Art Calendar

V1 Gallery is pleased to introduce Richard Colman's solo exhibition 'Where the Palm Meets the Pine'.

In the exhibition, Richard Colman presents a radical new body of work: 21 paintings created over the past year. In flux. In and out of focus. Vibrating. The new works feel urgent and timeless. Transforming. Groups of figures appearing and disappearing. Compositions disintegrating and consolidating. Somewhere beyond figuration and abstraction. Cycles of painting and repainting. Saturated deep hues. Colors shimmering. Layers trembling. Past, present, and future intertwined. Acutely now, but only momentarily. Melancholic yet optimistic. Navigating the human condition. Finding strength in fragility. Beautifully uncanny. Transcendental painting.

Galleri Susanne Ottesen is pleased to present the solo exhibition 'I sleep on the second floor' by artist Andreas Eriksson. The title of the present exhibition, I sleep on the second floor, may provide a clue, alluding, as it does, to the artist’s physical location but also to the activity that accompanies sleep – when consciousness gives way to dreaming.

Born in 1975 in Björsäter, a locality in eastern Sweden, for the last twenty-four years Eriksson has lived in Kinnekulle, occupying a house close to Lake Vänern in southwestern Sweden. The building is situated in a forest and its windows provide views of his natural surroundings, facilitating a sense of closeness with the outside world. This intimacy is continued during his walks in the forest, when the trees, plants, rocks, and glimpses of sky and water provide an endlessly changing panorama of colour, light and texture. The setting also teems with animal life: birds, moles and other creatures of the forest, whose proximity he both directly observes and senses. Occasionally, birds have crashed into the windows, having been unable to distinguish reflections from the actual surroundings. The fallen bodies provide poignant evidence of their confusion. Molehills litter the area outside the house, intimating the presence of small nocturnal residents who emerge from the ground at the dead of night, their movements through the undergrowth concealed by darkness. Eriksson plainly feels a sympathy for both, having made casts both of the dead birds and the molehills, which have been turned into sculptures.

V1 SALON is pleased to present Cup of Choices a solo exhibition by Benny Brankovic.

In Brankovic’s distilled and poetic exhibition, we are invited to reflect on the nature of choice. Choices are lined up on tables, in paintings and sculptures as colorful cups. Vessels we can choose to sip from, down in one go, leave untouched, tilt to spill their contents, or push over the edge to break. With each choice comes a string of consequences and often more choices: existential choices that we reflect upon for a lifetime, or intuitive choices that seem beyond our minds and hands. Or perhaps they are in our hands, in every particle of our bodies, possessed by habits — both good and bad. In Brankovic’s works, choices are momentarily made tangible. A shimmer of free will. But not for long, as choice’s unruly and random cousin, chance, is always around to challenge our deliberate decision-making. This eternal schism between choice and chance materializes in Brankovic’s process, where paint is deliberately poured onto surfaces that facilitate chance. It is a process that oscillates between control and chaos. Choice and chance are intertwined forces, shaping the trajectory of our lives.

Galleri Magnus Karlsson is delighted to announce Peter Köhler’s seventh solo exhibition at the gallery. The exhibition Left Hand and Against the Sun presents a collection of drawings in ink and acrylic from the last three years.

In Peter Köhler’s imagery, the dance winds its way through past and present. This is a dance of death, hidden knowledge and verdure. Staggering skeletons in monk’s robes dance plague victims into their graves. An inbred celebration of fecundity at a warped harvest festival. A cunning man walking backwards around the parish church on a Thursday night to attain sorcerous power. Waltzing preschool kids whose rain overalls droop since no wind blows in Hades. Köhler’s primary palette is one of putrefaction. The muted colours suggest rotten-damp odours and brown-black leaf mush of autumn. The purple-red bruises of a forgotten cadaver. Green mould groping with fingers of dissolving spores. Meanwhile, new life springs from the macabre and decomposing. The rotting becomes the lush. And bright colours erupt: shimmering beetles, glistening petals, motley hats, balloons.

