natgillin/translations-raw huggingface dataset:
I Sonja Ferlovs collage genfindes maskens form i den aflange figur. 
In Sonja Ferlov's collage the form of a mask can be discerned in the oblong figure.
Hun har her også benyttet sig af den stoflighed, der ofte ses i afrikanske masker. 
Furthermore, she has exploited the kind of textural quality often found in African masks.
Sonja Ferlov er i mange henseender mere direkte påvirket af traditionel afrikansk kunst end sine kollegaer. 
In various respects Sonja Ferlov was influenced more directly by African art than her colleagues.
Men senere blev det balinesisk kunst, der fangede hans interesse. 
Later, however, Balinese art aroused his interest.
Også maleriets ornamenter er inspireret herfra. 
The inspiration for the ornaments, too, came from there.
Han har taget sin uddannelse på The Royal Academy of Arts og Slade School of Fine Arts i London, Hunter College of Art i New York samt på kunst­akademiet i Düsseldorf. 
He trained at the Royal Academy of Arts and the Slade School of Fine Arts in London, Hunter College of Art in New York, and Kunst­akademie Düsseldorf in Germany.
Han bor og arbejder i dag i Berlin. 
Today, he lives and works in Berlin.
Eksistensens grundvilkår, og navnlig det moderne menneskes fysiske og psykiske udsathed, er blandt hovedtemaerne hos Peter Linde Busk. 
The basic conditions of existence and especially the physical and psychological exposure of modern man count among Peter Linde Busk's most prominent themes.
Billeduniverset er befolket af tragikomiske eller forfejlede skikkelser, der fremstilles med deformiteter og uskønne forvrængninger i afgrundslignende og kaotiske rum. 
His pictures are populated by tragicomic or unsuccessful figures that are portrayed with deformities and unsightly distortions in chasmic, chaotic spaces.
Men ikke sjældent slår stemningen over i bidende satire, spøgefuldhed eller oprørsk humor. 
Frequently, however, the atmosphere changes into cutting satire, jocularity, or rebellious humour.
Dette skyldes ikke mindst kunstnerens anvendelse af værktitler, der foruden referencer til verdenslitteraturen - heriblandt Baudelaire, Cervantes, Rilke og Rimbaud - stammer fra populære og epokegørende amerikanske tv-serier som Deadwood og The Wire. 
This is, in no small measure, due to the artist's particular use of titles which, apart from referring to world literature - including Baudelaire, Cervantes, Rilke, and Rimbaud - come from popular and pioneering American television series like Deadwood and The Wire.
Titlerne fungerer ofte som en art replikker mellem billede og beskuer, der udvider værkets fortællinger. 
The titles often work as a kind of repartee between the picture and the onlooker, in this way expanding the narrative content of the work.
Blandt inspirationskilderne tæller også senmiddelalderligt ikonmaleri, ekspressionisme, Art Brut og Cobra-kunstens skyggesider. 
Moreover, icon painting from the late Middle Ages, expressionism, Art Brut, and the dark sides of Cobra art are also among his inspirational sources.
Hvad angår sidstnævnte henter kunstneren først og fremmest inspiration hos kunsthistorikeren og psykiateren Hans Prinzhorn (1886-1933), der i sine undersøgelser af kreativitetens grundprocesser især hæftede sig ved psykotiske patienters billedskabelse. 
Regarding the latter, the artist relies heavily on the work of the art historian and psychiatrist, Hans Prinzhorn (1886-1933), who, when investigating the basic creative processes, mainly paid heed to the picture-making of psychotic patients.
Heri mente han at kunne påvise en helt særegen sammensætning af figuration og ornamentik, der skulle bibringe det indre kaotiske følelsesliv en vis tålelig orden. 
Here, Prinzhorn was allegedly able to identify a unique combination of figuration and ornamentation, the purpose of which was to induce a certain order that would make the chaotic inner emotional life somewhat bearable.
Lidt tilsvarende er Peter Linde Busks billedflader ofte bygget op ved hjælp af både ordnende mønstre og tilfældige spordannelser efter den kunstneriske arbejdsproces. 
