Art Calendar

BORCH Editions is pleased to present "Paradise" by Alexander Tovborg.

Dante Alighieri’s "Divine Comedy" from 1320 has been a close companion in Alexander Tovborg’s life and artistic practice. The "Paradise" portfolio of 33 etchings completes Tovborg’s print project for Dante’s "Divine Comedy", which in total includes 92 prints.

In Tovborg’s "Paradise", figures emerge into the light from the darkness of outer space. The motifs radiate from the black paper in delicate and evocative colours, reflecting Dante’s upward journey in space, detached from life on earth. With the same ease as Dante’s ascension into astronomical space, Tovborg depicts the souls Dante meets on his path towards God.

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Kehnet Nielsen is renowned for his richly layered paintings, blending personal experience with literary and art historical references to create what he describes as ‘psychological landscapes’.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

Galleri Susanne Ottesen is pleased to present Fatima Moallim's first exhibition in Denmark. Moallim engages with Galleri Susanne Ottesen as a studio space, a performance space, and an exhibition space. Working on-site and in dialogue with her surroundings, Moallim reveals a process usually hidden from view, joining a lineage of artists who have inhabited the gallery since its founding in Gothersgade in 1989.

On Monday 20 October, Fatima Moallim relocates her studio and starts working on Manuals. As her artistic process begins, so too does the exhibition. While the artist has continuous access to the gallery, visitors are invited to experience the exhibition during regular opening hours. On Wednesday 12 November, the gallery will host a reception marking the laying down of tools and completion of the works. The show will remain on view through Saturday 15 November. Through active engagement with her environment – its textures, scale, and soundscape – Moallim fluidly transforms materials into sketches, complete or unresolved. She pins paper, canvas, or linoleum to the walls and draws rapidly, often across multiple surfaces at once. These living compositions remain in the gallery, shifting across the space as the exhibition evolves.

V1 SALON is pleased to present "Somewhere in the Fall" by Mads Bryld - the sequel of "Sometime in the Spring" which premiered in V1 SALON on a sunny Thursday, April 24, 2025. The exhibition traced fall into spring through a series of paintings based on Bryld’s extensive, often hyper local field research: The fog on the morning run, the graveyard on the afternoon stroll.

In Mads Bryld’s paintings, the seasons transition. Subtly and reserved, winter turns to spring, and summer stretches lazily into fall - like a cat waking up from a nap. If you don’t spend much time in nature, the change of seasons can feel abrupt - almost violent. You feel unprepared. If you do spend time in nature, cultivated or wild; in your garden, in the cemetery, the forest or the mountains, you feel the constant and infinite cycle, the everlasting transition. You sense the minute change in temperature from one morning to the next, how the April sun has moved slightly higher above the oak gathering strength, to step out of winter and leaf out.

Bryld’s oil paintings embody this wonderful super slow cycle of everything. The mechanics of existence. In flux. The existential poetry of photosynthesis. The current that ripples the surface. Vibrating. The Buddhist cycle of the falling leaf. We will meet again.

The motifs are shimmering, transforming with our gaze. Sky dissolves into water. Trees vibrate. Leaves rustle. Colors shift. Subtle nuances and dramatic contrasts. Harsh autumn morning light burning through fog and twigs. As daylight wanes, leaves are shed, cost benefit, ground on fire, a beautiful funeral in preparation for resurrection. Nature is not pretty for you -it just is. Composition collapses and reemerges from murky waters. Mountains grow. Flowers decay. Nature moves. Foreground turns to background, and we are momentarily lost -or found. Being painting. No longer just the looker, but present within. Outer landscapes become inner landscapes. Nature holds a firm grip on us as we realize we’re made of the same particles that are dancing in the sunlight. The same matter. Interconnected. If it sounds too good to be true - it’s not. It’s pure observation and painting. Perhaps a slight step ahead of consciousness, in the realm of the intuitive.

- Text Jesper Elg

BERG Contemporary is pleased to present a new solo exhibition by Páll Haukur, featuring new works in various media, including paintings and sculptures.

