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Kunstv\u00e6rket bev\u00e6ger sig over og under overfladen i de danske farvande og forbinder havet med b\u00e5de historiske og personlige fort\u00e6llinger.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">Installationens forskellige elementer tr\u00e6kker tr\u00e5de mellem kunstnerkolonien i Skagen for mere end 120 \u00e5r siden, og nutidens politiske landskab - og kunstnerens egen baggrund som datter af en s\u00f8mand. Breve, tropiske konkylier og reference til de transatlantiske unders\u00f8iske kabler flettes ind som billeder p\u00e5 b\u00e5de global kommunikation, magt og erindring.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">I stationens plakatfriser og billboard ses 120\u2013145 \u00e5r gamle fotografier fra Skagen, udl\u00e5nt af <b>Skagens Museum<\/b>. Motiverne - fiskermilj\u00f8et, byen og menneskene der levede der - kobles til nutidens stemme og blik, hvor velf\u00e6rdssamfundet har givet muligheder for, at flere kan komme til orde - ogs\u00e5 dem der f\u00f8r hen var henvist til at at v\u00e6re et motiv, en genstand for andres blik.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\"><b>Baggrund for Lys, skygge og l\u00e6kage:<\/b><\/span><\/p><p><span style=\\\"font-size: 26px;\\\">Under et tre m\u00e5neders ophold jeg havde p\u00e5 Skagen Air \/ Skagens Museum, vinteren 2025, fandt der store begivenheder sted i verdenspolitikken: ny pr\u00e6sident i USA, krig i Europa (og mange andre steder), stor medieopm\u00e6rksomhed p\u00e5 havene omkring Danmark - som bl.a. deles med Rusland - oprustning af s\u00f8v\u00e6rnet og fokus p\u00e5 det allerede katastrofale havmilj\u00f8 i de danske farvande.<\/span><br \/><span style=\\\"font-size: 26px;\\\">Opholdet gav ogs\u00e5 mulighed for at dykke dybere ned i kunstnerkolonien i Skagen, som levede og arbejdede der for over 120 \u00e5r siden. Bagkataloget for flere af de historiske kunstnere viste tydeligt, hvem der dengang havde friheden til at blive kunstner. Det var ofte b\u00f8rn af velstillede familier \u2013 som k\u00f8bm\u00e6nd, en magtfuld position i tiden. Ancher-parret, som boede i Skagen \u00e5ret rundt, i mods\u00e6tning til de \u00f8vrige kunstnere, havde stor fordel af Annas lokale forankring. Ja, faktisk var det nok Anna, som den eneste lokalforankrede i kolonien, der kom fra gode k\u00e5r og kulturel kapital, via sin mor \u2013 datter af en rig m\u00f8ller i Skagen \u2013 og sin broder Degn Br\u00f8ndum, der havde overtaget farens virke, som den m\u00e6gtige k\u00f8bmand og hotelv\u00e6rt i byen.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">I Ancher-parrets hus st\u00e5r p\u00e5 en lille kommode flere store konkylier fra det Caribiske hav. Der g\u00e5r forskellige historier om, hvordan de er endt i Skagen \u2013 sandsynligvis gennem forliste ruteskibe fra Jomfru\u00f8erne til K\u00f8benhavn, hvor fiskerne fandt dem i deres net, efterf\u00f8lgende. Andre fort\u00e6llinger n\u00e6vner romt\u00f8nder, der pludselig dukkede op i k\u00f8bmandens besiddelse, og konkylier, der blev brugt som st\u00f8tter i lastrummene og siden da, som havepynt i prydhaver.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">Da jeg s\u00e5 konkylierne i det kultiverede hjem, blev jeg mindet om, at jeg selv er vokset op med hjembragte konkylier. Min far var s\u00f8mand og sejlede p\u00e5 de syv have fra han stak til s\u00f8s som 15-\u00e5rig og frem til begyndelsen af 1980\u2019erne. Hos min mor st\u00e5r stadig to mindre konkylier. Hun syntes altid, at det d\u00e9r med at f\u00f8re sig frem som verdensmand \u2013 at vise, at man var berejst - var bl\u00e6r. Hun forst\u00e5r i det hele taget ikke, hvorfor jeg interesserer mig for fortiden, n\u00e5r hun selv har k\u00e6mpet for at glemme den: en nomadelignende tilv\u00e6relse pr\u00e6get af druk, smadrede hjem, h\u00e5rdt arbejde i restaurationsbranchen, kort skolegang, - og b\u00f8rn, der arvede for\u00e6ldrenes konflikter.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">I LED-videoinstallationen indg\u00e5r billeder af h\u00e5ndskrevne breve og opl\u00e6ste s\u00e6tninger fra min fars sidste rejse \u2013 p\u00e5 et kabelskib udg\u00e5ende fra St. John\u2019s, Newfoundland. Han understreger flere gange, at n\u00e5r han og min mor skulle tale sammen i telefon, m\u00e5tte hun huske, at linjen ikke var sikker.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">Kablerne p\u00e5 havbunden, lagt allerede i midten af 1800-tallet, spiller ogs\u00e5 en rolle i videoen - en v\u00e6sentlig international handels- og kommunikationsform, som den vestlige verden benyttede sig af. Men altid med bevidstheden om, at \u201cnogle\u201d - ogs\u00e5 fjenden - lyttede med.<\/span><\/p><p><span style=\\\"font-size: 26px;\\\">K\u00e6mpe konkylien, jeg har brugt i videoen og glasinstallationen, har jeg l\u00e5nt af Beton-Jens fra Skagen. Han fik sine k\u00e6mpe konkylier i 1980\u2019erne, da han sugede sand ved Grenen til udbygningen af havneomr\u00e5der rundt i Danmark.<\/span><\/p><p>\u00a0<\/p><p><span style=\\\"font-size: 21px;\\\"><b>Tak til: <\/b><b>Janusz Walentynowicz<\/b> - kunstner, for glas ekspertise og v\u00e6rksteds fasiliteter, Skagen. <b>Andreas Bjerre<\/b> - historiker \/<b> SKM<\/b>, for samarbejde omkring udl\u00e5n af fotos mm. <b>SKM <\/b>\/ Skagens Museum og <b>SkagenAir. <\/b><b><\/b><b>Anette Fredsted Aalling<\/b> - kunstkonservator \/ <b>SKM<\/b>, for kikken p\u00e5 og rensning af konkylie og forbindelse til <b>Mette Westergaard Nielsen <\/b>- naturhistorisk konservator. <b>Kresten Langvold <\/b>- Kunstformidler \/ <b>SKM. <\/b><b><\/b><b>Natacha Mia Kir<\/b> - museuminspekt\u00f8r og naturhistoriker \/ <b>Museum VEST<\/b>. <b>Christian Schmidt-Rasmussen<\/b> - kunstner og \u00e6gtef\u00e6lle, hj\u00e6lp p\u00e5 glasv\u00e6rkstedet mm. <b>Beton Jens<\/b> - Skagen Beton, for udl\u00e5n af 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