Art Calendar

Alice Folker Gallery is pleased to present Palindrome by German artist Lukas Müller.

With the exhibition Palindrome, German artist Lukas Müller presents a series of new paintings that unfold within the blurry space somewhere between realism and surrealism. A space in which the recognisable is continuously, if only slightly, displaced; where the logic of everyday life is unsettled, and where the dreamlike permeates the image. For Müller, it is precisely in this borderland - what he himself describes as a blind spot - that the energy of an image emerges. Here, painting is neither a direct reflection of reality nor a pure construction of fantasy, but rather a site where the two intertwine.

Gallery Steinsland Berliner is pleased to present the latest solo exhibition by Swedish multidisciplinary artist Arvida Byström, titled Soft Composition. This marks her third solo presentation at the gallery and the latest in a series of acclaimed local and international exhibitions exploring the evolving relationship between technology, intimacy and authenticity.

As in several of her recent projects, the aesthetic of pornography, with its connotations of both oppression and release, serves as a site of exploration in Soft Composition. These considerations manifest in works that draw explicitly on imagery of the flesh, while oscillating between abstraction, fragmentation and form.

Eighteen is pleased to present Gardeners, a group exhibition with Asger Jorn, Robert Nava, Misaki Kawai, Joe Bradley, Eddie Martinez and Tal R.

A gathering of artists celebrating the primal discipline of drawing. Drawing as an intuitive, spontaneous act of expression—an ancient, independent mode of communication. Drawing and mark-making as a reflection of the human condition beyond verbal and written language.

This band of artists share a dedicated commitment to the practice of drawing, each cultivating the potential of the medium through continuous curiosity. Drawing as a language beyond the borders of stylistic manners, time, and geography. Drawing as a subtle act of rebellion. Drawing to begin again.

The idea for Gardeners emerged organically over several years together with the participating artists and to Museum Jorn.

Matteo Cantarella is pleased to present Words strain, crack and sometimes break, a group exhibition featuring works by artists Anna Andersson (b. 1989, SE), Therese Bülow (b. 1996, DK), Carina Emery (b. 1991, CH) and Ingrid Furre (b. 1983, NO).

Words strain, crack and sometimes break brings together the work of four artists with distinctly different sculptural practices. Each, within their respective material registers and processes, assert form as a condition marked by continuity and transformation.

V1 Gallery is pleased to present Jordkammerater, a solo exhibition by Mads Hilbert.

In Mads Hilbert's exhibition Jordkammerater (Dirt Comrades), small declarations of love and buried, desirous male bodies float together with Danish art historical references—back to a period when the lonely farmer was a worn-out figure; in Jordkammerater, he is cruising the fields looking for loving company. In large paintings, with alternating dense motifs and bare canvas, Mads works with the balance between the incomplete and the finished.

The oil paint is applied intuitively, gradually weaving horizontal and vertical strokes together to form meaning. The details emerge like single, delicate straws, green sprouts and small coloured specks, imitating the grains that the farmer scatters on the field in the iconic sower motifs of artists H.A. Brendekilde and L.A. Ring. Historical comrades and imaginative boyfriends.

‘(Re)visit’ enacts in its entirety Maria Eichhorn’s 1995 exhibition at Galleri Susanne Ottesen, repeating her precise staging of three works by central figures of the Fluxus movement: Chair Events, 1969, by George Brecht; 33 1/3, 1969, by John Cage; and Flux Ping-Pong, 1969, by George Maciunas.

Eichhorn’s exhibition poses fundamental questions about artistic authorship, audience participation, and the gallery as an active framework through which art is made and experienced. By recreating works from the René Block Collection, Eichhorn also addresses questions of public display and censorship, raised following the collection’s inaugural presentation at Statens Museum for Kunst in Copenhagen (1992).

Galerie Anhava is happy to present new paintings by Matti Kujasalo in celebration of the renowned artist’s 80th anniversary. Kujasalo’s previous solo exhibition, in March 2020, was open for only ten days before the gallery was forced to close due to the pandemic. The present exhibition showcases a diverse, inquisitive, sensitive and compelling body of recent work by the Finnish master of lyrical constructivism. Alongside black-and-white works, the paintings glow with the green, yellow, blue and red-yellow hues of spring.