Páll Haukur reflects on the ideological relationships between nature, culture and the human experience. He continuously interrogates any given notions of meaning, often asking what constitutes an object. His work often represents flux, resulting in an aesthetic experience that constantly demands its viewers of re-evaluation of themselves in relation to the space and objects around them.

Páll Haukur graduated with a Master of Fine Arts degree from the California Institute of the Arts in 2013 and has been exhibiting widely since then, with exhibitions at the Reykjavík Art Museum and the National Gallery of Iceland, among others. He is an assistant professor at the Department of Fine Arts at the Iceland Academy of the Arts and is active in exhibitions and research both domestically and internationally.

V1 Gallery is pleased to present Scenes from the Second Story, a solo exhibition by Rose Eken. Rose Eken’s new ceramic snapshots - an art oxymoron, if ever there was one, combines the dynamic, ephemeral and intuitive composition of the snapshot with the contemplative, sensitive, meticulous and often volatile process of working in ceramics.

The ceramic paintings revolve around themes such as vulnerability, human connection, disputed beauty, desire, empowerment, intimacy, womanhood, fleeting youth, admiration and how personal emotion intersects with history. The new works feel diaristic yet carefully attuned to how images circulate and resonate culturally. Collapsing hierarchies -treating carefully composed portraits, iPhone blurs, still lives and casual snapshots with the same seriousness and dedication. In the new paintings Eken elevates her subjects to icons while not letting go of grit, fragility and longing. Seemingly classic motifs arise from mundane situations at the local bar, exhibition openings and concerts. Rather than realism, she aims for emotional truth and poetic resonance. Tender, at times wistful, but unsentimental, engaging and deeply human.

"Scenes from the Second Story" portrays an extended creative community (musicians, artists, performers, writers and creators of all sorts). An eclectic group of humans bonded or loosely intertwined by curiosity, creativity and Rose Eken. In and out of orbit around her and each other. In and out of synch in continuous motion. An abstract atom diagram with an elusive core. An expanding map with a shifting center. A dance ensemble with individual soundtracks and choreographies. The works never become naval gazing, as you don’t need to know this eclectic cast of characters to engage with them. There is joie de vivre, combined with a tristesse in the exhibition, remembering that dedicated creativity always comes at a cost, but not necessarily traditional benefits in your own lifetime. Moments like this never last - unless you keep and care for them. Scenes from the Second Story is a fractured poetic portrait of an ongoing moment -a movement.

NEVVEN is pleased to present 'Defrag' by Naeun Kang.

Defrag is the first gallery solo show in Sweden by the Oslo based South Korean artist Naeun Kang. With painting as her main medium, the still very young Kang (Changwon, 1994) is able to access in a unique and striking way to the very soul of art making. Memory, dysfunctions, closeness (or the lack thereof) animate a realm where symbolic doors are open into the depths and complexity of her own private life, unlocking reflections that often involve us too. And it is by finding the way to depict these fleeting and abstract emotions that she brings visual art to its full potential and meaning, allowing us all to visualise and access the unspeakable, in this case hers and ours fragile and fluid inner lives. In doing so, the 2023 KHiO (Oslo National Academy of the Arts) graduate is often able to move and shatter her public, tragically and hilariously, but also to reorganise and try metabolising her own life experiences and feelings, as old operative systems did with the defragmentation disk process, in lingo Defrag.

Lagune Ouest is pleased to present the exhibition "Soft Power" by Emilie Bausager.

Emilie Bausager’s practice operates in the intersection between art, landscape, and ecology, unfolding through installations in textiles, film, metal, glass, wood, and planted environments. Her work begins with an exploration of humanity’s relationship to nature, both as a physical landscape and as a cultural and political concept.

Bausager examines issues of land ownership, ecological crisis, and the historical treatment of nature, and how human activity is reflected in the landscape. Her practice is often site-specific and engages in creating dialogue between people and their surroundings, positioning art as an active space between nature and the public realm. Through humour, irony, and references to popular and consumer culture, Bausager creates entry points into otherwise complex environmental questions. Her works offer space for reflection and collective engagement, exploring how we might rediscover a more conscious relationship with nature.