Similarly, Peter Linde Busk's pictures are often composed by both structuring patterns and accidental traces from the artistic work process.
Derudover er det et særkende hos kunstneren, at malemåden veksler mellem detaljerig, håndværksmæssig forfinelse og ekspressiv spontanitet. 
Additionally, it is symptomatic of this artist that his painterly approach alternates between detailed, craftsman-like refinement and expressive spontaneity.
Foruden maleriet omfatter Peter Linde Busks kunstpraksis også collage, keramiske arbejder og en omfattende grafisk produktion udført i forskellige blandingsteknikker. 
Besides painting, Peter Linde Busk's oeuvre also includes collage, ceramic works, and a comprehensive production of prints executed in various mixed techniques.
Han studerede oprindeligt zoologi, men begyndte at tegne og male i 1936. 
To start with he studied zoology, but began drawing and painting in 1936.
I 1937 lavede han sin første skulptur i ler, og året efter skar han den første i træ, som siden blev hans foretrukne materiale. 
In 1937 he made his first sculpture in clay, and the following year he carved the first one out of wood, which should become his preferred medium.
Han debuterede i 1937. 
He made his debut in 1937.
Som en reaktion på efterkrigstidens mange eksperimenter stiftede han i 1951 sammen med Ejler Bille sammenslutningen Marts-udstillingen, hvor de traditionsforbundne værdier stod i centrum. 
In response to the many experiments of the post-war years he and Ejler Bille founded in 1951 the group Martsudstillingen, which focussed on tradition-bound values.
Erik Thommesen er en søgende kunstner, der samtidigt tager afsæt i andre kulturers og tidligere tiders kunst. 
Erik Thommesen is an enquiring artist, who also draws upon other cultures and art of former times.
Han ligner ikke andre, og man er sjældent i tvivl om, at en skulptur kommer fra hans hånd. 
He is like no one else, and the spectator seldom has any doubt that a sculpture is created by him.
Hans skulpturer tager altid udgangspunkt i menneskeskikkelsen. 
His sculptures are always based on the human figure.
Ikke en nøjagtig, figurativ gengivelse af mennesket. 
Not a precise, figurative representation of the human being.
Næsten alt det der gør, at vi kan genkende figuren som et menneske - arme, ben, ansigt - er 'skåret' væk. 
Almost everything that would make the figure recognisable as a human being - arms, legs, and face - has been cut away.
Der er kun det væsentlige tilbage - mennesket som krop og væren. 
Only the most essential remains - the human being as body and being.
Samtidigt udtrykker mange af hans skulpturer solidaritet og medmenneskelighed, og i skulpturer med titler som ”Mand og Kvinde” kan man tydeligt fornemme fællesskab og kærlighed. 
At the same time many of his sculptures express solidarity and humanity, and in sculptures with titles like ”Mand og Kvinde” (“Man and Woman”) values like solidarity and love are evident.
Der findes også skulpturer i granit og bronze fra Erik Thommesens hånd. 
There are also sculptures in granite and bronze created by Erik Thommesen.
Men langt de fleste er skåret i hårdt træ. 
But the greater number are carved in hardwood.
Skulpturerne har ikke sokler, men rejser sig direkte fra grunden som en søjle. 
The sculptures have no pedestals, but rise directly from the ground like a column.
Arbejdsprocessen er langsom, krævende og eftertænksom. 
The work process is slow, demanding and meditative.
Der er ikke tænkt på ydre effekter eller dekoration - det er formen, rytmen og bevægelsen i skulpturen der er væsentlig. 
He does not give any thought to external effects or decoration - it is the form, the rhythm and the motion in the sculpture that matter.
På pladsen foran Holstebro Kunstmuseum står ét af Errik Thommesens hovedværker - bronzeskulpturen ”Mand” (1974). 
In the plaza in front of Holstebro Kunstmuseum is one of Erik Thommesen's major works - the bronze sculpture ”Mand” (“Man”) (1974).
