Samfélagsstaða, frelsi (tjald) / Social Configuration, Freedom


John Krogh
Fæddur/born 1959
Heima/Address: Søndermarksvej 13, 2500 Valby, Denmark
Sími/Tlf: 36 30 82 60

The Drawing School, The Glyptotek, Copenhagen 1983-84
The Acedemy of fine Art, Odense, Denmark. 1985-1987

Einkasýningar / Solo Exhibitions - Projects:
2002 social configuration, Freedom, The Museum of Hollufgård, Odense, Denmark
2000 Outside-White-Inside, GUK exhibition place. Selfoss Iceland /Hannover Germany/ Lejre Denmark
1999 Around White, North exhibition place Copenhagen, Denmark
1999 White Chamber, The Ministry of Culture`s Exhibition Place of Contemporary Art, Overgaden Copenhagen Denmark
1999 A White Story, The apartment of Mads Rasmussen. Fåborg Museum of Fine Art, Fåborg Denmark
1998 Flat no. 15, Babel - louk, Cairo, Egypt
1997 Compilation 3, Klosterbakken, Odense, Denmark
1996 PAS, Kunsternes Hus, Århus, Denmark
1990 Paradox, Gallery Høgsberg. Århus, Denmark
1988 The consideration of Linne Gallery Marius, Copenhagen, Denmark
1988 Gallery Åen, Århus, Denmark

Samsýningar / Group Exhibitions - Projects:
2002 social configuration, Freedom, CAMP Hornafjördur, Iceland
2002 Erotic, SAK Svendborg,Denmark
2002 Vi tar`skraldet, Window Space, Copenhagen, Denmark
2002 Joint Editor, on the CAMP, Lejre book/catalogue, Denmark
2002 Joint Founder of, the drawing space, guest room, Copenhagen, Denmark
2001 Curator on the CAMP Lejre, Project
2001 social configuration, CAMP Lejre, the city of Lejre, Denmark
2001 Erotic, Toldboden, Kerteminde, Denmark
2000 Paraprahses, Odense Museum of Fine Art, Denmark
2000 Picture This" North Exhibition Place, Copehagen, Denmark
2000 Park, White Area, The Museum of Hollufgård, Odense, Denmark
2000 Around White 2, Filosofgangen, Odense, Denmark
2000 Expansion, Kulturfabrikken, Copenhagen, Denmark
1999 White Line Walking, Findoor Compartment, Kunstlerhaus Guterabfertigung, Bremen, Germany
1999 Duali:tet, Klosterbakken, Odense, Denmark
1999 Duali:tet, Dr. Bambergerhaus, Rendsburg, Germany
1999 Wall to Wall, Toldboden, Kerteminde, Denmark
1998 Common White, Filosofgangen, Odense, Denmark
1997 Virvar, Klosterbakken, Odense, Denmark
1996 Fight Back, Klosterbakken, Odense, Denmark
1996 Krasnapolsky, Copenhagen, Denmark
1993 Charlottenborgs Forårsudstilling, Copenhagen, Denmark
1991 Vision, Exhibition Place of Contemporary Art, Overgaden Copenhagen, Denmark
1990 Artist`s Books, Museum of Contemporary Art, Roskilde, Denmark
1990 Påskeudstillingen Tistrup, Denmark
1990 Charlottenborgs Forårsudstilling, Copenhagen, Denmark
1990 Charlottenborgs Efterårsudstilling, Copenhagen, Denmark
1989 Charlottenborgs Forårsudstilling, Copenhagen, Denmark
1989 Rubin`s Collage Exhibition, The Exhibition Place for Contemporary Art, Overgaden,Copenhagen Denmark
1989 Paintings, Kunsthallen Brandts Klædefabrik, Odense, Denmark
1988 Kunstnernes Påskeudstilling, Århus, Denmark
1988 Gallery XXX, Stockholm, Sweden
1988 Charlottenborgs Forårsudstilling, Copenhagen,Denmark
1987 Kunstnernes Påskeudstilling, Århus, Denmark
1987 FAF`s Pakt, Odense, Denmark
1986 Den Frie Efterårsudstiling, Copenhagen Denmark
1986 Styx, Condemed building, Odense, Denmark

Akademirådets,Scholarship for young artists 1988 and 1990
Scholarship from Århus Municipality 1995.
Scholarship of Herman Madsens og Charlotte Henriksens 1997.
Statens Værksteder for Kunst og Håndværk, Gl. Dok. 1999.
The Woodstock Guild, NY. 2001.
Statens Kunstfonds travelling scholarship 2001
Kulturfonden, for the CAMP Lejre project 2001
CDB (Center for Visual Art) travelling scolarship, 2002
Billedkunstrådet, for the CAMP Lejre project 2002.
Akademirådet, for the CAMP Lejre project 2002.

Verk í eigu safna / Works in public and/or private collection:
The Collage Collection of Frank Rubin.
Kobberstiksamlingen, The Museum of Fine Art, Copenhagen, DK.
Represented at the Viewing Program, at The Drawing Center, NY. USA.
Several Private Collections.

Félagsaðild/ Membership of professional organisation:
A member of the Danish Artists Association of visual artists (BKF)

Cover art for "Lykkelige Digte" by the Danish poet Poul Borum.
Dansk Kunst 1998, forlaget Søren Fogtdal A/S.
CAMP Lejre, catalogue published by Information 2002

2001 CAMP, Lejre. An artists curated project involving 45 artists from 7 countries and 25 privat households. Around 50 projects and performances in private and public space in the village Lejre, Denmark. Curated by Hanne Godtfeldt, Steinunn Helga Sigurdardóttir, John Krogh, Mette Dalsgård, Morten Tillitz and Nanna Gro Henningsen.
CAMP,Lejre was supported by The Ministry of Culture’s Development Fund, The Danish Contemporary Arts Foundation (DCA), The Visual Arts Council, The Academy Council, The Municipalety of Lejre and Roskilde County.

Sct. Hans Hospital, Roskilde, DK, 1990.
Roskilde Festival, DK, 1990.
Frederiksbjerg , Århus Municipality, DK 1995.
Bygningsrenovering, Odense Municipality, DK 1998.

Artistic practice
During a period of four years, white has been the main concept of my work. I deal with the underlying themes of white and use it, as a cover and replacement for: a colour, a name/person, a place, a situation and as a common background, for the artistic practice. This common background is ment to be, the beginning, the white canvas, the blank piece of paper, the thing that is there before you do anything with it. White is a kind of going backwards into the ”landscape” of art. Most of my work has a minimalistic touch, seen from the way it is produced, with a smooth surface, a finishing touch and dealing with reduction as a main theme. Yet by reading closely the spectator will discover the narrative element, that confronts the minimalistic apperance. This paradox confronts the spectator, who has to deal with the fact, that the narrative elements involves his/hers own act. By then white is no longer an object, but a situation aswell, taking place right now in this very specific place, with the spectator as a central figure.
Dealing with white as an element, gives me a frame and an opportunity to expan my work into various categories. It becomes possible to use different methods and materials, and to infiltrate any subject in art history and in daily life.
Reasently white has been converted into the main concept of, social configuration, and which main function is to intervene with the public in an innovative context.