Art Calendar

Gallery Steinsland Berliner is proud to present a solo exhibition by Swedish artist Esse-Li Esselius titled 'The Artist in Transsexual Transformation'. This is the first exhibition with the gallery for Esse-Li Esselius (b. 1948, SE) who is previously known for her work within the fields of photography, film, video graphics and cartooning.

The exhibition features a series of original photographs dating from the late 1970’s in which the artist has, through experimental self-portraits captured with a Polaroid SX-70, explored the material properties of the photograph as well as manifested a more accurate representation of self, informed by the artist’s own experience of gender dysphoria.

Through a process of physical manipulation during the stages of development, the instant photographs have taken on unusual textures and sculptural qualities which are not inherent to the medium itself. Esselius discovered that placing the developing photograph over a burning flame initiated a chemical reaction that caused tiny eruptions across the image's surface to a rippled and painterly effect. The heat simultaneously caused the photographs to crumple and fold in on themselves, rendering them into a type of three-dimensional photographic object. Through these methods Esselius further differentiated the instant photo which in itself had become a popular format amongst artists of the time due to its revered quality of existing as "an original".

Dorothée Nilsson Gallery is pleased to present the acclaimed artistic duo Inka and Niclas Lindergård first exhibition 'Perceptions' with the gallery, presenting a selection of their works. The acclaimed artistic duo primarily create photography-based works. Their diverse practice draws inspiration from the aesthetics of popular culture, examining its influence on how we perceive nature. Inka & Niclas explore the spectrum between idealised beauty and the absurd, blending existential themes with a hint of flamboyant triviality.

In their lens-based practice, Inka and Niclas Lindergård recurrently delve into the realm of the overly consumed portrayals of nature. Throughout their work, the artist duo has investigated the mechanics of vision and our relationship with nature as depicted through the camera lens. Despite classical training in the photographic medium, there is a constant urge to challenge its conventions, to playfully explore what photography can be in the encounter with new materials and forms. Today, photography and the photographic gaze have become so prevalent that most of us now possess a developed visual perception. We know at increasingly younger ages when the lighting conditions are optimal for a certain type of image, or from which angle a landscape is most ideally depicted. With the help of digital platforms, nature photographs are consumed in a way never before seen. We have access to innumerable sunsets, seascapes, and depictions of the most magnificent northern lights – to the extent that the eye becomes saturated with the heightened beauty. The abundance simply numbs us. How does this affect our perception?

palace enterprise is pleased to present 'Neighbors' by Jasmin Werner. 'Neighbors' is a collaboration between Jasmin Werner and palace enterprise presenting the artist’s work in dialogue with local shops in the neighborhood of the gallery.

V1 Gallery & Eighteen present 'Landscapes', a group exhibition featuring 27 artists whose work deals with ecology and a spirituality grounded in landscape. It seeks to be an incomplete examination of landscapes through a contemporary lens, taking place between V1 Gallery and Eighteen, covering over 350 sqm of space. With reference to Nikolaj Schultz’s 2023 book Land Sickness, the exhibition revolves around what it means to exist in – and therefore exhaust and consume – the natural world. The artists in the exhibition all grapple with this pertinent question. Schultz has contributed two meditations on the environment and climate anxiety for the exhibition, both of which convey the dire physical circumstances of being either human or landscape in the anthropocene. Landscapes explores the wildness and vastness of our internal and external landscapes in light of our current ecological crisis with an eye towards hope.

The works in Landscapes deal with the dread, awe, interconnectedness and vertigo associated with living on a dying planet. In The Living Mountain by Nan Shepherd, she describes the sensation of observing the earth: “details are no longer part of a grouping in a picture of which I am the focal point, the focal point is everywhere. Nothing has reference to me, the looker. This is how the Earth must see itself.” The focal points dissolve and blur, mimicking the act of observing the natural world and of the earth continuing without human observation. They are at once static and variable, still and seemingly unchanging to the human eye and yet full of movement.

