NEWS FROM STUDIO JULIE BOSERUP
I´m working on a new web page and have not been updating this regularly, but here is a little summery of some of the exiting things I have been working on.
If you are curious you can always follow me @julieboserup on instagram for emergent news.
The National Gallery of Denmark has acquired the piece Zone II, for their collection it will be on display at the room “New Danish Art” from October 2020.
I am now represented by Galerie Møller Witt in Copenhagen
Populist Magazine has published an interview with me on my practice in general. Link
Are you interested in renting a piece of art? I have started a collaboration with Pars art
Solo show at Viborg Kunsthal, December 2020
Solo show at Augustiana Kunsthal, 2021
I hope to see you out there and look forward to present a new webpage!
I show two new pieces at the opening of List -a new artist run space in Copenhagen.
Karré er den 1. udstilling i LIST
”En karré (fra fransk) boligblok (fra engelsk block). En karré er et kvadrat af høje bygninger, som regel afgrænset af flere gader. I storbyer bruges karré ved vejvisning: til højre efter anden karré”
Sydhavnen, nærmere bestemt det der kendes som ”det gamle Sydhavn”, er kendetegnet ved deres karrébygninger. LIST ligger i Karré 7. Karreen der også husede Anker Jørgensen.
Vi har bedt de inviterede kunstnere om at forholde sig til ordet Karré. Og det står dem frit for om de vil fokusere på formen, firkanten, boligen, boformen, Sydhavnen eller hvad ordet ellers giver dem af associationer. Karré er tænkt til at sparke en idé af sted hos kunstnerne – og LIST i gang.
De 7 inviterede kunstnere er:
Mikkel Rundin Ørsted
Pernille Kapper Williams
LIST er startet af Jeanette Hillig og Jakob Hunosøe.
Udstillingsperiode 14. juni – 27. september (ferielukket uge 27 – 32)
Fernisering: Fredag d. 14. juni 2019 kl. 17 – 20
Åbningstider: Tirsdag, torsdag og fredag kl. 12 – 15
I have created a sitespecific installation for the danish painting collection Nivaagaard Malerisamling
The installation will be on view until August 25th 2019
About the installation:
The narrow passage in the museum’s northern end has been converted by the artist Julie Boserup into a collage installation that is both engulfing and varied. Using historical archive photos, landscape paintings and coloured surfaces, Boserup create an illusory space in which the borders between the inside and outside and the spatial and infinite meet.
Boserup has drawn inspiration from the museum’s history, its original facade and the beautiful art and scenic nature around us. Boserup is particularly interested in the wealth of visual material we are surrounded by, and she devotes her work to breathing new life into often forgotten and overlooked pictures.
In the installation she has created a landscape you can walk in to and see a lot of different connections between perspective, colour, space, the building and the paintings in the museum. The installation grows if you enter and stay for a while and see all the connections unfolds and the space some how get enlarged after a while.
The images in the installation quotes the architecture of the building and Nivaagaards digital archive of photos of their golden age painting collection. From vintage photo of the old neoclassical facade to wooden strips and pillars inspired by the postmodern architecture in the new section of the building. The photos of the golden age, has been chosen not so much from an arthistorical standpoint, as an ideosyncratic point of view where the paintings work as a kind of stock photos, representing foreground, background, midleground. Exploring new ways of using our national heritage of golden age paintings, making other details and element visible by enlarging, gluing and collaging.
I have just finished a public commission for the entrance/waiting area of Østjyllands polices station in Grenaa, Denmark, by invitation of Bygningsstyrelsen/ Danish Building and Property Agency
The piece is made of print and paint on walls, glass, chairs and ceiling. 2018
The commission is situated at the entrance to the station and spreads out through several walls. The installation is inspired by the complexity of the place, so many different people pass this room, each with a different agenda; citizens that has to renew official papers, criminals, victims, policemen- and women working at the station. How do you engage with all these different approaches to a place?
I chose to work with a landscape with two horizon lines, always having more than one point of view at the same time. The lines bind the installation together across walls, penetrating the existing architecture, investigating the visible and invisible borders of the place.
I worked with landscape fragments, inspired by the harbor where the station is situated. A wave starts by the main door and continue through the rooms, spreads out on the waiting chairs. Along this wave runs two horizontal lines that crosses and meet, in an optical way, at the glass wall and continues on the back, where only the staff can enter. The lines consists partly of printed fragments of images from the former police station, I also used the old chairs from the former police station and incorporated them into the installation by adding fragments of waves, making each chair different. I believe in using the story of a place instead of overwriting it all at once, accepting that the place has a longer story than my engagement with it.
The commission is public accessible, so please go see if ever you are in the area.
For more photos: Double horizon
Join me for a short but very interesting group show in London, during Photo London week.
At Home She’s A Tourist
Emma Bäcklund, Mette Bersang, Julie Boserup, Jonny Briggs, Julie Cockburn, Gabby Laurent & Dominic Bell, Louise Oates, Eva Stenram, Clare Strand, Dominic Till, Tereza Zelenkova.
Curated by Tom Lovelace
At Home She’s a Tourist brings together a collection of artists and artworks that examine private, interior spaces and further, those that interrogate the surfaces, materials and activities which manifest in these dwellings. The exhibition will present an exploration of unknowing and strangeness within the realm of seemingly familiar domestic spaces. At Home She’s a Tourist will shine a spotlight upon an exciting mix of contemporary photographic artists who are negotiating the domestic space in inventive ways.
