SØREN DAHLGAARD

THE DOUGH WARRIOR PROJECT!S

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Anders Kold, curator atLouisiana Museum ofModern Art, was summonedto a café in Copenhagen inNovember 2007 to view anddiscuss the video DoughWarrior Painting His Garden,2007 for the documentary filmThe Dough Warrior – aportrait of Søren Dahlgaard.The following excerpts are anabridged version of therecording:

“… It is a good argument forthe view that art should notnecessarily be anaemic orencumbered by solemnity.It’s acceptable to smile at thesame time. And the DoughWarrior certainly calls for asmile! The way he movesaround, humming quietly as ifhe were in the shower, whilehe carries out his work ofpainting small plots of landwith vibrant colours. Yes, it isquite funny I must say…

Anders Kold, museums-inspektør på Louisiana, blevsat stævne på en café iKøbenhavn i november 2007og præsenteret for videoenDough Warrior Painting HisGarden, 2007. Teksten er enredigeret og forkortet udgaveaf optagelsen:

… Det er et godt indlæg fordet synspunkt, at kunst ikkenødvendigvis bør væreanæmisk eller tynget af alvor.Man må godt trække påsmilebåndet, og den herDejkriger, han kalder da påsmilet. Den måde, han går ogsmåsynger på – som om detvar i brusebadet - samtidigmed at han udfører sitarbejde, som så altså er atmale en eller anden lilleparcel med pangfarver. Jo,det er ret morsomt, det måjeg sige …

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Bread drawing, 2007.

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Wall Riding, 2001

Human paintbrush techniques no. 1.Slide paintings.

Installation view.Slade School of Fine Art, London, 2002.

Human paintbrush techniques no. 2.Paintings measure 122 x 244 cm each.

Wall Riding, 2001.

Video stills.

Slide painting, 2002

Performance still.

Human Cannonball model, 2002.

Edition of 3. 40 x 50 x 30 cm.Human paintbrush techniques no. 3.

… It says something aboutSøren Dahlgaard, about himspecifically, but it also says alot about an individual at adifficult time or place inhistory. These days there aremany who paint, but only afew years ago in the year2000 it was relatively “new”.I’m not saying that he paintedat the time, but you mustrelate to it. Painting is in one

way or another the history ofart or a story within thehistory of art which we asindividuals must either throwa lump of dough at, paint overor do something to. This isbecause it’s the strongesttrend, and one that has beenelevated by the state andcollectors to the grandestwithin the old hierarchies...

… Det siger noget om SørenDahlgaard, om ham specifikt,men det siger jo meget om enfigur et sted i historien, hvordet har været svært. Nu erder enormt mange, der maler,men bare tilbage i år 2000,der var det altså stadigvæklidt nyt. Nu siger jeg ikke, athan malede dengang, menman må forholde sig til det.Maleriet er på en eller anden

måde den der kunsthistorieeller historie i kunsthistorien,som alle bliver nødt til entenat kaste en klat dej efter ellermale hen over eller gøre eteller andet ved. Det er, fordidet er den stærkeste strøm-ning, det er også den, der erblevet løftet op af staten ogsamlerne som det fornemste ide gamle hierarkier …

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Elliptic touchdown, 1999

Photo series of 4 images.70 x 100 cm. Edition of 5 + 1 AP.100 x 150 cm. Edition of 1 + 1 AP.

Drawings, 1999

30 x 40 cm.

… It’s obviously brokendown and insulted manytimes, yet it continues toexpand: Painting is thelargest sour dough found inart, is it not? And Dahlgaardcomments on it. I can’t helpthinking about a conversationI had with the Danish painterTal R in connection with hisexhibition at Louisiana (2007),where he began by saying: ‘Ifyou concentrate on thecolours, you have lost as anartist’. At first it seems anextremely provocativestatement coming from apainter, but it relates to whatDahlgaard is doing: Namely,to have an opinion aboutthings. It’s not about subtlenuances and tones. Paintingis a tool one must relate to.It has a history and in thatstory there is a critique ofthe medium – andSøren Dahlgaard has takenthis on board.