Martin Asbæk Gallery is proud to present Matt Saunders’ solo exhibition Story of a Love Affair. The exhibition, which features both photo-based works and video installations, presents itself as a knot of associations. The exhibition borrows its title from the 1950 Italian drama by Michelangelo Antonioni, and cinema plays a prominent role throughout the show.

His recent series The Distances is based on film stills and people, who he was drawn to in his early 20s as he reflected on his own identity and self-expression. These characters represent moments of performance, and by drawing on wells of imagery within himself, repainting the people who he has painted so many times before, Saunders more broadly reflects on the passing of time and on how our understanding of the same image can change as we age.

Relationships, whether they be romantic or fixated on characters, shape us as individuals, but we are also part of shaping them. The way we perceive our heroes may be confined by what we want or need them to be at a certain time, and for that reason, changeable over time. Saunders’ work represents this re-encountering, and his innovative transformation from one medium to another, which is at the core of his practice, is part of staging a space between the artist and his motif. In his video work, we see a complete love affair play out, though partially concealed by its abstract form. This veil between us and what is happening explores not only the fleetingness of image-based media, but also their associative affect.

STANDARD (OSLO) is pleased to present a solo exhibition of the works of Suleman Aqeel Khilji, entitled “Mark / ‎نشاں”.

Born in 1985 in Quetta, Pakistan, the artist lives and works in London, UK. He received his BA from National College of Arts, Lahore, Pakistan (2011) and is currently in a 3 year artist program at the Royal Academy of Art, London.

Public Service Gallery is pleased to present the solo exhibition 'Harvest Hair' with Inez Jönsson.

Jönsson’s practice stems from notions of limitation and consequence — an absolute structure where the few available decisions emerge unreservedly from the inherent qualities and predetermined nature of the materials she employs. Early on, Jönsson focused on highlighting the very fundamentals of painting. Her appreciation and understanding of materials come from her own physical experience—she saws, weaves, dyes, threads, and paints each individual element. She approaches the materials, assesses them, and then unfolds and articulates what is otherwise obscured by the image. With careful, subtle disruptions, the individual materials become equal protagonists. Their former status is abandoned, transitioning into something unified, where medium becomes the ultimate goal.

Jönsson’s works are particularly characterized by reduction and materiality. Through the inexhaustible idiom of geometry, they oscillate teasingly between abstraction and figuration. The repeated motif of the cross, present in both the stretcher frame and the woven fabric of the canvas, becomes a focal point—at times as a logical consequence, at times applied, added as fabric upon fabric, or cut out. As a charged symbol, the works carry a moment of solemnity—shared rituals of life’s transience and sacrifice. Stripped of its religious purpose, the cross becomes a straightforward presentation of what it is—a sign; but in Jönsson’s practice, also a necessary system, through which she maps the possibilities within a constrained materiality, as painting and as object.

Wilson Saplana Gallery is pleased to introduce a new body of works by Ida Thorhauge in the exhibition 'A Storm Within'. Ida Thorhauge takes a fresh approach to her practice, allowing the women to stand alone—strong and stoic—within the frame. There is something new at play, even though the paintings unmistakably bear Thorhauge’s signature. Like her previous works, they are painted with presence, vibrant colors, and bold brushstrokes. The figures’ bodies are broad, firmly grounded in the earth, with large, expressive hands that convey a clear sense of gesture.

Rather than exploring inner psychology, Ida Thorhauge’s new works present a projection of personas and stereotypes that are depicted in our collective cultural imagination. Other examples of identity’s plasticity can be found in the work of American artist Cindy Sherman, who also engages with imitating culture-defining images and concepts. Sherman uses herself in disguises, portraying all kinds of different types of women, which ultimately converge in one woman—herself. However, in Thorhauge’s new paintings, there is more at play. We see depictions of women who all stand, or almost float, within the pictorial space, without a background or much context. Their feet are hidden, and their bodies are only suggested through the expressive strokes in the colorful dresses. It is instead the gaze, the hands, the choice of colors, and a few added elements that tell the story of women we already feel we know from images of Madonnas, Ophelia narratives, moods from the Brontë sisters, Edvard Munch, Japanese manga, the Bloomsbury Group, and much more. Yet, they remain unfamiliar, and must be rediscovered—perhaps on their own terms.

