All images in the exhibition are done in Belgrade, the capital of Serbia, between February 8th and March 1st 2011. The exhibition premise has been that all works should be made within the 21 days I was away. Of all the works done during the stay, I have taken 168 and divided them into nine frames, which now forms the Belgrade suite. Overall, a faster and more risky approach to the work than I am used to.
Why Belgrade then?
We traveled hastily through in 2006, heading for the Romania countryside. From the train we saw the Televizorke blocks in New Belgrade in shimmering haze. We saw the immense building masses and characteristic square windows. But it is probably not a reason - or what?
Knew no one there. Neither did I go because of Marina Abramovic's work, the strong performance tradition or the Yugoslavian visual poetry, the so called Signalism. It was not even a reason. Nor was the NATO bombardment in 1999, not at all, or the fact that the otherwise closed National Museum in Belgrade owns a Gauguin painting from 1902, which is closely related to one in the Ordrupgaard Collection. No, or?
The impulse to make the journey must be find somewhere else. Although it still remains among the irrational motivations ...
Christian Vind, Copenhagen, May 2011
Christian Vind (1969) graduated from the Royal Danish Academy of Fine Arts in 2003. He received the National Arts Foundation 3 year working grant in 2010 and is represented in Kobberstiksamlingen, Statens Museum for Kunst (National Gallery) and the Museum Jorn, Silkeborg Previous solo exhibitions are among others: Tegn og Underlige Gerninger – En Silkeborgfortolkning Silkeborg Kunstmuseum and Gl. Holtegaard (2008). Tryktanken Galleri Tom Christoffersen (2006). Ekstrakt Galleri Tom Christoffersen (2009). Group exhibitions counts for example: The Map is Not the Territory Esbjerg Kunstmuseum (2008/09). Inge. Curated by Subterramania, Geological Museum, the Natural History Museum, Copenhagen (2011) and the forthcoming Enter II. Kunsthallen Brandts, Odense (2011).