Jeppe Ugelvig

I bogen "Gib dein Bestes!" om Birke Gorm samles nyskrevne artikler af Michael Kjær og Jeppe Ugelvig, samt udstillingsfotos og bidrag af kunstneren selv, i en rigt illustreret udgivelse om udstillingen på Kunstmuseet i Tønder. Bogen er redigeret af museumsinspektør Rune Finseth og kunstformidler Nina Marie Poulsen sammen med visuel redaktør og designer Line-Gry Hørup. Tre udstillinger på Kunstmuseet i Tønder udfordrede idéen om tiden som lineær og progressiv. I udstillingerne Circularis, Gib dein Bestes! og Feels arbejdede de tre billedkunstnere Rune Bosse, Birke Gorm og Rasmus Myrup i stedet med en anakronistisk opfattelse af verden. I de tre udstillinger skabte naturen, historiske genstande fra museets samling og følelsesladede malerier tidslige kollisioner.

Monograph on Danish visual artist Esben Weile Kjær (b.1992). 336 pages, richly illustrated. Texts in English by: Anna Weile Kjær, Pernille Albrethsen, Nanna Friis, Magnus Kaslov, Jeppe Ugelvig, Anne Kielgast, Irene Campolmi, Yael Salomonowitz & Lily Matras. Designed by: Studio Claus DuePrinted in Denmark. Supported by The New Carlsberg Foundation and the Danish Arts Foundation.

Critic and curator Jeppe Ugelvig recounts a little explored near-history of art/fashion hybridity through the genre- defying practices of Bernadette Corporation, Susan Cianciolo, BLESS and DIS, exploring their experimental approaches to fashion production between the art and fashion worlds in a time of radical societal change. Through a rich selection of rare and previously unseen photographs and ephemera, the book depicts fashion work in all its exhilarating complexity, tracing it from the atelier of the garment-maker to the post-production editing suite of the fashion photographer. Ugelvig’s comprehensive account connects a mythological 1990s generation of collaborative, DIY fashion producers in New York, Paris and Berlin to the digital and increasingly corporate systems of fashion of the 2010s, where aesthetic activities such as styling and creative directing have become ubiquitous. From the dystopian brand-hacking of Bernadette Corporation to the museum pop-up stores and early sneaker collaborations of BLESS, the book shows how artists not only manage to repeatedly subvert fashion’s frenzied systems, but prototype new forms of aesthetic entrepreneurship.