Art Calendar

SPECTA is pleased to present the gallery’s first solo exhibition by Senegalese/US artist Modou Dieng Yacine. The exhibition I Will Go Where Your Music Takes Me. Dakar, City of Migrations is a vibrant installation of colors, video and energetic paintings, forming a visual and fictional tale of Dakar, the West African city where migration breathes through every street, movement hums in every sound beat, and stories are painted on the walls in cobalt and fire.

The full title of Modou Dieng Yacine's exhibition at SPECTA reads like a call-and-response - an invocation that grounds itself in place while celebrating movement. This poetic refrain transforms the gallery into a vibrant constellation of artworks that explore motion and memory, with Dakar serving as both subject and lens.

Arnstedt Östra Karup is pleased to present Vågor & partiklar: a solo exhibition by Christine Ödlund.

Christine Ödlund is a Swedish artist who unites art, science and philosophy in a practice that focuses on sound, plants and communication. Inspired by scientific studies showing that plants respond to specific sound frequencies and communicate chemically, she explores how these forms of non-human intelligence can be translated into artistic expression.

With a background in electroacoustic music and a strong interest in ecological chemistry, Ödlund has developed an imagery that is based on listening as a way of understanding the world. For her, art is about deepening our perception and creating connections between human and non-human systems. Her work often starts from the idea that everything is part of a larger whole, where artistic creation can contribute to increased awareness.

Arnstedt Östra Karup is pleased to present Kvarnämne: a solo exhibition by Gabriel Karlsson.

Gabriel Karlsson (b. 1988, Stockholm) lives and works in Malmö. He holds an MFA from the Malmö Academy of Fine Arts, where he today also teaches. His work has previously been shown at Malmö Konsthall, Ravinen in Båstad, Artipelag in Stockholm, Skissernas Museum in Lund, Landings Project Space in Vestfossen (Norway), Galleri Arnstedt, Study For Art Platform in Stockholm and Gallery CC in Stockholm. In 2021, Gabriel Karlsson was awarded the Fredrik Roos scholarship.

Helsinki Contemporary is pleased to present Desire Path: A solo exhibition by Jussi Goman.

Jussi Goman’s new paintings feature colour-drenched layers of paint that carve out unruly paths upon an orderly configuration of grids and lines. The resultant pattern is reminiscent of doodles in a graph notebook, a jigsaw puzzle, a Snake video game, or the Minotaur’s labyrinth, invoking spontaneous shortcuts, dead ends, and myriad narratives.

Goman is in a class of his own in his command of colour and technique. His paintings are complex tapestries of lightness and heaviness, bold brushstrokes and delicate details. His new paintings combine dazzling, luminous hues with pastel blues and lavenders, with added accents of muted orange and red. The glassy acrylic surface provides a lively accompaniment to the lusciously textured brushwork. Adding further three-dimensionality to each canvas are the succulent acrylic impasto accents that have become a signature trademark of his style.

Goman draws inspiration both from mythology and everyday life. The creatures appearing in his compositions are reminiscent of the mischievous beasts in Aesop’s animal fables, beloved pets, or birds foraging in the garden. Whichever the case may be, the underlying idea is the same: greatness comes in small details, and every moment contains eternity.

'Desire Path’ is Jussi Goman’s first solo exhibition at Helsinki Contemporary. He has previously appeared at Helsinki Contemporary together with Santeri Lehto and Anton Alvarez in the group exhibition ‘Not Enough Room to Swing a Cat’.

The exhibition launching the autumn season at Galerie Anhava is 'With All my senses' in which Jussi Niva continues his painterly exploration of the experience of space, volume and material. In a departure from his earlier works, Niva's new paintings are more freely situated in the space. Instead of conforming to the typical frontality of painting, these works are variously free-standing or lean or rest against each other, or appear to be pulling slightly away from the wall.

While the works retain the archetypal rectangular shape of the canvas, the intersections and undulating turns of the painted surfaces suggest a two-sided, curved form. The works are like fragments of a larger spherical surface, which, depending on the angle of view, may appear spatially closing or opening. As the viewer moves through the space, the works offer insights into understanding the positive and negative form of the painted surface, with some of the canvases painted on both sides.

Although they are devoid of imagery, the works are actively involved in the temporal event of viewing. Like traditional paintings, these works also project a space, but three-dimensionally and in multiple directions. Hence they are not defined exclusively by the surface but also by the viewer's changing position, distances and the surrounding space. In their immateriality, they carry as much meaning as material.

