Lokalet er vært for en serie af udstillinger under titlen: Velkommen! Du kan gå nu. Og viser en række værker af udenlandske kunstnere, som bor og arbejder i Danmark. Deltagerne er: Guston Sondin-Kung, Yvette Brackman, Brett Bloom, Bonnie Fortune, Maryam Jafri og Joshua Mittleman. Indvielsesudstillingen viser den amerikanske kunstner Guston Sondin-Kungs arbejde. Myths of Impunity omhandler en række af episoder, der foregår om natten den 5 marts 2011, da tusindvis af demonstranter indtager hovedkontor og fængsel for Statssikkerhed i byen Nasr nord for Kairo. Værket består af en lampe, udformet af genstande (en lyspære og CD afspiller) der er indsamlet iforb. med nævnte begivenheder, og som afspiller en lydoptagelse af indtagelsen af bygningen. Udstillingen indeholder også en række af tekststykker, beretninger fra personer der var tilstede den nat. Udstillingen åbner lørdag den 9. februar, kl. 17.


The experiences of expatriate artists are as varied as their reasons for being in Denmark. While all artists face challenges, immigrant artists have additional barriers that they must overcome. Negotiating a new culture and a new language are the most obvious. A society’s nuanced and subtle social codes can take a lifetime to decipher.

As a result of a decade of right wing dominance in government, Danish society has been especially hostile to outsiders.  The demand for assimilation is particularly daunting and damaging to the society as a whole.  If an expatriate artist is asked to assimilate in order to remain in the country, what impact does that have on one’s art practice?  Does this imply that all art produced in Denmark should be Danish?  The perspective of the outsider has incredible value, but this is not a quality that is prized by the state bureaucracy.  The Danish art community as a whole rejects these xenophobic sentiments, but in spite of this, expatriate artists still must negotiate and exist within a hostile system.  Drawing on unique experiences accumulated throughout one’s life growing up abroad in order to create artwork is in direct contradiction with the requirements of the state. 

In order to examine the experiences and perspectives of expatriate artists in Denmark, Flensborggade 57 will conduct a series of exhibitions starting February 9, 2013 featuring 6 artists living and working in Denmark. As the work can be viewed from a large window facing the street, it will be visible to the inhabitants of Vesterbro. 


Guston Sondin-Kung

Myths of Impunity

February 9 - March 10 2013


“The reversal lasted a matter of hours. It is hard to imagine that it was of such a short time, but arguably if it had only been one second, it would have mattered just as much. Of course it would have been nice if it had lasted more permanently, but through the action itself, another alternative could be imagined, another existence could begin to solidify. The importance of that moment cannot be overlooked. That is what has been told to me on countless occasions after those hours had passed as if to act as a tangible reassurance that what we witnessed was real and not simply a mirage. These statements also sounded like an open-ended question directed at some yet to come time, acting as bridge to carry its own validity forward. But unfortunately its validity was not the question but instead a stark reminder of that very distance needed to be traveled to that possible future.”

Flensborggade 57 is pleased to announce a solo exhibition of new works by the artist Guston Sondin-Kung in the series “Velkommen! Du kan gå nu”. The exhibition Myths of Impunity takes outset in the events that occurred on the night of March 5th 2011 when thousands of protesters stormed the State Security Headquarters & Prison in Nasr City north of Cairo, Egypt.

Myths of Impunity consists of a lamp created from objects (a light bulb & CD player) taken from State Security Headquarters & Prison that plays an audio recording of the crowds that entered the building, as well as several text pieces that comprise accounts of individuals who were present during the night.

The work explores how the events of the night of March 5th 2011, for a matter of hours, created a liminal space where the totalizing order that had stood for generations collapsed. In this moment, the myth of impunity was punctured, allowing a temporary space for rearrangement. This exhibition will follow the different traces lingering from this event in an attempt to piece together how they function in the broader context of protracted divisions and negotiated compliance.


