Peter Linde Busk And in That Place He Did Succumb

to What Was Offered

Transformationer

Hos Peter Linde Busk består billedet ikke af en figur, der træder frem

fra sin grund. Figur og grund er ét, opstået af tidligere fremstillinger.

Værkerne er transformationer af rester, idet alt, der førhen er blevet

tilovers, genanvendes. Det, der blev skåret væk undervejs i arbejds­

processen, bliver nu sat sammen til nye figurer, der ikke kun i deres

materialitet, men også motivisk er i slægt med tidligere. Det, der op ­

rindeligt var baggrunden for figuren, udenomsværket, og som måtte

fjernes, for at billedet kunne blive til, genopstår nu som ny figur i col ­

lager af materialestumper af træ, glas, keramik, metal og andet. Og

motiver, der engang opstod som tegning eller maleri, genopstår nu

i tredimensionel form som relief, men med en ny stoflighed tilføjet.

Billedet materialiseres.

Materialiteten findes egentlig allerede i tegningen, grafikken og ma ­

le riet i form af pigment og papir eller lærred, men den lader sig let

overse på grund af billedernes todimensionalitet; og når de også rum­

mer en vis illusionisme, forføres vi til at se bort fra mediet, idet vores

opmærksomhed fanges af den imaginære rumlighed og figuration.

Hos Peter Linde Busk kunne det eksempelvis være en stor, grotesk,

på én gang voldsom og skrøbelig figur, der knap kan rummes inden

for et billedfelt sammensat af minutiøse abstrakte mønstre. En så dan

dobbelthed af det monstrøse og ornamentale har været gennemgå­

ende i hans billedverden. Og de gentagelsesmønstre som fx sildebens ­

motiver eller harlekinstern, som har kendetegnet hans værk, rummer

i sig selv associationer til tekstil, tapeter, vævninger, – til stof.

Men selv om grundkomponenterne i værkerne og principperne for

billeddannelse har været en konstant igennem årene, er denne ek ­

lektiske praksis nu radikaliseret og tydeliggjort helt konkret gennem

værkernes sammensætninger af mange forskellige materialer, former,

stofligheder, farver – og bogstaveligt med stor vægt. Gennem mate ­

rialiseringen er billedet kropsliggjort, det har fået tyngde.

I arbejdsprocessen er der intet, der går til spilde. Den udfordring,

der ligger i nødvendigvis at måtte udgrunde, hvilke nye mulige billeder,

der kan blive til af det gamle stof, er udviklet til en produktiv forhin­

dring, kunstneren må henover for at se nyt. Pointen er ikke primært,

at materialerne som sådan har været anvendt til andre formål. Det

afgørende er, at det netop er værkstedets egne rester, der anvendes;

overskuddet eller negativformen fra det, der tidligere har ført til frem­

stillingen af en figur, bliver nu fremkaldt, bliver til positiv, bliver til en

My Life Has Been a Series of

Cata strophes, Some of Which

Actually Happened, 2017

[PLB­17­008]

figur, der på én gang er i slægt med den forrige og dog alligevel sin

egen. Samtidig med, at repertoiret af figurer – grundlæggende det

groteske, den ornamentale monstrøsitet – går igen, er det altså en

pointe, at billederne helt fysisk hænger sammen. De indeholder

bestanddele af hinanden, som medlemmer af samme familie.

I genbrugsstrategien ligger en modstand i og med, at man ikke kan

fremstille et hvilket som helst billede, der kunne falde én ind. Man

skal forholde sig til noget, der allerede er, og oversætte det til billedlig

form. Men gennem de begrænsninger, der ligger i det eksisterende

søms princip, opstår der billeder, kunstneren ellers ikke ville have

kunnet udtænke. Værkerne vil nødvendigvis komme til at bestå af en

variation og mangfoldighed, som aldrig kunne opnås i et arbejde med

nyindkøbte materialer. Restmaterialerne rummer spor af håndværk,

begrundet i helt særlige omstændigheder og betingelser i lange og

delvis tilfældige netværk af årsager og virkninger, som i sig selv ikke

ville kunne udtænkes som autonome udsagn. De er en fortælling af

autenticitet, som kan sammenlignes med det, en dokumentarfilm kan

i forhold til en fiktionsfilm. Restmaterialerne rummer tilmed en tidslig­

hed, som heller ikke ville kunne fremstilles fra scratch. Den tidslighed,

der ligger i, at de helt konkret er ældre, er plettede af maling eller på

andre måder er mærkede af tidligere bearbejdninger, forenes så med

en anden form for tidslighed, nemlig tiden, der er iboende det om ­

stændelige arbejde med at skabe billeder ud fra de mange brikker og

uendelige kombinationsmuligheder. Det er en form for kortlægning,

og resultatet er værker, der på nært hold har en topografisk­sanselig

variation, mens de på afstand transformeres til større billeddannelser,

som de linjer og strukturer, der opstår i et landskab, når det betragtes

på afstand eller fra stor højde.