Andréhn-Schiptjenko is pleased to present Martin Jacobson’s solo exhibition Portraits & Silhouettes.

Dreams, myths and archetypal imagery converge in Martin Jacobson's paintings, serving as portals to shared human consciousness and experiences unbound by time. Drawing from these collective symbols, Jacobson creates an associative stream that reflects on how we perceive ourselves in relation to the world, offering introspective explorations of the human experience.

Jacobson’s creative process is a journey into the unknown, a dialogue between him and the painting that unfolds with unpredictable discoveries—part memory, part dream. Characters and landscapes materialize as if they have always existed, waiting to be uncovered. He describes his approach not as creating, but as finding: the image revealing itself from behind a curtain of whimsical coincidences. The resulting works invite the gaze to wander, explore or simply rest, evoking moments of recognition and wonder without the need for explanation.

Lagune Ouest is pleased to present the group exhibition 'dirt' featuring Moa Alskog, Laurence Sturla and Astrid Svangren.

Galleri Bo Bjerggaard is pleased to present the first exhibition at their new gallery space at Sankt Knuds Vej 23C.

The exhibition 'Junkatarians Leaving White Frame' is a rare collection of recent works by Simon Evans and Sarah Lannan, showcasing their 18-year collaboration. Known for their meticulously crafted, graphic-rich surfaces and dense, novel-like texts, Evans and Lannan continue to create without shortcuts—no assistants, no mass production. Their art draws from life, humor, and profound personal stories, offering a blend of cynicism, beauty, and political insight. This unique body of work radiates authenticity, capturing the essence of their creative journey in Brooklyn.

It is with great pleasure that Andersen's can present a new exhibition by Anselm Reyle, who in many ways has had a great influence on the gallery, from the early beginnings in Berlin in the 90s, where Anselm and Claus curated exhibitions together, to the more professional part later in Copenhagen, where Anselm has been in the gallery from the very start.

In the exhibition The Soft Machine, which refers to William S Burroughs' novel of the same name, Anselm has for the first time in ten years, gone back to the Stripe paintings, that made him famous in the early 00s. As in Burroughs' novel, they have now, become cut-up fragments of earlier techniques and methods, with a choice of colors that could refer to the more acidic part of the '60s universe. The same could be said about the ceramics. They are made in the same workshop that made lava ceramics in the 70s, a type of ceramics that was very widespread in dorm rooms around the world and therefore refers to that very culture, which is in no way shaped by bourgeois norms, but again a time that most people can recognize, with the smell of smoke and acid rock from big brother's record player, which is intertwined in the work with neon and foil, which contain the vibe from dorm rooms to club culture in one cube.

Galerie Anhava is delighted to present Santeri Tuori’s solo exhibition 'Immediate Nature'. Last time works by the internationally active artist were seen in his previous solo show in the gallery in 2016, and his new art works convey a fresh sense of intensity, freedom, and a hint of the uncontrollable.

In the Immediate Nature series, Tuori has photographed people close to him and scenes from his everyday environment. The viewer sees a thick, shimmering tangle of branches from which a figure gradually emerges. The genres of portraiture and landscape coexist in many of the works, but in the new Black Tree series there is also physical double layering: a black-and-white photographic print is overlaid with a second print of the same image on translucent Japanese paper. This double printing lends the images intriguing vibrancy and vivid sense of depth. The series of dark portraits of trees also has a performative quality: as the branches shift position from one image to the next, it is as though the tree were dancing, waving its limbs.

In a new series of works entitled Cloud, Tuori has photographed a single cloud moving across the sky, taking multiple shots over a short period of time. He then displays these individual cloud images on the wall in a drifting cluster,creating the impression that the images are dispersing into the sky. It is as if the artist had decided to deconstruct the image and its layers for the viewer, turning the cloud, the image and time itself towards us for examination. The ephemeral nature of the moment shimmers in the work, the light fades into immateriality, slips into blackness, and flashes into its opposite.