BERG Contemporary is pleased to introduce the exhibition 'Lucifer's Commission' by Steina and Woody Vasulka. Lucifer’s Commission (Iris Print Series 1977-2003) is the title of Woody Vasulka’s series of abstract images that started as film-printed stencils for electronic circuits, later rescued by the artist at a military junkyard in Los Alamos. Left exposed to the natural elements for many years by Vasulka, he later scanned, enlarged, and printed the images, which embody hidden stories of climate change, nuclear testing, technological symbolism, and the relationship between human existence and the impermanence of media and memory.

Woody’s art is in many ways informed by his background as a filmmaker and engineer, continuously seeking to push the envelope of the video medium itself, rather than using it as a narrative vehicle. Many of the tools developed by the Vasulkas helped shape the medium into what it is today, through their exploration into formal language specific to the video genre, such as keying, feedback, and other real-time effects, furthering a new outlook on the medium. Additionally, such preoccupation with machinery and the rejection of content may have sprung from youth in wartime former Czechoslovakia, as the title of his print series further suggests.

NEVVEN is proud to present 'La Table Ronde,' the first solo show in the North by Lisbon based Portuguese artist Ana Manso, with a painterly practice which savvily conjoins the mysterious and uncontrollable with knowledge and craft, both in her process, physically, and in her spiritual ideas, metaphysically.

Manso’s abstract paintings are incredibly capable of capturing that illusory nature of reality and knowledge, pushing our boundaries by trying to understand them, yet being able at once to fascinate with their striking and simple beauty. Her process includes adding to oil painting peculiar treatments of her canvases, like tie-dye, stamping or stencil, odd forms and shapes, like her signature-style tall and thin paintings, and immersive architectonic interventions. 'La Table Ronde' will include all of this, and even more, in a fascinating new step in the practice of Ana Manso.

Andersen's is pleased to introduce Infinite Pollination, Cecilia Fiona's second solo exhibition with the gallery. In this new body of work, Fiona explores the symbiosis of life, both human and non-human, within a vast cosmic ecosystem. Through sculpture, performance, and painting, this exhibition invites viewers to reconsider the boundaries between body, cosmos, and the interconnected threads that weave life together.

The exhibition is anchored in the concept of pollination—not just as a biological act, but as a metaphor for the interconnectedness of all things. Our bodies are like galaxies, home to countless microorganisms, open vessels where cycles are shared, crossed, and transformed across species and planetary systems. It is within this exchange, this pollination, that life itself continuously unfolds and evolves.

Galerie Anhava is pleased to present the duo exhibition 'Places We Look At' by Jaana Kokko and Salla Tykkä. The new works in the exhibition were produced between 2017 and 2024. Works of moving image and photographs stem from existing geographical locations, where the events of our time intensify and expand. The shared foundation in both artists’ practices is a strong personal perspective. The artists explore place and transgenerational heritage through a documentary approach. The works feature durational filming processes, archival sources, interviews, and the presence of the artists themselves, all of which can be seen and heard.

Martin Asbæk Gallery is proud to present Brick & Mortar, the latest solo exhibition by Danish visual artist Kasper Eistrup. To the artist, painting is a fundamentally physical object and practice, constructed through manual labour and tangibly present in space. The physicality of the painting, it’s tactility and materialism, is explored throughout the show, both through an expansion of the media, but also in the very subject of the works.

The artist appears lost in isometric drawings withstanding both conventional scale and coherent perspective, but rather projecting in characteristic bursts of intensity across the surface of the canvas. But the two-dimensionality of the painting also leads to questioning its relevance in today’s world.

Galleri Magnus Karlsson is delighted to present a book release and an exhibition with Tommy Hilding in the inner room of the gallery. The new monograph on Tommy Hilding presents a rich selection of paintings from the last two decades and is designed by Waters Löwenhielm and published by the gallery. Carl-Johan Olsson, curator at Nationalmuseum, has written an essay about Tommy Hilding’s paintings and the author Jonas Gardell contributes with a new short story that relates to the themes in Tommy Hilding’s artistry.

In his recent exhibitions, Tommy Hilding has worked with a large variety of expressions in his paintings. He explores several paths simultaneously, and sometimes combines them in one painting. At the core there is a documentary and realistic visual language in which Hilding carefully constructs images of urbanity or the surrounding nature. A more abstract and spontaneous way of painting eats its way into the imagery and exists both inside and outside the motif itself. In later years, Hilding has also tenderly integrated samples from art history into his paintings. These are usually motifs from 19th-century romantic painting which either blend seamlessly into the image or are put in contrast with the contemporary. Tommy Hilding’s paintings portray an ambivalence and rootlessness that exist in our time. He challenges chronology and reverses concepts with a language that is playful yet urgent.

