæk.

Jonas Lodahl. Esben Persson.

EditionOCTOBER 2014,N° 01

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E

W E L C O M EA free three-day festival full of surprising and dif-ferent film- and photo experiences. We are proud to present short films and photo art that you can-not find anywhere else. They are created on mini-mal budgets by talented young artists from all of the Northern countries. In total 100 productions have been accepted of which 40 are candidates for Mentor’s Selection – a mentorship program for talent development. The goal of AIP is to promote and develop future artists and you are invited to the site where it all happens. Beside the up-com-ing talents you can also experience the works of established artists, get enlightened at lectures/Art-ist talks, become more skilled at workshops and relax in the lounge areas. In the covered courtyard there is music and cold beers and Saturday night you are invited to the Final Party at Double Rain-bow Café in Skovgaardsgade 3 where DJ Baba Ganoush from Aarhus among others will enter-tain. At Aarhus Independent Pixels the growing talents, established artist, and a broad audience meet for a cultural event and party – free of any charge. In 2014 the festival takes place for the first time and Aarhus Art Academy is where it happens.

Have a good time!

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AIP2014/content

6 // A creative melting pot“The idea behind the festival is to cre-

ate a platform for talent development that attracts young artists from all over the

North,” explains the festival director Anders Bach Grønbæk in this interview.

9 // From idea to realityIt started with a round-the-world trip and

the climax is being reached now with a short film- and photo festival. Read about the pro-

cess that has lead to AIP 2014.

12 // Independent film festivals expand your horizon

Aarhus Independent Pixels is a new ind-pendent festival but what does it mean to be independent and why are we in the need of

independent festivals?

26 // AIP SPOT: The naked photographerPer Morten Abrahamsen is known for his experimental portraits. In this interview he is the one being portrayed.

30 // Workshop sample: Music adds emotions to picturesSound appeals to the emotions of a movie audience, says Martin Ahm. He makes a living composing music for films and com-mercials and at AIP 2014 he is hosting a workshop.

32 // Programme and map Here you will find the festival programme and a map helping you to find your way around the AIP area.

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14 // Meet the mentors20 talented young people get a mentor after AIP 2014. In this article you are introduced to the professionals who are taking them under their wings.

19 // Meet the talentsThe up-and-comers are in focus at AIP. Get to know 6 of the participants.

23 // Words from an expert: A mentor makes all the difference Mentorship is becoming a part of the Dan-ish business sector. In this article one of the leading experts in this fields, Birgit Toft, tells you about he possibilities arising from men-torships and places the idea in an artistic context.

2014

- This is what we have aimed to create, says Anders Bach Grønbæk, festival director. In this interview he explains what Aarhus Independent Pixels is all about.

Talents need attention

When 23-year-old An-

ders Bach Grønbæk

takes a look around in his

peer group he notices

that an increasing num-

ber of people are taking

the plunge into movie-

making and art photog-

raphy. In the course of

the last ten years profes-

sional camera equipment

has become affordable to

most people, he explains,

and this has released a lot

of creativity. Yet the con-

sequential challenges are

how to get competent ad-

vice on the productions,

and how to reach an au-

dience. These barriers

are removed by Aarhus

Independent Pixels.

“The idea behind the

festival is to create a

platform for talent de-

velopment that attracts

young artists from all

over the North,” says the

director, who has person-

ally experienced the frus-

tration that comes from

having the material but

being completely on you

own.

“It is not enough to make

films or take photos. You

have to share these with

other people and ob-

serve their reaction in

order to improve.”

This is why he and a

group of like-minded

people have started the

festival and encouraged

young people under 29

to send in their contribu-

tions. The age-limit was

created because this ini-

tiative tries to reach the

up-and-coming section

of artists. AIP is an envi-

ronment, where meeting

both professionals and an

audience, challenges the

relatively inexperienced

talent.

“We think of this festival

as the first step on the

By Sarah Skyt Persson

CREAT

A

MELTING POT

6 # aip_14

way towards bigger fes-

tivals and broader rec-

ognition. This is the place

where the contributors

should gain experience

and knowledge that they

can take along with them.

The most important thing

for us is to help them

develop”, Anders Bach

Grønbæk says.

This is why AIP is not,

like many other festivals,

a competition per se. In-

stead of a panel of judges

there is a group of men-

tors consisting of four

established people from

the industry, and instead

of receiving a physical

award, twenty of the con-

tributors will be awarded

with a custom-made men-

tor guidance program.

“When it comes to nour-

ishing talent, we believe

in giving people compe-

tent guidance instead of

an award they can put on

the mantel,” the director

says.

He stresses how the au-

dience, in connection

to this, also plays an im-

portant role. During the

festival the audience will

have the opportunity to

give written feedback on

all the contributions. The

feedback can be deliv-

ered in assigned boxes at

the festival or on the fes-

tival webpage, and will be

received by the respec-

tive contributors. Through

this the festival combines

professionalism with pub-

lic involvement.

“We would like to help

develop the talents, and,

at the same time, encour-

age public interest in the

up-and-coming talent.”

It’s not about money

AIP is created by volun-

teers. A group of archi-

tecture students have

undertaken the task of

transforming the festival’s

location, which previously

housed the tobacco fac-

tory J.E. Schmalfeld, into

an inspiring scene for

the event. As an example

around 200 small boxes,

or “pixels”, have been col-

lected and painted, and

are now part of the deco-

ration of the festival area.

“In reality, it’s a crazy

project”, Anders Bach

Grønbæk says, “to make

an ambitious three-day

festival without any real

funds. We believed that

it was possible from the

beginning, and have

luckily been able to con-

vince others of this as

well.”

Aarhus Art Academy has

lent out the buildings in

which the festival will take

place, and besides the

volunteer workers, the

festival has been made

possible by donations and

local funds.

“It has been a puzzle,

right up until the last

minute, to make every-

thing come together, but

we got there, and it feels

great.”

How the bottom line will

look after the festival is

over is not yet known,

but the director hopes to

break even. The festival

is a non-profit undertak-

ing, so the idea was never

to generate proceeds,

he says. Instead, the aim

is that AIP becomes an

annual returning event,

which in time will be self-

funded. One thing that will

not change is the fact that

the festival is free for both

artists and audience.

“Anyone with an interest

in short films and pho-

tography should have

the opportunity to par-

ticipate. AIP is about ex-

citement, not financial

resources”, Anders Bach

Grønbæk says.

The independent in

Aarhus Independent

Pixels

The subject of the finan-

cial resources directs the

conversation towards the

topic of the financial as-

pect of the productions.

The festival director ex-

plains how the word in-

dependent in Aarhus

Independent Pixels indi-

cates that the festival is a

so-called “indie” festival.

Raindance, Independent

Days, and Zoom Youth

Film Festival are other Eu-

ropean examples of this

type of festival. What they

have in common is the

fact that they all celebrate

independent productions

that have no connection

to the big commercial

production companies or

established filmmaking

foundations. The deci-

sion to make AIP an in-

dependent-festival was,

according to Anders Bach

Grønbæk, a natural con-

tinuation of AIP’s general

financial philosophy:

“When the festival itself

is not realized by finan-

cial considerations, then

the works that are pre-

sented here shouldn’t be

either. Those two things

go together.”

“The demand for inde-

pendence also ensures

that the conditions are

the same for all the con-

tributions. No one can

send in a big production

and automatically steal

all of the limelight. This is

7

the place for small works with

great ambitions.”

A melting pot

Even though the untested tal-

ents are the focus of the fes-

tival, they are not completely

alone. The three-day festival

has a busy program consisting

of many other exciting features.

Photo artists, who have autono-

mously attracted the public eye,

are exhibited here too. Among

these are Cecilie S. Baudier, who

in 2013 won the National Geo-

graphic Photo Contest, and the

artist Ukendt Aarhus, who in the

spring of 2014 received a lot of

media attention for various alter-

native city portraits taken from

cranes, rooftops and scaffold-

ings.

Furthermore, a range of other

films will be shown. These in-

clude films from other European

festivals’ ‘Official Selection’ and

films from the film magazine Ek-

ko’s ‘Shortlist’: a top 25 (all time)

of the best Danish short films.

In addition to this there will be

lectures by experts, Artist Talks

with filmmakers and photo art-

ists, plus workshops, where all

participants get a chance to un-

fold their creativity and acquire

new skills.

“People should get a full expe-

rience!”, Anders Bach Grønbæk

says. “That is why we have put

a lot of effort into making the

program as versatile as pos-

sible. The festival should be

a creative melting pot, where

new talent, people from the in-

dustry, and a broad audience

should all come together and

get inspired.”

As a part of the festival area

there will be a roofed court-

yard, where there will be live

music and a possibility to buy

low-priced refreshments. On

Saturday night the events will be

moved to the Double Rainbow

Café, where DJ Baba Ganoush

from Aarhus among others will

entertain at the Final Party.

“This aspect is supposed to in-

dicate that the event is also a

festive occasion”, the director

says. “People should go to the

festival to be entertained and

have fun, and they are welcome

to stay until the early hours.”

Facts about

Aarhus Independent Pixels

AIP is a non-profit short film- and

photo festival, which will take place

for the first time this year. The con-

tributing artists are under the age of

29 and come from all over the North.

All contributions are financially inde-

pendent of commercial production

companies and established filmmak-

ing foundations. That fact makes AIP

an indie-festival.

Besides being a platform for talent

development, AIP is a multifaceted

event that includes works by well-

established artists, lectures, Artist

Talks, and workshops.

For more information go to:

www.theindependentpixels.com Mentor’s Selection

AIP does not reward the most

gifted talents by giving them a price

Instead 20 artists will receive a

mentor.

There are 4 mentors affiliated with

the festival:

Ulf Friberg (Actor, screenwriter and

director, Sweden)

Richard Raskin (Short film expert,

Denmark)

Beate Cegielska (Photo expert,

Denmark)

Alla Räisänen (Photo expert, Fin-

land)

The categories

All the participating productions

belong to one of the following cat-

egories:

Short film:

The Independent Short Short (max 5

minutes)

The Independent Short (max 30

minutes)

Photo art:

The Independent Photo (1 photo)

The Independent Photo Series (3-10

photos)

From every category five works are

chosen for Mentor’s Selection.

1 # 2 #

3 #

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FROM IDEA TO REALITY

In January 2014 a group of film and photo enthusiasts decided that they wanted to organize a festival. The event is now a reality. Here you can read about how it all

came to life.

