”A fruitful meeting between Arabic and Danish culture”
KUNST nr 1/2009
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By Chris Lord
11.11.2008
WEEKEND AVISEN - 28.09.01 (by Dorte Dahlin) » pdf
http://www.nomad-academy.org/473.html
30 Pilot projects of an Arab Cultural Institute in Copenhagen
The Copenhagen School of Architecture.
November 12th - December 11th, 2006
Dorte Dahlin introduces the projects and art as a tool
http://www.dr.dk/P1/Vita/Udsendelser/2006/01/05143339.htm
ART IS ONE OF THE QUICKEST TOOLS
Two large models for an Arabic Cultural Institute in Copenhagen is on board a ship in the middle of the Atlantic Ocean , when exhibition postponed due to the cartoon crisis..
1. februar 2006 kl. 17:10 på P1
http://www.dr.dk/P1/orientering/indslag/2006/02/01/174448.htm
WRITTEN IMAGES
Arabic Calligraphy, Det Kongelige Bibliotek, Copenhagen, 25 May – 25 August 2007
Mr. Abdullah Al Owais (Director General of the Department of Culture & Information, Government of Sharjah) commenting on the importance of cultural exchange between Sharjah and Denmark.
Christina Back (The Royal Danish Library) and Nomad Academy's Else Marie Bukdahl and Dorte Dahlin touching differences in eastern and western tradition and breakthroughs. Translation: Salim Abdali (physicist, poet): http://www.dr.dk/P1/Vita/Udsendelser/2007/07/06122720.htm
ARTIST LECTURE ON LOST DISTANCEHamburg 1985
Photo: Bertolt Hering
Dorte Dahlin, 2004
Excerpt from Art and Science. Architecture's and Art's Site-specific Projects
T
en lectures given at the School of Architecture and Design, The American University of Sharjah and the College of Fine Arts, Sharjah University.Else Marie Bukdahl (ed.) The Royal Danish Academy of Fine Arts, 2006.
The World of Reenchantment
Overlaps. North-Southeast. Edition Sharjah Art Museum, Sharjah, UAE, 2000
Binocular Pictures 1Binocular Pictures 2
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RUBBER GEOMETRY
“...rubber geometry is characterized by – as the name implies – its soft form, but also by not limiting its domain to lines and forms. “Rubber geometry” encompasses the space as well as the choice of color, the light and shade as well as the figure and the scale. It simply makes it possible, as part of one and the same geometry, to elaborate the painting’s vague spaces, soft figures, shifts in color, transitions between loose and tight forms, the coincidence between foreground and background, and all the other conditions that split and spread the gaze. And the fact that this geometry is soft means in truth that it is not fixed on one single level – like in constructivism – nor on one single space – like in the linear perspective – but precisely becomes a geometry for the more or less chaotic gaps and intermediate dimensions.”
Mikkel Bogh: Dorte Dahlin (Copenhagen,1993), p. 17
Else Marie Bukdahl quoting the arthistorian Mikkel Bogh in her article ”The World of Reenchantment”. Overlaps. North-Southeast. Edition Sharjah Art Museum, Sharjah, UAE, 2000
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