Over a century ago people travelled here from far-away places to measure the skulls of people already living here. These outsiders were in the surprising habit of holding strange events, which included measuring the heads of the people who turned up. This extraordinary behaviour was met with generosity and cooperation, since nobody wanted to make life more difficult for the visitors. People let them measure their heads, most of them out of sheer kindness, others in exchange for a token gift. Slowly but surely, however, the people discovered that this habit was not based on the particular heads of those that were measured, or whether they were particularly beautiful, thoughtful, radiant or sad. The sole interest of the outsiders was measuring heads. Apart from being different in size, all heads were the same to them. There was no Aqqaluk or Paninnguaq, no Nukapianguaq or Aviaaja. Only heads and skulls.
The people also discovered that this obsessive need to measure heads was a habit the newcomers had developed elsewhere, far from here. And it had stuck, almost becoming part of their soul. But that is what made it an echo. An echo of something somewhere else. It was not based on the heads here. It was a reverberation of something the travellers had already talked about in other places, in other buildings, in other countries.
The outsiders left again, taking the head measurements home with them to the buildings and countries where they had talked about measuring heads before comi…
Over a century ago people travelled here from far-away places to measure the skulls of people already living here. These outsiders were in the surprising habit of holding strange events, which included measuring the heads of the people who turned up. This extraordinary behaviour was met with generosity and cooperation, since nobody wanted to make life more difficult for the visitors. People let them measure their heads, most of them out of sheer kindness, others in exchange for a token gift. Slo…
Not all photo books are of the coffee-table variety. There are also some with a considerably more modest appearance in which the actual content condenses existence to a few pages. On a book table I spot two slim volumes bound together by a narrow paper ribbon on which the following three questions are written: ”How do we move about in public space? How do we meet each other? Is the city meant for everyone?”
The originators of these publications turn out to be to the Swedish-Danish photographers couple Kent Klich and Tina Enghoff, with each their way to relate to the project ”Get Lost”, initiated by themselves and the Danish Architecture Centre in Copenhagen. The project, which took place for a one year period, aimed to investigate the codes creating the city's structures and to discuss territorial and social borders among its inhabitants.
Kent Klich is a photographer with a strong commitment to those living on the fringe of society. This could be seen not least in his book ”Picture Imperfect” (reviewed in Svenska dagbladet March 6 2008), which recently received the Swedish Award for Photo Books 2009, as well as in his earlier book ”Children ofCeausescu'”, with a preface by Herta Müller, about Romanian orphans.
In his book, called ”Out of Sight”, he has chosen to shed light on some of the more than 3,000 homeless people in Copenhagen. On each of the black pages their names are stated, heaped upon each other to become a tall, swaying tower: Marko, Dennis, Kurt, Robert, Po…
Not all photo books are of the coffee-table variety. There are also some with a considerably more modest appearance in which the actual content condenses existence to a few pages. On a book table I spot two slim volumes bound together by a narrow paper ribbon on which the following three questions are written: ”How do we move about in public space? How do we meet each other? Is the city meant for everyone?”
The originators of these publications turn out to be to the Swedish-Danish photographer…
Photography, crime and punishment are themes with a lot of baggage: action, passion, fury and cunning. Tina Enghoff’s boxset Hate is / Isolation assembles texts and photographs of sites that are recorded calmy in the aftermath of crimes and in the aftermath of punishments. Both books communicate someone else’s turmoil and violence , and both function as reports on flows of hatred, resistance, of troubled damage. These exquisitely produced books operate not as records of events themselves, but on a quieter level, raising troubling questions of process, context and unresolved social schisms.
Enghoff uses chronological repetition and evocation of entropy to make us understand cycles of violence and damage, evoking claustrophobia and limits on our sense of action. Hate is shows places, everyday ones. Specificity of place is accompanied by a studious objectivity. The imagery recalls the dispassionate and disenchanted gaze of the New Topographics photographers and of Michael Schmidt.