Kujasalo held his first exhibition in 1969 and is today one of Finland’s most internationally recognised artists. The creator of a rich and distinctive visual language drawing on geometric forms, Kujasalo continues to work actively both in Finland and internationally. In recent years his works have been shown in exhibitions at LACMA in Los Angeles, Kunstsilo in Kristiansand, and the Busan Museum of Art in South Korea.

Persons Projects is pleased to present Constellations of Thoughts, a group exhibition featuring four Helsinki School artists: Niina Vatanen, Jyrki Parantainen, Niko Luoma, and Mikko Sinervo, who explore the visual language of the cosmos. Using photography as a conceptual and exploratory medium, their works offer new ways to imagine and perceive the universe. Each artist transforms cosmic principles, temporal rhythms, and metaphysical questions into images that act as a visual map of thought. Exhibited together, these works reveal how we perceive, imagine, and construct personal universes, from shifting structures of time and light to speculative architectures of distant stars. The exhibition presents the cosmos through a synthesis of science, philosophy, and poetic vision.

For as long as humans have looked up into the night sky, the view has shaped our sense of wonder, fear, and curiosity. Constellations of Thoughts reflects on how contemporary artists interpret this cosmic gaze by asking how the expanding universe reshapes our understanding of time, space, and the fragile coordinates of our own existence.

Galleri Nicolai Wallner is pleased to present the inaugural edition of Nordic Threads, a series of exhibitions exploring practices across the Nordic art scene over the past decade. These exhibitions will trace the connective tissue between artists working in the Nordic region, attending to the preoccupations, methodologies, and material languages that have crystallized in this geographic and cultural milieu. Rather than condensing this multifaceted landscape into a neat summary, Nordic Threads emphasizes the many shapes and lines of inquiry that begin in the area. The series operates as an ongoing inquiry, each iteration offering a cross-section of contemporary practices.

This first iteration of Nordic Threads brings together works that engage with domestic and utilitarian traditions through material and formal reinterpretation. Drawing on established cultural forms such as the table, the textile, the room divider, or the family photo, the artists employ processes of transformation rather than direct appropriation. These works reference histories of use, craft, and socio-political significance while deliberately suspending functionality. In doing so, they activate tradition as a living material, capable of generating new meanings within contemporary artistic practice.

Galleri Magnus Karlsson is delighted to announce Helene Billgren’s third solo exhibition at the gallery; S som i solens födelse (S as in Sunrise). The exhibition presents mainly new paintings on paper and panel.

Over the past year, Helene Billgren has started to paint on paper. True to her habits, she likes to use existing materials that are already in her studio. When she ran out of panels, her gaze fell on a stack of high-quality paper; an unpublished edition of silkscreen prints with blank reverse sides. This encouraged her to start a series of paintings, which now form the backbone of the new exhibition. The works feature a recurring landscape in varying degrees of abstraction. To find a more open approach to the motif, she decided to paint the images upside down.

Galerie Nordenhake is pleased to present Armscye, Patricia Treib’s fourth solo exhibition with the gallery and her first in Germany. Armscye, or arm’s eye, is a dressmaking term for the armhole opening in a garment through which the hand, and then the arm, passes, and to which a sleeve may be attached. While the word comes from the history of garment construction, it aptly links sight and touch, resonating with Treib’s visual plays on dress and bodily adornments and how they correspond historically to painted gestures.

Á. Birna Björnsdóttir works like an emotional scientist who measures not in seconds but in rhythm, not in precision but in persistence. Birna’s laboratory is permeable: ceramic, copper, steel, straps, mirrors, metal, and microcontrollers. Her tools include drip vials, multimeters and vessels. The vessel becomes a form of harnessing, a way of holding without fixing, of receiving without owning. Other tools include the wind brushing her cheeks on a cold, bright day, snail sex, text messages, diary entries, astrology readings, spells and the kisses of lovers far away. She gathers data slowly through attention, exposure and care.