Guston Sondin-Kung (1982) is an American visual artist, filmmaker and writer based in Copenhagen. His artwork examines how systems of knowledge are constructed through contested histories. This investigation is derived from a transnational and postcolonial perspective with the aim of generating alternative genealogies. He holds a BFA from California Institute of the Arts and has held a faculty teaching position at Otis College of Art and Design, as well as conducted workshops at The International Academy of Art Palestine, MASS Alexandria in Egypt and the University of Southern California. He has exhibited his work at venues such as MOCA Geffen Contemporary Los Angeles, Kunsthallen Nikolaj, Videonale 13, Den Frie Udstillingsbygning, CCA Kitakyushu Museum, The National Taiwan Museum of Fine Arts, The Fukuoka Asian Art Museum, Koh-i-Noor, Vox Populi Gallery, SolwayJones Gallery and Kring Gallery.


In Addition to this, he has co-founded the collective itinerant_sends_for_itinerant in collaboration with Jane Jin Kaisen. Their film has been nominated for awards at Yamagata International Documentary film Festival and the Taiwan International Documentary film Festival. They also initiated a project titled Incisions. Through exhibitions, film screenings, lectures, interviews, performances, reading groups, and a journal, the project offers intersecting sites for interrogating and understanding the production of meaning in the present moment.


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Yvette Brackman


Cows and Sheep and Elephants and Bears are all asleep. But they are not at work

March 16-April 13 2013

 “Memory is not an instrument for surveying the past but its theater. It is the me- dium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.”

― Walter Benjamin, Berlin Childhood around 1900

Det er med glæde, at Flensborggade 57 kan præsentere en ny installation af Yvette Brackman under titlen “Cows and Sheep and Elephants and Bears are all asleep. But they are not at Work. Værket tager sit ud- gangspunkt i en vuggevise, der hedder “Når drømmen står ved din dør”, som stammer fra en sovjetisk film “ Cirkus” (1936). I en behændig blanding af eventyr og ideologi med elementer af komedie og drama skildrer den, hvordan Marion rejste fra USA til USSR, fra racistisk forfølgelse til multietnisk tolerance, fra underkuelse og frygt til frihed og sand kærlighed.

Kunstnerens mor så den film som barn i Sovjetunionen og hørte sangen blive spillet i radioen. I 1959 rejste hun selv i den modsatte retning fra Sovjetunionen til Amerika på grund af intolerance og diskrimination. Hun rejste sammen med sin mand, en lille søn og endnu en søn på vej. Da Yvette var barn, sang hendes mor så meget, hun kunne huske af den vuggevise. Yvette fortsatte den tradition og sang så meget, som hun kunne huske for sin egen datter, der er vokset op i Danmark.

Installationen er opbygget omkring en lydoptagelse af; dels lydsporet fra filmen, og dels lydoptagelser hen- holdsvis af kunstnerens mor og kunstneren selv, hver især udførende deres version af vuggevisen.


Yvette Brackman (1967) er en kunstner med base i København.


Cows and Sheep and Elephants and Bears are all asleep. But they are not at work

“Memory is not an instrument for surveying the past but its theater. It is the me- dium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.”

― Walter Benjamin, Berlin Childhood around 1900

About the exhibition space and the exhibition series,Velkommen! Du kan gå nu.:

Flensborggade 57 is pleased to announce a solo exhibition of a new installation by Yvette Brackman. Cows and Sheep and Elephants and Bears are all asleep. But they are not at work, takes as its point of departure a lullaby called “A Dream Comes to the Doorstep” that was featured in the Soviet film “Circus” (1936). Skill- fully weaving entertainment and ideology together, part comedy, part melodrama, it chronicles the journey of Marion from the USA to the USSR, from racist persecution to multi-ethnic tolerance, from bondage and fear to freedom and true love.

As a child in Soviet Russia, the artist’s mother saw this movie and heard the song on the radio. In 1959 she made the opposite journey herself to escape Soviet Russia due to intolerance, together with her husband, a small son and another on the way. She sang what she could remember of the lullaby to a young Yvette, and later, Yvette continued the tradition and sang parts of it as she could remember to her own daughter.

The installation works around the audio track of the song sung in the film, a sound recording of the artist’s mother and the artist herself each singing their version and interpretation of the lullaby.


Yvette Brackman (1967) is an artist based in Copenhagen.




