Dette værk udstillet i Holme Kunsthal er et politisk statement om migration og flygtningesituationen i Danmark, som i de senere år er gået igennem en række stramninger i lovgivningen.

Det er umuligt at forstå og forestille sig en verden uden migration, alt levende i naturen migrerer, det er en af betingelserne for at leve i vores verden. Vi søger alle at forbedre vores liv, overleve i verden, vi søger efter det bedste for vores familie og os selv. Og nogle gange kræver det at man flygter væk fra de steder, man kender og er tryg ved. Men det er ikke lige nemt hver gang. Især når der rundt omkring i verden lukkes døre, der bygges mure, der strammes grænser. Der bygges fuglebure til kultur, befolkning og udvikling generelt.

Det ser jeg som en meget indskrænket måde at se verden på. Inger Støjberg er blevet et symbol på denne slags holdning i Danmark. Derfor synes jeg, at Holme Kunsthal er det perfekte sted at installere dette forstørrede portræt af Inger Støjberg, som sidder akavet i sit lille bur og med sine søgende, lange arme begrænser sig selv med sine synspunkter

Dette værk udstillet i Holme Kunsthal er et politisk statement om migration og flygtningesituationen i Danmark, som i de senere år er gået igennem en række stramninger i lovgivningen.

Det er umuligt at forstå og forestille sig en verden uden migration, alt levende i naturen migrerer, det er en af betingelserne for at leve i vores verden. Vi søger alle at forbedre vores liv, overleve i verden, vi søger efter det bedste for vores familie og os selv. Og nogle gange kræver det at man flygter væk fra de steder, man kender og er tryg ved. Men det er ikke lige nemt hver gang. Især når der rundt omkring i verden lukkes døre, der bygges mure, der strammes grænser. Der bygges fuglebure til kultur, befolkning og udvikling generelt.

Det ser jeg som en meget indskrænket måde at se verden på. Inger Støjberg er blevet et symbol på denne slags holdning i Danmark. Derfor synes jeg, at Holme Kunsthal er det perfekte sted at installere dette forstørrede portræt af Inger Støjberg, som sidder akavet i sit lille bur og med sine søgende, lange arme begrænser sig selv med sine synspunkter

David Ramírez [CO] & Troels Primdahl [DK] 

in collaboration with friends from La Loma, San Cristóbal

It is already happening: a revolt against the urban violence taking place in an outskirt village northeast of Medellín. Through artistic practices a group of inhabitants are redefining themselves as a new family of La Loma. A family who dissents from belonging to one of the combos and hence from joining the battle for control of the criminal underworld. And with this initiative they are risking everything. 

Like an elephant in the room an awkwardly over-dimensioned white ACNUR car made of wood and pvc seems to address an obvious problem. Occupying the gallery space with a contraintuitive impression of immobility the automobile starts unfolding a multitude of unanswered questions. As an object supposed to move, the car seems to be stuck in a violent history which has been going on for too long and which still leads to an everyday life of forced recruitment, intra-urban displacements, extortion and sexual abuse.

The installation of a black tunnel creates a labyrinth pathway into a deeper psychological contemplation on the current situation in La Loma. From an explorative mesh of compositional and choreographic elements a performance cycle is slowly emerging in the dark. Eleven performers are devoting their voices and their bodies to become one instrument while they seek to bear witness about the complex emotions that reigns behind the ongoing fight for transgression and emancipation. After a while it becomes clear how darkness and light, noise and silence, stillness and movement give birth to each others destruction somehow.

This is not an exhibition. The works presented here should rather be perceived as a testimony; a proof. Due to La Loma’s strategic location, ideal for para-military drugsmugling organisations, the place has become a Gordian knot. Though, just as Gordian knots can only be solved by making a cut, this is exactly what the new family of La Loma is already doing - by transgressing the invisible borders with a yearning for love and friendship.

Judio Errante is a Spanish expression meaning wandering without a place of belonging. It is a work about that feeling of not being at home at any place, that feeling of just being a lonely unit with no place to go. 

It was made the first year I moved to Denmark, when I was trying to figure out how to fit into my new life and at the same time feeling that I would not be able to return to my home country. It is a kind of emotional no-man's land. The painting is about that place and a heavy feeling in one's body, the awareness of a burden that is invisible and hard to define but that you still need to drag around wherever you go.

Pentecostes is a work done in 2011 during a period in which the political situation regarding Immigrants was tough. Requirements to go through the integration process were getting tighter; just to be able to apply for family reunification (the visa option for married couples who wish to live together in Denmark, when one of them is from outside Europe and the other one is Danish). To get permanent residency one had to gather points during a 3 year period of time, some of the point giving circumstances were: having a full-time job for at least one year (demonstrating this being an individual artist not employed by someone seemed a bit difficult at that time for me); having completed 5 levels of education in danish language, having done a certain amount of hours of volunteer work, etc. At the same time on had to renew the temporary permission to stay, which also had several requirements that were constantly updated; to have security funding in an isolated bank account, to live in a place that was more than 50 square meter and had a contract for at least 3 years ahead from the time of starting the renewal process - which in the beginning was one year after coming to Denmark, then every year and a half and so on. These are a few of the things I can remember today about that. All this seemed a bit tough for me, I felt as if they wanted us to be superimmigrants, for me this was a clear message.