On the first read, the photographs build a landscape closed in around itself, the view constantly mobile between sites notable only for their commenplace nature and the incident number on each page. Hedges hint at labyrinths. The shock comes in the final section of the book. The numbers are revealed as specific kinds of crime, brutal and yet everyday crimes of sexual and racial persecution. Now the reading method changes, back and forth between crime and contex, trying and failing to make any s…
Photography, crime and punishment are themes with a lot of baggage: action, passion, fury and cunning. Tina Enghoff’s boxset Hate is / Isolation assembles texts and photographs of sites that are recorded calmy in the aftermath of crimes and in the aftermath of punishments. Both books communicate someone else’s turmoil and violence , and both function as reports on flows of hatred, resistance, of troubled damage. These exquisitely produced books operate not as records of events themselves, but …
Copenhagen Photo Festival officially lasted only a week and is over now. But apart from its own programme the well-attended Festival functioned as an umbrealla under which a variety of Copenhagen's exhibition sites housed widely different photographic exhibitions. And several of these will remain open for a long time. One of these is photographer Tina Enghoff's exhibition SEVEN at the National Museum of Photography. A major theme of the Festival's own main exhibition ”Day/Night” was photography which at one and the same time combines the highly staged with the documentary, with a focus on stories and subjects from ”real life”. Something similar describes Tina Enghoff's exhibition which has been made in co-operation with integration consultant Uzma Ahmed Andersen. The exhibition consists of a series of large landscape photographs, with a female figure, made partly anonymous, appearing in each. The photos are beautiful, expressively poetic and very emotionally evocative in their own right; but they furthermore address ”an issue”.
Since Danish photographer Jacob A. Riis photographed and wrote about the living conditions among poor immigrants in Manhattan around 1900 and was instrumental in bringing about social reforms to actually better their conditions, it has been this very kind of humanistically oriented documentary photography which Riis helped found that has had a history of and monoply on depicting the life conditions of the down-and-outs and oppressed, while advocating…
Copenhagen Photo Festival officially lasted only a week and is over now. But apart from its own programme the well-attended Festival functioned as an umbrealla under which a variety of Copenhagen's exhibition sites housed widely different photographic exhibitions. And several of these will remain open for a long time. One of these is photographer Tina Enghoff's exhibition SEVEN at the National Museum of Photography. A major theme of the Festival's own main exhibition ”Day/Night” was photography …
In the three works Seven Years (2010), Migrant Documents (2013) and Isolation (2017a), Danish photographer Tina Enghoff addresses the visual and social marginalization of immigrant women caught in abusive relationships, homeless migrants who live outside the welfare system and prisoners in solitary confinement. The article discusses how her projects probe established ideas about Denmark as an ideal Scandinavian welfare state, ostensibly with a high level of social equality and transparency, as well as low levels of injustice, crime and punishment. It is also argued that a photographic practice like Enghoff’s offers original and productive negotiations of questions of representation and visibility embedded in the social documentary genre.
Through her work, Danish photographer Tina Enghoff (b. 1957) addresses practices of social sorting and the management of marginalized subjects. She probes established ideas about Denmark as an ideal Scandinavian welfare state, ostensibly with a high level of social equality and transparency, as well as low levels of injustice, crime and punishment. At the same time, Enghoff uses this subject matter to negotiate questions of representation and visibility embedded in one of the most debated and interesting media-specific genres: documentary photography. Enghoff has worked consistently with minorities to address issues such as citizens’ rights, social displacement and exclusion in projects that formally and conceptually expand the documentary …
In the three works Seven Years (2010), Migrant Documents (2013) and Isolation (2017a), Danish photographer Tina Enghoff addresses the visual and social marginalization of immigrant women caught in abusive relationships, homeless migrants who live outside the welfare system and prisoners in solitary confinement. The article discusses how her projects probe established ideas about Denmark as an ideal Scandinavian welfare state, ostensibly with a high level of social equality and transparency, as w…
.... Scene 5: Travelling
I imagine them standing at the railing on a ferry, the tourists Tina Enghoff has photographed from behind and below so the view ahead of them consists solely of blue skies. That they are arriving in a new, foreign country, or leaving the old one for a while. "The Idea of Travelling". The reality is that they are looking at one of the most famous tourist attractions in Denmark–Edvard Eriksen’s statue Den lille havfrue (The Little Mermaid). That she is a fairytale figure who paid a high price for an impossible desire and for crossing the border between two worlds is true, but Enghoff’s camera lingers not on her but on the bodies turned away from us to face an endless horizon. The figures embody this dream of travelling, a dream that tourist organisations worldwide offer to make come true easily and comfortably. Visit Copenhagen. Dine at our restaurants. Stay at our hotels. See our attractions. Lots of film and photo opportunities. The modern tourist is in transit for pleasure and to return home with experiences, souvenirs and proof that “I was here”. Tourism and the photographic medium are closely linked in the form of both postcards and snapshots in albums. The image should be picturesque, or at least tell a good story. Even if the story is how disappointingly small and unimpressive the statue of the little mermaid was, at least we had a nice ice cream afterwards.