Arbejdsprocessen kan sammenlignes med surrealisternes forsøg på

at materialisere det billedreservoir, der ligger i det ubevidste, i drøm­

menes verden. De metoder, man anvendte dengang, kunne være

automatskrift eller –tegning, eller det kunne være fysisk­mekaniske

bearbejdninger af materialet, eksempelvis i Max Ernsts frottager, som

bestod i gnidninger eller bearbejdninger af oliemalingen på lærredet.

Herved opstod uventede ”naturformationer”, der kunne videreudvikles

til figurationer. Fælles for surrealisternes og Peter Linde Busks meto­

der er, at kunstnerne underkaster sig eller overgiver sig til en form for

tilfældighedsprincip, eller et forsøg på at lade billeddannelse udgå fra

et ikke bevidst konceptualiseret udgangspunkt. Et forsøg på at gøre

et særligt nærvær produktivt, altså et nærvær eller en opmærksom­

hed over for de muligheder eller billeder, som materialerne så at sige

allerede rummer på forhånd, i sig selv. Et ønske om at lade det ska­

bende, enestående og enkeltstående subjektive og bevidste jeg træde

i baggrunden, for i stedet at lade billeddannelsen tage form ud fra et

kollektiv af bestanddele og aktører og muligheder, hvor tilfældigheden

udvikles som billeddannende afsæt.

Peter Linde Busks særlige billedsprog af ornament og monstrøsitet

går hånd i hånd med denne proces. For de tvetydigheder, der også

motivisk set er gennemgående, finder sted netop ved de transfor­

mationsprocesser, som danner værkerne. Hvori består figurationen

egentlig? Er det ornamentale i grunden figuren? Er det ornamentet,

der gør figuren monstrøs?

Det monstrøse opstår ikke ved nyopfundne former, der aldrig før er

set. Det monstrøse opstår i forvandlingen eller fordrejningen af det

kendte, af det, vi er allermest fortrolige med; det basale eksempel

er den menneskelige krop. Vores udsatte, flygtige, foranderlige iden­

titet som mennesker billedliggøres i vekselvirkningen mellem genken­

delighed og monstrøsitet, hvor figuren forunderligt og farligt går i ét

med grunden; hvor figur og ornament bliver ét. Ornamenter er grund­

læggende abstraktioner, som typisk kan opstå ved gentagelsen af

geometriske formationer, såsom Peter Linde Busks linjer, sildebens­

mønstre eller harlekinstern. Det serielle er i sig selv en sådan abstrak­

tionsstrategi, en måde, hvorpå en enkeltstående figur kan forvandles

til ornament. Når Peter Linde Busk gør kroppen ornamental og gør det

ornamentale til figuration, opstår denne transformation til monstrøsi­

tet, som værkerne i deres sammensathed af materialer samtidig er

en fysisk manifestation af. Figurens tvetydighed udforskes og udfoldes

således både som motiv og som materialitet. Figuren opstår af grun­

den, og grunden er i sig selv en figuration.

Af Maria Fabricius Hansen, Lektor, Dr.Phil.

Get Thee Behind Me, Satan, 2017

[PLB­17­009]

Dr. Livingstone, I presume, 2017

[PLB­17­010]

Masterless Men (In Eternity, However, There Is No Time, You See.