Åge Vogel-Jørgensen tog derfor en lærereksamen i 1909 og han arbejdede derefter som lærer helt frem til sin pensionering i 1957, 69 år gammel. 
Åge Vogel-Jørgensen therefore trained as a teacher, graduated in 1909 and worked as a teacher until his retirement in 1957 at the age of 69.
Sideløbende med undervisningen på seminariet gik han til tegneundervisning om aftenen, og i 1918 debuterede han på Kunstnernes Efterårsudstilling. 
Whilst doing the teacher's training programme he attended a drawing course in the evenings, and in 1918 he made his debut at Kunstnernes Efterårsudstilling (the Artists' Autumn Exhibition).
I årene 1919-1921 modtog han undervisning på maleren Harald Giersings malerskole. 
In the period from 1919 to 1921 he received tuition at the artist Harald Giersing's painting school.
Det blev mere udtalt i 1940'erne, hvor Åge Vogel-Jørgensen primært maler opstillinger. 
This trait became even more pronounced in the 1940s when he primarily concentrated on still lifes.
Her forsvinder billedrummet - både det illusionistiske og det genkendelige rum - efterhånden ud af hans maleri, og billederne bliver mere og mere forestillingsløse. 
Gradually pictorial space disappears - illusionistic as well as recognisable space - from his painting, progressively emptying the pictures of any kind of representational content.
Da Åge Vogel-Jørgensen i 1951 er med til at stifte Martsudstillingen, er hans billeder abstrakte. 
When in 1951 Åge Vogel-Jørgensen helped found Martsudstillingen (the March Exhibition), his pictures were abstract.
Han fordyber sig nu udelukkende i farven og farvernes indbyrdes relationer. 
From this point on he worked with colour and colour interaction, to the exclusion of everything else.
Farven er nedtonet og gråstemt. 
Colour is subdued in grey hues.
Det er ikke de store spring i farven, der har Åge Vogel-Jørgensens interesse. 
Åge Vogel-Jørgensen is not interested in dramatic variations in colour.
I stedet er det de små forskydninger og spring i nuancen, der får hele maleriets flade til at vibrerer, han fordyber sig i. 
Tiny shifts and changes of shade that set the entire picture plane vibrating were what fascinated him.
Farven holdes sammen af linjeforløb eller geometriske former, der giver struktur og ro på fladen. 
The colours are held together by linear sequences or geometric shapes which render the plane structured and calm.
Man kan se Åge Vogel-Jørgensens malerier som intense og meditative studier af farver og deres relationer. 
Åge Vogel-Jørgensen's paintings can be seen as intense and meditative studies of colours and their mutual relations.
Men samtidigt rummer de væsentlige eksistentielle udsagn om tilværelsen. 
But they also make essential and existential statements about life.
Tal R - udvalgte værker 
Tal R - selected works
Kuglepen på papir. 
Photo: Ole Mortensen
Guld og grønne skove. 
Golden Age and Green Forests.
Samme år debuterede han på Kunstnernes Efterårsudstilling. 
The same year he made his debut at the Artists' Autumn Exhibition.
Hans første malerier var opstillinger og portrætter, men hurtigt begyndte han at eksperimentere med billedets udtryk og indhold. 
His first paintings were still lifes and portraits, but he soon began experimenting with the expression and content of the picture.
Mødet med dadaismen og dennes ironiske og anarkistiske syn på kunsten og kunstinstitutionen fik afgørende betydning for Albert Mertz. 
The meeting with Dadaism and its ironic and anarchist view of art and the art institution became crucial to Albert Mertz.
Under Anden Verdenskrig lavede Albert Mertz sammen med Jørgen Roos en række film. 
During World War II Albert Mertz made a number of films together with Jørgen Roos.
Filmarbejdet inspirerede ham til eksperimenter med collage, fotogrammer, fotomontage, lyd, bevægelse og skrift. 
The film work inspired him to experiment with collage, photograms, photomontage, sound, motion and writing.
