An artistic perspective on a dialogical investigation of the photographic surface, space, and the viewer’s corporeal experience
Torben Eskerod’s photographic practice is rooted in the documentation of landscapes, architecture, and faces. Large format close-up shots organized in series invite the viewer to plunge into the state of contemplative meditation, explore their own soul, and turn to their inner memory.
For many years, Torben has been concerned with the notion of death, which is often considered a taboo subject in modern culture. Eskerod’s approach to death is far from that of the classic photography. He uses outdated films to capture weathered burial photographs, framed with flowers and fallen leaves, at Campo Verano, a legendary cemetery in Rome, achieving unrealistic colors and evocative, breathing texture of the photograph. In contrast, faces from the series Life and Death Masks have a deliberately artificial appearance: one could hardly tell them from 3D models. In such a way, the artist extracts the photographs from their original context, transforms their integument, making them resemble ‘art objects.’
Landscapes and portraits by Eskerod not only capture exact locations or appearances but provide an artistic perspective on a dialogical investigation of the photographic surface, space, and the viewer’s corporeal experience.
The exhibition includes 5 series, over 70 works, and 1 experimental photo installation.
Supported by the Danish Cultural Institute, Danish Art Foundation, and St. Petersburg Committee for Culture
In the framework of the Festival of Photography of the Nordic Countries at ROSPHOTO
Torben Eskerod is educated from Aalborg University (1980‒1986) and has studied at Aarhus School of Architecture and Fatamorgana School of Photography in Copenhagen (1988‒1991). Eskerod’s projects find common ground in his interest for contemplation and spirituality. He is especially known for his portraits in series like Equivalent (1995), Cassadaga (2000), Register — Life and Death Masks (2001), Friends and Strangers (2006) and Campo Verano (2008). His approach to the spiritual potentials for photography is further explored in the series Marselis (2012) and Can Lis (2013).
Eskerod’s work has been published in the books Ansigter / Faces (Ministry of Culture’s photographic bookprice, Forlaget Rhodos, 1997), Register (Ny Carlsberg Glyptotek, 2001), Campo Verano (Kehrer Verlag, 2008) and Marselis (Kehrer Verlag, 2014).
His architectural photographs and portraits have been published widely in several different projects like Statens Museum for Kunst (Arkitektens Forlag, 1998), Vita (University of California Press, 2005), The Club, (Rönnells, 2008), Will to Live (Princeton University Press, 2009), Frederik VIIIs palæ (Aristo, 2010), Kunst på Borgen, (Permild & Rosengreen, 2013) and Anton Rosen (Forlaget Vandkunsten, 2013). Eskerod is also photo editor at Daylight & Architecture Magazine published by Velux.
Eskerod has exhibited at the National Portrait Gallery in London, the Scottish National Portrait Gallery in Edinburgh, Andy Warhol Museum in Pittsburgh, Museum of Modern Art in Moskow, Ny Carlsberg Glyptotek in Copenhagen, Overgaden Institut for samtidskunst in Copenhagen, Blue Sky Gallery in Portland, Peter Lav Gallery in Copenhagen and Yossi Milo Gallery in New York. He has received several prizes and grants and is represented in a wide range of private and public collections such as the National Portrait Gallery in London, Museum of Photographic Art Brandts in Odense, the National Museum of Photography, Сopenhagen, Museum of Fine Arts, Houston, and Portland Art Museum, Oregon.
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