Arnstedt Östra Karup is pleased to present Vessels: a solo exhibition by Niklas Asker.

The exhibition features images of objects and materials, painted not as traditional still lives but more like portraits. A damaged stone head floats in mid air, a pair of cut branches of a geranium in a glass of water stretches up to reach the light above, a small statue of a man seems to study a couple of elderly human hands. These are depictions of emotions, of human experience, mostly devoid of physical human presence.

In this exhibition Niklas is interested in using the objects we surround us with, some with historical significance and others more mundane, to say something about who we are as humans. They are mirrors in a way, inviting the viewer in to reflect on the situations and objects before them, and at the same time on their own way of thinking and seeing. The works are vessels; of energy transmitted between the artist and viewer, of human experience and of the possibility and freedom of personal interpretation.

i8 Gallery is pleased to announce Silent Archibionts, a solo exhibition by Alicja Kwade that opens on 24 July 2025 and will remain on view until 6 September. The show, the artist’s fourth with i8, comprises a single, large-scale sculpture: Archibiont (2025). Within the work, a static, black powder-coated steel frame evolves into organic imagery, as the smooth steel transforms into highly textured, verdigris tree bark and animal antlers made of bronze.

Throughout her practice, Kwade examines overlapping principles that guide science, mathematics, and philosophy. While continually shifting perceptions and questioning established theories, the artist has developed a visual language around celestial and earthly principles and the interwoven relationships of art and nature. The continual relevance of society’s quest to apply meaning and measurement to life forces underscores the inherent mysteries of the universe, many of which remain unsolved and perpetually in a state of artistic and scientific exploration.

Annika Nuttall Gallery is pleased to present Darwins Motel, a solo exhibition by Danish artist Anders Brinch.

Anders Brinch's stylistic approach is very wide, ranging from the totally abstract to narrative figurative works. It contains traces of conceptual art, geometric abstraction, site-specific art and expressionism. He uses a great variety of materials and approaches, ranging from oil on canvas to readymade objects, plaster, plants, live fish and sound. Anders Brinch's choice of subjects is often personal. He is not afraid of putting his feelings into his works, and a scale from emotional pain to hilarious joy can be detected in them.

Anders Brinch (b. 1971) Lives and works in Copenhagen, Denmark. He graduated from the Royal Danish Academy of Arts in 2007. Anders Brinch has exhibited widely in Denmark and abroad. His works are represented at Arken Museum of Modern Art, KUNSTEN Nordjyllands Art Museum, Skive Art Museum and Randers Art Museum.

Lagune Ouest is pleased to present Aftermath: A solo exhibition by Henrik Plenge Jakobsen. The opening will take place between 5-8 pm on Friday August 15th at the gallery on Tagensvej 85 in Copenhagen.

Henrik Plenge Jakobsen's artistic work is based on conceptual sculpture, installation, performance and art in public space. He works with universal themes in economics, history and politics as well as basic existential phenomena such as anxiety, alienation and coexistence.

Henrik Plenge Jakobsen (DK, 1967) is educated from the Royal Danish Academy of Fine Arts, Institute des Hautes Etudes en Art Plastique and Ecole Nationale Supérieure des Beaux Arts, Paris (1994). Past exhibitions include: Centre Pompidou (Paris), Den Frie (Copenhagen), Arken Museum of Contemporary Art (Ishøj), Kunstverein für die Rheinlande und Westfalen (Düsseldorf), South London Gallery (London), SMK - The National Gallery of Denmark (Copenhagen), Palais de Tokyo (Paris) among others.

V1 SALON is pleased to present Face the Dawn: A solo exhibition by Jenny Carlsson Grip.

In my work, the landscape is a scene where the forces of nature can run free. I paint my canvases out in the terrain, right at the meeting point between the cultured and the wild, the raw living dirt and the blindingly beautiful. I put on the soil in broad strokes on the linen surface. Build up heavy bodies of colour, letting the paint pour. Hollow trunks and thorny vines stretches out of pitch dark forests and the oily puddles that flow in the ditches. I scratch the colour with my fingers, making branches glow blood red towards the first light, and steadying the ground with layers of umber and golden ochre.

Flowers stay from the night, broken violets, like secrets from the deep mud and dark lakes. Thorns and wildweeds stand witness to the passing of time, they are both the end and the start of the cycle, pearls glowing out of rising growth and the flying light, as the landscape face the dawn.