Efter Anden Verdenskrig blev Albert Mertz et af de ledende medlemmer i Kunstnersammenslutningen Linien 2. 
After World War II Albert Mertz became one of the leading members of the artists' group Linien 2.
Han arbejdede med forenklede motiver, hvor billedets form og komposition er det centrale - enten som næsten abstrakte gengivelser af genstande og situationer fra hverdagen eller senere som ekspressive landskabsbilleder. 
He worked with simplified motifs, where the form and composition of the picture are central - either as almost abstract representations of objects and situations from everyday life or later on as expressive landscape pictures.
Albert Mertz så tidligt, hvordan maleriet fik konkurrence fra andre medier og visuelle udtryksformer. 
Albert Mertz noticed at an early stage how other media and visual ways of expression started competing with painting.
I 1960'erne kom han i kontakt med Fluxus-bevægelsen, og i perioden 1962-76 var han bosat i Frankrig og fik her værdifulde kontakter i det internationale kunstliv. 
In the 1960s he got in touch with the Fluxus movement, and in the years 1962-76 he lived in France where he made valuable contacts in international art circles.
Fra 1969 indledte han arbejdet med de karakteristiske rød-blå billeder. 
From 1969 he began working with the characteristic red-blue pictures.
For Albert Mertz forestiller billedet ikke andet end sig selv. 
To Albert Mertz the picture does not represent anything else but itself.
Betydning er ikke noget billedet har - det er noget vi som beskuere tillægger billedet. 
Meaning is not a property of a picture - it is something that we as spectators attribute to the picture.
På samme måde med farven. 
Likewise with colour.
Farven er farve - den forestiller ikke noget og har ingen symbolværdi. 
Colour is colour - it does not represent anything and has no symbolic value.
Billedet kunne lige så godt være gult, grønt eller orange. 
It does not matter whether the picture is yellow, green or orange.
På den måde bliver billedet til et objekt på linie med de ting, vi ellers omgiver os med. 
In this way the picture becomes an object just like the other things that we surround ourselves with.
Det har sig selv og ikke noget uden for sig selv - et landskab eller en ide - som formål. 
Its purpose is itself and nothing outside itself - a landscape or an idea.
Billedet bliver synets redskab - vi ser ved hjælp af billedet. 
The picture becomes the tool of our sight - we see by means of the picture.
I Holstebro Musikteaters Prismesal hænger det fortæppe, han i 1965 skabte til Holstebro Musikteater. 
And the curtain that he created in 1965 for Holstebro Musikteater hangs in the theatre's Prism Hall.
Martin Erik Andersen arbejder med skulptur og installation, men prøver hele tiden at forny den tradition, der knytter sig til disse to værkkategorier. 
Moreover, Martin Erik Andersen does not make any sharp distinction between sculpture and installation - he integrates elements of one category into the other and in this way they become overlapping.
Og så skelner Martin Erik Andersen i øvrigt ikke skarpt mellem skulptur og installation - han etablerer aktive overgange mellem de to kategorier. 
In his art Martin Erik Andersen focuses especially on the relationship between the work, the room in which the work is placed and the spectator.
Han vil i stedet skabe spring i materialer og i betydninger, der åbner op til 'mellemrum', hvor verden er grundlæggende anderledes. 
Instead he wants to create sudden transitions in terms of materials and meanings that open up to 'intervening spaces', in which the world is fundamentally different.
Betragteren bliver en del af værket, og værket ændrer sig, når man bevæger sig rundt i forhold til det. 
The spectator becomes part of the work, and the work changes as he or she moves around it.
Prøver man at forstå værkerne med den bevidsthed og det sprog, man bruger i dagligdagen, vil man opleve Martin Erik Andersens værker som mærkværdige og irrationelle. 
When trying to understand the works with everyday consciousness and language, we perceive Martin Erik Andersen's works as strange and irrational.
Efter en kort periode som lærling hos blandt andre Aksel Salto og Bode Willumsen etablerede hun i 1933 værksted sammen med søsteren Lisbeth Munch-Petersen på Bornholm. 
