Exhibited: “Allan Otte - Everything is Good Here”, Galleri Tom Christoffersen, Copenhagen and Himmerlands Kunstmuseum, Aars 2006, the artist's first solo presentation. Provenance: Galleri Tom Christoffersen, Copenhagen. Provenance: Private collection, Denmark. Acquired directly from the above.

In relation to the exhibition “Everything is Good Here” (2005) writer and critic Lisbeth Bonde wrote the text “A realist in the cyber age” on Otte's work. The present work is seen in an art historical perspective and gives title to the entire exhibition. Bonde writes, among other things:

"At first glance he pays homage to longstanding traditions in Danish landscape painting, to J. Th. Lundbye over L.A. Ring and Theodor Philipsen to Jens Søndergaard, Kaj Ejstrup – and the surrealist Poul Anker Bech. But in contrast to these painters, who either portray the landscape as a free space for contemplation or romantic lingering, or who practice a type of surrealism by crosscutting between several different planes of reality, Otte, with his cool and formal computer generated pictures, delivers a sweeping criticism of civilization. He impartially and honestly sets out the loss of values that is the consequence of the farming sector’s supplying ever-increasing quantities of food to the growing cities. But he does it without raised fingers (...) The widescreen picture ’Everything is Good Here’ is included along with a series of new paintings in the exhibition at Gallery Tom Christoffersen and Himmerlands Kunstmuseum in Aars (...) In the left part of the picture we see a stately redbrick farmhouse, whose architecture recalls the proud manors of the past, with their turrets and many windows. But what once signified greatness and magnificence today stands dwarfed by the working farm, which takes up 2/3 of the picture, structured in long parallel rows of streamlined, skylit design, providing the livestock with natural light, as they never leave the stables. In the background are windmills, standing as semaphores to this energy-consuming form of production. The two universes do not cohere. The farmer lives his life in one age, but produces in another. The animals and plants are production units, like bars of soap, nails or toothbrushes. They are no longer included in the farmer’s empathy, and likewise the surrounding fields seem to lie dead. It is a scary and merciless picture. (Quoted from www.tomchristoffersen.dk)