… Det er selvfølgelig brudtned og forhånet mangegange, men det hæver barehele tiden, maleriet er denstørste surdej, der findes ikunsten, ikke sandt? Og derer han jo inde og kommenteredet. Jeg kan ikke lade væremed at tænke på en snak, jeghavde med Tal R i forbindelsemed udstillingen på Louisiana(2007), hvor han startede medat sige at, ’hvis man giver sighen til det med farverne, så

har man tabt, som kunstner’.Det er umiddelbart enekstremt provokerendekommentar, når den kommerfra en maler, men det harfaktisk noget at gøre med det,Dahlgaard laver. Nemlig atman må have en holdning tiltingene. Det er ikke nogetmed fine nuancer ogtonaliteter at gøre. Maling eret redskab, som man måforholde sig til, og der er enhistorie, og der er en kritik af

maleriet, der indgår i denhistorie, og den har SørenDahlgaard taget på sig. Jegtror aldrig, han bliver maler iden forstand, men han tema-tiserer det besværlige vedkunsten, og så gør han detsamtidig morsomt, som nårhan i denne performancekaster sin egen krop ind …

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… One could say it alsopoints to another area the artworld currently concentrateson, namely the artist. Butwhat kind of figure is he thenif art can be outlined to anextent that an informalconversation becomes theartwork? The romantic figuredisappears completely –typically the male painterwho staggers and fenceswith brushes. This figure hasalready been fiercelychallenged and it is here, onthe small plot of land, wherethe Dough Warrior treads. Ifhe is unable to guide thebrushes into the buckets ofpaint he merely lifts thebucket and paints. It is bothcomical and tragic, and isone of many stories portrayingthe difficulties of being anartist…

… Man kan sige det er joogså med til at pege på enanden ting, som kunsten idisse år har fat i, nemligkunstneren. Hvad er hanfor en figur, hvis kunstenudgrænses i en sådan grad,at man kan sidde og have endiskussion, og dét så erværket. Da forsvinder denromantiske figur helt væk,typisk den mandlige maler,der står og fægter med

penslerne. Og den er jo alle-rede voldsomt udfordret ogdér – lige ind på den parcel -træder dejkrigeren altså. Ogkan han ikke styre penslernened i bøtterne, da tager hanbøtten op og maler. Det er ko-misk og tragisk, og det erendnu en fortælling blandtmange om det besværligeved at stå på det sted, derhedder ’en kunstner’…

Hexagonal Cyclops, 2000.

Photo series of 5 images.70 x 100 cm. Edition of 5 + 1 AP.

100 x 150 cm. Edition of 1 + 1 AP.

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… So Søren Dahlgaard is nota sensitive painter. He is aconceptual artist, a man ofideas, and puts himself to useif the staging dictates it. Thematerial must be workedthough to create what willeventually become an image:In this case an image of whatartists do. Artists take thingsand place them somewheredifferent, thus activating asignificance or meaning thatresults in a dialogue or atestimony…

… Søren Dahlgaard er jo ikkeen følsom maler, han erkonceptkunstner, han er idé-mager og forbruger sig selv.Der er noget stof, der skalgøres noget med for at blivetil noget, og på et tidspunktkan det blive et billede, etbillede på, hvad kunstnerelaver. De tager noget og stillerdet et andet sted, og dermedfår de aktiveret en eller andenbetydning, de får endiskussion eller et udsagn …

Challenging dough, 2005

300 kg dough.20 kg yeast.2x2 m lawn.2x2 m hedge on ramp.

Photo series of 4 images.Edition of 6 + 1 AP.

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Dough Warrior painting in studio, 2007.

Performance stills.

… Dahlgaard’s versioncannot be executed tooharshly, too simply or tooclumsily. Therefore the artistfigure – in this case theDough Warrior – never getsanywhere as he struggleswith and gets caught up in hismedium which, just like hisstory, is sluggish. Art must,therefore, from time to timecut its own cord in order toprogress: Allowing others tothrow dough on you or toenter the arena and virtuallydestroy it through ineptitudemay achieve this effect. Inmuch the same way PeterLand dances naked in one ofhis video works, it is aperformance you can laugh atand keep at arms length, and

yet there is the potential forempathy and possibly evenself-identification as anotheroption. Perhaps SørenDahlgaard feels like a DoughWarrior, perhaps he doesn’t.He appears to be acombination of humancannon ball and a verysensitive individual. He findshimself in the art system andhas chosen dough as hismedium but could just as wellhave been impeded in hisquest by having brushes tiedon his body. He is obviouslytroubled by history, yet hiswork is not decidedly politicaland maintains anacknowledgement of art, ofartist and different models ofexistence as fundamental

categories. At the same timehis work is so wacky ordistanced from reality that itcannot fail to bring at least asmile to one’s lips. But wedon’t just sit and laugh at it …

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The Dough Warrior

hurdler paintings, 2007.