The migrants who come to Denmark on a tourist visa for a whole range of socio-economic …
.... Scene 5: Travelling
I imagine them standing at the railing on a ferry, the tourists Tina Enghoff has photographed from behind and below so the view ahead of them consists solely of blue skies. That they are arriving in a new, foreign country, or leaving the old one for a while. "The Idea of Travelling". The reality is that they are looking at one of the most famous tourist attractions in Denmark–Edvard Eriksen’s statue Den lille havfrue (The Little Mermaid). That she is a fairytale figure…
Chapter 3: The Photograph in Migratory Aesthetics
In contrast to the circumstances described above, I look at a number of works that I argue reveal the situated, affective and embodied aspects of migration and diaspora on the borders of Europe. In the project Migrant Documents, Danish artist Tina Enghoff investigates the negotiations involved in living as an undocumented migrant in Copenhagen in 2012. In the project, which is presented as a book and as an exhibition, Enghoff presents her own photographs as well as images taken by a group of undocumented North African migrants who take shelter in a park in Copenhagen. The series taken by the migrants is called The Unknown is Not a Memory. Presenting them with a camera, she offers them the opportunity to photograph the Danish capital from their own viewpoint.155 Each collaborator took a series of images showing what they wanted to document in the city where they live. The series was then printed as postcards and distributed freely around the city, including the age and country of origin of the person who took it on the back of each image. The book also includes excerpts from conversations with three migrants from Ghana. In much of her practice, Enghoff works with outreach projects where she uses the camera to collaborate with people in different kinds of marginalised positions in society. (In chapter four,I return to some of these projects in a discussion about photography’s potential for action and change.)
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As Wolthe…
Chapter 3: The Photograph in Migratory Aesthetics
In contrast to the circumstances described above, I look at a number of works that I argue reveal the situated, affective and embodied aspects of migration and diaspora on the borders of Europe. In the project Migrant Documents, Danish artist Tina Enghoff investigates the negotiations involved in living as an undocumented migrant in Copenhagen in 2012. In the project, which is presented as a book and as an exhibition, Enghoff presents her own pho…
ABSTRACT
Some have talked about a crisis in documentary photography since its inter- and post-war heydays. But more recently a new kind of art-documentary has developed with a self-reflexive approach towards the limits and the possibilities of photography. The spectrum between documentary and art provides photography with a specific opportunity to address difficult subject matter between the personal and the political. Leaving the discussion of “the politics of representation” — so dominant in the 1980s — aside and instead departing from a handful of newer theoretical framings which try to formulate an ethically responsive, activist and transitive form of photographic agency (such as Roberts, Thrift, Butler and Azoulay), this article identifies and discusses a current in contemporary photography of new conceptual strategies of socially and politically engaged documentary. This strategy is called “new mixtures” because it mixes hitherto separated photographic forms such as family and cell phone photos, reportage and conceptual and archival forms. It is identified as a global tendency, but more closely exemplified by the work of Scandinavian photographers Kent Klich and Tina Enghoff. As such the article identifies what is called both a “social” as well as a more “positive” take on both theory and photography, which has taken place in the decade that photographies has existed.
EXCERPT
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Regarding theory, one could say that the social, relational aspects of photography – w…
ABSTRACT
Some have talked about a crisis in documentary photography since its inter- and post-war heydays. But more recently a new kind of art-documentary has developed with a self-reflexive approach towards the limits and the possibilities of photography. The spectrum between documentary and art provides photography with a specific opportunity to address difficult subject matter between the personal and the political. Leaving the discussion of “the politics of representation” — so dominant in t…
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