Maryam Jafri:

Schools, Hospitals, Prisons (Skoler, hospitaler, fængsler) er en billed-/tekstserie der præsenterer billeder af rol- lespilsrum i forskellige S/M klubber også kaldet ’dungeons’. Temarummene afspejler forskellige samfundsinstitutioner så som klasselokaler, lægeklinikker og fængsler. I disse ’dungeons’ tilbyder personalet rollespilsydelser til kunder. Ifølge de fleste ’dungeon keepers’ så giver faciliteterne rum til at reflektere over et alternativt seksuelt univers og at udleve intense psykodramaer. Nok er rummene til klienternes private og skjulte fantasier, men som Jafri viser, så undersøger disse rum institutioner, der spiller en nøglefunktion i samfundets normalisering og disciplinering. Dermed afdækker hun hvordan bre- dere socio-økonomiske strømninger beboer disse private, såkaldte personlige verdener. De mennesketomme rum – der er fotograferet i en nøgtern ’vernacular’ stil i strid med temaets iboende teatralskhed – afspejler på én gang et filmsets mystiske præcision og teaterkulissens indbyggede performativitet.

Schools, Hospitals, Prisons (2012) er et udsnit af en større fotoserie under navnet Global Slum (2012). Værket viser syv beliggenheder – på fire forskellige kontinenter – der alle fokuserer på rollespilstemaet. Ved første øjekast er det der synes at forene stederne, at de alle er fremstillinger af noget andet – arkitektoniske simulacra– men faktisk er de steder for fysisk arbejde lige så meget som begær, de anvendes såvel som afbildes, de er produceret så vel som forestillede, med reel økonomisk, fysisk og psykologisk virkning.

Maryam Jafri er en amerikansk kunstner der bor i New York og København.


Schools, Hospitals, Prisons is a photo/text series that presents images of role-playing rooms in various S/M dungeons. The themed rooms reflect different institutions in society such as classrooms, medical facili- ties and prisons. The dungeon employees use the rooms to provide role-play services for clients. According to most dungeon keepers, their facilities provide a space for participating in an alternate sexual universe and for intense psychodrama. The rooms may be for the private and hidden fantasies of clients, but through her work, Jafri reveals how broader socio-economic currents inhabit these private, so-called personal worlds. Photographed in a deadpan style at odds with the intended function of the space, the rooms are empty of people and reflect both the uncanny precision of film sets and the inherent performativity of a theatrical set.

Schools, Hospitals, Prisons (2012), is a subset of a larger photo series called Global Slum (2012). Global Slum presents seven sites on four different continents, all of which focus on the theme of role-play. At first glance what seems to unite the sites is that they are all representations of something else – architectural simulacra – but in fact they are all sites for labor as much as desire, produced as much as imagined, with real economic, physical and psychological effects. Flensborggade 57 is pleased to present Schools, Hospi- tals, Prisons (2012) as part of the series, Velkommen! Du kan gå nu. The work consists of three grids, each comprised of 8 photos and one text.

In conjunction with the exhibition, Flensborggade 57 will hosted an artist talk and screen Harun Farocki’s film, How to Live in the German Federal Republic (1990) on May 4th at 17:00.





Brett Bloom and Bonnie Fortune

Household Ecologies #5: The Alphabet Tower

Household Ecologies #5: The Alphabet Tower er både en legestue og en måde at gøre opmærksom på hvordan vores hjemlige omgivelser er maskiner for produktion og konkretisering af forbrugskultur. Brett Bloom & Bonnie Fortune samarbejder med deres datter om at bygge et legerum med tilhørende legetøj, ved brug af materialer fundet i hjemmet. Med dette projekt er Bloom og Fortune interesseret i at skabe funktionelle objekter der opfylder behov i hverdagen, i dette tilfælde et sted hvor deres datter kan lege. Projektet er en del af en igangværende udarbejdelse af husholdningsgenstande, så som en seng, hylder, toiletpapirsholder, lavet af genbrugsmaterialer. Kunstnerne tænker på hvordan deres lille Københavner lejlighed er forbundet med større strømme af naturressourcer, og de forsøger at skabe deres eget hjemlige økosystem i stedet for at købe sig til indholdet. Objekterne som de konstruere er både æstetisk tiltrækkende og funktionelle. For kunstnerne repræsentere arbejdet et aktiv, hvor de er i forbindelse med miljøet på en måde som ikke er mulig i den forbrugsorienterede kultur.