View of set.

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… Det kan så i Dahlgaardsudgave næsten ikke gøresgroft nok, simpelt eller klodsetnok, og derfor bliver kunstnerfiguren – her Dejkrigeren –selvfølgelig én, der aldrigkommer ud af stedet, fordihan kæmper med og hængerfast i stoffet, der er trægt,ligesom historien er det.Kunsten skal derfor også en-gang imellem klippe sin egenline over for at komme videre.

Det kan ske ved, at man laderandre kaste dej på sig ellerved selv at træde ind påarenaen og næsten splitteden ad i sin klodsethed ogudsathed. Ligesom når PeterLand danser nøgen rundt. Derer noget, man kan grine ad,og som man dermed holder iarmslængde, og så er der enempati og mulig selvidentifi-kation. Det kan være, at SørenDahlgaard føler sig som en

Dejkriger, det kan også være,at han slet ikke føler sig somén. Han er jo sådan enblanding af en kanonkonge oget følsomt individ. Han befindersig i kunstsystemet og harvalgt dejen, men kunne i ogfor sig lige så godt have væretbesværet af at have penslerspændt på kroppen. Men haner besværet af historiensgang, og der synes jeg, at handiskuterer på en måde, som

ikke er tør. Han er ikke udpræ-get politisk, han holder fast idet, der handler om kunst, omkunstneren og om nogle for-skellige eksistensmodeller,samtidig med at han gør detså tilpas gakket eller ser detså langt udefra, at det ogsåtrækker i smilebåndet ogskaber en vej ind. Vi sidderikke bare og griner af det …

The Dough Warrior

hurdler paintings, 2007.

Performance stills.

The Dough Warrior paintbrush

Ten baguettes and paint.

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The Dough Warrior

hurdler paintings, 2007.

Painting in the installation.

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The Drumming Breadhut performance, 2007.

International Prize for Performance, Galleria Civica Museum of contemporary art, Trento, Italy.500 baguettes, drum kit & dough warrior armour.

… It’s a rather uniqueuniverse that runs alongpaths already trodden. Toplay the painter is not withoutprecedent, but there issomething reminiscent ofAsian martial arts about it.Rather like a Ninja Turtle withbaguettes tied on its body inan orderly fashion. For me, itrelates to precisely what Isensed the first time I saw hiswork: Monitored from allsides, he was subjected toindividuals flinging dough athim. Or a bunch of individuals,seated around a Piet HeinSuper Ellipse table coveredwith a large, swollen mountainof dough, who looked as ifextraterrestrial forces

controlled them as theyrhythmically banged theirheads into the dough mass.Man, that was strange! Theepitome of design exposed toanti-design in much the sameway as Dahlgaard attacks thefamiliar categories – the artist,painting and art – withfearless idiocy…

… Det er et ret unikt univers,som samtidig kører ad noglespor, som er trådt før ham. Atspille maler er ikke uden for-tilfælde, men der er jo asiatiskkampkunst over det. Som enNinja Turtle med flutesspændt på, sådan megetordentligt. For mig hænger detsammen med lige præcis det,jeg synes var så sjovt førstegang, jeg så ham, hvor hanogså havde gang i dejen.Overvåget fra alle sider blevhan udsat for andres kast meddej. Eller en flok menneskersamlet omkring et stort hævetbjerg af dej på et superellip-seformet Piet Hein-bord, hvorfolk - som var de styret afekstraterrestiale kræfter -

klaskede hovederne ned iklumpen. Det var underligt;indbegrebet af design udsatfor anti-design, der bare flyderud efter sine helt egne love.Lidt på samme måde somDahlgaard angriber de vantekategorier – kunstneren,maleriet, kunsten – medfrygtløst idioti …

Drawings, 2007.

Each meassuring20 x 30 cm framed.

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… Dahlgaard’s work from2000 to 2007 has strong li-neage as he both performsthe medium as well as discus-ses it. The dough has nowbeen baked and is a kind ofarmour which makes it impos-sible to produce a classicalpainting as he is constantlyimpeded by rogue baguettesstrapped to his elbows andarms.