Fall 2013 – January

2014: It all began…

… with four young men

who went on a journey

around-the-world. First

they traveled to Russia

and from there to Mon-

golia. Next stop was Chi-

na and then on to Alaska

and the US. The journey

was supposed to be a

stepping-stone in creat-

ing a short narrative film

about being young and

exploring the world. As

they came home the ed-

iting process started and

questions arose: “Where

do we go to get feedback

on this project and how

can we show this to an

audience?” The four men

reached out to their net-

work, but nothing hap-

pened. The questions

were left unanswered

until the guys realized

that they could not be

the only ones with this

problem. Therefore, they

decided to create a plat-

form where young talents

could bring their artistic

projects to the light. This

platform is now Aarhus

Independent Pixels.

February – Marts 2014:

The concept

The festival group started

writing a description of

the project back in Feb-

ruary 2014. At their office

in Mejlgade they wrote

down how the festival

should be planned and

what its ambitions were.

Here it was decided that

the festival had to be a

local event in the city of

Aarhus but with – so-

called - open eyes to the

world. By allowing artis-

tic contributions from all

Northern countries, their

aims were to secure a

variety in products and

a solid number of appli-

By Kristoffer Rauff Heide

9

cants. As they wanted the

festival to be a place for

young, upcoming photo

and film talents, the age

limit was set to 28 years

and no film- and photo-

products that had been

supported by film insti-

tutes were to be accept-

ed.

The last decision made

AIP an indie festival and

therefore they chose the

name Aarhus Independ-

ent Pixels. Moreover they

came to the conclusion

that the idea of economic

independence should be

reflected in all aspects of

the festival. Therefore all

entries at AIP are free.

Normally, a film and pho-

to festival stresses the

competition among the

contestants. Aarhus In-

dependent Pixels, how-

ever, wanted to do some-

thing more for the artists

besides giving a prize.

Therefore the festival of-

fers the most qualified

artists in every category

a mentorship so they can

keep developing their

talent. The categories

that the festival group

agreed on were The In-

dependent Short Short

(short film max. 5 min.),

The Independent Short

(short film max. 30 min.),

The Independent Photo

(1 photo), and The Inde-

pendent Photo Series

(3-10 photos). The men-

tors choose four works in

every category for Men-

tor’s Selection.

April – October 2014: It

becomes real

After having written down

the basic festival concept,

the practical issues start-

ed to tick in. Especially

one problem seemed to

block the process: Is it

possible to make a festi-

val with no money? Luck-

ily the project description

was already at this point

so good that the Munici-

pality of Aarhus agreed to

support the festival with

30.000 kr. Unfortunately

that did not cover all ex-

penses of a non-profit

festival of this sort. In or-

der to solve this problem

the festival group began

knocking on doors at

private businesses, ask-

ing them for their help.

Their efforts bore fruit,

the businesses lent them

e.g. HD-projectors, sound

equipment etc. In the end

everything seemed to

add up, especially after

Aarhus Academy of Art

offered their buildings for

the festival event free of

charge.

As Aarhus Academy of Art

decided to collaborate

with Aarhus Independ-

ent Pixels, it finally felt like

the festival was becoming

a reality. This feeling was

furthermore accelerated

as the website for Aarhus

Independent Pixels was

launched on May 30th

2014.

A couple of month’s later

works of Nordic artists

that wanted to be a part

of the festival started roll-

ing in. Since the festival

group wanted the event

to be as multifaceted as

possible, they also invited

established profession-

als and artists to arrange

lectures, workshops, and

artist talks. Many people

accepted the invitation

and on October the 2nd

the program was finalized

and ready to be pub-

lished.

September – October

2014: The final prepara-

tions

“We are in the need of

kind hearts” was the slo-

gan for the campaign

whereby the festival was

trying to recruit volun-

teers. Since the AIP-en-

gine is oiled by people

who are willing to work

non-profit, the festival

group was thrilled that

almost 50 people signed

up for duty. At this point

the biggest job for the

volunteers were to cre-

ate a cozy atmosphere at

Aarhus Academy of Arts.

The first volunteer events

were held in co-opera-

tion with architect stu-

dents that helped the

ideas of ornamentation

come true, for example

the wooden orange box-

es. One could say that the

more than 200 boxes in

some way symbolize what

Aarhus Independent Pix-

els is all about: Getting an

idea, helping each other

to realize it and seeing it

turn into reality.

Now it all comes down to

the days of 17th to 19th of

October. We have been

looking so much forward

to invite you to experi-

ence three intensive fes-

tival days.

10 # aip_14

The office in Mejlgade

Aarhus where the manag-

ing committee has been

working. Here the ideas be-

came a written description

and then a reality.”

“The volunteers have been

working hard to create an

unique environment at

Aarhus Art Academy. Here

they are making pixels for

the festival site. 200 they

have made in total.”

< “It is in these beautiful

building that the events is

taking place. This is how it

looked before the volun-

teers started”

<

<

11

Independent film festivals expand your horizon

Surprising movie experiences

Raindance in London, European Independent in Paris, and Inde-

pendent Days in Karlsruhe. These are examples of European inde-

pendent festivals or ”indie” festivals, as they are called. The films

shown at these events are produced without financial support from

big commercial production companies or established filmmaking

foundations. Thus, one can speak of independent productions cre-

ated on a small financial foundation, but with full artistic freedom.

This type of film you rarely find in cinemas and hence these festivals

have an important role to play. They provide the audience with an

opportunity to experience films, that usually are unavailable.

Jacob Neiiendam, the manager of the well established Danish film

festival CPH PIX, says:

”From my point of view festivals are created to benefit the audience.

It is about giving people a chance to see something they would not

other wise get introduced to. We must dare to show movies that

people did not know that they wanted to watch.”

It is not that Jacob Neiiendam is an opponent of the mainstream

movies mostly shown in cinemas. But for him it is important that the

audience get an opportunity to expand their film horizon, and thus

it is crucial with festival programs, which are not subjects to com-

mercial terms.

The need has grown

Jacob Neiiendam thinks that the need for independent festivals has

grown in the last couple of years. This in spite of the fact that to-

day people have access to different streaming sites and hence can

watch a great selection of movies at home. He says:

”For a number of years public service TV has neglected film art, and

this has alienated citizens towards movies that are not mainstream.

It is really a shame, and even though many streaming services are

available, people do not know what they should be looking for, if they

want to try something new and different. In this context film festivals

become very significant facilitators of art.”

Martin Fugl Charbert, who is a freelancing film worker and a produc-

tion apprentice at the film school Super8 in Aarhus, also thinks that

independent film festivals are important. Especially because they are

securing development within film art.

”The independent film festivals are ensuring that there is diversity in

the produced movies. They encourage the quirky and different and

the festivals work as platforms for those film creators who produce

indie-movies”, he explains.

By Ditte Starche Dalsgaard

Every year independent film festivals are held all over Europe and

this year Aarhus Independent Pixels is becoming one of them. But

what does it mean to be independent and why is there a need for

independent festivals?

The international perspective

AIP cooperates with several Euro-pean indie-festivals for instance

Independent Days, Raindance, and ÉCU the European Film Festival.

At AIP films from their Official Se-lection 2013-2014 will be showed

in the room called The Flare.

12 # aip_14

Nursing the talents

Martin Fugl Charbert is furthermore calling attention to film festivals

having a responsibility to nurse young talents. It is not enough to cre-

ate diversity, they also have to secure the film landscape of the future

by making room for the inexperienced artists. Amongst other places

you can find them at the film school Super8, which educates produc-

ers, directors, and writers from the whole country. The school has

entered into a cooperation agreement with AIP that has a mission to

promote young Nordic artists.

CPH PIX is another Danish festival with a similar focus. This year it had

over 50.000 visitors and thus it is a good example of people want-

ing unexpected and different film experiences whilst becoming ac-

quainted with the up-and-comers. CPH PIX separates itself from AIP

by maintaining the traditional element of competition whereas AIP

helps the new talents by giving them a mentor.

Acording to Martil Fugl Charbert The European Independent Film

Festival is an international role model. It took place for the first time in

2006 and, according to Charbert, the event proves that a film festival

can be huge and still focus on indie films and the development of

talents.

A festival that makes an effort throughout the year is London Rain-

dance Film Festival that recently has created the online platform Rain-

dance Releasing; A streaming service for indie films, from which the

audience can download movies from all over the world. This way the

festival promotes new artists and alternative films not only during the

festival but throughout the year.

13

14 # aip_14

M

ENTORS

EET THE

They are the experts at Aarhus Independent Pixels and when the festival is over they will be mentors for the biggest talents. Here they elaborate on their passion for short films and photo art and explains why they have agreed to take on the role of a mentor.

15

Courage and interesting encounters

Ulf Friberg is a Swedish movie- and theatre actor and in addition he has writ-

ten and directed several short films. He therefore knows film production from

different angles.

”I have always been preoccupied with story telling. Especially the different

ways of constructing and organizing narratives fascinate me. For that reason it

has been natural for me to try different job functions in that regard. I enjoy the

variation in switching between being screenwriter, director, and actor.”

According to Friberg a movie set is a place of negotiation and everyone pre-

sent contributes with something different to the dialogue. He likes the idea

that everybody has their own unique perspective and this is the basis of the

artistic conversation. The result cannot be reduced to the individual ideas. In-

stead it is something new created in the crossing point between them. About

a successful outcome he says:

“A good movie is created when all the players dare to move outside their

comfort zone and take some chances.”

It is important that everyone is open to different contributions and that they

are willing to challenge themselves.

This is the first time Friberg takes on the role of a mentor but after 25 years in

the industry, he knows to which aspects of the productions his attention will

be directed. It is not just during the creation process, he is preoccupied with

relations. The action of good movies often revolves around the same thing.

“I notice whether or not there is captivating interaction between the char-

acters. It is an essential element. Besides that I pay attention to the way the

movie is constructed, structured and visualized.”

The dialogue with young moviemakers

To the question of why he has agreed to be a mentor at Aarhus Independent

Pixels Friberg replies that the dialogue between young and experienced mov-

iemakers is crucial for both parties. He expects to learn a great deal from the

new talents who he presumes will bring a lot of energy, distinctive stories and

not least new ways of telling them. Inspiration is the reward he receives for his

work and in return he is more than happy to pass on his knowledge.

“I know a lot about acting and about how you get the most out of the mate-

rial. This is what I will mainly bring to the table.”