- Jenny Carlsson Grip, June 2025.

Jenny Carlsson Grip, born 1984, lives and works in Ronneby, Sweden. She holds a BFA and MFA from Umeå Academy of Fine Arts, Sweden, 2013. Her work has been exhibited widely across the nordics.

STANDARD (OSLO) is pleased to present "Burnt Toast" : A solo exhibition by Julia Rommel.

In the 1990s rom-com-dram classic 'Sliding Doors', Gwenyth Paltrow's diverging life paths are visually represented through the use of opposing colors, one path blonde and the other brunette. Surely it is an oversimplified cinematic tool to keep track of the parallel story lines developing. Or a grand conceived theory into how minor inconveniences and disruptions throughout the day alter the path to color choice.

As Rommel's practice ebbs and flows, so does her appreciation for results that previously would have felt too chaotic. With a strong foundation and independent agency there is a noticeable change in attitude and more confidence to let in her version of lawlessness. Instead of second-guessing choices, she moves forward with decision. An almost welcoming of new uncertainty and a living through the answers within a controllable space. Sometimes you drop an egg on the floor, or you burn your breakfast toast. You can decide if it ruins your whole day, or you shrug and make a new toast or switch to yogurt. Or if the 'Burnt Toast Theory', the aforementioned movie, and the coincidental title to this exhibition hold, it alters our day in unknowable ways. Who's to say where life would have taken Gwenyth as a redhead.

OSL contemporary presents Å rakne / To fray : A solo exhibition by Ask Bjørlo

Several works in Ask Bjørlo’s new series of embroideries include glittering plastic paillettes. In Refleksjon 1 (2025), they are bright green and sewn in lines which form a square-shaped patch. The linen fabric which comprises its background is dyed by hand using plant pigment—in this case a light and mushy blue, bordering on turquoise. Almost magically, the synthetic pieces glimmer when one moves around it, as the light hits different. In this green motion, I see nature. I see the chlorophyl of the trees and lichen I’ve been surrounded by on the mountain over summer, and I am reminded of the late Norwegian philosopher Arne Næss’ attentive ruminations on the latter natural phenomena: “The lichens are strangely connected beings: algae intimately interrelated with fungi. A still stranger connection: algae, fungi, human beings.”[1] In the realm of Ask Bjørlo’s practice, the intricate connectivity between humans and nature which Næss summons is pervasive. By making use of textile art and handicraft’s vast histories, the artist seems to be occupied with the fundamental entanglement of nature, culture, and representations of identity.

- Excerpt from exhibition text by Live Drønen

Ask Bjørlo (b. 1992, Hønefoss, Norway) is a visual artist working with traditional textile techniques such as weaving, embroidery, knitting and lacemaking. Deeply engaged with textile history, his practice reflects a reverence for its rich heritage and a dialogue with past traditions and practitioners, often viewed through a queer lens. Drawing inspiration from art history, nature, mythical creatures, and childhood memories, Bjørlo’s works quietly explore emotional resonance, identity, and the tactile traces of time.

It is with great pleasure that Gallery Steinsland Berliner presents Solace, the latest exhibition by Swedish artist Malin Gabriella Nordin. This occasion marks the artist’s fifth solo show at the gallery and follows several notable recent projects in Stockholm.

In Solace, a new suite of paintings by Malin Gabriella Nordin is unveiled. Nordin’s easily recognisable expression is infused with a sense of wonder at both the natural and the transcendental. Her intuitively guided practice moves with curiosity between media and approaches, resulting in a dynamic and captivating body of work where painting, drawing, and sculpture coexist. This exhibition sees Nordin refocus attention on her painting practice after a period of diversifying her focus by exploring materiality and scale through sculptural work. The title Solace refers to a feeling or experience of being comforted or otherwise relieved from troubles, perhaps indicating a period of harmony for the artist found in this return to her foundations.