Eternity Is a Mere Moment, Just Long Enough for a Joke), 2017

[PLB­17­011]

Masterless Men (But It's a Poor Fellow Who Can't Take His

Pleasure Without Asking Other People's Permission), 2017

[PLB­17­012]

Masterless Men (There Are Always a Few Such People Who Demand the Utmost of

Life and Yet Cannot Come to Terms with Its Stupidity and Crudeness), 2017

[PLB­17­013]

So Eden Sank to Grief, 2017

[PLB­17­017]

So Dawn Goes Down to Day, 2017

[PLB­17­018]

Nothing Gold Can Stay, 2017

[PLB­17­019]

Maelstrom, 2017

[PLB­17­020]

And I Looked, and Behold a Pale Horse and His Name that Sat on Him was Death, and

Hell Followed with Him / Stand by Me My Apprentice, Be Brave, Clench Fists, 2017

[PLB­17­004]

White Light, 2017

[PLB­17­015]

White Heat, 2017

[PLB­17­014]

Diamond Dancer, 2017

[PLB­17­021]

Transformations

For Peter Linde Busk, a picture does not consist of a figure that steps

forth from its background. Figure and background are one, arising

from earlier representations. The works are transformations of resi­

dues, as everything previously left over is recycled. What was excised

along the way in the work process is assembled into new figures,

related not only in their materiality, but also motivically, to those that

went before them. What was originally the background to the figure,

the surroundings of the work, and which had to be removed in order

to create the picture, is now resurrected as a new figure in collages

made of fragments of wood, glass, ceramics, metal and other mate­

rials. And motifs that once appeared as drawings or paintings now

reappear in three­dimensional form as reliefs, but with the addition

of a new materiality. The picture is materialised.

This materiality is in fact already present in the drawing, graphic or

painting in the form of pigment, paper or canvas, but it is easily over­

looked because of the two­dimensionality of the images. And as they

also encompass a certain aspect of illusionism, we are seduced into

ignoring the medium, as our attention is captured by the imaginary

space and the figuration. For Peter Linde Busk, it might for example be

a large, grotesque, simultaneously fierce and fragile figure, which can

barely be accommodated within an image field composed of minute

abstract patterns. This duality of the monstrous and the ornamental has

been a continuous theme in his pictorial universe. And the patterns

of repetition that have characterised his work, such as herringbone

motifs or harlequin chequers, contain within themselves associations

to textile, wallpaper, weaving – to material.

But although the basic components of the works and the principles of

the picture creation have been constant over the years, this eclectic

practice has now been radicalised and clarified in an entirely concrete

manner through the amalgamation within the works of many different

materials, shapes, materialities, colours – quite literally with great

weight. Via materialisation, the picture is incarnated and given mass.

Nothing is allowed to go to waste in the working process. The chal­

lenge necessarily involved in working out what new possible pictures

can be created from the old materials have been developed into a

productive obstacle that the artist must overcome in order to discover

new potential. The point is not primarily that the materials as such

have been used for other purposes; the crucial point is that it is the

workshop’s own remnants that are used. The surplus or negative

form of that which has previously given rise to the production of a

figure is now evoked and turned into a positive, into a figure, which is

at one and the same time related to the former one and yet entirely

itself. While the repertoire of figures recur – basically the grotesque,

the ornamental monstrosity – it is thus a point that the pictures are

related in a wholly physical sense. They contain components of each

other, as members of the same family.

The recycling strategy incorporates a resistance, because you cannot

just make any picture you feel like. You must relate to something pre­

existing and translate it into pictorial form. However, through the con­

straints imposed by the principle of the existing seam, pictures arise

that the artist would not otherwise have been able to conceive of. The

works necessarily come to exhibit a variety and diversity that could

never be achieved by working with newly­purchased materials. The

remnant materials contain traces of handcraft that are based on quite

particular circumstances and conditions, and in long and partially ran­

dom networks of causes and effects, which could not in themselves

be considered autonomous statements. They represent a narrative

of authenticity, comparable to what a documentary film can do in

re lation to a fictional movie. The residual materials also incorporate a

temporality that could not be manufactured from scratch, either. The

temporality that arises from the fact that they are quite literally older,

stained with paint or in other ways marked by previous workings, is

united with another form of temporality – namely the time inherent in

the painstaking work of creating pictures on the basis of the many

pieces and endless combination possibilities. It is a kind of mapping,

and it results in works that possess a near­topographic sensory varia­

tion, while from further away they are transformed into larger images,

like the lines and structures that arise in a landscape when viewed at

a distance, or from a high altitude.