After a brief period as a trainee with Aksel Salto and Bode Willumsen, among others, she established in 1933 a workshop with her sister Lisbeth Munch-Petersen in Bornholm.
De to unge keramikere arbejdede med brugsting i lertøj i forlængelse af slægtens tradition, men begyndte også at arbejde med keramik som en selvstændig disciplin. 
The two young ceramicists worked with pottery articles for everyday use in accordance with the family tradition, but also started working with ceramics as an independent discipline.
I 1945 blev Gertrud Vasegaard ansat på Bing & Grøndals Porcelænsfabrik, hvor hun startede med at arbejde med stentøj. 
In 1945 Gertrud Vasegaard became employed at Bing & Grøndals Porcelænsfabrik, where she at first worked with stoneware.
Det var her, og da hun i 1959 indrettede værksted sammen med datteren Myre, at hun blev en af pionererne i dansk værkstedskeramik - en af dem, uden hvem, den mangfoldighed, rigdom og kvalitet, der præger dansk keramik i dag, ville være utænkelig. 
It was here, and when she in 1959 established a workshop with her daughter, Myre, that she became one of the pioneers of Danish workshop ceramics - one of the ceramicists without whom the variety, richness and quality that characterise Danish ceramics today, would be inconceivable.
Gertrud Vasegaards keramik er en helhed af form, materialer og dekoration. 
Gertrud Vasegaard's ceramic works are a unity of form, materials and decoration.
Selv om formen er enkel og monumental, er det en rig og forfinet enkelhed, skabt gennem lang tids tålmodigt arbejde. 
Although the form is simple and monumental, it is a rich and sophisticated simplicity, created through long and patient work.
Ofte får den drejede skål et sidste lille klem, der gør den levende. 
Often she gives the thrown bowl a final, little squeeze that makes it vivid.
Ler, glasur og farve er afstemt efter hinanden, og dekorationens ornamenter følger og understreger formen. 
Clay, glaze and colour are attuned to one another, and the ornaments of the decoration follow and emphasise the form.
Gertrud Vasegaard er inspireret af naturen og for en del af tidlige tiders keramik og fremmede kulturers udtryk. 
Gertrud Vasegaard is inspired by nature and to some degree by ceramics of former times and the idiom of foreign cultures.
En krukke skal ikke forstås - den er. 
A pot is not to be understood - it is.
I Gertrud Vasegaards tilfælde kan man sige, at den er abstrakt og meditativ. 
In the case of Gertrud Vasegaard it can be said to be abstract and meditative.
Den er et alment tegn, der forholder sig til sig selv, og derved kommer til at hvile i sin egen ro og klarhed. 
It is a common sign that relates to it self, thereby emanating an air of tranquillity and clarity.
Hun blev medlem af Martsudstillingen i 1969. 
She became a member of Martsudstillingen in 1969.
Gertrud Vasegaard har deltaget i udstillinger på museer og gallerier over hele verden. 
Gertrud Vasegaard has participated in exhibitions in museums and galleries all over the world.
Hun er repræsenteret i alle de vigtige keramiksamlinger i Europa og USA. 
She is represented in all major collections of ceramics in Europe and the USA.
Den kunstneriske løbebane blev som mange af hans generationsfæller grundlagt i værkstedsfællesskabet 'Taller de los viernes' i Mexico City. 
His artistic career, like that of several of his contemporaries, began in the communal workshop, 'Taller de los viernes' in Mexico City.
Sideløbende hermed dyrkede Dr. Lakra diverse alternative subkulturer, sådan som de udspillede sig i og omkring gademarkedet El Chopo. 
Concurrently with this, Dr. Lakra involved himself in the numerous alternative subcultures that existed in and around the street market, El Chopo.
Herfra stammer også interessen for tatovørkunst, hvis indarbejdelse i andre visuelle medier er kunstnerens egentlige særkende. 
His interest in the art of tattooing can also be traced back to this, and it is the integration of tattooing into other visual media that constitutes the artist's essential hallmark.