Galleri Susanne Ottesen is pleased to present All The Darkness Behind The Light: A solo exhibition by Kehnet Nielsen

Kehnet Nielsen is renowned for his richly layered paintings, blending personal experience with literary and art historical references to create what he describes as ‘psychological landscapes’. This exhibition marks over three decades of collaboration between Nielsen and the gallery, with a series of twenty-five new paintings. A self-contained library will invite visitors to experience the works guided by the cast of cultural characters – from Ernest Hemingway to Albert Camus and Cy Twombly to Sophie Calle – who accompany Kehnet through his creative process. "Creating, considering and interpreting an artistic work, linguistically or visually, are two sides of the same coin albeit different. Language creates images, and images create words, to interpret what is seen and what is felt." - Kehnet Nielsen

We invite you and your guests to the opening of Lilja Birgisdóttir's solo exhibition, The Moment You Look Away / Um leið og þú lítur undan, on Saturday, August 16th at Þula, Marshall House, from 5 - 7 PM. We look forward to seeing you there.

There are days when I would like to grasp the self with my own hands. Place beauty within the confines of identity. Know precisely where my outlines end, where the world begins. But the self is also a stubborn dandelion, breaking through asphalt, certain it has unfinished business with the sun. The self is also a fleeting place reflected in a puddle of rainwater, a single moment we did not need to notice. Eyes that look with affection are met with a world brought to life, and I have yet to figure out how to touch without being touched in return. Each time I apply color to something, my interior being is ferociously painted in the very same hues. At the core, humans are archival beings, and attention is the very material from which we are made. Forever and simultaneously, the sun and the dandelion.

Alice Folker Gallery is pleased to present In Motion: A solo exhibition by Asger Harbou Gjerdevik.

Entering visual artist Asger Harbou Gjerdevik’s show is like walking down a winding path, through a net of tightly woven references that alternate between strangeness and familiarity, impulsivity and reflexion, seriousness and humour, simplicity and complexity, brightness and pastel. Through repetitions in colours, patterns, and symbols, Gjerdevik creates a coherence in the seemingly fragmented. Like a web of interconnected threads – or an album, where a new song replaces the previous and where ballads, beat, and blues appear as part of a whole as well as entities on their own.

As viewers we are invited into this intriguing universe, where we are confronted not only with the meaning of the many references to the art history, modernity and materiality, but with the meaning of meaning itself.

CFHILL is pleased to present After Landscape: A exhibition by Goldin + Senneby.

Goldin+Senneby turn climate attacks on art into art itself. In 'After Landscape', the duo present recreated “ready-mades” of the climate actions that targeted European masterpieces, shifting the gaze from the vandalized paintings to the protective museum glass cases.

Debuting at CFHILL is After Death and Life, a new work in the series based on Gustav Klimt’s Death and Life, attacked at the Leopold Museum in Vienna in 2022.

This spring, the critically acclaimed exhibition Flare-Up premiered at Accelerator. The series is now presented at CFHILL before traveling to MIT List Visual Arts Center, Cambridge.

Goldin+Senneby, the artist duo comprising Simon Goldin and Jakob Senneby, are known for their interdisciplinary approach that blends art with finance, ecology, and other social systems. Their work often involves collaboration with experts from various fields, including fiction writers, stock market professionals, and arborists. This allows them to explore and reveal connections between seemingly unrelated phenomena, converting these insights into comprehensible and impactful artworks.

Martin Asbæk Gallery is proud to present An Unwatched Voice, a new solo exhibition by British artist Clare Woods. Taking as a starting point the artist’s own archive of found and personal photographs, the motifs of the oil paintings are defamiliarized and reduced to their simplest formal elements using instinctive, gestural and luscious brushstrokes across the aluminium surface.

Clare Woods abundant flower arrangements, set against a dark background, exudes melancholia and are reminiscent of the seventeenth century memento mori, intended as a reminder of the inevitability of death, a popular artistic and symbolic trope of that time. The art historical framework of the genre is important to Woods as she herself deploys the still life format to contemplate on the fragile threshold between life and death, portraying the world through seemingly banal details steeped in anxious anticipation.

Eighteen is pleased to present The Shape of a Minute: A group exhibition with Alli Conrad, Casey Baden, Jesse Zuo and Natalia González Martín, curated by Betsy Reid Willett.

Minutes endlessly knit together, at once remarkable and yet the most quotidian act: time moving forward. The Shape of a Minute, a group exhibition with works by Alli Conrad, Casey Baden, Jesse Zuo and Natalia González Martín, explores the transitory and ethereal nature of fabric. Fabric briefly holds a human imprint before taking on its next shape, and the artists explore the narrative in momentary shapes, interior spaces and intimacy as well as the materiality of fabric.