The working process may be compared with the attempts by the

surrealists to materialise the image reservoir subsumed in the uncon­

scious, in the world of dreams. The methods used at that time might

include automatic writing or drawing, or physico­mechanical process­

ing of the material, such as in Max Ernst’s frottages, which were pro­

duced by rubbing or working the oil paint on the canvas. This led to

unexpected ‘natural formations’ that could be further developed into

figuration. Common to the methods of the surrealists and those of

Peter Linde Busk is that the artists subjugate themselves or surrender

to a form of randomness, or an attempt to allow the pictures to arise

from a non­conscious conceptual point of origin; an attempt to make

a special form of attention productive – which is to say, attention to

or awareness of the possibilities or pictures that the materials, so to

speak, already contain in advance, in themselves. A wish to allow the

creative, particular and uniquely subjective and conscious ‘I’ to retreat

into the background, and thereby allow pictures to arise from a con­

stellation of elements, actors and possibilities, in which randomness

is cultivated as the starting­point of image creation.

Peter Linde Busk’s special imagery of ornament and monstrosity goes

hand in hand with this process, because the ambiguities, which are

also common in terms of motifs, arise precisely through the transform ­

ative processes that create the works. What does the figuration really

consist of? Is it the ornamental aspect of the background? Is it the

ornament that makes the figure monstrous?

The monstrous does not arise from newly­discovered forms that we

have never seen before; the monstrous arises in the transformation

or distortion of the known, of that with which we are most familiar –

the obvious example being the human body. Our vulnerable, volatile

and variable identity as human beings is visualised in the interplay be ­

tween recognisability and monstrousness, in which the figure, in weird

and wondrous manner, becomes one with the background, through

which means figure and ornamentation are united. Ornamentation is

basically an abstraction that typically arises from the repetition of geo­

metric forms, such as Peter Linde Busk’s lines, herringbone patterns

and harlequin chequers. The serial is in itself just such an abstraction

strategy – a means by which an individual figure can be transformed

into ornament. When Peter Linde Busk makes the body ornamental

and turns ornamentation into figuration, this transformation gives rise

to monstrosity, of which the works, in their combination of materials,

are at the same time a physical manifestation. The ambiguity of the

figure is thus explored and expressed both as motif and materiality.

The figure arises from the background, and the background is in

itself a figuration.

By Maria Fabricius Hansen, Associate Professor, Dr.Phil.

You Are Willing to Die,

You Coward, but Not to Live, 2017

[PLB­17­016]