Sharp Projects is pleased to present the fourth edition of the annual group show 'Small Sculptures'. The exhibition presents works by international artists, featuring mounted, wall-hanging, and suspended sculptures and installations.

The featured artists are Samuel Alves de Jesus, Abdul Sharif Oluwafemi Baruwa, Wisrah C. V. da R. Celestino, Linnéa Gad, Marina Grize, Clara Lena Langenbach, Nevine Mahmoud, Lou Masduraud, Elizabeth Orr, Sophie Varin, Anna Walther.

OSL contemporary is thrilled to present a historic exhibition celebrating the works of Norwegian sculptor Aase Texmon Rygh.

Galleri Magnus Karlsson is pleased to announce Susanne Johansson’s ninth solo exhibition at the gallery.

'The Unanswered Question' presents new paintings and works on paper. Susanne Johansson’s relationship to nature is both on a concrete and an idea-based, poetic level in her work. The prosaic motives of an easily recognizable and relatable environment are repeated and deepen in content through time and presence. A meticulously small section is condensed into something grand and fundamental. Often painted with a fluid directness and a sense of air and light, but also with a sooty and subdued harshness that emphasizes a more serious mission. The paintings shift between the familiar and the unfamiliar, between memories, associations and something more abstract. A variety of moments and events that can be difficult to formulate or capture. A hare that quietly listens among the stubble in the field and the solitary bullfinch in the maple tree behind the studio. The neighbour’s green shed as a portal to another reality. The large rock and the uprooted tree with its microcosm.

In her works, Johansson returns to fascinations from her childhood, the world that exists in the seemingly insignificant. From these recurrent motifs emerges a low-key narrative that provides no answers. A raven lands very close, the snow and the light carries eons of time beyond comprehension. At the edge of the river, in a chaos of branches and roots, the kingfisher sits and looks down into the water. The tranquil rhythm of time in the movement of the water. Amongst the muted tones, there is something that makes itself known and is familiar. The kingfisher’s blue plumage like an exclamation mark.

Helsinki Contemporary is pleased to present the exhibition 'Tectonic Kiss', Aki Turunen's third exhibition at Helsinki Contemporary, showcasing a selection of his new tempera, oil and pastel paintings.

Turunen is an intuitive painter who draws visual ideas from the subconscious. Volcanic eruptions, kissing lovers and centaurs are among the signature elements repeated in his latest exuberant exhibition. The title, Tectonic Kiss, refers to a collision of tectonic or continental plates. Encounters and attempts to understand the Other are central themes running through Turunen’s exhibition, be they encounters between lips, tectonic plates or various kinds of creatures. For Turunen, the act of painting itself, the collision of colour and line, is a symbolic gesture that triggers shuddering shockwaves in the same manner as a tender kiss or a collision of continental plates.

Turunen’s visually rich body of work is a celebration of joy, pleasure and artistic freedom. The artist describes his process as a metaphoric “hole in one” gamble – risks must be taken, even if it potentially means wasting months of work.

NEVVEN is proud to present the first gallery solo show in Sweden by Finnish artist Emma Sarpaniemi. Photographic self-portrait is probably going to be the form of expression for which this entire period in the history of mankind will be remembered, Emma Sarpaniemi took this overused medium and managed to reinvent it anew. This operation although was not aimed at refreshing and making more interesting an age-old process, but instead to subvert and impose a new dynamic to it, where the objectified and (male-)gazed upon becomes the one in power, where the erotic and tender becomes freed from our patriarchal societal judgment and the over-zealous seriousness of the art world can be turned into play. It is with this unique capacity that Sarpaniemi looks back at us from all of her pictures: there she is colourful, witty, funny, but mostly empowered, in control of her body and her narrative, and setting new rules and terms of what is permitted and what is to be judged, her own rules.

Galleri Susanne Ottesen is proud to present 'In Colour,' a solo exhibition by Troels Wörsel.

