Pernille Kløvedal Helweg

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

In Footage our gaze is once more directed to the down-to-earth domain of legs and the foot. But it isn't one social class's swaggering boastfulness over another's that is the essence of the story; it is rather a magical journey related to those of Hans Christian Andersen, where you travel around the globe with your magnifying-glass on a selected field of interest such as the eternally passing feet - floating and graceful, elegantly fashionable, sore and tired - training a passing spotlight on a whole age through patterns of movement and body language.

The quotation is from the section A Foot above the Ground in the book FOOTAGE, 2007.

We should therefore introduce a Day of the Foot, when we could liberate it from the dark casing of the shoe, so it could feel the tickling of the grass. On such a day we should also massage it with lovely oils − like Mary Magdalen in the New Testament, who moistened Christ’s feet with her tears and dried them with her hair. But if we do not value the foot sufficiently, the languages has on the other hand taken it seriously for centuries.. We speak of verse feet, to go in other people’s footsteps, to be on a good footing with someone, to get a foothold, to have the world at your feet, to stand on one’s own feet or to get a foot in the door. One could go on and on. But when has the foot ever been the main motif in an artwork?

Text excerpt from the exhibition FOOT AND FASHION in Apair's showcase window by Lisbeth Bonde, 2010.

We should therefore introduce a Day of the Foot, when we could liberate it from the dark casing of the shoe, so it could feel the tickling of the grass. On such a day we should also massage it with lovely oils − like Mary Magdalen in the New Testament, who moistened Christ’s feet with her tears and dried them with her hair. But if we do not value the foot sufficiently, the languages has on the other hand taken it seriously for centuries.. We speak of verse feet, to go in other people’s footsteps, to be on a good footing with someone, to get a foothold, to have the world at your feet, to stand on one’s own feet or to get a foot in the door. One could go on and on. But when has the foot ever been the main motif in an artwork?

Text excerpt from the exhibition FODEN OG MODEN in Apair's showcase window by Lisbeth Bonde, 2010.

We should therefore introduce a Day of the Foot, when we could liberate it from the dark casing of the shoe, so it could feel the tickling of the grass. On such a day we should also massage it with lovely oils − like Mary Magdalen in the New Testament, who moistened Christ’s feet with her tears and dried them with her hair. But if we do not value the foot sufficiently, the languages has on the other hand taken it seriously for centuries.. We speak of verse feet, to go in other people’s footsteps, to be on a good footing with someone, to get a foothold, to have the world at your feet, to stand on one’s own feet or to get a foot in the door. One could go on and on. But when has the foot ever been the main motif in an artwork?

Text excerpt from the exhibition FODEN OG MODEN in Apair's showcase window by Lisbeth Bonde, 2010.

We should therefore introduce a Day of the Foot, when we could liberate it from the dark casing of the shoe, so it could feel the tickling of the grass. On such a day we should also massage it with lovely oils − like Mary Magdalen in the New Testament, who moistened Christ’s feet with her tears and dried them with her hair. But if we do not value the foot sufficiently, the languages has on the other hand taken it seriously for centuries.. We speak of verse feet, to go in other people’s footsteps, to be on a good footing with someone, to get a foothold, to have the world at your feet, to stand on one’s own feet or to get a foot in the door. One could go on and on. But when has the foot ever been the main motif in an artwork?

Text excerpt from the exhibition FODEN OG MODEN in Apair's showcase window by Lisbeth Bonde, 2010.

We should therefore introduce a Day of the Foot, when we could liberate it from the dark casing of the shoe, so it could feel the tickling of the grass. On such a day we should also massage it with lovely oils − like Mary Magdalen in the New Testament, who moistened Christ’s feet with her tears and dried them with her hair. But if we do not value the foot sufficiently, the languages has on the other hand taken it seriously for centuries.. We speak of verse feet, to go in other people’s footsteps, to be on a good footing with someone, to get a foothold, to have the world at your feet, to stand on one’s own feet or to get a foot in the door. One could go on and on. But when has the foot ever been the main motif in an artwork?

Text excerpt from the exhibition FODEN OG MODEN in Apair's showcase window by Lisbeth Bonde, 2010.