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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Sofie Bird Møller

Works


Galleries

Martin Asbaek Gallery
Martin Asbaek
Bredgade 23
1260 Copenhagen
Denmark

Phone: +45 33 15 40 45
E-Mail: gallery@martinasbaek.com




Biography

Born 1974 in Höje Taastrup/Kopenhagen
lives and works in Berlin and München

Education

2006-2007 Master in Fine Art, Byam Shaw School of Art (Central St. Martins), London
1999-2005 Studium der Malerei an der Akademie der Bildenden Künste, München bei Professor Günther Förg
2005 Diplom
2004 Meisterschülerin
2001-2003 Gaststudentin an der Königlich Dänischen Kunstakademie, Kopenhagen bei Professor Peter Bonde

Selected solo exhibitions * katalog

2016
Deutsche Gesellschaft für Christliche Kunst, München

2015
Sofie Bird Möller, Esbjerg Kunstmuseum, DK

2014
Sofie Bird Möller, Martin Asbaek Gallery, Kopenhagen, DK
48, Sassa Trülzsch, Berlin
The Spirit of Places and other Spaces, Künstlerhaus Bethanien, Berlin

2013
‘Beat Around the Bush’, Jancar Gallery, Los Angeles

2011
'Die tanzende Königin', Sassa Trülzsch, Berlin
'Catch Me if You can', Martin Asbæk Gallery, Kopenhagen

2009
‘Paint the White Horse Black’, Sassa Trülzsch, Berlin

2008
‘Ich will nicht nur, dass ihr mich liebt’, Sassa Trülzsch, Berlin

2006
‘made in denmark’, Lothringer 13/Laden/Apollo 13, München

2005
‘blow-up’, Galerie Florian Sundheimer, München

Selected group exhibitions

2015
Parallel Vienna, Another Destination, eingeladen von Anna Sofie Hvid, Wien, AT
Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK
Berlin Artist‘s Statements, Kunsthalle BWA, kuratiert von Christoph Tannert, Katowice, Polen*
Le Souffleur – Schürmann trifft Ludwig, Ludwig Forum, Aachen
Between Crinkles, kuratiert von Caterina Avataneo, Palazzo Montevecchio, Turin, IT*
Playgrounds, Kunstverein Det Ny Kastet, kuratiert von Anders Moseholm, Thisted

2014
Freundliche Übernahme, kuratiert von Karin Sander u.a., Marta Herford
Sofie Bird Møller & Alexander Laner, Nusser & Baumgart, München
Was bedeutet denn für Immer, Oechsner Galerie, Nürnberg
Jahresgaben, Kunstverein München
Hommage an Günther Förg, Galerie Braun-Falco, München
Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK

2013
East of Encino, North of Moca, Jancar Gallery, Los Angeles, USA
Spirale, kuratiert von Dirk Nümann, Bar Babette, Berlin
Playgrounds, kuratiert von Anders Moseholm, Galerie Leger, Malmö, SWE
Fall Group Show, McKee Gallery, New York
Geist und Form – ten painters from Berlin, kuratiert von Jurriaan Benshop, Grunwald
Group Show, Martin Asbaek Gallery, Kopenhagen, DK
Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK
Andratx on Paper, kuratiert von Patricia Asbaek, Centro Cultural Andratx Kunsthalle, Mallorca, E

2012
‘Zu Gast (3) ‘EAST’, Sammlung Schürmann, Kunstsaele, Berlin Art Berlin Contemporary (abc), Sassa Trülzsch, Berlin
‘The Very Eye of Night’, Jancar Gallery, Los Angeles
‘Foreign Excursions’, McKee Gallery, New York
'Close Encounter', Sassa Trülzsch, Berlin
'Sofie Bird Møller / Bettina Buck', Hopstreet, Brussels
‘recits des trois perverses femmes seulement - (Narratives of the Perverse III), Jancar Gallery, Los Angeles Arte Flor, Chanf, Schweiz
'The Killer Rabbit Ranch Rodeo', curated by Klaus Auderer, nationalmuseum, Berlin
‘pffffff’, Cussler, curated by Dominik Steiner, Berlin
Van Horn Galerie, Düsseldorf (September)