Mentor in the ‘The Independent Short‘

category.

Ulf Friberg is a Swedish actor, screen-

writer and director educated at The

Theatre School in Malmo.

Previously he has been engaged at

Stockholm City Theatre, Orion Theatre

and Folkteatern in Gothenburg.

As an actor he has had roles in Swed-

ish and international films such as

Bille August’s Jerusalem (1996) and

The Girl with the Dragon Tattoo (2011).

He has also played characters in

several television series like Wal-

lander, Maria Wern and the television

adaptation of the Danish author Hanne

Vibeke Holst’s bestselling trilogy

Kronprinsessan (2006), Kungamordet

(2008) and Drottningoffret (2010).

As a screenwriter and director he has

made a film of the Swedish playwright

August Strindbergs Leka med elden in

2009. He has also made the short films

Borte Bra (2008) and Bilskroten(2005).

<

A FILM SET IS A PLACE OF NEGOTIATIONEverybody brings their knowledge and ideas and then something new iscrat-ed. This is how Ulf Friberg describes the filmmaking process. He has hiself

worked both in front of and behind the camera.

“ “

16 # aip_14

You don’t get satiated with short film

A Chinese master once said that a writer’s message is like rice. When you write

prose, you cook the rice. When you write poetry, you turn the rice into rice

wine. Short films are like poetry, says Raskin and the analogy is one of his fa-

vourite ways to explain the essence of short films.

“A good short film is concentrated, intoxicating, and it takes our breath

away. You can’t get enough of it. A mediocre feature film goes on and on and

feeds you until your full.”

Raskin has never been fed up with short films. Instead he has dedicated his

professional life to making and judging short films, and teaching others how to

make successful productions. One piece of advice, he passes on, is to embrace

the compressed expression.

“It is a common beginner’s mistake to pad out a film with filler, making it

longer than necessary, in the mistaken belief that the longer it is, the more

it is like a ‘real’ film.”

Instead the filmmaker must grasp the strength of the short film and exploit it.

According to Raskin, you do that by embracing the hackneyed phrase “less is

more”.

”A great paradox you find in short films is that only the simple will be per-

ceived as deep. The audience will only get a taste but enough to make them

come back for more.”

It is enriching to teach others

As a teacher at Aarhus University Raskin has rich opportunity to let others

benefit from the knowledge he has obtained during a lifetime. Media science

is a field of study that attracts many movie enthusiasts, and a lot of them find

their way to Raskin’s classes. He enjoys shaping them and taking part in their

creative process. Therefore he did not hesitate to accept the invitation to be a

mentor at Aarhus Independent Pixels.

“As long as it can fit into my schedule, I will not say no to serving as a men-

tor. I consider it a privilege. If I can help a young filmmaker to tell meaningful

stories more effectively than he or she might otherwise be able to do, that

in itself would be a wonderful reward.”

Mentor in ‘The Independent Short

Short‘ category.

Richard Raskin is an American short

film expert living in Denmark. He is Dr.

phil and teaches screenwriting and

video production at Aarhus Univer-

sity in Denmark. He has also taught at

Johns Hopkins University and Colum-

bia University.

Previously he has served as a jury

member at international film festivals

in France, Belgium, India, Holland,

Norway and Denmark.

His books include Kortfilmen som

fortælling (2001) and The Art of the

Short Fiction Film: A Shot by Shot

Study of Nine Modern Classics (2002).

Additionally he has written articles that

have appeared in a number of journals.

As a filmmaker he has written and pro-

duced several short films for example.

Promise (2010) and Seven Minutes

in the Warsaw Ghetto (2012). For his

artistic work he has received various

prizes among others: Special Distinc-

tion Award at Annecy Int’l Animated

Film Festival (2012), and Grand Prize at

4th China Int’l (2013).

<

A GOOD SHORT FILM IS LIKE RICE WINE“Just like rice wine short films are concentrated and intoxicating”, says Ricard

Raskin. It is a distilled version of movie art.““

17

The idea and its visual form

Alla Räisänen wants to be convinced by an original thought and it’s imple-

mentation. She is searching for this power of persuasion when she looks at

photo art.

“For me images as such are not very interesting. I am more preoccupied

with the artists’ ideas and the intention to tell a story. I pay attention to the

conceptualization of the ideas and find it fascinating to see how these have

taken a visual form.”

In continuation of that, photo art has caught her attention because the art

form has the ability to develop in line with new approaches. This potential

made her fall in love with the art form, It happened when she in 1999 made

an abrupt career change from historic researcher at the University in Oulu to

director at Northern Photographic Centre – a regional exhibition space and

teaching site. The main function of the photographic centre is to promote and

develop photographic art and culture in northern Finland. About the career

change she says:

“After my years at the university it was fascinating to jump into a new world.

At that time art photography was not very familiar to me but I was struck by

its diversity as an art form and its great potential.”

Finding your own photographic language

If the potential of photo art is to be realized then new photo talents must con-

stantly emerge and they must bring their particular stories and ideas. That is

why Räisänen is preoccupied with the up-coming segment and why she is

happy to be a mentor at Aarhus Independent Pixels. She wants to help young

artists find their own expression.

“I am passionate about photography and I would like to share the knowl-

edge I have acquired over the years. Most of all I hope to encourage the

artist to find her or his own ‘photographic language’ because this is es-

sential to make valued art. Besides that I can contribute with my experience

as a curator and director of a photo gallery. On a more hands-on level I can

assist them in making photographic series and portfolios for galleries or

photo books.”

Mentor in the‘The Independent Photo

Series‘ category.

Alla Räisänen is a Finnish photo expert.

She is Managing Director of the Union

of Art Photographers in Finland, an as-

sociation that among other things runs

the The Hippolyte Gallery in Helsinki.

Previously she has been director of the

Northern Photographic Centre. Her

educational background is in history

and from 1982-1996 she was research-

er at Oulu University. As a curator she

has been responsible for several ex-

hibits for example:

From the North with Love and Confu-

sion (2004), exhibited in Norway, Ger-

many and Austria.

Whats up North? (2006), exhibited at

Pohjoinen valokuvakeskus/Rantagal-

leria in Finland.

Wanderings and Imaginary Meetings

(2007), exhibited at National Museum

of Szcehin in Poland.

In her professional life she is very in-

volved with the alternative artistic cul-

ture in northern Finland.

<

THE PHOTO IS NOT INTERESTING BUT THE ARTIST’S IDEA IS

When Alla Räisänen looks at photo art, she is mostly paying attention to the thought process and how it finds its expression.

““

18 # aip_14

Born into the world of arts

Beate Cegielska’s interest in art started, when she was a young girl. Many in her family were artists, and when they exhibited at museums, she always went to see their work. At the time photography was not a properly accepted art form, but to Beate Cegielska it quickly gained such status through her read-ings.

“I read a lot of books written by travelers in faraway countries. I was very much occupied with looking at the illustrations which most of the time were photographs,” she relates.

Beate Cegielska’s fascination for book illustrations pointed out her life path. In her small gallery in Aarhus she has been hosting photo exhibitions for more than 35 years, including exhibitions with both new talents and some of the best international photo artists such as Allen Ginsberg, Martin Parr, Christer Strömholm, and many more. In this way, she has been a central contributor in the positioning of the photography in the world of arts.

One of the main motive forces of Beate Cegielska’s is working with new tal-ents. According to Cegielska young unestablished artists are the growth layer that is to secure the future of photo art. Therefore, her line of job is never ending.

“Today there is still a need to stimulate the growing photo scene, and the young talents have to show their work at galleries. It will renew their inspi-ration,” Beate Cegielska explains.

The good photo

Beate Cegielska’s method to spot talented new artists at Aarhus Independent Pixels will follow the same pattern as when she normally finds talents for her own gallery. She will look for a photo that seduces the viewer. She wants the photo to stand out with an eye-catching visual language and leave the viewer with a feeling that the artist has something meaningful to say.

“The good artistic photo is based on several layers of understanding. It needs to have an obvious originality and a strong visual message,” Beate Cegielska says and continues: “What I am looking for in an art photo at Aarhus Independent Pixels is something that proves a talent for visual lan-guage and, furthermore, some potential that I as a Mentor, in collaboration with the artist, can help develop.”

The experienced gallery manager is especially looking forward to participate in the AIP-Mentorship, and she is anxious to see what the artists have to offer.

“I look very much forward to being surprised by the new generation’s ide-

as,” Beate Cegielska says.

Mentor in the ‘The Independ-ent Photo‘ category

Beate Cegielska is a Danish photo expert.

Since 1977 she has been in charge of Gallery Image in Aarhus. It was the first of its kind in Scandinavia and for several years the only one in Denmark.

In more than thirty years Gal-lery Image has received inter-national recognition and fame. The galley has been an impor-tant place in terms of making photography an independent art form that is considered equal to other forms of art.

Besides her profession as a manager and curator, she has also been a portfolio reviewer at various international photo festivals.

<

PHOTO ART DID NOT EXISTIn 1977 Beate Cegielska opened Gallery Image, the first gallery in the Nordic countries to host photo art. Today the art form can be seen all over the world at the biggest and most reputable museums. Meanwhile, Beate Cegielska con-

tinues to find talents to exhibit in her gallery.

““

af Helene Lykke Skov Refsgaard

AIP SPOT: Per Morten Abrahamsen

19

MEET THE TALENTSAarhus Independent Pixels has received a lot of qualified contributions. 20 have been chosen for Mentor’s Selection and here you have the chance to learn more about 6 of the artist who have made them.

Name: Isabel Deleuran

Nationality: Danish

Give a short presentation of

yourself:

I am a 25-year-old and studying

Digital Design. Previously I have

been taught at a photo school

in Chile and besides studying I

am a freelance photographer for

various clients in Denmark.

When did your start taking pic-

tures and why did you start?

When I was about 18 I went

traveling in Latin America with

my backpack, a tent, and my

camera. It wasn’t long before

I found out that the locals and

their lives were a lot more in-

teresting than the typical tour-

ist landmarks. So, my trip turned

into a photo safari, where I tried

to get closer and seek out the

interesting and bizarre details.

One year later I started attend-

ing the photo school in Valparaí-

so, Chile.

What is it about photo art that

fascinates you?