We are delighted to present Johanna Karlsson’s tenth solo exhibition at the gallery. The exhibition Anatomy of Nature features a series of reliefs and sculptures created over the past year.

At first glance, Johanna Karlsson’s sculptures appear to be almost exact reproductions of nature. Carefully selected excerpts and passages from inconspicuous but evocative places and details. Compositions taken directly from reality, but placed in a different context. The arrangements are so convincible that, as a viewer, you sometimes forget that you are looking at a constructed world. By lifting nature out of its original setting, she forces us to observation and refection. We sense the presence of the hand, a gentle treatment of the material and the infinite choices in colour and expression that the artist has faced during the process.

The muted palette is subdued and consists of earthy tones. Small excursions in colour recur as subtle accents. In the new works, the imagery has been sharpened and painting plays a more prominent role. The ground is sometimes steeply sloping, like a stage set. The works oscillate between representation and materiality, between objective realism and dramatic simplification. Karlsson consistently uses simple materials such as copper and silver wire, paper, textiles, pigments and plaster.

Galerie Anhava is pleased to present their November exhibition focusing on works on paper: gems from Galerie Artek’s collection are presented alongside new works by selected artists represented by Galerie Anhava. The exhibition includes such international and Finnish names as Jean Gorin, Joan Miró, Piet Mondrian, Henry Moore, Victor Vasarely, Juhana Blomstedt, Outi Heiskanen, Pentti Kaskipuro, Matti Kujasalo and Sam Vanni. These are accompanied by new works on paper by Karoliina Hellberg, Elina Merenmies and Anna Tuori. In addition to the individual prints on display, visitors can explore graphic portfolios from our sales collection in the showroom, including works by Sam Vanni and Jorma Hautala, among others.

A significant section of the exhibition consists of prints that were transferred from Galerie Artek to Galerie Anhava’s ownership in the 1990s. Under the direction of Maire Gullichsen, Galerie Artek became in the 1950s one of Finland’s most international and prestigious art galleries, and it was there that Ilona Anhava began her career as gallerist. During its years of operation, Galerie Artek introduced numerous masters of French art to Finnish audiences, as well as emerging leading figures of Finnish constructivism. In 1991, with the support of Galerie Artek, Ilona Anhava founded her own gallery, and in 1997 the two art galleries merged.

Helsinki Contemporary is pleased to present "Paradise Lost" by Teemu Mäenpää. Mäenpää’s expressive paintings brim with raw energy, vibrant colour, and playful openness. His art grows from the very gesture of painting itself: fluttering palm fronds and elongated petals emerge from the natural arc of his hand. He combines media intuitively – from oils to spray paints – creating works that pulse with immediacy. Mäenpää’s boldly physical, uninhibited approach to painting is rooted in his background in street art, and his practice embodies an attitude that defies the gravitas of high art.

"Paradise Lost" unveils Mäenpää’s latest works – paintings that dance between abstraction and representation, alive with a rich vocabulary of metaphorical plants and animals. The exhibition’s title evokes a longing for nature and a yearning for a lost Eden. Yet in Mäenpää’s art, plants primarily serve as mirrors of human nature, metaphors for care, connection, society, life, and growth. Each painting, in its own way, is also a vicarious self-portrait.

It is with great pleasure that Alice Folker Gallery present Karim Boumjimar’s solo exhibition 'Mouths, Vessels, Portals' in the gallery.

Karim Boumjimar works through performance, drawings and ceramics. Each medium enriches the other in a symbiotic expression. The focus is on understanding different sexual, racial and natural identities and challenging the prevailing social hierarchies and norms. He creates spaces where all individuals are celebrated, and tries to evoke empathy and provoke societal change in line with a romantic vision of a just and compassionate society.

Arnstedt is pleased to present an exhibition by artist Dan Wolgers.

In his exhibition Your Word, Dan Wolgers demonstrates the despair and anguish that most people probably feel when they've lost their slip of paper — when they've lost their faith, their hope, their inspiration.