2011
'The Sound of Downloading Makes me Want to Upload', kuratiert von Wilhelm Schürmann im Projektraum zu der Ausstellung 'Photography Calling', Sprengel Museum, Hannover
'Nullportrait', Galerie Zink, Berlin
'From Berlin', Martin Asbæk Gallery, Kopenhagen
'Summer in the City', Martin Asbæk Gallery, Kopenhagen
'Drama', Weisser Salon, Berlin
Benefizausstellung für die Erdbebenopfer in Japan, im Showroom von Art-Report, München
'De Kooning, De Kooning, De Kooning...', kuratiert von Dexter Dalwood,
David Risley Gallery, Kopenhagen
'Free Poems', Kuratiert von Jorunn Hancke Øgstad und Anders Kjellesvik, Podium, Oslo

2010
The Berlin Box, Centro Cultural Andratx Kunsthalle, Mallorca
Diagnosis, kuratiert von Ben Young og Rodney Artiles, Joyce Gordon Gallery, Oakland, Kalifornien
‘The Mentor Show‘, kuratiert von Andreas Schulenburg, Larm Galleri, Kopenhagen
‘Hostile Aestetik Takeover‘, kuratiert von Hannes Gruber, Philip Grözinger, Amélie Grözinger, Lotte Møller, and Sebastiaan Schlicher, Apartment, Berlin

2009
Zeigen, eine Audiotour durch Berlin by Karin Sander, Temporäre Kunsthalle, Berlin
Das Gespinst, Sammlung Schürmann, Museum Abteiberg, Mönchengladbach, Kat.
Anonyme Zeichner, Kunsthaus Bethanien, Berlin
From the Sublime to the Ridiculous, Sammlung Angela Lyra, Athen
Beers II, Byens Kro, Kopenhagen
‘I thought, we were supposed to meet in Paris’, Galerie Lucile Corty, Paris
‘Entropie zu Hause’, Schürmann Berlin

2008
‘Altbau oder Neuland’, Neuland, München, Kat.
‘Freier Eintritt’, Die Änderei, München
The annual Christmas Card, University of the Arts Collection, London
‘Too Hot Not To Be Naked’, Galerie Sassa Trülzsch, Berlin
‘Desert Music’, the Cube, Galleri Tom Christoffersen, Kopenhagen

2007
‘Hüben wie Drüben’, Galleri Tom Christoffersen, Kopenhagen
‘Baby, You Can Drive My Car’, Marienlyst Slot, Helsingoer (DK)
Degree Show, Byam Shaw School of Art, London
‘StopOver’, Daad-Stipendiaten, Ada-Street-Gallery, London
‘Future Maps 2007’, University of the Arts Collection, London

2006
‘Serve and Volley’, Häusler Contemporary, München

2005
‘Lo Spazio’, Galleria Elisabetta Bresciani, Salò, Italien
‘Anne Sofie Bird Møller–Anders W.Ö. Larsen’, Galleri Tom Christoffersen, Kopenhagen

2004
‘ArtCubicle’, Galerie Mathias Kampl, München
‘5’, Luisenstr. 55, München
2003
‘Thai-Danish Exhibition’, Bangkok ‘My-Thai’, Raum Q, Kopenhagen, Kat. ‘Department of Freetime’, Galerie Asbæk, Kopenhagen Open Art, Rathausgalerie, für Galerie Florian Sundheimer, München ‘Stadt ohne Einwohner’, Galerie Florian Sundheimer, München, Kat.

Scholarships

2013 Stipendium zur Förderung nach dem Programm zur Realisierung der Chancengleichheit für Frauen in Forschung und Lehre
2012 CCA Andratx, Mallorca, Spanien (Residency)
2011 Niels Wessel Bagges Kunst-Fond (Dänemark)
2010 Steiner-Stiftung, München (Katalogförderung)
Lfa-Bank, München (Katalogförderung)
Dänisches Kunstfonds (Reisestipendium)
2009 Dänisches Kunstfonds (Reisestipendium)
2008 L. F. Foghts Fond (Katalogförderung)
Dänisches Kunstfonds
2007 L. F. Foghts Fond (Auslandsaufenthalt - London)
Ragnvald og Ida Blix Fond (Auslandsaufenthalt - London)
2006 ‚Accademia di Danimarca’, Rom, drei-monatiger Aufenhalt mit Reise- Stipendium, Dronning Ingrids Fond
DAAD, Deutsche Akademische Austauschdienst, Master in Fine Art, Byam Shaw School of Art, London University of the Arts (2006/07)
Nordea Fonden (Auslandsaufenthalt - London)
Beckett Fonden (Auslandsaufenthalt - London)
Frimodt-Heineke Fonden (Auslandsaufenthalt - London)
2005 Glashandler Johan Franz Ronge’s Fond
2002 Stipendium des Bayrischen Staatsministeriums für Wissenschaft, Forschung und Kunst für ausländische Studierende