Matteo Cantarella is thrilled to announce ‘Métal’, a two person show featuring works by Austrian artist Anna Rettl (b.1992) and Italian artist Davide Hjort Di Fabio (b.1990). Stemming from conversations around the idea infrastructure in its literal, semiotical and existential connotations, the exhibition debuts new paintings by Rettl and a new body of sculptural works by Hjort.

BORCH Editions is delighted to present Nightshades, a series of unique prints by Peter Linde Busk.

The botanical category of the Solanaceae (Nightshades) comprises a highly diverse group of plants. Some look inconspicuous, others flower magnificently; some are edible herbs known for their medicinal qualities, while others are extremely poisonous. Their appearance can belie their effect – the most beautiful plants can be the most dangerous. Similarly, Peter Linde Busk’s series of monotypes titled Natskygger / Nightshades conveys a wide range of individual aesthetic expressions and atmospheres, linked strategically with recurring pictorial elements throughout the series, which hint at an overarching narrative without ever proposing a specific reading.

Monotype prints are unique. What differentiates monotypes from all other printmaking techniques is the fact that the artist does not leave permanent marks on the printing plate. The colour is directly applied to a featureless plate’s even surface, which thus serves as a vehicle to transfer the artist’s painting or drawing onto paper.

palace enterprise is pleased to introduce the solo exhibition 'FILE' by Tora Schultz.

File is an exhibition and an action and a unit, the refining result of a certain tool, the removal of matter and the general sheet of paper/information. Filing is stowing away and keeping and making stuff known and adjusting the shape of things.

A secretary is a piece of furniture (and it’s a subordinated position, too). Essentially archival when it comes to its function, all those drawers and keyholes and little cabinet doors, even a foldable desk for writing or organizing. Obviously, secrecy is the secretary’s virtue. This piece of furniture has been stripped, undressed plywood beneath the mahogany stain. It’s see-through like the opposite of the privacy its name and appearance initially declare. Exposed and exposing.

Coulisse Gallery is pleased to present the duo exhibition 'The World Without Us' by Isaac Lythgoe & Uchercie.

It begins with the quieting of small things, a thinning of sounds, crowds, and coos until it’s all but done and gone. This moves past the cliché of the regular dystopia, a single malnourished dog, and tumbleweed. This is something more benign and finite—‘The World Without Us’. The exhibition’s title references the disquiet within both artists’ work and a movement past fantasy toward science fiction, which is the art of the possible or the history of ideas that will inevitably become real. In this narrative, material and colour matter, as the industrial anodises metallic skin, and the posthuman, the hybrids, and the hussies eagerly breed to endure.

Sharp Projects is pleased to introduce Sharif Baruwa’s solo exhibition 'Space that opens up'.

Sharif Baruwa’s dense yet precise, playful yet deep and nonchalant yet always carefuly arranged environments seem to achieve both. They maintain a certain eeriness and opaqueness while revealing cracks and layers that alow for readings of the artist’s experience and cosmovision as wel as the sociopolitical underlying structures that shape them. These readings are not fixed though, and as one moves through space, the singular elements appear to have an iridescence of a conceptual nature, meaning that as the visual connections between them change also their readings may vary.

- Text excerpt by Laura Amann for Baruwa’s solo show Haus-Geist at Neue Galerie in Graz, Austria.

Galleri Bo Bjerggaard is pleased to present the exhibition 'In dialogue with J.F. Willumsen'.

Since Galleri Bo Bjerggaard was founded 25 years ago, they have maintained a deep interest in J.F. Willumsen (1853-1958). Over the years, they have assembled a collection of his works, which will be showcased in this exhibition.

In conjunction with the exhibition In dialogue with J.F. Willumsen, the gallery has invited seven renowned artists to respond to Willumsen’s artistic work. The artists—Anna Bjerger, AK Dolven, Chantal Joffe, Emily Gernild, Eva Schlegel, Martha Hviid, and Janaina Tschäpe—will exhibit works that are presented alongside Willumsen’s own pieces from various periods, exploring his themes and color palettes. The exhibition has been developed in collaboration with the Willumsen Museum and its director, Lisbeth Lund, who has kindly lent out works for the exhibition.