Already out in the gallery’s reception, the visitor has encountered a dozen paradoxical tableaux (all images produced through simple prompts to an AI robot), which in a surprising and humorous way depict the symbiosis between the Artist and the Art (here, Wolgers and the Art) — that very symbiosis, that mutual dependence from which humanity is created, and which manifests itself in so many varied expressions and forms throughout life, for better and for worse.

Martin Asbæk Gallery is delighted to present "Seabound", a solo exhibition by Finnish artist Elina Brotherus. Commissioned by the Tangen Collection in Norway, the works on view are generously on loan from Kunstsilo. This marks the first presentation of the Seabound series in Denmark and coincides with Brotherus’ major solo exhibition at Kunsten Museum of Modern Art in Aalborg.

Elina Brotherus’ practice oscillates between the autobiographical and the art historical. In recent years, she has revisited Fluxus event scores and other performance-based instructions from the 1950s to the 1970s, transforming them into visual narratives.

Þula is pleased to present the exhibition "A Collection of Colors" by Högna Heiðbjört Jónsdóttir (b. 1997).

Jónsdóttir lives and works in Copenhagen and studied fine art at Gerrit Rietveld Academie in The Netherlands and earned a BA degree from Iceland University of the Arts in 2021. Högna is first and foremost a painter and relies on instinct to create her works. Högna’s work is characterised by collection and arrangement, combined with the use of strong, synergetic colors. Everyday objects and the beauty inherent in the daily grind can be found in her work, in which she recontextualizes the familiar and thereby draws attention to things that many overlook.

At the exhibition "A Collection of Colors", Högna presents thirteen new works. What all the pieces have in common is that their materials come from paint stores — whether purchased, donated, or collected over time. Högna uses color sample cards as paint, incorporates drawings made unintentionally by others, and employs ordinary wall paint as part of the creative process.

Gerdman Gallery is pleased to present ‘Paintings from the Cave’ by Italian artist Gianni Politi. The exhibition takes as its point of departure the space the artist inhabits — the site where both his life and practice unfold. Long imagined to reside within the proverbial Ivory Tower, a place associated with privilege and detachment, Politi in fact situates himself elsewhere: in the cave.

For Politi, the cave represents both a physical and symbolic site — a locus of isolation, introspection, and production. It is a space that stands in proximity to the Ivory Tower, yet remains apart from it. Within this environment, the artist constructs his studio: a controlled and protective enclave with a single entrance, modulated light, and an atmosphere conducive to his particular coexistence with scorpions. In Politi’s metaphorical framework, the scorpions occupy a central role.

Their stings, both literal and symbolic, fuel his ongoing artistic research. The conditions necessary for their survival — darkness, humidity, and seclusion — mirror the conditions of his own creative process. The artist’s work thus emerges from this self-imposed environment of constraint, where the boundaries of comfort and danger blur into a generative space of reflection and making.

Primarily a painter, Gianni Politi’s practice is deeply rooted in the classical and modern pictorial traditions of his native Italy. His work continually engages with the tension between historical continuity and contemporary expression, exploring what it means to inhabit the role of painter today.

Gallery Gudmundsdottir is pleased to present A Botanical Future, the first solo exhibition by Icelandic artist Katrín Elvarsdóttir at the gallery. The exhibition brings together three photographic series created between 2020 and 2025: Fifty Plants for Peace, Tropical Colony, and Living Fossil, each exploring the intersections of nature, history, and human intervention.

At the center of these works are three plant species: the Japanese Cherry blossom, the banana plant, and the dawn redwood. Each carries a layered narrative of cultivation, migration, and endurance, together forming a meditation on belonging and displacement.

The Cherry blossom, cultivated in Japan for over a thousand years, symbolizes both peace and transience, its brief flowering cycle a reminder of life’s impermanence. The banana plant, among the earliest crops cultivated by humankind, raises questions about global movement and adaptation, even appearing in Icelandic greenhouses as a cultivated curiosity. The dawn redwood, long thought extinct until its rediscovery in China in the 1940s, embodies the paradoxes of scientific discovery and reveals the colonial entanglements within Western systems of classification and possession.