…There are stories in the hi-story of art that have sincebecome myths because theyhave taken on a broader im-plication. For example that ofthe elderly Renoir, who wasso riddled with arthritis thathe tied brushes to his handsin order to paint. This leadsme to recall another work ofart that has often been exhibi-ted at Louisiana; PaulMcCarthy's The Painter. Dres-sed as a kind of art spastic hepaints just as much with hispenis and his bottom as hedoes with his hands. At thesame time he staggersaround like a paralysed ar-moured beetle in relation tocollectors and gallerists. Thisprimitive animal is in McCart-hy's work an obvious mockingof the sensitive and the ex-pressive in the arts and its in-stitutions...

… Jeg ser værkerne fra 2000til 2007 som sammen-hængende, fordi han bådeperformer stoffet og i enanden betydning diskutererdet. Nu er det så blevet bagtog ligesom blevet hans panser.Et panser, der samtidig gørdet umuligt at lave klassiskmaleri, fordi man hele tidenhar et flutes oppe i albueneller spændt på armen.

Der lever jo i kunsthistorienhistorier, som siden er blevetmyter, fordi de dér får enbredere betydning, foreksempel den om den megetgamle Renoir, som havde såmegen gigt, at han spændtepenslerne på sin krop og sad irullestolen og malede. Det ermaler-myten. Jeg tænker herogså på et kunstværk, der retofte vises på Louisiana, nemligPaul McCarthys The Painter.Maleren er klædt ud som enkunstspasser, der maler ligeså meget med pikken ogrøven, som han gør det medhænderne, samtidig med athan som en paralyseretpanserbille bakser rundt i for-hold til samlere og gallerister.Dette primitive dyr er fraMcCarthys side en klarironisering over det følsommeog det ekspressive og detsinstitutioner …

Portrait painting no. 1.

By The Dough Warrior.Performance stills.

UNFAIR Copenhagen, 2008

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Still life paintings, 2007.

By The Dough Warrior.Jug & vase

Fruits in bowlFlowers in vase

(Life size objects).

… If you purchase a paintingregarded in every respect asa failure, possibly even withintegral breadcrumbs, it’s notintended to hang next to acomposition by a sternmodernist, like the DaneEdvard Weie for instance.Rather, one purchases it asan acknowledgement and anappreciation of the nature ofthe concept. For although theartwork must remain within –i.e. acknowledge – theboundaries of the canvas, thepiece will sneer at Weie andportray something that liesoutside or beyond the objectin question. Instead of e.g.wading through the plot ofland adorned in bread, theDough Warrior could just aswell have burned it with aflamethrower or somethingsimilar. In any case with anobvious reference to YvesKlein, perhaps. It all takesplace in the mind, in thecommunication between theartwork and the spectator. So,we have a heavyweightindustry and a brain industry…

… Køber man et i stort set allegængse henseender mislykketmaleri, eventuelt med brødre-ster indoptaget, så er det joikke, fordi man tiltænker deten placering over sofaen vedsiden af en komposition afEdvard Weie. Man købersnarere en erkendelse og enbevidsthed om processenskarakter. For selvom værketmåtte holde sig inden for –dvs. anerkender – lærredetsfire sider, så ved man, atstumpen vrænger af Weie ogtaler om noget. der liggerenten udenfor eller bagvedselve objektet. I stedet for atvade igennem parcellen medbrød fastspændt kunne Dej-krigeren lige så vel havebrændt den af med enflammekaster eller nogetlignende. I så fald medreference til Yves Klein,måske. Det hele foregår derforoppe i hovedet, i kommunika-tionen mellem værket og den,der kigger på det, eller besid-der det. Der findes ensværindustri, og så er der enhjerneindustri …

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The Dough Warrior landscape painting performance, 2008.

Louisiana Museum of Modern Art, Humlebæk, Denmark.Photo series of 6 images.

70 x 100 cm. Edition of 5 + 1 AP.120 x 180 cm. Edition of 2 + 1 AP.

Drawing, 2008.

30 x 40 cm framed.

Drawing, 2008.

30 x 40 cm framed.

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Drawing, 2008.

30 x 40 cm framed.

Drawing, 2008.

30 x 40 cm framed.

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Drawing, 2008.

30 x 40 cm framed.

Drawing, 2008.

30 x 40 cm framed.

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Hedge painting, 2008.