Croy Nielsen is pleased to introduce Soshiro Matsubara’s third solo exhibition with the gallery. Soshiro Matsubara will be continuously working on the exhibition throughout its six-week duration which will lead up to a finissage.

i8 Gallery is pleased to present Real Time, a year-long exhibition by Andreas Eriksson at i8 Grandi. The presentation opens on 18 January and will be on view until 18 December 2024. Throughout the year, the show will evolve with the addition of one new painting a month, all the same size, concluding with twelve paintings in December. In the adjunct gallery room, Eriksson presents a new edition in the form of a calendar, which is printed in an edition of 366 to reflect the length of this year.

Eriksson’s exhibition is the third year-long presentation at i8 Grandi, following B. Ingrid Olson in 2023 and Alicja Kwade in 2022. Spanning far longer than traditional museum or gallery shows, i8 Grandi’s programming focuses on concepts of space and time. The sustained duration of the annual format allows artists to consider how time affects their work, and the fluidity encourages audiences to revisit the changing installations. This exhibition marks Eriksson’s second show with i8.

Saskia Neuman Gallery is pleased to present the exhibition 'Lie Fallow' by Dimen Hama Abdulla.

'Lie Fallow', proposes a new chapter. The exuberant joy and lightness in which she engages with painting and drawing is evident throughout the visual language displayed in her work. However, more importantly, it is also in the ease she discusses her process, creating a continuous dialogue with each work. Painting, drawing is second nature to the artist, a first love that has remained, even grown stronger. Creating a myriad of puzzles with each stroke, Dimen employs French, Vermeer handmade dry pastels in varying thickness, creating an extension of her own hand in the lines drawn on the thick Fabriano Artistico 300 gram, 100 percent cotton sheets of paper. The choice of materials is paramount to the artist, having tried and tested a variety of paints to find the ultimate tools to carry her expression. The exhibition brings years of study to the forefront, as Dimen’s very personal practice becomes public. Examining an intricate private relationship to the visual arts via a selection of both large and smaller scale drawings. The artist uses painting to describe her drawing practice, as the painterly approach to paper and dry pastel is palpable.

Throughout the exhibition words are formed from images, the abstract becomes representational, formative even, the surreal evolves into reality and emotion is evident throughout.

Saskia Neuman Gallery is pleased to present new works by Nadine Byrne.

Nadia Byrne is a Swedish artist, based in Stockholm. The exhibition "Never historians, always near poets" presents a suite of new works in collage on panel. This is the third curated exhibition in the gallery's project space.

SPECTA is pleased to present Ellen Hyllemose's solo exhibition 'Mirror Mirror Mirror' presenting new works that may have the landscape as their starting point, but which offer us a reflection very different from the classic landscape depictions we know from art history. Rather than a specific description of man in relation to nature, Ellen Hyllemose offers us fragments, memories, negotiations and doubts about our being in the landscape.

The use of found objects such as the rusty harrow and beach goods, and practical and non-valuable materials such as mdf and masonite is characteristic of Ellen Hyllemose's practice. Materials we relate to and know. Put together with lycra, which embraces the other materials in bright colors, the hard and functional materials are made soft and more bodily. With its poetic title Mirror Mirror Mirror, the point is to open up to multiple interpretations. One could be that the works mirror each other, as when you think of the traces of the harrow reflected in the movement of the body in the strokes of man-sized paintings that have saw marks mirroring the strokes of paint. And back to the movement in the landscape, along the edge of the fields.

Andréhn-Schiptjenko is pleased to present Kristina Jansson’s solo exhibition Paintings for People in Trouble. The exhibition is Jansson’s fourth with the gallery.

The exhibition Paintings for People in Trouble explores two main questions: one deals with painting and its ability to tell what the photographic image cannot, the other deals with painting from the artist's and art's own position of trying to grasp the world as it is unfolding right now.