The works in When I looked up, the moon had changed shape are both experiments and confessions. That is to say, they display aspects of the spiritual and the scientific. In Witnesses, two metallic eyes hang in slow rotation, tracing the movements of the sky. One turns with the sun (360° each day), the other with the moon (360° each 29,5 days). Like cosmic clocks, they move softly through the intervals of day and night, months and birthdays. Their gaze hovers across time, in the present and 3,600 years in the past, before meeting our own. It moves between windows and walls, and our insides and out. The moon pulls the tides, and perhaps the tides within us too.

Marginalia Bacchanalia is Paul McDevitt’s sixth solo exhibition with Martin Asbæk Gallery. The backbone of the exhibition is a group of the artist’s Notes to Self series of drawings, displayed both on the walls and installed in a custom-built table which snakes through the gallery.

These drawings begin as notes and reminders on McDevitt’s desk, which are later worked over in paint and ink. The notes serve as way to kickstart new ideas, as the emergent drawings respond to the content and formal aspects of the notes. The resulting works are spontaneous, playful, and introduce ideas to be explored in other formats. In this exhibition they are also the source of inspiration for two new series of works.

Galerie Forsblom is pleased to present the exhibition Sometimes The Sky Is Blue by Peter Frie whose landscapes emerge from memory and sensation. Among the images etched most deeply in his mind are childhood days spent mushrooming with his mother. Roaming beneath tall trees, across sunlit meadows, and along narrow paths, time seemed to stand still. Through these early experiences, the artist came to understand the immense power and significance of nature. Over the course of his long career, he has painted countless desolate landscapes in which trees serve as the sole point of orientation.

Frie’s work draws on the historic legacy of landscape painting, particularly the tradition of treating landscape as an intensely charged emotional state. His paintings shift attention away from rational description toward subjective experience: nature becomes a vehicle for the expression of deep feeling. His work evokes a longing for something ineffable, inviting viewers into dreamlike vistas where misty horizons, low-hanging clouds, and fleeting glimmers of sunlight create a tension between intense illumination and muted tonal transitions.

Galerie Forsblom is pleased to present the exhibition Follow The Sunshine by Tiina Elina Nurminen. Nurminen often works on the same painting for extended periods of time – sometimes even for years. She alternates between phases of intense engagement and moments of distance, allowing the painting to reveal what it still requires. This meandering process is central to her practice, enabling the work to unfold organically, guided primarily by intuition. Nurminen draws inspiration from everyday life: moments spent in nature, the intimacy of her daily surroundings, and the emotions she experiences. Her palette, too, comes together in an equally intuitive manner.

Flowers feature prominently among the motifs in her most recent works – though they carry meanings that extend beyond their visible forms. The universal shapes of plants evoke life and its cyclical nature, serving as reminders of how delicate, fragile, and ultimately fleeting existence can be. Life blossoms, reaches its peak, and gradually fades away – much like the wilting blooms depicted in her paintings.

Galerie Forsblom is pleased to present the exhibition There Was A Damp Cellar Beneath The Terrace by Tom Sandqvist.

Tom Sandqvist’s series of photographic collages explores the intertwined themes of language, the body, identity, alienation, and belonging. Many of the works have a pronounced autobiographical tenor. Their striking frames – several centimeters deep – create the illusion of peering through a peephole into the past.

The series is perhaps best described – if not fully understood – through comparison with Sandqvist’s literary output, which provides its conceptual foundation. His written works include the essay Det våta språket (The Wet Language, 2023), the novel Döden, döden i Fließendorf (Death, Death in Fließendorf, 2024), and the collage novel Under terrassen hade jag en fuktig källare (There was a Damp Cellar Beneath the Terrace, 2026). Together, his creations form a cohesive artistic corpus in which image and text mirror one another, each deepening the other’s meaning.