Troels Wörsel is a painters’ painter – I have heard multiple times in connection to his practice. A phrase used to indicate the kind of artist who has a deep understanding of their medium, someone whose work is intended more for insiders with a trained eye than for casual viewers or mainstream audiences. But is that even true? Maybe it’s about time to think of his contributions as an elevated form of undoing, an unlearning process that simply allows the world to disclose itself – making it possible to separate pure visual experience from personal perception. Seen in this light, his paintings are extraordinarily liberating. The final step in Wörsel’s path of non-attachment, and his highest aspiration for himself and for us, is to see with the clarity of Simon’s young pals, where a dog can just be blue, and that is all there is to it.

Excerpt from exhibition text 'Elvis the blue dog' by Paola Paleari.

palace enterprise is pleased to present filmmaker and sculptor Young-jun Tak's second solo exhibition with the gallery. Tak’s second entry in his choreography film series, 'Love Your Clean Feet on Thursday' (2023), continues to reflect on the heteronormative duality that seeks to impose order through the exclusion of queer, trans, non-binary, and other non-normative bodies—despite the complex embodiments of homoerotic desire that bypass this duality. Young-jun Tak’s practice examines sociocultural and psychological mechanisms that shape belief systems, and often exposes human bodies in the context of polarizing norms and conventions with the attempt to critique social institutions.

'Love Your Clean Feet on Thursday' alternates between intimate body shots of muscular, confident Spanish Legion soldiers in their uniforms, carrying a wooden crucified statue of Jesus in Andalusia, and the cool, queer male dancers of Callender’s troupe in Grunewald. The dancers carry Yi-Chi Lee in a connected sequence of movements, ensuring his body remains long and linear, with his feet never touching the ground. In some scenes, he resembles a porcelain doll; in others, he seems animated by invisible puppet strings. The troupe wears minimal, sexy Berlin club attire—black shorts and t-shirts. Both Jesus as an icon and Lee as a symbolic Manon serve as pivotal yet passive agents shaping the movements of the dancers. The touch of worship and the touch of desire merge into each other. The feet in military boots and sneakers converse in pace, negotiating a fluid masculinity, with embodied desire finding space in fluidity. Tak uses his camera as a haptic tool of desire, caressing and exploring. Meanwhile, one of the dancers narrates and reflects on the importance and necessity of touch.

Alice Folker Gallery is pleased to present Sophie Kitching’s exhibition DENATURE offering a panorama of her most defining painting series. In the exhibition she approaches landscapes through color, material, form, abstraction, and visual saturation. There is no horizon line in her works, there are no borders, and the use of a bright and dark color palette conveys the sense that the depicted nature is simultaneously close and at a distance. Through the juxtaposition of pictorial approaches, the artist explores painting as an act of transformation. Her light touch contrasts with denser compositions, reminding us that the expression of nature knows no bound. Sophie Kitching’s distinctive mark-making spanning across various surfaces invites us to wander in her polychromatic creations, imprinting the retina in a long-lasting way.

Through her paintings, Sophie Kitching aims to challenge and transform the inherent natural qualities of her surroundings. The different body of works compose the artist’s own landscape, idyllic and pastoral, natural and wild, contained and multihyphenate. Her experimentations offer an intimate overview into her conceptual approach towards landscape painting, exploring the margin between control and nature.

Alice Folker Gallery is pleased to present Yasmin Sliai's first solo exhibition in the gallery Haze of Belonging. In the exhibition, Yasmin Sliai presents a series of recent paintings that explore our understanding of home, belonging, time, and memory. The exhibition continues the artist's ongoing investigations into the interconnected nature of these themes through experimentations with motive and patterns, form and colour.

Using recognizable interiors such as a sofa, a window, a chair, or a rug, Sliai’s works often depict intimate portrayals of relations and homes. Yet, simultaneously, the paintings seem to evoke the underlying question of what home even means or is. Is home our closest relations: the bond between two sisters or is home a specific place: a house or a town? Is it waiting for something or someone?

