INTERVIEWS

Choki Lindberg

Blown away – sådan var min reaktion, da jeg første gang så ét af Choki Lindbergs værker. Hun arbejder med fotokunst, men er ikke bare typen, der stiller sig op og snapper et motiv. Der kan lige frem ligge års ideudvikling bag. Og det kan man se – og mærke. Faktisk kan jeg stadig ikke slippe stemning på ‘Senefelderstrasse’. Det er et værk, der på en eller anden måde har indfanget mig, og er det ikke også lige præcis dét, kunst skal kunne? Jeg har spurgt Choki om hendes næste projekt, og den sjoveste oplevelse hun har haft med sin kunst.

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Hvordan fandt du ud af, at du ville være kunstfotograf?

Da jeg var 16 år, fandt jeg en dag min fars gamle, bulede Nikon F, og syntes det var så vildt at kunne lave et billede på en 60. del af et sekund. Jeg gik på det tidspunkt på tegneskole, hvor vi sad 4-5 timer ad gangen og tegnede draperinger. Det kedede røven ud af bukserne på mig, og havde intet at gøre med mit eget udtryk. Så det blev fotografiet for mig. Jeg elskede den korte vej fra ide til udtryk, og jeg elskede også magien i mørkekammeret. Det var frit og legende og fuldt af mystik og drama. Totalt love at first sight!

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Hvad er dit næste projekt?

Jeg er lige begyndt på en ny serie, som er noget med elementerne, der har ædt af nogle lidt dekadente rum over lang tid… ligenu sidder jeg mest og brander ting af! ha ha!

Hvad har været dit vildeste karriere-move?

Da jeg søgte ind på ICP (International Center of Photography) for at trodse min lærer på Fatamorgana, som sagde, at jeg aldrig ville komme ind.

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Hvad har været din sjoveste oplevelse med din kunst?

Måske da min veninde og jeg næsten brandte en handelsbygning i Rotterdam af, da der gik ild i vores installation. Det var dog kun sjovt bagefter. Eller da jeg var på Rietveld, hvor vi havde atelier i et gammelt militærhospital i skovene udenfor Berlin. Jeg byggede en stor papirbælg-installation, der fyldte et rum med en masse små insekter jeg lavede af grene, der kom myldrende fra vinduet og ud af bælgen. Det var sjovt, fordi jeg bare legede og undlod at stoppe op konstant og spørge mig selv, hvad meningen var.

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Hvor lang tid bruger du på et værk?

Det er svært at sige, fordi tanke/idefasen kan være meget lang, og nogle gange fotograferer og efterarbejder jeg et værk, men starter helt forfra, hvis det ikke fungerer. Så et par af mine billeder har været tæt på et par år undervejs. Men når jeg går igang med selve udførelsen – at bygge, skyde, og efterarbejde tager det typisk en lille måned.

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Hvorfor bruger du dig selv i dine værker?

Det er ikke særlig væsentligt, at det er mig selv. Det er mere en karakter jeg spiller. I princippet kunne jeg have brugt modeller. Men det er nemmest. Jeg ved, hvad udtrykket skal være og er til rådighed nårsomhelst på døgnet! Nu arbejder jeg mest med rum uden en figurs tilstedværelse.

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Dine værker rummer mange fortællinger – hvorfor?

Der er altid en meget specifik personlig historie eller stemning bag hvert billede, men det er ikke vigtigt for andre end mig selv. Slet ikke faktisk. Historierne er meget open-ended og jeg elsker, når nogen fortæller mig, hvad de ser eller får af associationer, som er helt deres egne.

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Blown away – that was my reaction when I first saw one of Choki Lindberg’s works. She works with photography, but she is not the type who just gets up and snaps a motif. There may be several years of development behind. And that you can see – and feel. In fact, I still cannot get rid of the feeling in “Senefelderstrasse ‘. It is a piece of work that in some way has captured me, and isn’t it exactly what art should be? I have asked Choki about her next project, and the funniest experience she has had with her ​​art.

How did you find out that you wanted to be an art photographer?

One day, when I was 16, I found my dad’s old, battered Nikon F, and thought it was so awesome to be able to make an image within a 60th of a second. At the time I went to a drawing school where we sat for 4-5 hours at a time and drew drapings. It was totally bored, and it had nothing to do with my own expression. So it became photography for me. I loved the short way from idea to expression, and I also loved the magic of the darkroom. It was free and playful and full of mystery and drama. Totally love at first sight!

What is your next project?

I just started a new series that has something to do with the elements having eaten away at some small decadent rooms over a long period of time … right now I’m mostly sitting and burning things! he he!

What has been your wildest career move?

When I applied for the ICP (International Center of Photography) to spite my teacher at Fatamorgana, who said I would never get admitted.

What has been your most enjoyable experience with your art?

Maybe when my friend and I almost burned down a commercial building in Rotterdam, as there was a fire in our installation. However, it was just fun afterwards. Or when I was at Rietveld, where we had a studio in an old military hospital in the woods outside Berlin. I built a large paper pod installation that filled a room with a lot of small insects I made out of branches that came swarming from the windows and out of the pods. It was funny because I just played and failed to stop constantly and ask myself what the point was.

How much time do you spend on a piece?

It’s hard to say because the thought/idea phase can be very long, and sometimes I photograph and post process a piece and end up discarding it and start over from scratch if it doesn’t work. So a few of my pictures have been close to a couple of years in the making. But when I start the actual production – to build, shoot, and post process, it usually takes about a month.

Why do you use yourself in your work?

It is not very significant that it is myself. It’s more of a character that I play. In principle, I could have used models. But it is easier. I know what the expression should be and I’m available at any time of day! Now I work mostly with rooms without the presence of a character.

Your works contain many stories – why?

There is always a very special personalized story or mood behind each image, but it is not important to anyone but myself. Not at all actually. The stories are very open-ended and I love it when someone tells me what they see or get associations, which are entirely their own.

 

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