A key issue in Jansson's practice has always been the capacity of painting to problematise and deepen the question of perception in a way that the photographic image cannot. If a photograph is a section of what has been omitted outside of the viewfinder, the painter makes different decisions in their process. What has been omitted from the motif still has a presence in the finished painting. The painting itself can be said to represent a world of its own. As a viewer, engaging with a painting opens up other layers compared to looking at another type of image: if the eye can sweep over a photo, the painted image offers a different resistance because every part of the motif is there on account of an active choice. It invites a deeper contemplation where a painting is never just a depiction, but as much a friction between motif and materiality. In the relationship between the artwork, its viewer and the ever-present now that the painting represents, a place of self-reflection arises, where the painting can ultimately become more of a mirror than an image.

Gallery Steinsland Berliner welcomes you to join them for this year’s final exhibition; 'Our Winter Show 2024'. The Winter Show has been a recurring event since the gallery’s inception. Consisting of works in varying mediums by gallery represented artists, as well as additional contributions from artists admired and invited by the gallery, 'Our Winter Show' is a joyous gathering dedicated to old and new friends.

MELK is excited to present Lille Istanbul, Andreas Meinich’s second solo exhibition at MELK.

Etage Projects is delighted to present 'Alien Workshop', a new solo exhibition by renowned Swedish designer Fredrik Paulsen. Celebrated for his bold experimentation with color, form, and material, Paulsen continues to redefine the boundaries between art and design, crafting pieces that inspire and provoke thought.

In 'Alien Workshop', Paulsen introduces a new body of work that further explores his fascination with color and texture through his brand, JOY Objects. The exhibition features tables adorned with richly pigmented, fluid surfaces, reminiscent of the vibrant patterns found in nature—particularly the striking markings of poisonous frogs in tropical rainforests. These pieces exemplify Paulsen’s ability to blend art with functionality, inviting viewers to engage with their surroundings in new and dynamic ways.

Paulsen challenges traditional notions of design, creating pieces that resonate with contemporary life while offering a sense of wonder. The exhibition invites viewers to reconsider their relationship with everyday objects, encouraging a dialogue between the functional and the fantastical.

Eighteen is pleased to present 'In Call and Response' by Søren Behncke.

Behncke gathers a dream team of artists for a conceptual studio session. He evokes the compositional technique of call and response used in music and adapts it for the visual arts. In the exhibition, Behncke responds to the call of a diverse group of artists such as Henri Matisse, Vilhelm Hammershøi, Alexander Calder, Paul Gauguin, Fernand Léger, Josef Albers, Le Corbusier, Roy Lichtenstein, Theo van Gogh, Max Ernst, Claude Monet, Pablo Picasso, and Joan Miró. In his compositional answers, Behncke transforms, comments, adapts, challenges, paraphrases, and plays. The result is a series of curious, open-ended paintings, prints, and sculptures that engage directly with a contemporary interpretation of art and art history, understanding works of art and art history as a continuous stream of ideas, expressions, questions, and dialogues.

Søren Behncke has worked with this approach at the core of his practice for the past decade, performing pilgrimages to the homes, studios, museums, cities, and geographical areas of the artists he engages in conversation with to access a better understanding of their circumstances and language. In Call and Response, he engages one of his own earlier paintings, Skadestuen, 2007, with this method, creating a very different new composition and painting, The Palace of the King of the Birds, 2024, the title a reference to an unreleased instrumental Beatles composition that has changed form again and again over time. This emphasizes that there is a musicality at play in the visual arts, that works of art are not definitive, but objects with their own agency, changing constantly.

Persons Projects is pleased to introduce the group exhibition 'The Helsinki School—Out of the Depths of Photography' featuring artists Milja Laurila, Anni Leppälä, Niko Luoma, Jussi Nahkuri, Jyrki Parantainen and Niina Vatanen.

'The Helsinki School—Out of the Depths of Photography' continues in its longstanding tradition of pushing the boundaries of how we perceive and interpret the photographic image. This presentation features a range of explorations into how different materials—such as fabrics, layered collages, and folded film negatives transformed into sculptures—can be utilised to form a new visual language within the photographic process today. It represents a collective effort to redefine the material qualities of the photograph, attempting to recover its magic as a physical object. This is the first fully dimensional overview from any previous Helsinki School presentations to conceptually challenge these existing parameters.

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.