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Per Dybvig

17–29 August 2020

Per Dybvig, Three Days of Silence
Three Days of Silence, 2019, ink on paper, 46 × 61 cm, photo: Gunter Lepkowski

Drawing, animation

Hohensalzburg Fortress

Teaching language
English (the teacher also speaks Norwegian and a little bit of German)

What to bring
Your preferred materials (pens, brushes, paper, etc.)

Basic drawing skills

Maximum number of participants

Participation fee
€ 720.– (€ 560.–)

The course will focus on creating narratives with drawing through exploring different techniques, formats and media, as well as the impact of working in different surrounding conditions. The main tasks of the course will include investigating four primary expressions in relation to figurative works on paper: large-scale and small-scale drawing, drawing animation, and capturing visual observations in a moment of motion by physically entering public normative urban settings. In the course ink/brush/pen and pencil on paper are the principal utensils we will use to try and explore their proximity to their own functions and limits.

What happens with a narrative when we work within and between drastically different formats? What occurs when a drawing starts moving to sound and speech? To what extent can the manifestation of sociological forms in one’s own development of narrative be influenced by the process of capturing fragments of fluid narratives in the public spaces of a city landscape through life drawing? Throughout the two-week course, students will encounter these thematics by exploring the different methods themselves, both individually and in groups.

By investigating these multiple relationships that occur between the different techniques, scales and expressions, the idea of motion becomes a consistent factor that disrupts the normative perimeter of composing a narrative in drawing, enabling different processes as coherent influences that may meet as well as shatter each other.
Per Dybvig, born in Stavanger (NO) in 1964, lives and works in Stavanger and Berlin. His main artistic medium is drawing, and in recent years he has spread his ideas across enormous formats, creating intricate drawings of wild and mysterious landscapes. A few years ago, his repertoire was dominated by complex drawings made from fragmented images from news media. With pictures resembling large mind maps, where political events act as footholds in a confusing pictorial landscape, he creates chaotic images reflecting the times in which we live. Nature is an essential factor in Dybvig’s body of work. Animals and birds take on humanoid forms and interact in subdued and beautiful yet frightening landscapes, carefully drawn with thin ink lines or depicted with ink wash and brush on large surfaces. Motion comes to the fore in Dybvig’s animation films dating from 2010. It is also at the centre of his work process, for his method involves rhythm and flow; emerging rapidly or slowly, his work is never predetermined. Balancing between the real and surreal, Dybvig questions the limits of reality through the medium of drawing.

Solo exhibitions (recent)
2019 Per Dybvig, Ringgalerie, Salzburger Kunstverein, Salzburg (AT). 2018 happy valley killer hare, Galleri Opdahl, Stavanger. Evig Din/Svartfossen, Christine König Galerie, Vienna. Svartfossen, Galleri Opdahl, Stavanger. 2017 Drawings, Møre og Romsdal kunstsenter, Molde (NO).

Group exhibitions (recent)
2019 Sculpture and Drawings, Werkstagalerie Hermann Noack, Berlin. Disturbing Narratives, The Parkview Museum Singapore, Singapore (SG); The Parkview Museum Beijing, Beijing. BOOKS * PAPERS II, Christine König Galerie, Vienna. Tegnerforbundets utvalgte, bildebøker 2018, The Norwegian Drawing Association, Oslo.

Publications (recent)
DISTURBING NARRATIVES: A Contemporary Art Exhibition, exh. cat., The Parkview Museum Singapore, Singapore 2019.
The Salzburg Drawing Book, Salzburger Kunstverein/Christine König Galerie, Vienna 2019.
Svartfossen, Flamme Forlag, Oslo 2018.
Per Dybvig, portrait
Portrait photo: Erik Sæter Jørgensen