Dr. Lakra har i de senere år nydt international berømmelse for sit alsidige virke. 
In recent years, Dr. Lakra's versatility has earned him international fame.
Hans kunst indebærer ofte groteske og vanhelligende modificeringer af allerede eksisterende billeder og objekter. 
His art often involves grotesque and profane modifications of existing pictures and objects.
Og motivkredsen består typisk af kitschede pinup-piger fra erotiske magasiner fra 1950erne og bandesymboler fra den kriminelle underverden. 
His motifs typically consist of kitsch pin-ups from erotic magazines dating from the 1950s together with underworld gang symbols.
Der tages blandt andet også formelt afsæt i graffiti samt i karikaturens og tegneseriens æstetik. 
Graffiti and the aesthetics of caricature and cartoons also provide a formal basis for his work.
Udtrykket er ofte præget af megen humor og tilstræbt 'eksotisme'. 
His expression is often characterised by much humour and studied ‘exoticism'.
Men visualiseringen af sex, vold, død og det dæmoniske fungerer samtidig som en socialkritisk kommentar til globale samtidsbegivenheder. 
But the visualisation of sex, violence, death, and the demonic also works as a socio-critical reflection on contemporary events.
Dr. Lakra lever tilmed under historiske forhold, der er præget af stor social uro i hjemlandet. 
Moreover, Dr. Lakra's life in his homeland is surrounded by considerable social unrest.
Den spektakulære visualisering af det dæmoniske trækker især spor tilbage til senmiddelalderlige fremstillinger af dødedansen. 
The spectacular visualisation of the demonic is chiefly rooted in the mediaeval representations of the Dance of Death.
Traditionelt menes denne billedtype at besidde socialt nivellerende virkninger i dens understregning af, at stillet over for døden er alle lige. 
Traditionally, this kind of imagery is believed to possess a socially levelling effect by emphasising that everyone is equal in the face of death.
Dr. Lakras kunst er en aktuel påmindelse om dette forhold. 
Dr. Lakra's art serves as a specific reminder of this fact.
Der er desuden ikke mindst en lang og levende tradition i mexicansk kultur for det morbide og dødssymboler. 
Besides, Mexican culture has a long and vivid tradition for morbidity and symbols connected with death.
Dr. Lakra arbejder ofte med totaliscenesættelser af udstillingsrummet. 
Dr. Lakra often includes the entire exhibition space as his stage setting.
Dette sker i delvis forlængelse af den mexicanske tradition for murmaleri, sådan som vi eksempelvis kender det fra José Clemente Orozco (1883-1949) og Diego Rivera (1886-1957). 
This happens partly as a natural extension of the Mexican tradition of mural painting as we know it from e.g. José Clemente Orozco (1883-1949) and Diego Rivera (1886-1957).
Andre gange mimer han det etnografiske museums præsentationsmåder. 
On other occasions, he mimes the presentation methods seen in ethnographic museums.
Hermed ønsker han at igangsætte en konceptuel leg med kunstværkets mange betydninger - som hverdagsobjekt, artefakt og fetich på én og samme tid. 
In this way, he wants to begin a conceptual game involving the numerous meanings of art work: as an everyday object, an artefact, and a fetish at one and the same time.
Billedmeddelelsen hos Dr. Lakra er med andre ord ofte tvetydig og paradoksal. 
In other words, the visual signals conveyed by Dr. Lakra are often ambiguous and paradoxical.
Han ikke blot udfordrer det vestlige, fremmedgørende blik på andre kulturer, men fremstiller det også som et på samme tid - mere universelt? - erotisk eller begærligt blik. 
Not only does he challenge the alienating western view of other cultures, he also manages to present it as a - more universal? - erotic or insatiable view.
Et blik, der dog især finder sted i udvekslingerne mellem værk og betragter. 
A view which, in the main, exists in the interaction taking place between work and audience.
Fra Dr. Lakras atelier, foto Dr. Lakra 
From Dr. Lakras studio, photography Dr. Lakra