What really has my attention is

the oblique approach to photog-

raphy – that little offbeat detail

that can turn an otherwise nor-

mal setting into something odd

and different. For me photogra-

phy is about presenting reality

– but reality with a twist. Also I

am fascinated by different colors

that compliment each other and

make the picture a whole.

Are there themes or subjects

that in particular interest you?

As I mentioned I have a passion

for details and colors and the

way different elements influ-

ence each other. Besides that I

often play with a subtle humor.

People should smile when they

se one of my pieces. I also like

photographing kids because of

the unmasked expressions and

feelings they portray. So I guess

innocence is another favorite

theme of mine.

What are your ambitions?

I In a couple of years I hope to be

attending School of Visual Arts

in New York or another school

with a great photography pro-

gram. Down the line I would love

to influence the Danish photog-

raphy scene and make it a bit

more varied.

At AIP 2014 Isabel is contributing

in the category The Independ-

ent Photo. Her work is called

’Elite Swimmers’ and has been


Name: Dario Bosio

Nationality: Italian


yourself:

I was born in Genova in Italy, on

the 21st of June 1988. In 2007 I

enrolled at the Florence Univer-

sity to study Journalism. Later I

have completed the TV-Docu-

mentary and Photojournalism

course at the Danish School of

Media and Journalism in Aarhus.

Right now I am based in Napoli

where I work on my own art pro-

jects, while I am a project coor-

dinator for photography related

educational projects and exhibi-

tions.



I think it all started during an in-

ter-rail trip I was doing with my

brother. I guess I was about 18

or 19, and when we stopped in

Prague the World Press Photo

exhibition was going on. I was

studying journalism at the time

but I had never thought about

photography before. I remember

seeing the exhibition and saying

to myself: ‘I want to do this’.


fascinates you?

I think of photography as a

bridge between reality and the

inner vision of the photographer

– this is what fascinates me along

with the fact that photography is

a language of its own. It has it’s

own rules and grammar and you

can properly write with images.



Coming from journalism, I be-

lieve that I should tell stories that

matter, cast a light on under-re-

ported stories etc. I always have

this thought in the back of my

mind when I approach a subject

or a theme. I ask myself: ‘what’s

the issue here and why is this

story important?’.


I am constantly looking for ways

to communicate with my audi-

HANNES LIESCHKE SAMUEL GLASSAR MADS HOLM ISABEL DELURAN DAVID JERVIDAL DARIO BOSIO

20 # aip_14

ence by making them curious

about what they are seeing. I

wish to be able to speak to the

largest possible audience in the

most effective way.

At AIP 2014 Dario is contributing

in the category The Independ-

ent Photo Series. His work is

called ’On the Identity of a To-

mato Picker’ and has been cho-

sen for Mentor’s Selection.

Name: Samuel Glassar

Nationality: Finnish


yourself:

My name is Samuel and I’m 20

years old. I was born and raised

in Finland but my father is from

Liverpool England. I have just

started business studies at

VAMK College in America..

As a kid, I always had a smile on

my face. I never stood still, and I

was always full of energy. Then

life came and hit me and I lost

that smile for a while. For a few

years I was in a foggy state of

mind searching for myself. That

is when I found photography.



I started when I was about 16

years old simply because it

made me happy. I bought my

first DSLR and began tacking

pictures. Quickly I got obsessed

with it and learned all I could

about the art form. After 3 years I

had taken about 40 000 images.


fascinates you?

In the beginning it was about

getting into the moment. Still-

ness. Flow. Zen. Whatever you

wish to call it.

It is still about that but also the

creative process fascinates me

and the journeys photography

takes me on.



Landscapes and people.

I enjoy creating images that are

emotional but with a polished

look. With portraits I aim to cap-

ture the essence of a person,

which is so demanding and

difficult.


Through my work I hope to

spread joy. Taking pictures

make me cheerful and I want

other people to feel the same

way when they see them. I think

there is too much negativity in

the world and I’m going to give

my effort to change that.

At AIP 2014 Samuel is con-

tributing in the category The

Independent Photo Series.

His work is called ’Touches

of Island’ and has been cho-

sen for Mentor’s Selection.

Name: Hannes Lieschke

Nationality: German


yourself:

I am 20 years old and currently

studying at the European Film

College in Denmark. The last

years I have made 7 internships

in different film productions and

television broadcast companies.

When did your start making

films and why did you start?

I started making my own films

about 6 years ago when my

mum gave me a camera for my

birthday. In the winter holidays I

filmed my family and myself ski-

ing. Afterwards I could not stop

and I continued producing mu-

sic videos and short films with a

good friend of mine.

What is it about short films that

fascinate you?

I see films as an opportunity to

express myself. My focus is often

on a specific situation, the pro-

cess of building a character, and

the collaboration with the actor.



My favourite films are about real-

istic themes and emotions. I like

to gamble with sorrow, fear, vio-

lence, and happiness.


I want to continue learning

more about films and develop

new ideas. In a couple of years

I would like to produce a feature.

At AIP 2014 Hannes is contrib-

uting in the category The In-

dependent Short with the film

’Haven of Home’ and in the cat-

egory The Independent Short

Short with the film ’Bruchstück/

Fragment’. Both films have been


Name: David Jervidal

Nationality: Danish


yourself:

I am 22 years old and currently

studying in Aarhus to become a

teacher.



I started as a teenager when I

was old enough to buy my own

camera. I got a Canon 350D and I

had it with me on different photo

trips with my friends and my dad.

My dad had a big influence on

me since he is a photographer

himself, and sometimes we have

competed to see who could get

21

the best picture of a certain sub-

ject. We are always engaged in

a conversation about photogra-

phy and techniques. We just can

not help it and our interaction

motivates me.

I seriously started filming this

spring. A good friend told me

about the film school Potemkin

in Aarhus, and it was here I de-

veloped my skills and really got

my eyes opened for the world of

filmmaking. Once you get to that

point there is no going back.


fascinates you?

You say that a picture says more

than a thousand words. So imag-

ine how much you can tell with

25 frames per second. For me

filmmaking is all about storytell-

ing and I try to communicate the

story through interesting pic-

tures.



When I was younger I took pic-

tures of nature, animals, and es-

pecially macro shots of insects.

It was easy, and I did not have to

instruct my motive. Later I start-

ed to focus on humans and their

relations. This was a more chal-

lenging task, but it was easier to

tell a story.


I would like to communicate as

many interesting stories as pos-

sibly, and I hope to become a

better photographer along the

way.

At AIP 2014 David is contribut-

ing in the category The Inde-

pendent Short Short. His work

is called ’Spirit of New York’ and

has been chosen for Mentor’s

Selection.

Name: Mads Holm

Nationality: Danish


yourself:

I am 24 years old and come from

Copenhagen. Currently I live

in Scotland were I attend the

Glasgow School of Art. Before I

moved to Glasgow to continue

my artistic practice I studied and

worked with photojournalism

and documentary photography

in New York and Copenhagen.



When I was 15 years old skate-

boarding was my life and I used

the camera to document my

friends while skating. I was con-

stantly trying to capture the

wildest trick. In high school I

realized that photography had

taken over most of my life, so I

decided to really focus on de-

veloping my skills and therefore

I applied to the Danish School of

Art Photography, Fatamorgana,

in Copenhagen. After this there

was really no turning back. Pho-

tography does something still

unknown to me. Something that

makes me devote all my time to

the art form.


fascinates you?

What really fascinates me about

photography is the complex ten-

sion between the real and the

imaginary. Photography is really

unique as a medium because it

lives between the realistic and

unbelievable. Most people think

of the camera as an objective

observer of real events but a

photo is an interpretation. This

matter has my attention.



I am very drawn to the absurd

and obscure. I often photograph

places or people who have a

certain layer of mystery. If the

scene is not absurd I tend to

make it absurd by the way I pho-

tograph it.


In general I don’t think photog-

raphy is being used to it’s full-

est. Photography is a very young

medium and I believe we still

have loads to discover about it.

My ambition is to explore the

art form in hope of developing a

wider understanding of the pho-

tographic processes.

At AIP 2014 Mads is contribut-

ing in the category The Inde-

pendent Photo Series. His work

is called ’Brother Light’ and has

been chosen for Mentor’s Se-

lection.

22 # aip_14

and the

spiders from mars

by jane Doe

23

WORDS FROM AN EXPERT: A MENTOR MAKES ALLTHE DIFFERENCEMentorships have always existed. The inexperienced have sought the advice of the experienced and with good reason since such a collaborative partner can make a germinating seed grow.

Craft’s apprenticeship

It is not surprising that Aarhus Inde-

pendent Pixels already from the very

beginning has been concerned with

mentorship. If you look back in time,

mentorship has been the foundation

of all human learning and develop-

ment. Especially, different types of

handcraft and art have been pervad-

ed by this idea – that one master has

spent a given amount of time with his

student and thereby an understanding

of traditions and disciplines have been

passed on from one generation to next.

My own father used to be a carpenter

in a small village in West Jutland, and

during my childhood I have seen him

work as a mentor. He often followed his

apprentice around – walking in front of

him, next to him, behind him – so he

could step in and rectify his mistakes

and the potential mistakes that he

was about to make. My father – and

thereby our whole family – also took

care of his apprentice in our spare

time since he was living with us. In this

way the apprentice did not only get an

education in handcrafts, he also be-

came socially and culturally well-bred.

Equally, the concept of a mentor has

always existed in the arts. It was ac-

tually in relation to the film industry

that my first experience with mentor-

ship was made. This was back in the

60es when I as an adolescent saw

the first transmission of the Academy

Award Ceremony. Here the winning

actresses, instructors, etc. stood with

tears in their eyes, thanking people of

all sorts – some their mentors – with-

out whom they never would have got

this far. They all spoke with a distinct

pathos, which created the impres-

sion that these people really were

of very special importance to them.

A mentor is there for someone else

The Danish film industry has in par-

ticular had one noteworthy men-

tor who just this year was honoured

posthumous for his 100 years and

qualities as a mentor. In the film maga-

zine Ekko one could in the early part

of this summer read about the father

of the documentary, Theodor Chris-

tensen, who has meant a great deal

to many film enthusiasts – not only

in Denmark but also from an inter-

national point of view, in particular in

Cuba, where he had stayed on sev-

eral occasions. In the article it says:

“He taught us not to create what he

wanted us to create but instead what

we personally were passionate about.”