A 24hr celebration of contemporary photography in Peckham during Photo London week
Friday 19th 6 to late, Saturday 20th May 2017 12 – 6pm
Copeland Park and Bussey Building, 133 Rye Lane, Peckham, London SE15
For more info, read this interview in photoworks with curator Tom Lovelance
I am pleased to participate in this exciting group show as part of the Socle du Monde Biennale . The show is also an anonymous alternative auction. Se below for more info:
ART BARTER is a series of physical exhibitions in different cities where the public is invited to bid on anonymous artworks by artists living and working in the host city at that time. The only offer that is not valid at an Art Barter event is money!
Visitors have to get creative and try to win the artworks by offering their skills, possessions, services, hobbies or anything else that they can dream up, encouraging them to think about what they have that is unique and how much they personally value the work.
The events make artwork more accessible to all art enthusiasts, at the same time as questioning the notion of the ‘art market’. Each artwork is attributed only with a number as opposed to a name, price tag or title, thus creating bids that are based purely on the work’s aesthetic and emotional value, beyond geographies, market trends, media and any other influences. This also allow the artists to value their own work via non-monetary mechanisms as they ultimately decide which barter to accept.
To date, eleven Art Barter exhibitions have taken place across the world including in London, Berlin, New York, Madrid, Istanbul, Mexico City and Dubai with approximately 75% of all exhibited artworks having been exchanged. Art Barter has always been received with enthusiasm by artists and the community alike, offering a refreshing point of entry into the realms of collecting and exhibiting.
Last week of this show in Århus, Denmark.
Thanks to Dina Vester Feilberg for a great catalogue text (in danish)
Ekko tegner rum -udstillingskatalog
RUM TEGNER EKKO – EKKO TEGNER RUM
SIGNE JAÏS OG JULIE BOSERUP
GALLERI MØLLER WITT
LØRDAG DEN 19. NOVEMBER 2016
Solo show at
SOUS LES ETOILES GALLERY
100 Crosby Street #603
New York City, NY 10012
T: 212 966 0796
SEPTEMBER 15 – NOVEMBER 26, 2016
Sous Les Etoiles Gallery is pleased to present emerging artist and photographer Julie Boserup’s premiere exhibition with the gallery, “Misleading Perspectives,” on view September 15 through November 26, 2016. An opening reception with the artist will be held on Thursday, September 15, 6-8pm, and an artist talk is scheduled the following Monday, September 19, at 7pm.
This collection of recently completed new work was commissioned by Sous Les Etoiles Gallery, and is the first-ever artist commission by the gallery. This exhibition was also made possible with the support and assistance of the Museum of the City of New York, whose famed Wurts Brothers Collection served as the initial structure for Boserup’s unique series of large-scale collages.
Inspired by the Wurts Bros.’s novel technique of aligning ground level shots of skyscrapers with images taken from the upper levels of a nearby building, Boserup adds found images, drawing, geological images and her own photographs shot in the streets of New York to an enlarged digital print from the archive. Whereas Lionel Wurts chose his technique of combined images to compensate for the misleading perspective of the bystander’s view, Boserup crafts new visions of the historical document in order to add layers of meaning, mingling both the familiar and fantastical. The NYC-specific series also features early 20th century documentation of the unfinished Queensboro Bridge, culled from the archives of the New-York Historical Society.
Danish artist Julie Boserup’s unorthodox use of the photographic image has made her an exciting new addition to the contemporary photographic scene. Making use of various image sources such as travel guides and her own photographs, Boserup, b. 1976, operates on a low-tech threshold between collage and drawing, and digital and analog techniques. Her first major museum exhibition at the National Museum of Photography in Copenhagen is currently on view through February 2017. In this exhibition, she presents a large series of collages based on archival photographs from Denmark’s Royal Library.
Since graduating from London’s Chelsea College of Art in 2002, Julie Boserup has exhibited extensively throughout Denmark, received the Else and Henning Jensens Painting Award in 2011 and 2013, and was presented a special Talent development award from the Danish Arts Foundation in 2005. She currently lives and works in Copenhagen.
ARTIST TALK BY JULIE BOSERUP
Monday, September 19, 7pm
Sous Les Etoiles Gallery | NYC
New exhibition at the National Museum of Photography, Copenhagen.
We built a house is an exhibition about architecture, dreams and destruction. It presents new works by two outstanding contemporary artists who for a whole year have worked with selected photographs in the collection at The Royal Library.
Can one build a photograph? In a new photo exhibition the visual artists Søren Lose and Julie Boserup make a number of attempts. Using extensive collages and installations they build up three-dimensional versions of historical photos of architecture. For two years, Julie Boserup and Søren Lose have researched in The Royal Library’s archive of over 17 million historical photographs. From their hiding-place they have extracted photographs of grandiose church architecture and functionalist landmarks, and in the hands of the two visual artists the hidden treasures of the archive gain a new lease of life.
The exhibition We built a house shows twenty new works in which the two artists investigate the various meanings of architecture, and how architecture is represented in the photograph. Architecture is an expression of power and dreams, which the architecture photographer seeks to make visible as a vision of the building or documentation for posterity. Public buildings are monuments to the ideals society has of the good life, as these ideals were at the time the building was built. Gothic cathedrals soared heavenwards and expressed the then view of the world, while the sober 20th century colleges of educational buildings express the will to provide education for all. The artists have processed the images by enlarging, cutting, folding, extending, drawing and sewing new versions of the historical photographs, and in this way they have underlined both the changing meanings of architecture and the effects that can be produced by the architectural photograph.