Northing Space is pleased to present Qi Tan's exhibition What’s Inside What’s Inside. It is an exhibition with films and installations that takes as its point of departure the artist’s encounter with two elderly women, and examines how experiences of the unseen continue to live on through body, language, and landscape. Through everyday actions—working within smoke, oral storytelling, song, and memory—the project opens up a quiet reflection on myth, remembrance, and transformation.

The cave functions as a central mediating motif: a transitional space between life and death, visibility and invisibility, the present and what has passed. Rather than seeking to explain or retell myths, the project stays with conditions—smoke that alters the air, sound moving through dark spaces, and memories that continue to circulate through speech. In this way, the work asks whether myths have disappeared, or whether they have simply changed form.

Galleri Riis is pleased to present the artist’s fifth solo exhibition with the gallery. In the exhibition, Lisa Tan presents an installation of forty framed pieces that comprise National Geographic (Epoch), 2025. Each frame contains two printed images: recto and verso sides of clippings of photographs of mountains, amassed from the artist’s late father’s National Geographic magazine collection of the 1970s and 1980s. We see each mountain’s frontal view and adjacent is the literal and metaphorical other side. Turning each page, traversing from left to right, frame to frame, marks the passage of time and the accumulation of experience.

The piece relies on a shared encounter with vintage popular media, in this case a magazine like National Geographic. In its former ubiquity and semantic force, it can exemplify how we consider and perceive both ideas: nation and geography. Within the magazine’s name exists a paradox. The national, as it is mapped by political forces in relation to given topographies in features such as rivers and the mountain ranges that are as mighty as they are unconcerned with the designation of any border. And, the geographic, which is connected to the deep time of geological record, and yet, since the age of the enlightenment and the onset of romanticism, has been tethered to identifications with landscape. Against this backdrop, geography as landscape, and certainly landscape photography, is an image-idea that functions as both generator and pawn in the game of national identity. Ultimately, the implications of these terms, and the images that cling to them, inform our place in the world.

Two years after Tone Vigeland’s passing, Galleri Riis is pleased to present a small retrospective exhibition featuring a selection of sculptures, objects and maquettes from the last 25 years of her life. In addition, examples of her groundbreaking jewelry from the 1970s and 1980s, which point toward to her later sculptures and objects, will be on view.

Tone Vigeland (1938-2024) was known as one of the most significant studio jewelry artists of the postwar era. Since the early 1960’s, she exhibited actively and was featured in innumerable arts and crafts surveys internationally. From 1995-98, a critically acclaimed retrospective exhibition of her jewelry traveled from Norway to the U.S. and Japan.

In 1996, Galleri Riis presented the first sculpture by Tone Vigeland. Made from countless tiny parts of copper and nickel-plated bronze, it was her first free-standing object. The technique and materials, as well as the stylistic idiom, were derived from her previous work with jewelry, where organic movement of surface and form is obtained through the attachment of numerous components to a mesh or flexible core. Her works, whether jewelry or sculpture, are always characterized by craftmanship and innovative exploration of the properties of the metal, and mostly crafted by her own hands.

Galleri Bo Bjerggaard is delighted to present Chapters, a solo exhibition by Eva Schlegel. This marks Schlegel’s fifth exhibition with Galleri Bo Bjerggaard. Working across photography, sculpture, drawing and video, Schlegel explores the many dimensions of space, from the physical and architectural to the mental and emotional. Chapters brings together key works and series from her long and distinguished career, all centred on her ongoing investigation of how space shapes perception, identity and presence.

Schlegel’s work is rooted in questions of perception, how we experience the world around us and how meaning is formed through looking. The eye naturally strives to recognise and define, but by softening and blurring forms, she gently disrupts this impulse. In doing so, she creates a space where seeing becomes sensing, and where meaning remains open rather than fixed.

Isaak Fangel is pleased to present the group exhibition Onyx, featuring artists Alberte Harboe Westergaard, Sophie Z. S. Suaning and Yves Scherer.

Lagune Ouest is pleased to present the solo exhibition The Need to Go Down Is the Most Human Movement by Mathias Toubro. The opening of the exhibition also marks the inauguration of Lagune Ouest's new space on Rådhusstræde 10, Copenhagen.