What lies within these words may

very well be the essence of a mentor-

ship. A mentor is there for someone

else meaning that the mentor’s most

important task is to point the men-

tee into the right direction and guide

the person along the way, so he or

she in the end arrive at the destina-

tion they sought after. In other words

a mentor helps the germinating seed

inside a young person to blossom.

In the Ekko article it furthermore

says about Theodor Christensen:

“It is very easy to leave one’s mark on

a young person. The most difficult is

not to exert an influence but on the

contrary to develop what the person

himself or herself contains. This was

what he did, and it is a complex task.”

Because of Theodore Christensen’s

unusual ability to “read” young talents,

those who knew him will always remem-

ber him as a very special person. On the

other hand his fame outside the world

”He taught us not to cre-

ate what he wanted us to

create but in-stead what

we person-ally were

passionate about”

Birgit Toft is educated as a pharma-

cist and PhD.

Since 1997 she has had her own

consultant company Teamtoft, that is

particularly engaged in types of men-

torship, and process consultation in

relation to leadership.

She has written books about men-

torship, among these are Mentor –

en hjertesag (2004) co-written with

Steen Hildebrand and Mentorskabets

muligheder (2009) co-written with

Lisa Ott.

24 # aip_14

of films is not overwhelming which may

also be a part of the essence of a men-

tor: There is no need for bold gestures

when bringing a talent to the light.

Towards a definition

Today we see a lot of formalized men-

torships where companies and organi-

sations have established mentor pro-

grams. The purpose of these can be

many, for example talent and leader

development. Mentorship is in all its

simplicity a meeting between an ex-

perienced person (mentor) and an

inexperienced person (mentee) who

wants to learn something from the ex-

perienced person. When a company

makes the decision to create a men-

tor program, for example in order to

improve its leaders’ competencies, the

course will often start with the selec-

tion of the mentees who are to partici-

pate. Secondly, a suitable number of

mentors will be found who all are good

representatives for the company and

its values. Then you match the men-

tees with the mentors according to

various of parameters. In the establish-

ment of the program both mentors and

mentees will along the way receive

lessons, so both parts know what is

expected from them. Next, conversa-

tions and exchange of points of view

begin. Most commonly they last about

1-2 hours. Finally, a timeframe is set

up, which in most cases means that

the mentor and the mentee will meet

every month or every second month.

In the mentor-mentee relationship it is

the mentee who takes on the role as

the driving-force i.e. the one who ar-

ranges the meetings and decides what

needs to be discussed. In some cases,

however, the mentor and mentee agree

on which goals the mentee should fo-

cus on and it is therefore up to the

mentor to make sure that their meet-

ings deal with those specific subjects.

Throughout time many mentors have

been asked what makes them par-

ticipate in such programs year after

year. The aswers fall in different cat-

egories but most frequently they an-

swer that their drive is based on the

fact that they themselves would liked

to have had a mentor when they were

in the same position as their mentee is

in now. In other words it is “pay-back

time” or there is just a humble wish

to help others to perform their best.

It makes much sense to me that Aarhus

Independent Pixels’ young film and

photo talents engage with a men-

tor. With a mentor by their side they

have the necessary support to give

them the courage to explore and un-

fold their potential.r ”pay back time”

eller et ydmygt ønske om at hjælpe

andre med at får det bedste frem i

dem selv. Det giver god mening, at de

unge filmtalenter i Aarhus Independ-

ent Pixels får tilknyttet en mentor, så

de med en solid støtte i ryggen kan

afsøge og udfolde deres potentiale.

25

26 # aip_14

THE NAKED PHOTOGRAPHER

PER

When Per Morten Abrahamsen creates his portraits, the characters are often photographed naked. “It is a way to enter a zone that is normally private”, he explains. Aarhus Independent Pixels turns the camera 180 degrees in an attempt to show the skin of the portrait master.

By Helene Lykke Skov Refsgaard

MORTEN ABRAHAMSEN

Even before the interview

begins, I realize that my

mission with this article al-

ready has failed: How can I

accomplish to create a so-

called naked journalistic

portrait of a person that I

have not even met? And it

gets worse: How can I do a

naked portrait of a person

that I am only connected

with through my old-fash-

ioned Galaxy S3 Mini mo-

bile phone?

As I am about to call pho-

tographer Per Morten

Abrahamsen, I furthermore

realize that I do not even

know whether the person

in question is in his photo

studio or at the kitchen ta-

ble in his home in Copen-

hagen. All I know - by the

means of Google - is that

he was born in 1957 and

wears glasses. Otherwise,

the only thing that I spin

the naked intimacy from is

his voice on the phone.

The situation, as listed

above, makes my task even

more difficult: It seems to

be very hard to undress

Per Morten Abrahamsen,

when I do not know if he

is wearing a shirt, a pair

jeans or a bolero. All in all,

one could say that my mis-

sion has failed from the

very beginning: Per Morten

Abrahamsen will at least be

wearing underwear in this

portrait.

Lars Von Trier in a frozen

swimming pool

Per Morten Abrahamsen is

known as the man who can

make a dull portrait into a

feast for the imagination.

Among other things, he

has photographed a naked

Lars Von Trier in a partially

frozen swimming pool, a

bare-chested Kasper Ei-

strup with a water-filled

plastic bag over his head,

and Trine Dyrholm full un-

dressed in a supermarket

fridge.

The photo artist works with

storytelling in his pictures

at a level, where the viewer

is pulled into the photo-

graph’s own world. This

is the universe I will try to

crawl into, where nudity is

normal, and water is a tool.

Normally, you are the one

creating the portraits.

How does it feel being the

one who is portrayed?

Everyone likes to be ad-

mired. I too need the

27

spotlight. When you find

yourself in an interview

situation, you always

learn something about

yourself. However, it is

not easy, you have to put

some thought into what

you say. I can, in princi-

ple, be indifferent to the

image others have of me,

since I do not know them.

Yet, I am of the opinion

that if people are to know

something about me, it

has to be something real.

What is interesting about

portraits?

The portrait is fun be-

cause you can get be-

neath the surface – you

get to explore the known

and unknown about peo-

ple. It is great to photo-

graph junkie on the street

and then, afterwards,

photograph the CEO of

a large corporation. To

me creating portraits is

about capturing some-

thing that is not immedi-

ate or predictable. If I do

not get anything from the

person I am portraying -

a reaction or just a facial

expression - it does not

work.

I think everyone likes

to smell each other – to

get into someone’s pri-

vate space, and then,

after you are done, shut

the door behind you. I

am very much like that.

When I lower the camera

and finish my shooting I

want to leave – to go to

a place where I am “just”

Per Morten.

Nudity and water

Nudity is often a re-

curring theme in your

photography in both

the literal and figura-

tive sense. What does

nudity mean to you?

There are various reasons

why I always end up with

that motif. I would like to

portray the entire body.

The body is expressive,

narrative, and beautiful.

In addition, taking pic-

tures of a naked person

is very private, and I like

that. Somehow it gets

iconic. There are no dis-

tracting elements of time,

place, and status, which

clothes can express. It

is back to basics. I ex-

press my subjects bet-

ter by the use of nudity.

With nudity an uncertain

situation occurs - awk-

ward and filled with mod-

esty. It is not something

that I am comfortable

with. I am terrified in the

situation since I am just as

modest, self-conscious,

and insecure as the per-

son that I am facing. I

practically never look at

the naked body without

the camera in front of my

eyes. However, I appreci-

ate that the situation is not

easy. I am not supposed

to feel safe. Preferably, I

should find myself in un-

safe territory, so to speak.

If not, the possibility of

being given “a gift from

above” is at it’s minimum.

You often involve foreign

elements in your work

such as lights, masks and

not the least, water ...

Yes, you are right, I actu-

ally often use water in my

pictures. I clearly have

a fascination with water.

And milk. I think it has

something to do with the

fact that it is somewhat

fluid and intangible. Wa-

ter is surreal and abstract,

and it relates to the sub-

conscious. That sort of

uncontrolled situations

is what I like to portray.

I am afraid to lose the

photograph

What is it that drives you

when working with pho-

tography?

I have just visited the

Danish School of Me-

dia and Journalism in

Aarhus, where the stu-

dents spend a lot of time

planning and analyzing

their shoots before actu-

ally taking the photos. To

me, however, it is the en-

thusiasm and passion that

gives the result, not nec-

essarily a detailed plan. I

am talking about the joy

of getting under the sur-

face. Visions and ideas

are indifferent if the lay-

ers of the image are not

there. Explanations and

contexts should not exist

- the work must be able

to stand on its own.

Actually, I have no great-

er mission with my work

other than to create

something that can stand

on it’s own. It is my live-

lihood, and it is therapy.

But I’ve been lucky. As a

young man I was hope-

less at school and foot-

ball. I was the funny and

awkward one - the one

who could give the girls

a sweet smile, but oth-

erwise I was just a trou-

blemaker. Then I found

photography. It was

something I was good at,

so from then on I worked

hard. The tenacity and

stubbornness have stuck

with me ever since. I work

ten hours a day for better

or for worse. You do not

get to the place where I

am without hard work. I

am constantly afraid of

losing it, because I have

tried to live without it be-

fore.

28 # aip_14

What is your next pro-

ject?

Recently, I have been

working with some pic-

tures taken near a small

lake on Amager, Copen-

hagen, for an exhibition

on Hans Alf Gallery (also

in Copenhagen). The pic-

tures are all very different

even though the subject

is the same.

The difficult part has

been to turn the idea into

something interesting.

I have had to be stub-

born and keep insisting

on getting something

out of it. At first I used

some characters to cre-

ate the story, but the

very specific storytelling

did not work, so it ended

up being more symbolic,

and abstract, and not so

technical. It is often what

makes the difference:

that you keep returning

to solve the puzzle.

But does this mean that

there is no gimmick this

time? No known actor in

a supermarket fridge?

I would call myself a “con-

trarian” when it comes to

my own work.

I love when I accomplish

something different and

get to explore new sides

of a subject. In the new

project I dive into some

traditions, which are a

very different from the

ones I usually work with.

There is no gimmick. It is

more old-fashioned. Na-

ked – in more than one

sense since there, of

course, is nudity in the

portraits.

This was to be the last

comment from the por-

trait maker, Per Morten

Abrahamsen. After a

polite farewell, we both

hung up. I am now left

with a verbal representa-

tion of him in full figure.

He may not be complete-

ly stripped, but he might

have taken off the T-shirt

or at least his shoes at

some point. In any case

it stands out clearly that

he is a man, who naked or

fully dressed, can inspire

others who dream of a life

as a photographer.