Moments are frozen in time and memories are stitched together. Yet the images can be uncanny, recalling the thin veil between viewer and work. The works convey bodily movement as it is stretched, twisted and hung, showing us where to look as the stories unfold.

Galleri Bo Bjerggaard is pleased to announce the opening of the solo exhibition 'How to get there from here' by Ivan Andersen on 27 August.

Ivan Andersen’s practice delves into the mutable and unstable qualities inherent within painting without compromising its integrity. Manipulating and stretching the medium of painting (sometimes literally), he works through its material potential to reveal underlying visual structures and patterns. Often uniting realism and abstraction within the same work, his subject matter varies from figuration to landscapes and deftly drafted architectural spaces.

The surface tactility of his paintings is achieved through painting on MDF and plywood panel, including mixed media such as paper collage, fabric and yarn. His sculptures also question the format of painting—via the ‘expanded field’—by physically incorporating painting with objects such as furniture and plants to create surprisingly hybrid works.

Vibrant colour is a central feature of his painting: ‘Ivan Andersen thinks in colours and with colours. His technically equilibristic treatment of colour has always been visible…the colour treatment has been allowed to sing out clearly, as a vital and independent way to create a pictorial narrative’, writes artist Jesper Christiansen.

BERG Contemporary is pleased to welcome you to the opening of Beyond colour and form, a new solo exhibition by Kristján Steingrímur on Reykjavík Culture Night at 5 p.m. The exhibition coincides with the release of his new book, which bears the same title and offers an overview of his career, including stories and reflections by the artist.

What is beyond colour and form? With this question, Kristján Steingrímur nods to the master of conceptual art, Robert Smithson, who laid the foundation for a shift towards focusing on the impressions of topography within contemporary art. When Smithson filled boxes with stones and gravel collected from specific sites and brought into the gallery, he called these works non-sites. Kristján Steingrímur has developed a similar method—a personal mapping of soil in paintings based on local research, sampling, and the displacement of soil.

Andréhn-Schiptjenko is pleased to present Lena Johansson’s solo exhibition Life. The exhibition, which is Johansson’s fourth with the gallery, opens on Thursday, 21 August, between 17:00 – 20:00.

The visual world that Lena Johansson has built up over the years can be likened to a chamber play. In her works, we often find ourselves intimately close to the characters, where gestures, expressions and the relationship between the people in the various works set the atmosphere. Her process has always been driven by intuition and what she calls a subconscious logic - just like in dreams or when she reads the tarot cards she often lays.

For over twenty years, Johansson has been collecting lifestyle magazines, delving into them for images that awaken her desires and from these she then creates suites of new stories. There is never a clear narrative that Johansson wants to convey to the viewer, but they often reflect deeply personal experiences from her life.

Sincerity is one of the most important aspects for Johansson in the painterly process. By removing the image from its commercial context and bringing it together with her choices, brushstrokes and narratives, the image takes on a different form. In this process, she allows the motif to control the degree of intensity and the layers added to the painting - a process she knows has reached its end point when she feels that her inner resonance matches that of the painting. For her, each painting is a unique state of mind and a place where the experiences and emotions she brings to the work are best articulated through the brush rather than through words.

Wilson Saplana Gallery is pleased to present Signs and Echoes: a solo show by Mikkel Ørsted.

In his upcoming solo exhibition, Danish artist Mikkel Ørsted presents a series of new monotypes alongside four large, towering ceramic works within the gallery space. Together, they reflect and challenge one another; where the ceramic sculptures impress with their height, mass, and balance, the monotypes appear ethereal, flickering, and almost impressionistic. The works bear clear traces of Mikkel Ørsted’s distinctive use of signs and ornamentation. The result is an abundance of aesthetic experiments that explore the hierarchies of art history; what is considered beautiful, ugly, monstrous, or downright messy?

Opening reception: Thursday, August 21, 5:00-8:00 PM
Wilson Saplana Gallery Vesterbrogade 6, 1620 Copenhagen V

V1 Gallery is pleased to present Cosmic Traveler A solo exhibition by Misaki Kawai.

The exhibition unveils two new series of paintings alongside a collection of large-format quilted works, all born from the imaginative mind and skilled hand of Japan’s master of intuitive contemporary kawaii, Misaki Kawai. These works explore magic in the mundane, adventure in the everyday. Journeys that travel far while staying near. The alien that stares back from the mirror. The absurd poetry of being human.

