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The Mobile Forum at
Malmö Fotobiennial 2021
https://malmofotobiennal.com/
Photo series of 10 photographs
year: 2018-19
Malmö Fotobiennial is held as a 3D web exhibition this year, due to the covid19 pandemic, consisting of a curated exhibition of photographers' work and interviews concerning the topic of Utopia and more.
The curators have selected 10 photographers for the photo biennial exhibition to relate to the theme of Utopia.
Malmö Fotobiennal board of Curators
Michel Thomas
Fredrik Weerasinghe
Susanna Hesselberg
Jeanette Schou
Malmö Fotobiennal Board
Michel Thomas . Head of the Board Fredrik Weerasinghe
Raffaele Piano
Alexis Rodríguez Cancino
Sten Ivo Nachenius
Participating artist/ photographers:
Annabel Elgar, Arseniy Neskhodimov, Claire Laude, Federico Estol, Kirsten Otzen Keck, Maja Ingerslev, Natalia Poniatowska, Polina Karpova, Stephanie Roland
The photos shown here are screen shots of the 3D web exhibition from https://malmofotobiennal.com/ as well as my photo series "The Mobile Forum".
Text about my photo series- the Mobile Forum from the web-exhibition: (by Kirsten Otzen Keck/ English translation by Malmö Fotobiennal):
"The photo series “The Mobile Forum” is a further development of and inspired by my work “Starting Point 2015” (2015). Formally, in the series, I use flat two-dimensional prints and 3D model spaces, in an alternation between images of images and real objects, in an attempt to talk about the utopian.
“Starting Point 2015” is a free-standing sculpture with a screen, on which a series of photo collages, based on own photos, are projected, primarily from Athens. The audio side is recordings of conversations with tourists.
3 narrative tracks with groups of ancient statues, journalists and tourists’ conversations are crossed in a visual and auditory collage, where sender and receiver relations are mixed. “Silent” journalists are seen busy reporting in the spotlight, antique portrait statues look directly into the camera to the sound of tourists’ searching conversation about what a place they have come to and how much they understand.
In the work, I use my photos from election night, January 25, 2015 in Athens. Here, in addition to reports, one sees the world press’ massive supply of “scenographies” in the form of scenes, floodlights, cameras and cranes. In addition, there are own photos of the restoration work of the ancient sites and of the numerous demonstrations in the city.
All three can be connected with the will to be part of the story; to restore and rebuild, to keep society alive and well, based on different, and – perhaps utopian – notions of what a good society can be.
For the audio side, I interviewed tourists about what we saw around us and how much of it and what we understood based on our individual backgrounds. Sometimes people related their experiences to the cities they themselves came from, thereby forming a kind of network of cities in the narrative.
In this way, the Athens that emerged in the work became perhaps a picture of a city connected to other global cities – and a fiction about how past, future and present merge on a given night. During my work stays in various places, I myself have often been confronted with the role of the tourist and the dilemmas and difficulties surrounding defining what one sees and perceives. In Athens, on election night, it seemed like a clash between the stories “from within” and the gaze “from without,” which were present in the same place and time."