Kathrine

Weidemann

portraided

by Per

Morten

Abrahamsen

(1998)

<

29

FACTS ABOUT PER MORTEN ABRAHAMSEN

1 # He has an education in com-mercial photography. Today he is both working as an art photographer and in adver-

tising.

2 # He is well known for his

beautiful but bold portraits of famous Danes.

3 # He has exhibited throughout Europe. In Denmark Aros and

The National Museum are among the places where you

have been able to see his work.

The effect of music

It is a classic example.

You take the same film

clip and add two differ-

ent pieces of music to it:

One happy tune and one

tense song that builds to-

wards a climax. The result

will be two very different

film experiences. Even

though the pictures are

the same, the first sce-

nario will most likely make

you sit back in your sofa,

feeling relaxed and com-

fortable, since the music

indicates that you should

not worry about murder-

ers and monsters leaping

out from the bushes any

minute.

The other scenario, how-

ever, will force you out on

the edge of your seat by

making you anticipate

that zombies may show

up any minute. The ex-

ample serves to illustrate

that filmmaking depends

on much more than edit-

ing scenes and creating

an overall coherent nar-

rative. Visual and audio

elements are both parts

of the experience, and

they have a mutual ef-

fect on one another. They

both provide us with in-

formation about the nar-

rative, but music appeals

especially to our emo-

tions. Music is a powerful

agent when it comes to

making the audience feel

something particular and

hereby making sure the

Film is not only a visual art form. Elements of sound have an equal impact on the audi-ence’s perception of the work of art. Com-poser and sound expert Martin Ahm knows what tools you need to employ when you want to navigate your spectator’s emotions.

Soundsdesigner and music com-poser Martin Ahm

<

MUSIC ADDS EMOTIONS TO PICTURES

WORKSHOP

30 # aip_14

narration is consumed as

intended.

The classic components

When I am working with

film sound, I always stick

to some basic elements.

There are some compo-

sitional tricks that I often

apply to reinforce the

expression. With regard

to horror movies, for ex-

ample, you can use a re-

duced fifth – a so-called

dissonant interval. Dis-

sonant refers to jarring

sounds meaning that you

deliberately are produc-

ing music that more or

less pains your ear. Back

in the days people called

it “diabolus in musica”, and

it was in a period of time

forbidden, since people

believed that the devil

himself were living inside

the frightening tones. To-

day a dissonant interval

is a clear indication of a

horror movie, and we im-

mediately recognize the

sound universe when we

hear it.

If the film, however, is a

heartbreaking drama, the

composition will often

take its starting point by

using minor chords. On

the other hand a com-

edy will often be accom-

panied by music based

on major keys. These

are all simplified exam-

ples so one must have in

mind that there is no final

“cookbook” for music, no

recipes that works every

time. Every film is unique

and must be flavoured in

its own manner. Some-

times it can be quite ben-

eficial, if you deliberately

create another sound

picture than the audi-

ence is expecting. Music

and films are art forms,

so in reality there are no

rules for what you can

combine. A great exam-

ple is the filmmaker David

Lynch’s work as he is a

master in using film music

in unique ways.

I often sample untradi-

tional things and thereby

create “new instruments”.

I play bass, guitar and

some piano and fur-

thermore I have many

different kinds of soft-

ware and synths that can

prove themselves useful

in music making. One of

the most amazing things

about creating film music

is to play with such rem-

edies that I have at my

disposal in order to cre-

ate the specific experi-

ence that the filmmaker

demands.

31

32 # aip_14

WHO FRIDAY WHO SATURDAY WHO SUNDAY

By Davide Lebanti

Impreza (2013) (16 min. ENGLISH)

12.00 - 12.15Rome Independent Film

Festival

By Michael Rittmanns-

berger

Abgestempelt (Punched) (2012) (11 min. ENGLISH)

11.00 - 11.10Tyrolean Independent

Film Festival

By Collin Blair

The Last Anarchist (2013) (25 min. ENGLISH)

12.00 - 12.30Raindance Film Festival

By Davide Dapporto

41 Paralello (2013) (24 min. ENGLISH)12.25 - 12.50

Rome Independent Film Festival

By Rubens Marinelli

Neto

The Couch (2012) (10 min. ENGLISH)11.20 - 11.30

Tyrolean Independent Film Festival

By James Barrett

When The Song Dies (2013) (15 min. ENGLISH)


By Anto-nio An-

drisani & Vito Cea

Sassiwood (2013) (15 min. ENGLISH)13.00 - 13.15


By Ole-An-dré Røn-neberg

Kjemp ved min side (Fight by my side) (2012) (9 min

ENGLISH)11.40 - 11.50


By Matt Lefebvre

ASAD (2013) (17 min. ENGLISH)


By Cris-tiano

Anania

Buon San Valentin (2014) (11 min. ENG-

LISH)13.25 - 13.35


By Scott Schaeffer

The Carrier (2012) (18 min. ENGLISH)12.00 - 12.20


By Michael Panduro

Ten Pounds of Shit in a Five Pound Bag (2013) (1

min. ENGLISH)13.30 - 13.35

Raindance Film Festival

PAUSE MUSIC IN THE YARD14.00 - 15.00

By Alex Merkin

Heads Up (2012) (13 min. ENGLISH)

12.30 - 12.45Tyrolean Independent

Film Festival

Best film age 8-13

The Cat in the Bar Con (3 min. ENGLISH)13.45 - 13.50

ZOOM International Youth Film Festival

By Mas-similiano Battistella

La Stanza (2013) (14 min. ENGLISH)13.45 - 14.00



Best film age 19-

25

Archiving (5 min. ENG-LISH)

13.55 - 14.00ZOOM International Youth

Film Festival

By Er-nesto Del

Gesso

Anacleto (2013) (11 min. ENGLISH)15.10 - 15.20


By Gregor Schmiding-

er

Homophobia (2012) (20 min. ENGLISH)14.10 - 14.30


Best mu-sic video

Followsuit Heartbreak (5 min. ENGLISH)14.05 - 14.10


By Gi-useppe Bucci

Luigi e Vincenzo (2013) (4 min. ENGLISH)


Festival

By Valentin Potier and Frédéric Potier

216 Monts (2013) (26 min. ENGLISH)14.40 - 15.05

European Independent Film Festival

Best film not in

english language

Hirnos (6 min ENGLISH)14.15 - 14.20


By Nadine Knobloch

Jäger Und Gejagte (13 min ENGLISH)15.45 - 16.00

Independent Days Film Festival

By Martina Plura

Chains of Love (2013) (6 min. ENGLISH)15.15 - 15.20


Best Interna-

tional

Kriegskind / Child of War (11 min. ENGLISH)


Film Festival

THE FLARESpecial Screenings

33

By Simon Denda

Mann Gegen Mann (10 min ENGLISH)16.10 - 16.20


By Ricca-rdo Sal-vetti and

Gianfranco Boattini

Closed Box (2013) (23 min. ENGLISH)15.30 - 15.55


Best Film age 14-

18

Mania (5 min. ENGLISH)14.40 - 14.45


By Oliver Langewitz

Sugar (7 min ENGLISH)16.30 - 16.40



Best per-formance

Paper Quest (5 min. ENG-LISH)


Film Festival

By Con Silvano Casieri

LABICI (9 min ENGLISH)16.50 - 17.00


By Arthur Molard

Jiminy (2013) (20 min. ENGLISH)

16.40 - 17.00European Independent

Film Festival

Best animation

8-13

Pelenna Stories (5 min. ENGLISH)


Film Festival

By Gi-anluca Mangi-

asciutti & Massimo

LoI

Senzaria (15 min. ENG-LISH)


Festival

By Sergey Tsyss

Second Wind (2013) (7 min. ENGLISH)17.10 - 17.20


Best anima-

tion age 14-19

Shadows of Senghenydd (4 min. ENGLISH)


Film Festival

By Lydia Biondi

Requiem (21 min. ENG-LISH)


Festival

By Carlo Manfredi

Roserosse (16 min. ENG-LISH)


Festival

Best Di-rection

Terms of Conditions (10 min. ENGLISH)15.20 - 15.30


By Michele

Geria

Hakunamatata (16 min. ENGLISH)

19.0519.20


By Bodo Vieri and Natalia Titova

Lapaurapiugrande (10 min. ENGLISH)17.55 - 18.05


Best docu-

mentary

What really is important (5 min. ENGLISH)


Film Festival

By Ales-sandro Grande

Margeritah - (16 min. ENGLISH)


Festival

Best Experi-mental

White and Shade ( 3 min. ENGLISH)


Film Festival

34 # aip_14

WHAT FRIDAY WHAT SATURDAY WHAT SUNDAY

(A) 12.00 - 23.00 (A) 11.00 - 23.00 (A) 10.00 - 16.00

(M) 12.00 - 23.00 (M) 11.00 - 23.00 (M) 10.00 - 16.00

THE IRISThe Independent Photo

Mentor’s Selection (M):

‘Summer Sunset’ - by Anne Myrup Pedersen // ‘Puppet Birds’ - by Rita Kuhlmann // ‘Amnion’ - by Nini Hansen // ‘Radio Mast Milky Way’ - by Esa Rosquist // ‘Elite Swimmers’ - by Isabel Deleuran

The AIP Selection (A):

‘Bird Express’ - by Rita Kuhlmann // ‘Loneliness’ - by Line Von Schmidt // ‘Reflection’ - by Tommy Frost // ‘Children’ - by Nick Levin // ‘La Ilorona’ - by Małgorzata Maria Proko


(M) 13.00 - 14.00 (M) 11.00 - 12.00 (M) 11.00 - 12.00

(A) 14.05 - 14.50 (A) 12.05 - 12.50 (A) 12.05 - 12.50

(M) 15.20 - 16.20 (M) 13.20 - 14.20 (M) 13.20 - 14.20

(A) 16.25 - 17.10 (A) 14.25 - 15.10 (A) 14.25 - 15.10

(M) 17.40 - 18.40 (M) 15.40 - 16.40

(A) 18.45 - 19.30 (A) 16.45 - 17.30

(M) 18.00 - 19.00

(A) 19.05 - 19.50

THE LUMAThe Independent Short Shorts


‘Ingredients’ - by Norika Sefa (8 min.) // ‘Where None Will Ever Be’ - by Louise Beyer (13 min.) // ‘Witching Hour’ - by Nalle Mielonen (14 min.) // ‘Kill and Eat’ - by Frida Edeltoft Gammelgaard (16 min.) // ‘Swim’ - by Hilke Rönnfeldt (8 min.)