Acryllic paint, baguettes, plastic hedge.160 x 120 x 30 cm.

From The Dough Warrior

landscape painting performance, 2008.

Louisiana Museum of Modern Art,Humlebæk, Denmark.

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Leaf paintings, 2007/08.

Leafs from The Dough Warrior landscape paintings.Framed 70 x 90 cm.

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… The work is very strictlyconceived and executed.Performance art demandsthat. If a painter in theclassical sense works forhundreds of hours tocomplete a work of art,regardless of whether thecolouristic or the structural isat the fore, Dahlgaard couldspend an equal amount oftime on his work. What wecannot see in the two minuteson the screen are 100 hoursof conceptualizing thedramaturgy of theperformance as a whole. Itmust look exactly this wayand unfold inside the scenarioin that way for him to finallyhave control over his body.Like a ballet dancer, he mustknow exactly what to do next,despite his movements notresembling those of a balletdancer in the slightest way.And the whole thing is createdwith the very same incisiveprecision employed by thepainter when adding paint toa canvas. It’s just anotherregister of humanacknowledgment or sensesto which Dahlgaard’s artaddresses itself. In much thesame way the purchase of a

painting tends to demand aminimum of respect forcraftsmanship and originalityof some sort, and thereforetreats it as a fetish, inDahlgaard’s case one mustalso appreciate (and value)the hidden work and theoriginality as something fun-damental and honest. Even ifthe work can be interpretedas ironic to the idea of anespecially privilegedsensitivity. His statement isrelevant, like so much else,but there are not many of hiskind – which may ultimatelybe of benefit to societalcohesion…

… Værket er stramt tænkt ogudført. I det øjeblik, manarbejder med performance-kunst, så er der jo høje kravtil dramaturgien. Man kansige, at hvis en maler iklassisk forstand arbejder i100 timer med at bakse nogetpå plads - hvad enten detkoloristiske eller detstrukturelle er i højsædet - såsidder Dahlgaard jo også ogfedter med det. Det, som viikke kan se i de to minutter,der på skærmen, er jo depotentielt 100 timer, han hargået og overvejet og fåetidéen og tænkt dendramaturgi stramt ud. Detskal være præcist sådan ogskal foldes ud i netop détscenarium, og så skal hansluttelig have kontrol over sinkrop. Han skal, som en ballet-danser, vide præcis, hvadhan skal gøre, også selvomdet ikke ligner en ballet-dansers udfoldelse. Ogdramaturgien, hele udfoldel-sen, er jo lavet med ligepræcis den søgendepræcision, som malerenudfolder, når han står ogmaler med farverne pålærredet. Det er bare et andetregister i den menneskelige

erkendelse eller sansning,som det henvender sig til.Ligesom man ved købet af etmaleri tenderer til at fatte ihvert fald et minimum afrespekt for arbejdets hånd-værksmæssige resultater ogoriginalitet, og derforbehandler det som en fetish,må man i Dahlgaards tilfældeligeledes værdsætte (ogværdi-sætte) det usynligearbejde, originaliteten, somnoget fundamentalt ærligt.Også selvom værket kansiges på mange måder atironisere over netop forestil-lingen om en særligtprivilegeret følsomhed. Hansudsagn er relevante ogpræcise som så meget andet,men der findes ikke så mangeaf hans slags, hvilket måskeer meget godt for hele sam-fundets sammenhængskraft.

Painted leaf from hedge,2008.

Detail.

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Portrait painting of The Dough Warrior, 2008.

In 17 parts each meassuring 30 x 40 cm.Total 220 x 140 cm.

… I believe that the mixtureof invention and disciplinedaction characterizes him, andit is not an exhibitionist desireto once again see Dahlgaardfuck up or Dahlgaard makethe cut. He has a message,which is not as easy as onemight think. Sometimes onehas to speak harshly to ot-hers in order to get an honestanswer. If you look at it froma universal, human level, onecan imagine all sorts ofpsychological processeswhereby we could makeothers say things they reallymean. Artists work in a fieldof self-realization, but alsowith a desire to escape fromthemselves. This is what Imeant by saying Dahlgaard isnot an exhibitionist…

… Jeg tror, at blandingen afpåhitsomhed og disciplinerethandling er hans force, og deter jo ikke en ekshibitionistisktrang til endnu engang at seDahlgaard fucke op ellerDahlgaard klare ærterne. Hansiger jo noget, og det er ikkeså nemt, som man måskeskulle tro. Man må ogsåsomme tider sige noget grofttil hinanden for at få et ærligtsvar. Hvis man vil føre detover i det almene menneske-lige regi, så kan man jo fore-stille sig alle muligepsykologiske modeller, hvor-med vi to kunne få hinandentil at sige noget, vi virkeligmener. Der er kunstnere joude, i en slags selvrealisering,men også med et ønske omogså at slippe væk fra sigselv. Det er det, jeg menermed, at han ikke erekshibitionist …

I am black paint, 2008.