NEVVEN is pleased to present the solo exhibition Blind Spot by Filippa Friberg.

There is a specificity in the paintings by Filippa Friberg that elevates them from first glance. Colours, forms, empty spaces and dense areas do not follow any clear pattern or are deployed in a way that reveals a method, a clear process. They instead describe very clearly a way of using the medium of painting, canvas, stretchers, primer, oil paint, oil, which searches in a very specific way for very specific answers. The paintings are different between each other, as the answers differ, but they are also not. There is a quality, eerie and familiar, that links all of them in a simple and intuitive way.

Friberg describes her paintings as a “research into specific feelings and those fleeting moments which we have no words to describe,” and her process starts from applying a specific tone to the primed canvas and responding to that with another, intuitively developing practical choices. She paints to a degree of detail sometimes that we could make us believe we are starting to see things in these abstract compositions, especially when juxtaposed to their often quite descriptive titles, yet she says that she is interested in the quality of a line, or the trace left from a pentimento on the surface of the paintings. More than being confusing, these aspects tell that she really knows what she is doing. Being non-figurative and very representational at once, refusing to produce paintings that are very cohesive, yet being able to bring together a practice which is instantaneously personal tell something about that.

Andréhn-Schiptjenko is pleased to present Sally von Rosen’s first solo exhibition with the gallery, On Three Legs. Von Rosen’s sculpture and performance-based practice is rapidly gaining international attention. In recent years, her work has been exhibited at institutions such as Bonniers Konsthall (SE), Kunstmuseum Den Haag (NL), Kunsthalle Recklinghausen (DE), Kunsthal Aarhus (DK) and Schinkel Pavillon (DE) to name a few, and Elephant Magazine named her one of the artists to watch in 2025. Upcoming institutional exhibitions include Gothenburg Art Museum (2026) and her first institutional solo exhibition at Kunstverein Göttingen (2027). In early summer, a large-scale outdoor sculpture will be unveiled for a temporary presentation in central Stockholm.

Intuition and theory converge in von Rosen’s practice. Her sculptures are caught in a state of fluid-like transformation, arched and turned, often found balancing on needle-sharp claws. Whilst the works in themselves can come forth as both uncanny and haunting, there is a tenderness embodied within them, begging the viewer for an interpretation. With reference to Jane Bennet’s Vibrant Matter (2010), von Rosen’s practice highlights the importance of treating objects as vibrant entities, engaging audiences in narratives that transcend traditional boundaries between the animate and the inanimate, sparking reflections on our shared existence and environment.

Annika Nuttall Gallery is delighted to present the solo exhibition YELLOW, featuring new works by the Danish artist Tine Bek. Bek (b. 1988) is a Danish multidisciplinary artist whose practice addresses a fascination with the spaces and everyday objects we choose to surround ourselves by. With humour and sensibility, Bek works across still life photography, installations, sculptures, books and video works.

Bek has exhibited nationally and internationally including Fotografisk Center, (DK) Christiansborg Palace (DK), Arden Asbæk Gallery (DK), Fotogalleriet (NO), Helsinki Photo Festival (F), Glasgow International Arts Festival(UK) National Library of Lithuania (LI) and Gerðarsafn Art Museum, (IS).

Bek's works portray a mixture of still life, found objects and sculptural forms, which all convey a tactility and sensuality that is visually alluring and appealing. Her work appeals to our instinctive desire to touch and resonate with deep emotion and introspection. Everything seems to overflow, crumble or bulge – uncontrolled, baroque forms,which brings to mind how materials and things form part of a hierarchy and a structure. Bek invites us to explore the fine balance between strength and vulnerability.

At his solo exhibition Marks Of Seasons, Tolli takes us on a journey through the Icelandic highlands. Inspired by his walk across Landmannalaugar and Hrafntinnusker in the summer 2025, the series explores the seasonal change in the highlands from winter to summer, a journey where each step offers us a new experience.