‘Two Of Hearts’ - by Staffan Gräsbeck (7 min.) // ‘Triangles of Happiness’ -by Jannik Dahl Pedersen (14 min.) // ‘Haven of Home’ - by Hannes Lieschke (7 min.) // ‘LUCK.exe’ - by Sabine Damkjær Nielsen (10 min.) // ‘Matilda’ - by Helene Højgaard

(7 min.)

35

FRIDAY SATURDAY SUNDAY

Joachim Ladefoged12.00 - 23.00

Special Exhibition

Anita Rye12.00 - 12.20

Artist Talk

Cecile Baudier10.00 - 16.00

Special Exhibition

Daniel Rye12.00 - 23.00

Special Exhibition

Daniel Rye11.00 - 23.00

Special Exhibition + AUCTION

Daniel Rye10.00 - 16.00

Special Exhibition


Special Exhibition


Special Exhibition


Special Exhibition


Artist Talk


Special Exhibition

THE CANDELASpecial Exhibitions and Artist Talks

FRIDAY SATURDAY

Lecture: Richard Raskin (language: English)12.15 - 13.45

‘Story Design In The Short Fiction Film’

Artist Talk: Lotte Fløe Christensen11.00 - 12.00

‘Den evige søgen’ (language: Danish)

Lecture: Potemkin Film - Sune Liltorp (lan-guage: Danish)14.15 - 15.15

‘Visual Storytelling’

Lecture: Ellen Riis og Thomas Kragh (lan-guage: Danish)12.30 - 13.30

‘Talentudvikling og personligt drive’

Lecture + portfolio review: Alla Räisänen and Julia Heikkinen (language: English)

15.45 - 17.15‘Meet the curator and the director of the

gallery’

Workshop: 18Frames (language: Danish)14.00 - 16.00

‘Kort om kortfilm‘

Lecture: Ulf Friberg (language: English/Scan-dinavian)

17.45 - 18.45‘‘The Secrets of Acting - a short introduction

for filmmakers and other interested’

Workshop: Ahmatron - Martin Ahm (language: Danish)

16.30 - 18.00‘Music and Sounds In Film’

THE HUELectures, workshops and Artist Talks

36 # aip_14

WHO FRIDAY WHO SATURDAY

By David Metz

In Absentia (42 min. - DANISH)12.00 - 12.45

By Paw Høvsgaard Mælk (45 min. - DANISH)11.00 - 11.45

By Tor Fru-ergaard

Venus (9 min. - DANISH)12.55 - 13.05

By Kerren Lumer-Klabbers

Lukkede øjne (9 min. - DANISH)11.55 - 12.05

By Chris-tophe Pe-

ladan

Goutte d’Or (11 min. - DANISH)13.15 - 13.25

By Jesper Dalgaard Dicte (30 min. - DANISH)12.15 - 12.45

By Marie Grahtø Sø-

rensen

Lækre til vi dør (22 min. - DAN-ISH)

13.35 - 13.55

By Ditte Kaehne Gade Et børnehjem (5 min. - DANISH)12.55 - 13.00



By Thomas Daneskov

Ud, spring over, ind (27 min. - DANISH)

15.10 - 15.40

By Marie Grahtø Sø-rensen

Daimi (20 min. - DANISH)14.10 - 14.30

By René Odgaard

Dirtbusters (30 min. - DANISH)15.50 - 16.20

By Lars K. Mikkelsen Den perfekte middag (26 min. - DANISH)

14.40 - 15.05

By Jesper Isaksen

No Exit 2 – Rise Against (17 min. - DANISH)

16.50 - 17.05

By Johanna Stentorp Placebo (12 min. - DANISH)15.15 - 15.25


By Anton Breum Skrå brædder (20 min. - DANISH)15.35 - 15.55

By Stefan Kjær Olsen

Blodbrødre (31 min. - DANISH)18.10 - 18.40


By Aske Bang

The Timber Will Fall (5 min. - DANISH)

18.50 - 18.55

By Fili Seifert Trold (22 min. - DANISH)16.40 - 17.00

By Kristian Håskjold

Reception (22 min. - DANISH)19.05 - 19.25

By Uffe Karlsson Euphoria (5 min. - DANISH)17.10 - 17.15

By Aske Bang

Ladyboy (31 min. - DANISH)19.35 - 20.05

By Ulaano Salim Ung for evigt (15 min. - DANISH)17.25 - 17.40

By Kristian Sejrbo Lidegaard

Millennium (13 min. - DANISH)17.50 - 18.05

By Anders Walter 9 meter (13 min. - DANISH)18.15 - 18.30

By Sidsel Møller John-sen

Mellem træerne (27 min. - DANISH)18.40 - 19.10

THE BOKEHEkko Shortlist

37


(A) + (M) 12.30 - 13.10 (A) + (M) 11.00 - 11.40 (A) + (M) 10.30 - 11.10

(A) + (M) 13.30 - 14.10 (A) + (M) 12.00 - 12.40 (A) + (M) 11.30 - 12.10

(A) + (M) 15.10 - 15.50 (A) + (M) 13.40 - 14.20 (A) + (M) 12.30 - 13.10

(A) + (M) 16.10 - 16.50 (A) + (M) 14.40 - 15.20 (A) + (M) 13.30 - 14.10

(A) + (M) 17.50 - 18.30 (A) + (M) 16.20 - 17.00 (A) + (M) 14.30 - 15.10

(A) + (M) 18.50 - 19.30 (A) + (M) 17.20 - 18.00

(A) + (M) 18.20 - 19.00 (A) + (M) 18.20 - 19.00

THE GEMMAThe Independent Short Shorts


Bruchstück / Fragment by Hannes Lieschke (2.37 min.) // Blind Date by Rasmus Lahn Baatrup (2.58 min.) // Back to Scratch by Siri Frederiksen & Simon Ternowitz (2.47 min.) // Spirit Of New York by David Jervidal (3.20 min.) // Mustard by

Sandra Fijn Van Draat (3.04 min.)


Tags, Likes & Other Such by Liam Bachra-Byrne (4.40 min.) // Foxtrot by Päivi Hirsiaho (4.08 min.) // (( ( (()) ) )) by Mark Tholander (2.41 min.) // Ceci n’est pas Sisyphe (This is not Sisyphus) by Julius Von Kauffmann (4.30 min.) // Passage by

Sabine Nielsen (1.12 min.)


(A) 12.00 - 23.00 (A) 11.00 - 23.00 (A) 10.00 - 16.00

(M) 12.00 - 23.00 (M) 11.00 - 23.00 (M) 10.00 - 16.00

THE CHROMAThe Independent Photo Series


‘Touches of Iceland’ - by Samuel Glassar (7 pieces) // ‘On the Identity of a Tomato Picker’ - by Dario Bosio (10 pieces) // ‘Brother Light’ - by Mads Holm (9 pieces) // ‘Identity Berlin’ - by Julie Marie Mikkelsen (7 pieces) // ‘Mathias Foley ‘ - by

Mathias Foley (10 pieces)


‘I Am Here When You Are Here’ - by Sissel Thastum (10 pieces) // ‘Blomsterbørn’ - by Amalie Vislev Juelsgaard (3 pieces) // ‘Masks’ - by Nick Levin (4 pieces) // ‘Sound of Cinnamon’ - by Sara Vertanen (5 pieces) // ‘The Journey’ - by Fredrik

Asehe Kaada (6 pieces)

38 # aip_14

‘Ingredients’

By Norika Sefa

We see people eating, drinking, walking the streets or driving in their cars. Their lives seem to

be normal, but they are not. Eva is just a girl drinking milk and eating strawberries but there

is something complicated hap-pening in her head.

‘Where None Will Ever Be’

By Louise Beyer

A young boy and his teddy bear is living in an abandoned caravan in the middle of an old corn field. They are in complete solitude in a post apocalyptic world, as sole survivors of a mysterious poisoning of the

water.

‘Witching Hour’

By Nalle Mielonen

Aino tells Salla a ghost story. Salla wants to know, if the story

is true.

‘Kill and Eat’

By Emilie Bredtved Hansen

Victor and his father are go-ing to their weekend cottage,

bringing along Victor’s critically ill Cocker Spaniel. Their inten-tion is to spend the dogs last

days in a familiar environment, but Victor and his old-fashioned father completely disagree on

how and when to end the dog’s life.

‘Swim’

By Hilke Rönnfeldt

Anna arrives for her closing shift at a public pool. An odd encounter with a swimmer

disturbs her daily routine. Her shift ends, but thoughts are

spinning around her head. Who pulls the strings in her life? The events of the day provoke her

to reassess the lanes she wants to take in life.

‘Two of Hearts’

By Staffan Gräsbeck

Two of Hearts by the team ‘Like a Sir’ was made completely within 48 hours during the

Uneton48 film festival in 2014. A man sitting in a plane during flight finds it extremely difficult to cheer up the only other pas-senger. To please his toughest crowd, a clown needs to find

himself.

‘Triangles of Happiness’

By Jannik Dahl Pedersen

A hyper-realistic comedy about the financial crisis. Hanne and Carsten are frantically trying to maintain the illusion of a happy life to their curious neighbors.

Before they were like the others on the residential street, but

the financial crisis hit the family hard. How do you maintain the

idea of the happy life, in times of crisis in the facades?

‘Haven of Home’

By Hannes Lieschke:

Haven of Home is about the true wish for closeness, making the protagonist come up with

an idea, which is meant for fail-ure, as one can’t buy security.

‘LUCK.exe’

By Sabine Damkjær Nielsen

LUCKY.exe is about a young guy, Kenneth, who is unlucky. He downloads the program LUCK.exe and his luck turns,

but does the program work or is it just placebo?

‘Matilda’

By Helene Højgaard

To fall in love is intense. Espe-cially if you fall in love with dead young girls. Our main character works as an undertaker in his own shop. This is the place

he can live out his dream and where nothing bothers him.