1973 Born in Copenhagen, Denmark

2002-06 The Slade School of Fine Art, University College

London

2004 Hunter College of Art, City University of New York

2008 Gasthörerschaft zum Studium für Freie Kunst,

kunstakademie Düsseldorf w. professor Peter Doig

2006-08 The Royal Academy of Arts, London

Lives and works in Berlin, Germany

Selected collections

Arken Museum of Modern Art, Ishoej, Denmark

Collection of Javier & Carlos Andrés Peres, Berlin

Holsterbro Kunstmuseum, Holstebro

Rubell Family Collection, Miami

Saatchi Collection, London

Statens Kunstfond, Denmark

Susan and Michael Hort, New York

Solo Exhibitions

2017 And in That Place He Did Succumb to What Was

Offered, Galleri Bo Bjerggaard, Copenhagen

Danse Macabre, Borås Konstmuseum, Borås

2016 Any Port in a Storm, Derek Eller Gallery, New York

To Carthage Then I Came Where a Cauldron of

Un holy Loves Sang All about My Ears, Josh Lilley

Gallery, London

2015 Fear the Goat from the Front, the Horse from the

Rear and Man from all Sides, GL. STRAND, Copen­

hagen

Gentlemen, Monitor, Rome

2013 Point D’appui, Josh Lilley Gallery, London

The Carollers of Kolbijk, Galleri Bo Bjerggaard, Copen­

hagen

The Staging Area, Holstebro Kunstmuseum, Holstebro

2012 Peter Linde Busk, ABC Berlin (solo presentation with

Rob Tuffnell and MONITOR), Berlin

No Pasarán, MONITOR, Rome

2011 Peter Linde Busk, LISTE16, Basel (solo presentation

with Rob Tuffnell) Currahee, Rob Tuffnell, London

2010 Bold as a Lunatic Troupe of Demons in Drunken

Parade, Galleri Christina Wilson, Copenhagen

Full Catastrophe Living, Ancient and Modern, London

2009 Hey, That’s no Way to Say Goodbye, (Postgraduate

Diploma show), Royal Academy of Arts, London

2008 And All I Ever Wanted Was Everything, Art Copen­

hagen (solo presentation with Galleri Christina Wilson),

Copenhagen

2007 Peter Linde Busk, Ancient and Modern, London

2006 Come at the King, You best Not Miss, Galleri Christina

Wilson, Copenhagen

Hail to the Failed, (BA Degree show), Slade Summer

Show, Slade School of Fine Art, UCL, London

Selected Group exhibitions

2017-18 Teser. Danske Samtidskunstnere i dialog med

reformationen, Rundetaarn, Ribe Kunstmuseum,

Fuglsang Kunstmuseum, Museet for Religiøs Kunst,

Lemvig, Stiftung Christliche Kunst, Wittenberg

2017 Greed, Holsterbro Kunstmuseum, Holstebro

2016 Water Biscuit, Josh Lilley, London

2014 Contemporary Art from Denmark, European Central

Bank, Frankfurt am Main, Germany

100 Painters of Tomorrow, Beers Contemporary,

London

Face to Face: British Portrait Prints from the Clifford

Chance art collection, The Soane Museum, London

Fluid Flesh, Nordic Contemporary, Paris

Un’Idea di Pittura I, Monitor, Rome

New Hells, curated by Isaac Lyles, Derek Eller Gallery,

New York

2013 Post, Post Anxiety, International Art Objects, LA

The Reasons of Painting, Palazzo de Sanctis, Castel­

basso, Teramo, Italy, curated by Laura Cherubini and

Eugenio Viola

Chicken or Beef? The Hole, New York

La Figurazione Inevitabile (The Inevitable Figuration),

curated by Davide Ferri, Museum Pecci, Prato,

Florence

2012 Murder Ink, Der Grieche, Berlin

Unknown Paintings, Michael Janssen gallery, Berlin

2011 Groupshow, Schwarz Contemporary, Berlin

Voyage to the Beautiful Self, Danske Grafikeres Hus,

Copenhagen

Stories Being Told, BolteLang, Zürich

2010 Newspeak: British Art Now, Saatchi Gallery, London

Etwas viele, bißchen langweilige, ganz kleine

Radierungen, Niels Borch Jensen Gallery, Berlin

The Long Dark, curated by Michelle Cotton, Kettle’s

Yard, Cambridge, Hatton Gallery, Newcastle, Interna­

tional 3, Manchester

A Formal Figure, The Forgotten Bar project, Berlin

2009 Studio Voltaire Presents, curated my Sarah McCrory,

Boltelang, Zurich

Daily Miracles, Josh Lilley Gallery, London

2008 Premiums Show, Royal Academy of Arts, London

2007 Aquarium, C4RD (Centre for Recent Drawing), London

5 years anniversary show, Galleri Christina Wilson,

Copenhagen

Strange Weight, curated by Rob Tufnell, Martos

Gallery, New York

Peter Linde Busk

And I Looked, and Behold a Pale Horse

and His Name that Sat on Him was

Death, and Hell Followed with Him /

Stand by Me My Apprentice, Be Brave,

Clench Fists, 2017

Ceramics, copper plates, wood

205 cm x 150 cm x 15 cm

PLB­17­004

My Life Has Been a Series of Cata­

strophes, Some of Which Actually

Happened, 2017

Various kinds of treated wood, cast

plaster, fired and glazed ceramic, natural