Brett Bloom & Bonnie Fortune har samarbejdet i en kunstnerpraksis, iforb. med kunstnerdrevet steder, arkiver, husførelse og med at udvikle en fælles æstetisk sensibilitet siden 2006. Deres arbejde fokusere på både at dokumentere og opbygge modstandskulturer. De skriver om kunst, økologi, om at kultivere vilde områder, og at underbygge urbane habitater for dyreliv på deres hjemmeside: www.mythological-


Household Ecologies #5: The Alphabet Tower is both a children’s play gym and a way to focus attention on how our domestic spaces are machines for producing and concretizing consumer cul- ture. Using repurposed materials found in the home, Brett Bloom & Bonnie Fortune collaborated with their young daughter to construct a play gym with accompanying toys. With this project, Bloom & Fortune were interested in creating a functional object that filled a need, in this case a place for their daughter to play. The project is part of an ongoing series of household objects, such as a bed, a shelf, or a toilet paper holding system, made from repurposed materials in an effort to produce their own domestic ecosystem rather than purchase its contents. The artists consider how their small Copenhagen apartment is connected to larger flows of natural resources with each new object. The objects are aesthetically appealing and functional. For the artists, they represent a sense of agency and connection with the environment not possible within consumer based culture.

Brett Bloom & Bonnie Fortune have been collaborating on art works, artist run spaces, archives, book projects, homemaking and developing their shared aesthetic sensibility since 2006. Their work focuses on both documenting and building cultures of resistance. They write about art, ecology, creating wild spaces, and supporting urban habitats for wildlife on their website, www.mythological-






Joshua Mittleman:

Life in the Golden Age


Udstillingsperiode 5. september - 6. oktober 2013

Life in the Golden Age undersøger informationsstrømmen ud til periferien og tilbage til centrum. Der er meget lidt der ikke er adgang til, men vi har stadig til gode at forstå konsekvenserne. Evnen til at opbevare og bearbejde data betyder at noget nær enhver handling, som involverer teknologi, kan blive indsamlet og gemt. Muligheden for at dele viden af enhver art er enorm, og i randområdet lurer personer på at drage fordel af mulighederne.

Værkerne i Life in the Golden Age omfatter bl.a. billeder fra en hemmeligstemplet amerikansk militærhåndbog fra 1985, som anviser forholdsregler taget i tilfælde af en civil opstand. Der er uddrag fra bøger der er forbudte i USA pga. deres "farlige" indhold. Desuden viser udstillingen en central del fra et stormgevær printet i 3D ud fra tegninger der er gjort tilgængelige af amerikanske 'pro-gun' aktivister. 3D modellen er ændret for at gøre stykket uanvendeligt. Endvidere vises dokumentationen af en handel gjort på The Silk Road, en markedsplads for ulovlige varer. Der findes områder af internettet der kaldes The Deep Web, som man kun kan få adgang til med en software der giver anonymitet. Så snart man er inde i The Deep Web foregår enhver aktivitet under hemmeligt dække.


Life in the Golden Age

September 5 – October 6 2013

Life in the Golden Age is an examination of the flow of information out to the fringes and back to the center. Access to information and the ability to store and process data increases daily, and the implications are continually evolving. The potential to share knowledge of every sort is tremendous, and there are characters that lurk on the edges and exploit the possibilities. 

The works in Life in the Golden Age include imagery taken from a classified US Military handbook from 1985 that outlines measures that will be implemented in the event of a civilian uprising.  There are excerpts from books banned in the United States as a result of their “dangerous” content.  Also included in the exhibition is the critical component of an assault rifle printed in 3D from plans made available by pro-gun activists.  The resulting model was altered in order to render the piece inoperable. The documentation of a transaction conducted in a marketplace of illicit goods known as The Silk Road is presented as well. This transaction occurred in an area of the Internet known as the Deep Web, accessed only with the use of anonymity providing software.  Once in the Deep Web, all manner of activities take place under the cloak of privacy.