Portrait of The Dough Warrior.75 x 100 cm.

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Hard wind, 2008.

Portrait of The Dough Warrior.75 x 100 cm.

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I am paint, 2008.

Portrait of The Dough Warrior.75 x 100 cm.

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The Dough Warrior negative

- Ready for work, 2008.

115 x 170 cm.

The Dough Warrior negative

- Left hand stroke, 2008.

115 x 170 cm.

Lawn, 2008.

Landscape painting.75 x 100 cm.

…To throw light on adiscussion and move it to aplace where it can be viewedfrom several angles is howone might take a bearing onDahlgaard’s many arenas andmarkets – privet squareinclusive. Obvious it wouldseem when one uses one’sown body and performs, but itcan be done in 101 differentways. Therefore, I believe heis fundamentally an artistconcerned with dialogue.This is more than a mockeryof painters. Neither is it abouthow to make a name foroneself and make money, butrather how he actuallyexpresses his inner thoughts.Should implements be utilizedor should I write texts?Should I paint or do I need tosomehow create an alter egowho I can push so far that others can relate to it? To aplace where everyonebecomes more intelligent…

… At flytte en diskussionfrem i lyset og til et sted, hvorman kan se den fra fleresider, sådan kan man godtpejle Dahlgaards mangearenaer og torve, liguster-kvadratet inklusive. Måskeoplagt når man nu bruger sinkrop og performer, men detkan jo gøres på 117 måder.Derfor mener jeg, at hangrundlæggende er en disku-terende kunstner. Det herhandler om andet end at gøregrin med malere. Det handlerheller ikke om, hvordan manbliver stor og tjener penge,men hvordan han egentligtfår udtrykt alt det, han går ogtænker på. Skal der brugesobjekter til det, eller skal jegskrive tekster? Skal jeg male,eller skal jeg på en elleranden måde tage en figur påmig, som jeg måske har enform for identifikation med,men som jeg kører så langtud, at andre også kan væremed på galejen. Til et sted,hvor alle bliver klogere …

The Dough Warrior, 2008.

Selfportrait paintings, no. 1-3.The Yves Klein painting method.120 x 200 cm.

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Breaded painting, 2008.

Black monochrome.40 x 50 cm.

Breaded paintings, 2008.

Process stills.

Breaded paintings, 2008.

One liter of paint poured oncrushed Dough Warriorarmour (breadcrumbs).

40 x 50 cm.

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SELECTED VIDEOS 1999-2008 by Søren Dahlgaard. All rights reserved.

Søren Dahlgaard

Born in 1973.Lives and works in Copenhagen.www.sorendahlgaard.com

Education:

1997-02 Slade School of Fine Arts,University College London, UK.

SELECTED INDIVIDUAL

EXHIBITIONS/PERFORMANCES:

2008

The Dough Warrior landscape painting performance,Louisiana Museum of Modern Art, Humlebæk, Denmark. Dough Portraits. The National Gallery, Copenhagen, Denmark.Søren Dahlgaard – The Dough Warrior painting show!Gallery Poulsen Contemporary, Copenhagen, Denmark.Challenging Dough, Stalke galleri, Kirke Sonnerup, Denmark.2007

Over The Hedge – Inside The Dough – Into The Paint,Falkener Project Cph, DK.2002

Dirty Dessert, The Dennis Gallery, London, UK.The Island, Ovengaden Center for Contemporary Art, Cph, DK.1998

Dirty Dessert - New Work UK, Chisenhale Gallery, London, UK.