THE INDEPENDENT SHORT

MENTOR’S SELECTION

THE AIP SELECTION

SS

39

‘Mustard’

By Sandra Fijn van Draat

Mustard is about an uptight and well-dressed man who meets a guy with a dripping sandwich, when sitting at the buss sta-tion. The story illustrates the

contrast between the two men but also the similarities. Maybe

they are not that different in the end…

‘Back To Scratch’

By Siri Frederiksen og Simon Ternowitz

We follow a magician as he creates the world. He chooses shapes that pleases him as the base for the world, inhabits it with animals, and in the end

creates man. But his own basic drives as a human being takes his creation a step further than his intention, and his own crea-tion turns on him. In the end he

goes back to scratch!

‘Bruchstück / Fragment’

By Hannes Lieschke

A woman makes a decision to make things easier in the future.

‘Blind Date’

By Rasmus Lahn Baatrup:

Blind Date’ is about a man’s unsuccessful quest for love.

A man is on a date with a very attractive but uninterested

woman. He tries to talk to her, but his nerves take over, and he is not able to speak. She is completely unimpressed and

decides to walk away. As she is leaving, the man is able to win

her over through a supernatural approach.

‘Spirit of New York’

By David Jervidal

A short film portraying the con-trasts of everyday life in New

York City. Through the tones of a classical guitar and the words of Frank Sinatra’s classics, we

are invited into a different view on the big apple. From 3 wed-dings, tai chi on long island to

life in the subway and on Times Square.

‘Foxtrot’

By Päivi Hirsiaho

An animated black and white short film, which tells a story of an old lady and a city fox.”‘Triangles of Happiness.

‘Tags, Likes & Other Such’

By Liam Bachra-Byrne:

A girl in a ‘social media’ mad world trying to find an adven-

ture that cannot be shared.

‘(( ( (()) ) ))’

By Mark Tholander

Der er etableret en kode i verden, af denne kode er vi nu

altid gennemstrømne.

‘Ceci n’est pas Sisyphe’

By Julius von Kauffmann

Sisyphus spends his eternity pushing a pile of dirt up and

down a mountain, his mountain. One day however, Sisyphus

finds his land of triviality intruded by great mystery. Will

he be able to embrace this mystery, which so indubitably

contradicts his destiny?

‘Passage’

By Sabine Nielsen

A young man is fed up with the fact that everything in his life is happening by change. When he has to face himself figuratively while playing Russian roulette, he finally gets the opportunity

to make a choice.

THE INDEPENDENT SHORT SHORT


THE AIP SELECTION

SSSS

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THE INDEPENDENT PHOTO SERIES


THE AIP SELECTION

PPSS

‘On the Indentity of a Tomato Picker’

by Dario Bosio

I went to Grand Ghetto, a cluster of precarious

shelters in the countryside near Foggia, Italy, because I wanted to document the harsh living conditions of the thousands of African immigrants that work in

those fields picking toma-toes in slavery conditions...

‘Touches of Iceland’

by Samuel Glassar

We went to Iceland for a month with my good friend Aleksi just for a vaca-tion before we had to do our national service. This was November 2013. It was a bit of an ’extempore’ and we

had no clue where we’d be sleeping or how we’d be able to find our way around the island. It turned out to be the adventure of our lives. We

met amazing people and were able to see most of the west coast and

north. Plus mainly, we managed to be photographing whenever we wished. I hope to do more such adventures

in the future.

‘Identity Berlin’

by Julie Marie Mikkelsen

Through my time studying at Aarhus Fotografiske Skole, I have been interested in exploring the concept of identity, the female

mind and psyche and in general how we see our self in the world. I have been working with placing

women in different surround-ings in Berlin, which I felt told

something about a person. The places, surroundings, objects

and the women tells a story of a state of mind.

‘Detroit To Memphis’

by Mathias Foley

This photo series contains pho-tos from a roadtrip through 8 of

the central states of the US.

‘Brother Light’

by Mads Holm

He is smiling at himself and places another Newport

cigarette in the corner of his 56-year old mouth. It is a long

one, the one with menthol. His hands glide gently down the long white coat. He loves himself. Being a pimp in the

Bronx in the 1970’s was not an uncommon thing.

‘Masks’

by Nick Levin

There is not much to say about these photos. I sometime give my friends a mask on and take a picture. That’s it.

‘Blomsterbørn’

by Amalie Vislev Juelsgaard

What happens when fragil-ity is combined with strength? Can absence be confronting? Is it possible to act normal and eccentric at the same time? Is beauty never ugly? ’Blomster-børn’ is an experiment. An ex-

periment on oppositions: can you put contrasts together without

equalizing them, and thus end up with nothing?

‘The Journey’

by Fredrik Asehe Kaada

The Journey is a conceptual photo series with a girl hunting

for the unknown element. A journey that takes her far from her comfort zone and show-

ing her new sides of life. She is having her discovery moment

of the hidden things in life. She wants to become someone and know her self better. I have used

motion and creative texture to express myself throughout the

abstractness of this photo series.

‘I Am Here When You Are Here’

by Sissel Thastum

Through the nature, the land-scape and the feminine form, the images mediate a close

and intimate relationship be-tween mother and daughter. It is a bond that is found within the return to the familial; the home and the mother. Within this return, an uncanny pres-ence of both attraction and estrangement is evident...

‘Sound of Cinnamon’

by Sara Vertanen

Relationship between hu-man and nature is always worth to give a thought. I found it fascinating how careless a mind can be.

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THE INDEPENDENT PHOTO


THE AIP SELECTION

PP

‘Radio Mast Milky Way’

by Esa Rosquist

Definitely one of the rea-sons why my favourite sea-son is autumn. Nights get as dark as they can get, fresh and moist scent is flowing in the air and Milky Way

appears to the sky. It only takes a moment to stare to

the sky and you start to feel like a extremely small object

in this universe.

‘Summer Sunset’

by Anne Myrup Pedersen

I took this photo on a summer even-ing of July. I was at my boyfriend’s

house and they live on a farm – the perfect place to get some sunset-shots. I took pictures of the field

and tried out different perspectives but found this one most appealing. I think this photo is a perfect capture of the exact mood and peacefulness of that particular evening by the corn in the sunset – it is a capture of sum-mer and that special feeling you get

on those late summer nights.

‘Puppet Birds’

by Rita Kuhlmann

An image of an enormous girl controlling the birds of the sky

like puppets.

‘Aminion’

by Nini Hansen

The Amnion refers to the thin but tough membranous sac that encloses the fetus of a mammal. In the silence

and darkness of the womb the mother and fetus are intimately connected and the subject is not yet aware that

they exist independent of each other.In the act of giving birth the borders

between the inside and the outside be-come disturbed, and the blurred line of the subjects create a mystic entity.

A body is separated from another body in order to be.

‘Elite Swimmers’

by Isabel Deleuran

Elite Swimmers’ features the three cousins Liv, Magda and Vilson, ready for a snorkel ad-venture in grandma’s bathtub. Isabel Ahlgren Deleuran has a passion for finding the little details, which makes seem-ingly very different things

harmoniously coexist in her pictures. The pictures are full of colours, patterns, humour and subtle details. It’s reality

with a twist.

‘Reflection’

by Tommy Frost

This is an expression of apathy. The rough road and the lines makes

me think of indifference. You are all naked but things just pass by.

‘Bird Express’

by Rita Kuhlmann

A girl being lifted by a bird while she is asleep.

‘Children’

by Nick Levin

This is my brother Oscar and sister Frida. I gave them a laser to play around with and so we did.

‘Loneliness’

by Line Von Schmidt

Elite Swimmers’ features the three cousins Liv, Magda and Vilson, ready for a snorkel ad-venture in grandma’s bathtub. Isabel Ahlgren Deleuran has a passion for finding the little details, which makes seem-ingly very different things

harmoniously coexist in her pictures. The pictures are full of colours, patterns, humour and subtle details. It’s reality

with a twist.

‘La Ilorona’

by Małgorzata Maria Pronko

I remember the times when I was covered in plaster, safe from the world, a

constricting barrier that was protecting me from

influences, pain, emotions. Then the reality came in and they took that away

from me, they cut me open, forced me to breathe. I still remember the first inhale,

deep and frightening...

MAPMAPMAIN

ENTRANCE

BAR

STAGE

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MAPMAPMAIN

ENTRANCE

BAR

STAGE

THE HUE1ST FLOOR

Lectures, Artist Talks and workshops

This room offers visitors a wide range of lectures, artist talks and workshops. A visit to ‘The Hue’ is the fast track to develop-ment of personal skills and talent. Here you will meet established professionals, artists and academics sharing their knowledge

and experience.

THE FLARE2ND FLOOR

Film – Special Screenings

The screenings in this room consists of well established European ‘independent’ film fes-tival’s ‘Official Selection’ from 2013 to 2014. Here you will find great short films from Rain-dance Film Festival, European Independent Film Festival, Rome Independent Film Festi-val, Tyrolean Independent Film Festival and

Independent Days Film Festival.

THE CANDELA2ND FLOOR

Photography – Special Exhibitons

This room is dedicated to upcomming, talented young photography artists. In ‘The Candela’ you will find Artist Talks and 4 exhibitions made by young pho-tographers who in particular, single-handedly, has managed to attract the

public’s attention to their works.

THE GEMMA1ST FLOOR

‘The Independent Short Shorts’ Screenings of short films max. 5 min.

This space is exclusively dedicated to young Nordic film talents. Here will 10 ‘short short films’ be showcased dur-ing the three days of the festival. Five of them are selected by a professional mentor team and the other 5 by the

THE IRIS2ND FLOOR

‘The Independent Photo’ Exhibition of single photos

This space is exclusively dedicated to young Nordic photography talents. Here will 10 sin-gle photos be showcased during the three days of the festival. Five of them are selected by a professional mentor team and the other

5 by the festival.

THE BOKEHGROUND FLOOR

Film - Special Screenings

In ‘The Bokeh’ room Aarhus Independent Pixels will be showcasing the spectacular Top 25 short films from Ekko Film Maga-

zine’s ‘Shortlist’.

THE LUMA1ST FLOOR

‘The Independent Shorts’ Screenings of short films max. 30 min.

This space is exclusively dedicated to young Nordic film talents. Here will 10 ‘short films’ (short films max 5 min. lon be showcased dur-ing the three days of the festival. Five of them are selected by a professional mentor team and

the other 5 by the festival.

THE CHROMA2ND FLOOR

‘The Independent Photo Series’ Exhibition of photo series.

This space is exclusively dedicated to young Nordic photography talents. Here will 10 photo series be showcased during the three days of the festival. Five of them are selected by a professional mentor team and the other

5 by the festival.

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AIP festival magazine 2014

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