Across these photographic series, Elvarsdóttir reflects on how plants, like people, are carried across borders, transplanted, adapted, and redefined. The transfer of living matter, even when guided by care or preservation, often conceals acts of displacement and control. Through her lens, these plants are not passive subjects but living witnesses to histories of migration, exchange, and transformation.

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.

Saskia Neuman Gallery is pleased to present "The Postcard Exhibition" featuring 67 artists, both Swedish and international, presented in a tapestry of voices, practices and perspectives that explore the postcard as a form, thought and symbol. The exhibition navigates the borderland between the collective and the intimate, as well as what is material and what is emotional. The idea of the postcard becomes, among the works, a medium for care and proximity, for critique and distance. It creates a form of artistic correspondence — an at times confidential conversation that moves seamlessly between the artworks and the viewer.

Like a network of images, thoughts and greetings, the works cross paths; creating space for new dialogue, and phenomena. The postcard operates between mass production and closeness, nestling itself in between the souvenir and distinct visual communication. It carries a paradox — it is many things: personal as well as universal, fleeting along with being enduring. In our current digital age, the postcard has become almost radical in its simplicity; a physical image that requires an address, a hand that writes, postage and waiting. A reminder of the slow pace of images and the importance of the human gesture. It demands intention, action and reflection — the ultimate desire to reach out, through a visual emblem.

palace enterprise is proud to present Tie – Danish sculptor Tora Schultz’ third solo exhibition at the gallery. The show consists of two new series of work Tie and Lie that examine and recontextualize everyday items with precision and humor in reference to institutional power and their standardizing effect on subjects.

Tie is a group of three wall-mounted, hand-bent sculptures in pine wood with bases shaped like Pinocchio’s face stuck in the wall. Lie moves from the realm of the handcrafted to the mass-produced with its minimalist table tops lying in a stack on the floor echoing the classroom. By bending, stripping, shaping, rearranging mundane objects, Schultz demonstrates how to sculpturally dissect complex, cultural- and material practices.

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.

Þula is pleased to present the exhibition "With In It All" by Helga Páley Friðþjófsdóttir (b. 1987). Friðþjófsdóttir earned her BA degree from the Iceland University of the Arts in 2011 and works as a visual artist in Reykjavík. Since graduating, she has held numerous solo exhibitions and participated in group shows both in Iceland and internationally.

Painting has long been central to her artistic practice, a process of exploration where form, color, and texture take shape through intuition and repetition. She allows ideas to develop slowly, layering paint and letting images emerge over time. Through this process, stories unfold - built up, scraped away, and reworked until they settle into place on the canvas.

i8 Gallery is pleased to present a solo exhibition of new work by Ragna Róbertsdóttir (b.1945, Iceland).

This show is Róbertsdóttir’s fifth solo presentation at i8; her first show at the gallery, one of i8’s earliest exhibitions, opened in June 1996. Róbertsdóttir’s show also celebrates the 30th anniversary of i8 Gallery, which was established in November 1995 by Edda Jónsdóttir.

Throughout her practice, Róbertsdóttir explores concepts of time, place, and materiality, with a focus on natural environments. Her reductive sculptures and installations are made using elements inherent to Iceland, such as lava rock, salt, turf, and clay. For this exhibition, Róbertsdóttir presents four installations in response to the gallery’s architecture.

Persons Projects is proud to present Zofia Kulik’s solo exhibition "Written in Her Own Hand", which traces the various stages of her artistic emancipation as she discovers her own voice as an independent female artist.

The exhibition also serves as the initial platform for her first monographic book, published by Thames & Hudson, which comprehensively explores Kulik’s extraordinary body of work. The exhibition begins with her most memorable graduate work (1968–1971) and follows her transition into the collaborative duo KwieKulik (1971–1987), formed with her partner Przemysław Kwiek - Ending with a large black-and-white self-portrait depicting her as a queen. Together, these selected works provide a deeper understanding of how Kulik’s individual career developed into what it is today.