FRYDENDAHL: “If I have to make a portrait of people, I don’t understand, it becomes so obvious that I’m not connected, and then the whole thing just becomes irrelevant.

My work is so deeply personal”.

F: “Because of the camera there is a distance between the photographer and the world they depict, and I think that distance creates a      space      for heightened self-awareness –

I can’t seem to separate the pictures I take, and the characters I create, from the person I am.”

F: “Personality is as big a part of the piece as the camera is.

The subjects don’t have to be people I know, but I have to have an understanding of who they are. I have to understand ‘how they work’.”

F: “When asked to describe my photography, I say that I photograph reality with an added layer of imagination.

I hate the word ‘snap-shot’, it is a devaluation of photography; I do ‘point and shoots’, but there’s a structure behind it.

I adore structure.

Forcing a specific structure upon your work just bares better results; I feel that good structure gives me the ability to navigate within the playful forces of the project.”

F: “When you’ve been taking pictures as long as I have things change: play is not the first element of the process anymore rather play enters as a ‘playing with structure’.”

F: “In photography you ‘objectify’ stuff  that aren’t really objects and you dismantle things that cant be taken apart.”

F: “I work a lot in zines (small self-made magazines red.) and there the main concern is composition of narrative: you can eliminate the implicit affiliation of a series of photographs by changing the sequence, color, title.”

F: “I mean, people can be completely knocked over by five pages if they are put together in the right way – and that’s amazingly beautiful.”

F: “I’m of the opinion that the dirty laundry is more interesting than the clean –

it’s devastating to hear people hold themselves back on the grounds that their idea ‘has been done before’ – if you think like that you remain in the structure, the mere form.”

F: “No moment has ever existed before – it is never the same light.”

Lennartsson: “The main reason why anything gets done at all is due to issues of emotional ambivalence and contradictions, that I can’t seem to get a grip on or understand.

I put a lot of thoughts into how I present my work. The most important issue is how to show (/trick) the viewer, to make the viewer understand (/believe) the artworks true (/false) spiritual value.”

L: “Because what I dream of at night drives me crazy when I’m awake.”

L: “I’m obsessed with materials. They attract me. It is like a short relationship where the material comes over me. I try to understand it; how it moves and behaves, only to take it over and abuse it, to make it mine.”

“I’ve never managed to clearly talk about Hiding Behind the Horizon; I have put to many layers of thoughts in it, in too many directions.
But I have tried to hint the core of the project in the title: Hiding behind the horizon.

But then again, I think the title would best be described as a short cat video on the internet: the scene would contain a small plastic pool, at the back end of the pool a cat head would slowly arise. Out from a small breeze only visible from the water surface, the cat’s eyes slightly widen before the cat’s head again disappears from sight.”

KONTORprojects: “Our aim is to show photography that pushes the medium forward and explores unconventional subject matters and presentations to examine what photography can achieve as an art form.”

KP: “We are based in a small space in a cosy backyard in Copenhagen’s vibrant neighbourhood of Vesterbro. Our program spans solo shows, curated group exhibitions and performances. We work with both established artist and the latest emerging talent.”

KP: “We want to expand the knowledge of art photography and strengthen cultural diversity globally and locally. We regularly invite artists from abroad to exhibit in collaboration with Scandinavian artists.”