Sofie Bird Møller
Born 1974 in Höje Taastrup/Kopenhagen lives and works in Berlin and München Education 2006-2007 Master in Fine Art, Byam Shaw School of Art (Central St. Martins), London 1999-2005 Studium der Malerei an der Akademie der Bildenden Künste, München bei Professor Günther Förg 2005 Diplom 2004 Meisterschülerin 2001-2003 Gaststudentin an der Königlich Dänischen Kunstakademie, Kopenhagen bei Professor Peter Bonde Selected solo exhibitions * katalog 2016 Deutsche Gesellschaft für Christliche Kunst, München 2015 Sofie Bird Möller, Esbjerg Kunstmuseum, DK 2014 Sofie Bird Möller, Martin Asbaek Gallery, Kopenhagen, DK 48, Sassa Trülzsch, Berlin The Spirit of Places and other Spaces, Künstlerhaus Bethanien, Berlin 2013 ‘Beat Around the Bush’, Jancar Gallery, Los Angeles 2011 'Die tanzende Königin', Sassa Trülzsch, Berlin 'Catch Me if You can', Martin Asbæk Gallery, Kopenhagen 2009 ‘Paint the White Horse Black’, Sassa Trülzsch, Berlin 2008 ‘Ich will nicht nur, dass ihr mich liebt’, Sassa Trülzsch, Berlin 2006 ‘made in denmark’, Lothringer 13/Laden/Apollo 13, München 2005 ‘blow-up’, Galerie Florian Sundheimer, München Selected group exhibitions 2015 Parallel Vienna, Another Destination, eingeladen von Anna Sofie Hvid, Wien, AT Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK Berlin Artist‘s Statements, Kunsthalle BWA, kuratiert von Christoph Tannert, Katowice, Polen* Le Souffleur – Schürmann trifft Ludwig, Ludwig Forum, Aachen Between Crinkles, kuratiert von Caterina Avataneo, Palazzo Montevecchio, Turin, IT* Playgrounds, Kunstverein Det Ny Kastet, kuratiert von Anders Moseholm, Thisted 2014 Freundliche Übernahme, kuratiert von Karin Sander u.a., Marta Herford Sofie Bird Møller & Alexander Laner, Nusser & Baumgart, München Was bedeutet denn für Immer, Oechsner Galerie, Nürnberg Jahresgaben, Kunstverein München Hommage an Günther Förg, Galerie Braun-Falco, München Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK 2013 East of Encino, North of Moca, Jancar Gallery, Los Angeles, USA Spirale, kuratiert von Dirk Nümann, Bar Babette, Berlin Playgrounds, kuratiert von Anders Moseholm, Galerie Leger, Malmö, SWE Fall Group Show, McKee Gallery, New York Geist und Form – ten painters from Berlin, kuratiert von Jurriaan Benshop, Grunwald Group Show, Martin Asbaek Gallery, Kopenhagen, DK Summer in the City, Martin Asbaek Gallery, Kopenhagen, DK Andratx on Paper, kuratiert von Patricia Asbaek, Centro Cultural Andratx Kunsthalle, Mallorca, E 2012 ‘Zu Gast (3) ‘EAST’, Sammlung Schürmann, Kunstsaele, Berlin Art Berlin Contemporary (abc), Sassa Trülzsch, Berlin ‘The Very Eye of Night’, Jancar Gallery, Los Angeles ‘Foreign Excursions’, McKee Gallery, New York 'Close Encounter', Sassa Trülzsch, Berlin 'Sofie Bird Møller / Bettina Buck', Hopstreet, Brussels ‘recits des trois perverses femmes seulement - (Narratives of the Perverse III), Jancar Gallery, Los Angeles Arte Flor, Chanf, Schweiz 'The Killer Rabbit Ranch Rodeo', curated by Klaus Auderer, nationalmuseum, Berlin ‘pffffff’, Cussler, curated by Dominik Steiner, Berlin Van Horn Galerie, Düsseldorf (September) 2011 'The Sound of Downloading Makes me Want to Upload', kuratiert von Wilhelm Schürmann im Projektraum zu der Ausstellung 'Photography Calling', Sprengel Museum, Hannover 'Nullportrait', Galerie Zink, Berlin 'From Berlin', Martin Asbæk Gallery, Kopenhagen 'Summer in the City', Martin Asbæk