NANNA DEBOIS BUHL

Nanna Debois Buhl (DK) received her diploma from the Royal Danish Academy of Fine Arts in 2006. The characteristic of her artistic work is a reflection on ideological, society oriented - such as architectural and urban - conditions for human existence and history. This way, she tries to find out how looks shape our understanding of the world, which holds on to one truth.

Nanna Debois Buhl mixes the past with the present through often conceptual and aesthetic productions by means of drawing, video and installation. This creates an understanding of time as spatial, variable and dynamic. The history and the stories exist spatial, regardless if they are old, contemporary or fictional. Thereby, she shows that such an understanding makes room for contradictory perspectives. Space cannot be looked at or figured out from only one point of view, but needs to be perceived according to the meeting with the people in your life. Thereby, Nanna Debois Buhl shows that the understanding of places, time and space is the result of the road, which we as human beings follow.

The project Noter (Notes, Tivoli) was created as a place specific installation for the festival 700 % PLUS, organised by Kbh Kunsthal. In the exhibition case, which belonged to the shop Smørrecentrum, there were placed four drawings. The project was based on Tivoli, an amusement park in Copenhagen. The main focus was the idea of the oriental - an idea that was within the context of national staging and self-knowledge of the 19th century.

The larger sides of the exhibition cases are covered with a reproduction of the Concert Hall and the Pantomime Theater. On the adjoining sides of the exhibition case, there is the historical background of the building and Nanna Debois Buhl’s personal experience with this kind of architecture. Surprisingly, the Tivoli March is also played with intervening periods and this creates a vivid and spatial association of Tivoli as location and architecture. An architecture that represents a particular oriental wave in Europe and also an architecture that has left traces of the Danish era of colonization. This way, the project, which is now installed at Krabbesholm, is an insight into how looks shapes historiography and self-knowledge, mythical conceptions in architecture about something different. One look, which might as well reflect our own self-knowledge and image of the world.

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