For over two decades, Kawai has continued to expand and reinvent the figurative language of painting, sculpture, and installation. Her works are vibrant and bold, often teetering on the edge of compositional chaos. Blending punk energy with cuteness her works have gut, humor, empathy and edge. Kawai is a global nomad, bringing her work and spirit to new destinations and partaking in local cycles of craft and creativity. Her practice is eclectic and non-hierarchical, working with painting, sculpture, music, drawing, installation, print, zines and in a variety of other media.

Andersen’s is very proud and honored to announce the first solo show in Denmark by internationally acclaimed French artist Philippe Parreno opening Friday August 22.

As a key artist of his generation, Philippe Parreno has radically redefined the exhibition experience. Rather than presenting isolated artworks, Parreno transforms the exhibition into a unified, immersive entity. He sees exhibitions as scripts of choreographed events where image, sound and visuals led visitors on a immersive journey through the space. Parreno works in a diverse range of media including film, sculpture, drawing, and text, and his use of different media will be presented in the show at Andersen’s.

Join Andersen's for the opening on Friday August 22, 5 - 7 pm.

NEVVEN is proud to present the second part of the exhibition Konvergenser #10 (Ten Years of NEVVEN).

The Opening Reception will take place Thursday, August 14, 18:00—20:00, at the gallery in Gothenburg.

Konvergenser #10 is a group show celebrating the first ten years of NEVVEN. Its Part 2 expands the anniversary exhibition that opened this past April and features a whole new body of works from a selection of 14 artists, very partially representing the 156 artists exhibited in the 85 shows arranged by the project since 2015. It is a show where artists that are already part of the art history of their own countries are blended together with young emerging practices that are starting to make their mark, where artists that made the story of the gallery meet the ones at the forefront of its program now, in an attempt to look back at these ten years of shows, depicting what the project has now become, and possibly giving a glimpse of what the future of NEVVEN might be.

Participating artists:

Alexander Basil
Anastasia Bay
Giorgio Celin
Fanny Hellgren
Naeun Kang
Sigve Knutson
Emma Kohlmann
Klara Kristalova
Eric Magassa
Olof Marsja
Minh Ngọc Nguyễn
Devin Troy Strother
Oda Sønderland
Alina Vergnano

The Royal Academy of Fine Arts and CFHILL presents a major solo exhibition of new works by Marie-Louise Ekman. Entitled Förklara allt – Nu., the exhibition features paintings, installations and glass sculptures created in recent years. Several of the paintings have expanded into a larger format – a scale previously untested by the artist. It was in dialogue with choreographer Alexander Ekman that this shift first took shape:

“Something emerged between his gaze and my space… as if what I was painting gained new life… suddenly the studio was invaded by very large people.”
— Marie-Louise Ekman

A richly illustrated catalogue will accompany the exhibition. It includes interviews conducted by Michael Storåkers with Marie-Louise Ekman, Alexander Ekman, Mats Ek, Carl Johan De Geer and Maria Lind, as well as an essay by Christpher Garplind.

Born in 1944, Marie-Louise Ekman has been a central force in Swedish cultural life for more than six decades. As an artist, director, playwright, head of the Royal Dramatic Theatre, and professor and later principal of the Royal Institute of Art, she has left an indelible mark on the country’s cultural identity. With an unwavering drive to explore new forms of expression – from film and postage stamps to public art, theatre and scenography – she has consistently demonstrated both talent and a hunger for renewal.

—

Introduction to Marie-Louise Ekman Förklara allt – Nu. at Konstakademien. In Focus. August 22, 2025.

Matteo Cantarella is pleased to announce a new solo exhibition by Danish artist Frederikke Jul Vedelsby.

In her new video work You and Joy (2025), Vedelsby returns to film long-time collaborator Alba S. Enström and retired Greek actress Eleni Sofou. Linked solely by this mutual connection with the artist, Alba (You) and Eleni (Joy) step into a spontaneous role play, engaging in the co-creation of an unscripted kinship. By tracing situations, dialogues and emotional states arising from experiences of connection with other people, Vedelsby seeks to overcome the idea of a predetermined model of sociability, formats which too often come to define the trajectory of our social and affective engagement.