Gallery, Kopenhagen 'Drama', Weisser Salon, Berlin Benefizausstellung für die Erdbebenopfer in Japan, im Showroom von Art-Report, München 'De Kooning, De Kooning, De Kooning...', kuratiert von Dexter Dalwood, David Risley Gallery, Kopenhagen 'Free Poems', Kuratiert von Jorunn Hancke Øgstad und Anders Kjellesvik, Podium, Oslo 2010 The Berlin Box, Centro Cultural Andratx Kunsthalle, Mallorca Diagnosis, kuratiert von Ben Young og Rodney Artiles, Joyce Gordon Gallery, Oakland, Kalifornien ‘The Mentor Show‘, kuratiert von Andreas Schulenburg, Larm Galleri, Kopenhagen ‘Hostile Aestetik Takeover‘, kuratiert von Hannes Gruber, Philip Grözinger, Amélie Grözinger, Lotte Møller, and Sebastiaan Schlicher, Apartment, Berlin 2009 Zeigen, eine Audiotour durch Berlin by Karin Sander, Temporäre Kunsthalle, Berlin Das Gespinst, Sammlung Schürmann, Museum Abteiberg, Mönchengladbach, Kat. Anonyme Zeichner, Kunsthaus Bethanien, Berlin From the Sublime to the Ridiculous, Sammlung Angela Lyra, Athen Beers II, Byens Kro, Kopenhagen ‘I thought, we were supposed to meet in Paris’, Galerie Lucile Corty, Paris ‘Entropie zu Hause’, Schürmann Berlin 2008 ‘Altbau oder Neuland’, Neuland, München, Kat. ‘Freier Eintritt’, Die Änderei, München The annual Christmas Card, University of the Arts Collection, London ‘Too Hot Not To Be Naked’, Galerie Sassa Trülzsch, Berlin ‘Desert Music’, the Cube, Galleri Tom Christoffersen, Kopenhagen 2007 ‘Hüben wie Drüben’, Galleri Tom Christoffersen, Kopenhagen ‘Baby, You Can Drive My Car’, Marienlyst Slot, Helsingoer (DK) Degree Show, Byam Shaw School of Art, London ‘StopOver’, Daad-Stipendiaten, Ada-Street-Gallery, London ‘Future Maps 2007’, University of the Arts Collection, London 2006 ‘Serve and Volley’, Häusler Contemporary, München 2005 ‘Lo Spazio’, Galleria Elisabetta Bresciani, Salò, Italien ‘Anne Sofie Bird Møller–Anders W.Ö. Larsen’, Galleri Tom Christoffersen, Kopenhagen 2004 ‘ArtCubicle’, Galerie Mathias Kampl, München ‘5’, Luisenstr. 55, München 2003 ‘Thai-Danish Exhibition’, Bangkok ‘My-Thai’, Raum Q, Kopenhagen, Kat. ‘Department of Freetime’, Galerie Asbæk, Kopenhagen Open Art, Rathausgalerie, für Galerie Florian Sundheimer, München ‘Stadt ohne Einwohner’, Galerie Florian Sundheimer, München, Kat. Scholarships 2013 Stipendium zur Förderung nach dem Programm zur Realisierung der Chancengleichheit für Frauen in Forschung und Lehre 2012 CCA Andratx, Mallorca, Spanien (Residency) 2011 Niels Wessel Bagges Kunst-Fond (Dänemark) 2010 Steiner-Stiftung, München (Katalogförderung) Lfa-Bank, München (Katalogförderung) Dänisches Kunstfonds (Reisestipendium) 2009 Dänisches Kunstfonds (Reisestipendium) 2008 L. F. Foghts Fond (Katalogförderung) Dänisches Kunstfonds 2007 L. F. Foghts Fond (Auslandsaufenthalt - London) Ragnvald og Ida Blix Fond (Auslandsaufenthalt - London) 2006 ‚Accademia di Danimarca’, Rom, drei-monatiger Aufenhalt mit Reise- Stipendium, Dronning Ingrids Fond DAAD, Deutsche Akademische Austauschdienst, Master in Fine Art, Byam Shaw School of Art, London University of the Arts (2006/07) Nordea Fonden (Auslandsaufenthalt - London) Beckett Fonden (Auslandsaufenthalt - London) Frimodt-Heineke Fonden (Auslandsaufenthalt - London) 2005 Glashandler Johan Franz Ronge’s Fond 2002 Stipendium des Bayrischen Staatsministeriums für Wissenschaft, Forschung und Kunst für ausländische Studierende

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