SELECTED GROUP EXHIBITIONS,

VIDEO SCREENINGS & PERFORMANCES:

2008

Wonder, Singapore Biennale 2008, Singapore.Emergency Room, Galerie Taïss, Paris.Dough Portraits at Interregnum. PSi – Performance Studies Interna-tional, University of Copenhagen, Denmark.Emergency Room, PAN, Palazzo delle Arti Napoli, Italy.Dreams, The National Gallery, Denmark.Portrait painting by Dough Warrior performance, CAMP X - Interna-tional Contemporary Theater, Copenhagen.The Schauwerk – Black Box Project, Cantonal Library of AppenzellAusserrhoden, Trogen, Switzerland.2007

International Prize for Performance, Galleria Civica Museum of contem-porary art, Trento, Italy.Emergency Room, P.S.1 Contemporary Arts Center MoMA, New York.Emergency Room, Ileana Tounta contemporary arts center, Athens.Four Fridays, Gallery Poulsen, Cph, DK.WHEW Falkener Project, Cph, DK.2006

Emergency Room in Time exhibition, Nicolaj kunsthal, Cph, DK.Stafetten, gallery First-to-the-right, Cph. DK.2005

1. Prize, DNA (Diesel-New-Art Award) Galleri Edition, Cph. DK. Architect& Design center Oslo, Norway and gallery Glas, Stockholm, Sweden.2004

Video screening Wall Riding and concert with Silo, ICA (Institute ofContemporary art), London, UK.2002-04

Pilot project on hydroponic food-production on a small coral island,Maldives (Indian Ocean) a two-year project. Report for ADB (AsianDevelopment Bank) in association with Rambøll consultancy, Denmark.

2002

4th Video Marathon, Art in General, New York.MEDITATIONS, AB Gallery, Mexico City.BLICK – New Nordic Film & Video, NIFCA (Nordic Institute For Contem-porary Art), Helsinki, Moderna Museet, Stockholm, Pori Art Museum,Finland, ARKEN Art Museum, Ishøj, DK, München Kunstverein, Ger-many, Kunstmuseum Liechtenstein, Vaduz, Baltic art center, Visby –touring to 17 other museums worldwide. 2001

Nomad art film festival touring: Berkeley, San Francisco, Seattle,Portland.TAKE OFF 20:01, ARoS Art Museum, Aarhus, DKBecks Futures2, Student Film and Video Prize touring to: ICA, London,Fruitmarket Gallery, Edinburgh, Bluecoat Gallery, Liverpool, Sotheby’s,New York, Laing Art Gallery, Newcastle.1999

PROMS 4, Brandts Kunsthal, Odense. DK. 3rd prize, Canon Photography Competition, Victoria and Albert Museum,London, UK.ArtLink/Sotheby’s international exhibition, Sotheby’s, Berlin, Germany.Bank Side Browser Archive, Tate Modern, London.1998

Spring exhibition Charlottenborgs Kunsthal, Cph, DK.Tube, Nicolaj Kunsthal Contemporary Arts Center, Cph, DK.

PUBLIC COLLECTIONS:

The Danish Arts Foundation.The Copenhagen City Council Collection.The Schauwerk – Black Box collection & archieve, Cantonal Libraryof Appenzell Ausserrhoden, Trogen, Switzerland.

All images:

Copyrights® Søren Dahlgaard.

Text: Anders Kold.Translation: Rachel Morgan.Graphic design: flink.

Print: First edition of 1000. Copenhagen, November, 2008.

Acknowledgements: Photographers Mikkel Tjellesen, Jon Nord-dahl, Jasper Spanning. Filmdirector & editor Thomas Busk, baguettetailor & architect Michael Droob, cinematographer Manuel Claro, film-producer Kevin Bendix, engineer Jacob Aisen. Music composers Fred-erik Ammitzbøll, Klaus Ammitzbøll. Actor Mikkel Bender, SvanteLindeburg, Rasmus Kieffer. Henrik Menné, Troels Carlsen, KristianHornsleth, Thierry Geoffrey/Colonel, Ulrik Weck, Juna Bae, Tati Meir,The Danish Arts Council, graphic designers Jan Bilgrav, Mette Flink.Colourgrading Pixelsmed, documentary journalists Jonas Steene &Lasse Mortensen. Models AnnaNicoline, Pernille Koch. CopywriterClaus Christensen, curator Anders Kold, resort Naseem - Sri Lanka,special assistant Eskil, special consultant Amani Naseem & KarenLybye. Gallery Poulsen Contemporary, Stalke Galleri & Falkener Project.

Office of Søren Dahlgaard.

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