KRABBESHOLM HØJSKOLE
ART LITERATURE ARCHITECTURE DESIGN GRAPHIC DESIGN
KRABBESHOLM ALLÉ 15
DK 7800 SKIVE
(+45) 9752 0227
POST@KRABBESHOLM.DK

 

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FOUR BOXES
> SKIVE 2016, 2020, 2060
> GITTE LĂG┼RD: SCULPTURAL COLLAGES
> R E FORM
> PETTERSEN & HEIN: VIBRANT MATTER
> PETER BACH NICOLAISEN: THAT WHICH PASSES
> YOUNG DANISH PHOTOGRAPHY
> ANNA FRO VODDER: GROWING THINGS
> SPINNING BALL OF DOOM
> THE MOST BEAUTIFUL SWISS BOOKS
> JONATHAN VAN DYKE: KRISEN OG EN KRISE I EN SKUESPILLERINDES LIV
> TREDIVE TRĂPLADER
> JAKOB EMDAL: BEAUTY CONSISTS OF BEING ABLE TO SEE FAR
> MILJOHN RUPERTO
> FORGOTTEN DESIGN PROBLEMS IN SHOWBIZ
> NEW NORDIC ARCHITECTURE
> A / L / O: RECESSION AESTHETICS
> MICHAEL STICKROD
> JULIE BORN SCHWARTZ
> PHIL THOMPSON: TEXTURES
> KURT FINSTEN: PAINTINGS PAINTINGS
> LLOYD CORPORATION: AN IDEA ONCE BUT NO LONGER FULFILLING
> NEVER EXPRESS YOURSELF MORE CLEARLY THAN YOU ARE ABLE TO THINK
> KEN CONSUMER: 640 IS MORE THAN ENOUGH
> GUNMAD
> PURNING TOINTS
> SESSION_12_WORDS + UNTITLED
> DAN GRAHAM: WORKS BETWEEN ART AND ARCHITECTURE FROM NEW YORK TO DENMARK
> MATT CONNORS
> THE DY(E)ING LIGHT OR THE CASE OF A SLEEPING BEAUTY
> MICHEL AUDER: DINNER IS SERVED
> VLADIMIR TOMIC: A WORKS
> MARIANNE HURUM, ARE MOKKELBOST: SPLITTET KJERNE
> OPENING EXHIBITION: COLLECTIVE SPIRITS
slideshow
23 pics

 

JAKOB EMDAL
BEAUTY CONSISTS OF BEING ABLE TO SEE FAR

FOUR BOXES GALLERY
KRABBESHOLM HØJSKOLE
MARCH 2014


The pieces in the show have been adapted to the ratios and proportions of the space. Size and dimension are essential for the appearance of the components and their interconnection in the space. The images are primarily based on personal observations around Krabbesholm and the greater Skive area; they attempt to summarize a nuanced experience with the landscape and how it enters daily life.  Among the individual motives local spring water, the horizon and self-representation with the landscape is represented.

The constellation Beauty Consists of Being Able to See Far appears as a study of the development of the flat landscape and the distant horizon that characterizes the Danish topographic profile. Here the view and perspective on land shares open similarity with the maritime horizon, a beauty ideal that has always affirmed imagination and the idea of the possible. Its flatness and massive open areas as a man-made construction produces a specific kind of idyll. A terrain of clear oversight and productivity that excludes the synonym growth.

The formal expression of the exhibition confirms the white color as a universal platform for displaying of works. Throughout several interventions the neutrality of the white color is firmly opposed. White passe-partout mat is in itself a form of visual power structure that can increase the status and quality of any image. In the exhibition white mats is covered with screen print on selected areas to highlight the texture of the white color and examine how these sand colored fields work for and against the experience of the framed image.

Since the pieces are directed towards the reality of the landscape, it was necessary that the opening and first impressions of the exhibition happened at midday during daylight.