stones, smalti, terra puzzolane, cement,

handpainted glass, reconditioned copper

etching plates, cardboard, paper, various

fabrics, acrylics, shellac, ink, crayons, on

board

216,8 cm x 154,0 cm x 15,0 cm

PLB­17­008

Get Thee Behind Me, Satan, 2017

Various kinds of treated wood, cast

plaster, fired and glazed ceramic, hand­

painted glass, natural stones, recondi­

tioned copper etching plates, shellac,

wood stain, acrylics, ink, on board

216,5 cm x 152,9 cm x 12,0 cm

PLB­17­009

Dr. Livingstone, I presume, 2017

Various kinds of treated wood, cast

plaster, fired and glazed ceramic, hand­

painted glass, gesso, reconditioned cop­

per etching plates, natural stones, wood

stain, oxides, shellac, cardboard, porcelain

earth, cement, acrylics, linen, canvas,

paper, felt, on board

217,2 cm x 153,2 cm x 16,0 cm

PLB­17­010

Masterless Men (In Eternity, However,

There Is No Time, You See. Eternity Is

a Mere Moment, Just Long Enough for a

Joke), 2017

Various kinds of treated wood, cast

plaster, cardboard, reconditioned copper

etching plates, hand­painted glass, oxides,

cement, porcelain earth, wood stain, ink,

acrylics, crayons, coloured pencils, gold

leaf, shellac, natural stones, on board

187,6 cm x 147,6 cm x 8,0 cm

PLB­17­011

Masterless Men (But It's a Poor Fellow

Who Can't Take His Pleasure Without

Asking Other People's Permission), 2017

Various kinds of treated wood, natural

stones, hand­painted glass, cement, cast

plaster, reconditioned copper etching

plates, gold leaf, oxides, wood stain, ink,

on board

187,7 cm x 147,7 cm x 8,0 cm

PLB­17­012

Masterless Men (There Are Always a

Few Such People Who Demand the

Utmost of Life and Yet Cannot Come

to Terms with Its Stupidity and Crude­

ness), 2017

Various kinds of treated wood, cast

plaster, natural stones, fired and glazed

ceramic, hand­painted glass, recondi­

tioned copper etching plates, wood stain,

ink, acrylics, oxides, cardboard, linen,

canvas, gesso, gold leaf, coloured pencils,

screws, shellac, crayons, on board

187,7 cm x 147,7 cm x 16,0 cm

PLB­17­013

White Heat, 2017

Various kinds of treated wood, cast

plaster, fired and glazed ceramic, oxides,

cement, wood stain, cardboard, paper,

gesso, felt, hand­painted glass, natural

stones, reconditioned copper etching

plates, gold leaf, porcelain earth, shellac,

ink, acrylics, linen, canvas, coloured

pencils, crayons, on board

144,0 cm x 113,8 cm x 12,5 cm

PLB­17­014

White Light, 2017

Various kinds of treated wood, cast

plaster, fired and glazed ceramic, oxides,

cement, wood stain, cardboard, paper,

gesso, felt, hand­painted glass, natural

stones, reconditioned copper etching

plates, gold leaf, porcelain earth, shellac,

ink, acrylics, linen, canvas, coloured

pencils, crayons, on board

144,0 cm x 113,8 cm x 12,5 cm

PLB­17­015

You Are Willing to Die, You Coward,

but Not to Live, 2017

Various kinds of treated wood, wood

stain, shellac, fired and glazed ceramic,

natural stones, hand­painted glass,

porcelain earth, on board

62 cm x 42 cm x 4 cm

PLB­17­016

So Eden Sank to Grief, 2017

Various kinds of treated wood, recondi­

tioned copper etching plates, gold leaf,

ink, wood stain, acrylics, shellac, on

board

61,5 cm x 44,0 cm x 5,0 cm

PLB­17­017

So Dawn Goes Down to Day, 2017

Various kinds of treated wood,

reconditioned copper etching plates,

hand­painted glass, gold leaf, ink,

wood stain, acrylics, shellac, on board

61,5 cm x 44,0 cm x 5,0 cm

PLB­17­018

Nothing Gold Can Stay, 2017

Various kinds of treated wood,

reconditioned copper etching plates,

gold leaf, ink, wood stain, acrylics,

shellac, on board

61,5 cm x 44,0 cm x 5,0 cm

PLB­17­019

Maelstrom, 2017

Paper, cardboard, textiles, hand­

painted glass, cast plaster, acrylics,

wood shavings, coloured pencils, on

canvas

188,6 cm x 149,3 cm x 6,0 cm

PLB­17­020

Diamond Dancer, 2017

Woodcut print on copper foil

119 cm x 86 cm x 4 cm

PLB­17­021

Peter Linde Busk

And in That Place He Did Succumb to What Was Offered

30 August – 21 October 2017

Værker / Works

FLÆSKETORVET 85 A

DK–1711 KØBENHAVN V

TEL +45 33 93 42 21

BJERGGAARD@BJERGGAARD.COM

TUESDAY-FRIDAY 1 PM–6 PM

SATURDAY 12 PM–4 PM

WWW.BJERGGAARD.COM

© Peter Linde Busk & Galleri Bo Bjerggaard

ISBN nb. 978­87­93134­28­7

Translation from Danish to English: Wordmaster

Special thanks to Signe Glahn, Stephen Kent,

Katerina Kotsala, Laura Martin, Ana Moreno,

Andrew Parry, Anja Stenzel, Thomas Ward and

Rosendahls