Frederikke Jul Vedelsby (b. 1990, DK) lives and works in Copenhagen. Vedelsby graduated with an MFA from Malmö Art Academy, Sweden (2020), studied at Maumaus Independent Study Programme, Portugal (2021), and specialized in critical writing at Biskops Arnö, Sweden (2022). Her work has been exhibited widely in Denmark and abroad.

palace enterprise is pleased to present Simon Dybbroe Møller’s second solo exhibition at the gallery, Sjæl/Seele/Soul, with texts by Saim Demircan and Simon Dybbroe Møller.

"Photographic images can bypass reflection and go straight to the gut – think of body horror movies or pornography. The Photographic is not merely visual; it is visceral. Retinal Rift shows the mechanics of an organic eye recorded by a machine eye, an encounter between the machine-like and the weirdly human. They are glimpses into the abyss: a shared threshold, an uncanny intelligence, a symbiosis. Like the hearse in Commute, these eyes appear both familiar and wrong, logical and horrendous. They are things that usually slip by. The blood in the image, the body in the flow. "

- text by Simon Dybbroe Møller

Gallery Gudmundsdottir proudly presents The Rehabilitation of La Casa Invisible – Chapter I - An Ongoing Collective Art Project by Libia Castro & Ólafur Ólafsson and La Casa Invisible.

Opening a new chapter of activist art, collective architecture, and civic imagination, The Rehabilitation of La Casa Invisible – Chapter I, is an expansive community art project that operates across architecture, film, activism, and social practice. La Casa Invisible, a citizen-managed social and cultural center located in an 1850 neo-Arabic building in the heart of Málaga, is a living experiment in citizen participation and horizontal governance. Since its occupation in 2007, the center has grown into a crucial commons — nurturing cultural, artistic, ecological, feminist, queer, and political initiatives in defiance of institutional neglect. Now facing imminent eviction, the project seeks to re-anchor by strategically reintroducing an architectural renovation plan by architect and professor José Manuel López Osorio, through a useful art project initiated by Castro & Ólafsson with the center and curator Gemma Medina Estupiñán.

Dorothée Nilsson Gallery is proud to present Mehr Licht: a solo exhibition with Sascha Weidner.

Marking ten years since his passing, „Mehr Licht“ revisits Weidner’s poetic and emotionally charged images, which create a radical and subjective visual world shaped by perception, longing, and coded symbolism. Through his photographs, Weidner celebrates and captures the beauty of the perfect moment, turning unconditionally towards himself and his environment.

His radically subjective cosmos of images is a poetic film of life, in which every shot is an exuberant affirmation of life or a quiet melancholy. Weidner often used a mix of formats and sized photographs, covering entire exhibition walls with images that invited viewers to form their own associations and discover unexpected connections.

The exhibition coincides with the release of the publication “Estate und Künstlernachlass,” authored by Ole Truderung, the Estate of Sascha Weidner, and Inka Schube, curator of photography at the Sprengel Museum in Hanover. The booklet will be presented during a panel discussion at the Berlinische Galerie on September 12 at 4 p.m., as part of Berlin Art Week. The panel will feature Truderung, Schube, and Dorothea Schöne, director and curator of Kunsthaus Dahlem in Berlin.

i8 Grandi is pleased to present 'The Brown Period' a yearlong exhibition by Ragnar Kjartansson. This presentation, which is Kjartansson's sixth solo show at i8, will exhibit both new and existing works throughout the year.

The Brown Period is an extended project, intended to be a dive into the realms of the experimental. As i8 Grandi is a short walk from Kjartansson's studio, the artist will treat the gallery as a project space where lucky strikes and failure collides. For the artist, the bass drum in the project space will be new video works and studio shorts, mixing drama, music, and cinematic indulgence. The works on view will continue to change throughout the year as the show evolves.

The complete work of The Brotherhood is an installation that originally consisted of six respective works. It had been developed over ten years when it was exhibited in its entirety for the first and only time in 1998, at the then-newly opened museum, NTT InterCommunication Center (ICC) in Tokyo. Additionally, it was the first major solo exhibition to open in the museum. The ICC took on the marvelous task of commissioning and shipping the installation from the United States to Japan and published an in-depth exhibition catalog, consisting of numerous scholarly insights into the exhibition and the importance of Woody Vasulka’s work, alongside interviews with the artist himself.

Even though this production of the installation was originally intended to be about preservation and historical archiving it is safe to say that the message of the work is hugely relevant today. Unfortunately, humanity is faced with unfortunate developments in world affairs that could not have been foreseen in 2015 when this exhibition first came to our drawing table.