Saskia Neuman Gallery is proud to present Jakob Solgren Nordenskiöld’s second solo exhibition at the gallery, Another Threshold. Jakob was born 1976 in Shiraz, Iran and grew up in Vimmerby, Småland. He holds an MFA from Konstfack in Stockholm. Jakob Solgren Nordenskiöld is also a lecturer at the Department of Ceramics and Glass at Konstfack, Stockholm.

The exhibition Another Threshold is shaped around a concept of existentialism, where the artist employs each object as part of a larger narrative, a constant reminder of a memory, a place or a voice. The works in the exhibition take form from the artist’s presence and awareness in the objects ability to engage and create dialogue with its surroundings. It is a silent language that moves between the visual and the existential, like reflections, mirroring human life.

Each object carries a story, where the artist’s work is based on a sense of permission and openness. Solgren Nordenskiöld describes this state of being as fragments and syllables, propelled by silence, between him and the object. Time is allowed to pass for several days, weeks, months even. Then, a sound and a voice begin to seep through the limitations of reality; the object’s state changes and positions itself in a new form. It is performative. A visual language without limitations, attempting to communicate.

Matteo Cantarella presents 'Swing Pattern Gone,' a solo exhibition by Danish artist Therese Bülow.

Therese Bülow (b. 1996, Denmark) lives and works in Copenhagen, Denmark. Bülow graduated with an MFA from Malmö Art Academy in Malmö, Sweden. Her work has been exhibited at Den Frie Centre for Contemporary Art (Copenhagen, Denmark), ICA (Malmö, Sweden), Skånes Konstförening (Malmö, Sweden), Roskilde Festival (Roskilde, Denmark) and Uppsala Konstmuseum (Uppsala, Sweden) among others. Upcoming exhibitions include Rønnebæksholm (Næstved, Denmark) and Esbjerg Kunstmuseum (Esbjerg, Denmark). Bülow is currently part of the Anne Marie Carl Nielsen Programme for Art in Public Spaces (2024/2025).

CFHILL, in association with Almine Rech Gallery and Marcus Jansen Foundation, is pleased to present 'Faceless', the first solo exhibition by Marcus Jansen in Stockholm. The exhibition brings together new and previously unseen works that merge gestural abstraction, surreal storytelling, and raw urban energy.

Born in 1968 in New York City to a Jamaican mother and German father, Jansen grew up between the Bronx and Queens, New York and later Mönchengladbach, Germany. Moving between these two environments, he developed an acute awareness of power structures, exclusion, and identity—experiences that continue to shape his work. His early exposure to street art and graffiti in New York became a foundation for his artistic language, merging spontaneous expression with sharp social critique.

Jansen’s paintings are layered with explosive color, architectural compositions, and haunting figures, creating visual narratives that explore the intersections of history, power, and human connection. His work engages with themes of colonialism, capitalism, and the unseen forces that structure contemporary life. Each canvas is a site of tension, where the personal and the political merge, challenging the viewer to question systems of control, representation, and memory.

Þula is pleased to present the group exhibition 'Cross Section' in Þulu, Marshallhouse. At the exhibition, ten artists show their works and what they have in common is to be represented by the gallery. This is a unique opportunity for the audience to get to know the gallery and its artists in a up-close conversation.

Persons Projects is proud to present, as part of the European Month of Photography in Berlin (EMOP), Grey Crawford’s third solo exhibition, 'Transfigurations (1973-75)'. Crawford's self-performances from the early 1970s encapsulate the spirit of an era in Southern California, in which Performance Art moved away from the platform of the audience and into the photographic framing of the moment.

During this time, performance art can be best described as any type of self-absorbed activity that questioned the essence of sculpture by eliminating the object itself. The focus was on the body and its movement, and how these activities created conversations rather than answers. It was a period of experimentation, and Los Angeles - along with its extended suburbs - was the perfect place for these happenings to evolve. It was in this cultural setting that Grey Crawford’s performances began to evolve. His experiments incorporated locations ranging from the Mojave Desert to the infamous ceramic slip installations of Douglas Humble in his own home.

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.