There is a unique kind of light in the Icelandic highlands in June. Summer blooms in the valleys, yet snow still clings in the creases of mountainous rock. A ridge line holds both seasons in the same breath. Sunlight stretches without urgency. For a moment, you are suspended between them. The air is thin, almost lucid. Alone, but not lonely. It is from this altitude which Tolli's paintings emerge.

In June, Tolli walked the Hrafntinnusker-Landmannalaugar trail, crossing high ground where seasons overlap. Below, the warmth of summer draws the call of familiar summer birds in the air, light spills late into the evening. But at the peaks, winter lingers. Glaciers reflect pale light back into the sky. It is not yet one season or the other, but a meeting point, suspended.

We are very pleased to announce Per Mølgaard’s upcoming solo exhibition, The Rain, the Mind and the Waltz, opening on February 27, from 5-8 PM. Mølgaard’s paintings are distinguished by their assured technique and subtle sensibility, where carefully composed surfaces unfold with quiet intensity and depth. His works balance precision and atmosphere, revealing a painter deeply attuned to the possibilities of his medium.

SPECTA presents the exhibition The Sound of a Line, featuring new works by Signe Jais, in which the subtle perceptions embedded in two-dimensional drawings unfold into paper and thread. Through meticulous repetition, Signe Jais creates collages in which straight, flat lines sketch rotating spatial forms, bridge empty spaces, and draw the sound of an echo. We become aware of the impressions hidden within the perfect system.

Signe Jais is inspired by descriptive geometry. Being a method for translating depth and spatiality into drawing, the works are not necessarily depicting strictly correct geometry but focus on the space and movement that a flat drawing can reveal.

The exhibition title, The Sound of a Line, may seem intangible; yet in the works presented, the geometric system becomes a way of describing the idea that any space is not understood visually alone, but is also the result of our reflections, light, sound, distance, and repetition. Just as when we speak of a building having rhythm, or when we read a flat map that shows mountains, valleys, rivers, and buildings.

Andersen's is pleased to present the group show "If one could read them, one would know everything" featuring Kaye Donachie, Pati Hill, Melanie Kitti, Joanna Piotrowska, Maaike Schoorel and Nicole Wermers.

Inspired by Virginia Woolf’s The Lady in the Looking-Glass: A Reflection, the exhibition !If one could read them, one would know everything" explores the shifting boundaries between identity and perception. Woolf’s story examines the tension between appearance and reality, showing how outward details invite speculation while inner life remains inaccessible. Through a mirror, an observer projects depth, emotion, and meaning onto an absent woman, only for these fantasies to collapse when reality is revealed as empty and indifferent. The mirror becomes a device that exposes the gap between imagination and truth, and questions whether inner identity can ever truly be known.

The exhibition takes up these questions by asking how both outer presence and inner experience might be conveyed. Can a portrait exist when its subject remains partially unseen? Moving beyond visual likeness, the works approach portraiture through traces, gestures, atmospheres, and points of view. Like Woolf’s story, the exhibition is shaped by absence and fragments, suggesting that what we perceive of others is always mediated by imagination, and that identity may be less something revealed than something continually projected.

The exhibition is curated by Naja Bak Randtorp.

Dorothée Nilsson Gallery is pleased to present (Working Title) Balance, a group exhibition with Jenny Brockmann, Nuria Fuster, Jenny Magnusson, Martin Mlecko, and Henrik Strömberg. The pull and the push. The rush into the festive season, followed by the lull at the beginning of the year. Is it spring yet, can we come out of hibernation? (Working Title) Balance emerged from a longing, a desire, a subdued call to action. The exhibition brings together works in different media and materials: hanging, leaning, teetering, pressed. How do we begin? With a working title.

… just a shell. is a year-long exhibition by Ingólfur Arnarsson at i8 Grandi. Throughout the year, the artist will make architectural modifications to the exhibition space through additions and alterations, while the inclusion of a set of drawings serves as a constant in each transformation. Arnarsson’s drawings are built up through layered crosshatching of hard-leaded pencil lines, creating a field of subtle irregularities. Continuously evolving with the addition of new works and interventions, each iteration will be accompanied by a new text by Lani Yamamoto.