Jenny-Marie Johnsen



Small Projects Tromsø, The Crisis of the Horizon.


The Crisis of the Horizon is an exhibition of lens-based media art including animation, photography and expanded cinematic works, exploring the way aerial views and satellite views provoked a structural modification in the regime of vision, leading to a shift in the human behavior toward the environment.

Agnieszka Polska
Emilija Škarnulytė
Jenny-Marie Johnsen
Simon Faithfull

Exhibition dates: 19.01 – 31.01.2018

Curated by Vanina Saracino


For centuries, the straight line of the horizon has been an unquestionable reference for direction and orientation, as well as the main reference in the linear perspective, a foundational paradigm of representation in art history. But the line of the horizon is blind to the curvature of the Earth.

By providing an evidence that seemed incontestable and yet contradicted the most direct perception of a linear horizon, aerial views and views from outer space proved of fundamental importance in provoking a radical shift in our ways of seeing and perceiving space. With the invention of aircrafts we have become endowed with the bird’s-eye view, which also revealed to what extent the environment had been brutalized by the human activity and by the reckless expansion of mega-metropolitan areas (Le Corbusier, Aircraft); with the development of spaceflight technologies, views of the Earth from outer space became soon available, unequivocally proving the isolation of the planet, the fragility of its balance and the interconnectedness of the planet’s ecosystems (Carl Sagan, Pale Blue Dot). The first images of the full Earth in colours were transmitted from the Apollo 8 mission in 1968, and watched by approximately 570 million people, in an event that shook the anthropocentric perspective and raised a collective awareness toward the environmental crisis.

If aerial views showed us that any thoughtless human practice would sooner or later constitute a local environmental problem, views from outer space went one step further, providing the evidence that there is no such thing as a local environmental problem.

Without forgetting that aircrafts and spacecrafts are also leaving massive carbon footprint behind their flights, highly contributing to inject carbon dioxide into the atmosphere, the aim of this exhibition is to address the shift in our scopic regime and awareness that was produced by aerial views and views from outer space throughout history and until today.

With works by Agnieszka Polska, Emilija Škarnulytė, Jenny-Marie Johnsen and Simon Faithfull.




Nordlysfestivalutstillingen, Kulturhuset Tromsø

27. 1. – 4. 2. 2018


Thor Erdahl

Myriam Borst

Jenny-Marie Johnsen

Curated by Kristin Josefine Solstad Kunstsentralen Nord




Nordic Contemporary Art Center in Xiamen, China

5.4. – 20.5. 2018

Curated by Else Marie Bukdahl

The interplay between the local and the global

The five Nordic countries; Iceland, Norway, Sweden, Finland and Denmark have, since they became independent states, had many shared cultural characteristics, One of the most significant is the interplay between the local and the global. This interplay was developed as early as the Viking Age, which spanned from late 8th century to the mid-11th century. The vikings, who were roving young men, travelled around Europe and also reached beyond its borders. They were often warlike, but were also interested in the many foreign cultures that they encountered, which they transferred to their own countries. This meant that their own cultures were constantly provided with new cultural inspiration. The interplay between the local and the global created a series of diverse, intersecting traces, which became the foundation of a flourishing culture. All five countries have been very conscious that, if one worked exclusively with profiling the local or national culture, it would atrophy from lack of developmental opportunities. If, on the other hand, one concentrated solely on the global, one risked losing an independent cultural identity. This is because an identity of this kind arises precisely as a result of the interplay between the local and the global, or between the national and the international. This interplay has also, more or less clearly, characterized the development of art and contemporary art in the five countries. This is often seen as visual dialogues with the art of earlier eras, for example the sculpture of the Antiquity, Roman sculpture, Baroque art such as Bernini’s, Romantic art, like the works of the painter Caspar David Friedrich, or the sculpture of the 19th and 20th centuries, like works by Rodin and Louise Bourgeois. But inspiration could also come from the breakthroughs of the modern era, both in figurative and nonfigurative art. Artists have incorporated these dialogues and sources of inspiration into their artistic visions and in their diverse artistic activities.


This interplay between the local and the global can also be located many labyrinthine traces in the works created by the artists participating in the Nordic Center in Xiamen in March 2018. But the different forms of inspiration that the artists have gained from their travels in China can also be seen in many of the works.


Opening:         3rd, 4th or 5th April 2018

Participating artists are:

Jenny Marie Johnsen (Norway)

Nils Viga Hausken (Norway)

Marit Benthe Norheim (Norway)

Richford Ekholm (Finland)

Hjördis Haack (Sweden)

Pontus Kjerrman (Sweden)

Vibeke Glarbo (Denmark)

Claus Ørntoft (Denmark)

Ib Monrad Hansen (Denmark)

Tine Hecht-Pedersen (Denmark)

Tine Jacobsen (Denmark)

Hans Pauli Olsen (Denmark)

Architect Holger Grue, architect and photographer Tine Grue and art historian d. phil. Else Marie will be creating activities associated with the exhibition.