Art Calendar

V1 Gallery is pleased to present Dan Flanagan's second exhibition 'This Happened Before' at the gallery. The exhibition centres his material-led practice as well as connection, abstraction and figuration coming together to create a total belief system. Flanagan thinks about drawing and painting as a soulful rather than a formal practice, dictated by the materials themselves. In his work, abstraction and figuration exist on a spectrum, and his figurative work is a way of naming: emotion, grief, lost friends, memories. Materials drip, flow and pool together, pushing back against the artist. The work is a conversation, back and forth, with paint, his brothers, New York City and time itself.

The works create connections, an imprint of an arm or a hand is suspended in memory and the canvas. In Brothers Under the Bridge, figures stand shoulder to shoulder, shrouded yet protected. The bodies become borderless, become a community. The figures in Flanagan’s works grapple with vulnerability and connection. They wrestle with the ever mutating and haphazard nature of living and existing in the world. Flanagan’s works are friends, come to life in his studio.

Flanagan’s venture into more figurative work from abstract work marks a development in his practice, while simultaneously being deeply rooted in his obsession with the material properties of his medium and resulting work.

Eighteen is pleased to present Oliver Sundqvist’s solo exhibition Sip by Sip — a surreal reflection on the fragile, fluid, and increasingly capitalised nature of water. Through a series of sculptural works, Sundqvist reimagines the fountain, not just as an architectural landmark, but as a symbol of myth, control, excess, and survival.

Drawing inspiration from Rome’s historic fountains, from the iconic Trevi to the humble Nasoni, alongside references to pop culture and the archetypal water-bearer, Aquarius, the exhibition explores the paradox of water: a force that nourishes yet erodes, that flows freely yet is relentlessly privatised. In a world where drinking water is packaged, sold, and owned, what remains of its innate right to all?

Sundqvist transforms classical forms into contemporary artifacts — playful yet unsettling, fluid yet solid — where material and meaning blur. Sip by Sip immerses the viewer in a landscape where water’s presence is both a promise and a threat, asking: How long before the last sip is no longer ours to take?

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).

The eighth solo exhibition by Elina Merenmies at Galerie Anhava presents paintings and ink works created during the past two years, as well as drawings from the artist’s recent travels in the Eastern Mediterranean. Drawing on historical accounts, literature and religious texts, the works branch out in multiple directions, while always forming a timeless, internal world of their own. Miraculous events, devastation faced by mankind, and hope and solace rising from the ashes acquire a unique, deeply moving form in the artist’s layered expression. The themes and visual references in Merenmies’s work have always crossed temporal boundaries and borders between inner and outer realities. In the new works, the historical strata of the places Merenmies has visited expand timelines even further: in recent years, her journeys have included Greece, Jerusalem and, most recently, Egypt at the end of 2024. The settings of ancient, myth-laden events and the experiences she encountered on her travels left a lasting mark, giving birth to the works of the exhibition.

Dear Sun, We Will Meet Again is Anton Funck’s debut solo exhibition in Sweden. It features a large series of watercolor paintings on handmade paper, highlighting Funck’s devotional and meditative approach to the medium and his tactile experimentation with material. David Whyte’s poem, Horizons, guided the inception of this show, centred around the concepts of inner and outer horizons, seen as a compass for life stages. Notions of melancholia, longing and cosmic play on horizons developed during the creative process, adding further layers of meaning to the metaphor of the horizon. Carrying throughout the exhibition is the recurring motif of the orb. Visible across a majority of the works, in different incarnations, the orb carries an array of meanings: a sun, a moon, a cycle, a journey, a meditation, a beginning, and an end.

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.

Gallery Steinsland Berliner is pleased to present Energized, the third solo exhibition by Swedish painter David von Bahr at the gallery. David von Bahr continues his artistic exploration in a new series of paintings that build upon his previous body of work while incorporating fresh approaches. Known for his abstract expressionist, often large-scale, paintings, von Bahr conveys a bold and energetic perspective, guided by internal systems and reflective of the artist’s own movement patterns.

Von Bahr’s approach to painting is direct, intuitive and immersive. He engages with the canvas in a physical dialogue, moving around it freely to create pieces that echo the energy of their own making. His process is both instinctive and methodical. By adhering to repeated compositional systems and orders, von Bahr is allowed freedom within his chosen constraints. In Energized, von Bahr has in some works embraced unrestraint while others appear more systematized. Like a choreographed performance, his paintings materialize through a dynamic interplay of motion and restraint. The result is a body of work that is both immediate and deliberate, where every mark signifies movement and the final image is a testament to the process itself.

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.

ISCA gallery is pleased to present ‘Carry Your Horse on Your Narrow Shoulders’, a solo exhibition by Markus Li Stensrud featuring a new series of sculptures and wall pieces. The title of the exhibition is borrowed from an early draft of the Dada Manifesto, written by the poet Tristan Tzara in 1918, as a reaction on World War 1: "Do not be a ruler. Do not be a conqueror. Do not be a soldier. Step down and carry your horse on your tired shoulders." In the spirit of dadaism and with the snails slow and winding path as an ideal, Stensrud combines the prehistoric and the distant future in works that carries, burns and listens.

Sanna Kannisto’s latest exhibition explores the gestures and unique personalities of birds through photography. Her avian photography is distinctive for her unusual technique of constructing field studios in natural settings. While shooting, she is attuned to the birds’ gestures, postures, and expressive presence. “Certain moments make photography meaningful to me, such as when a bird chirps, flutters its wings, grooms itself, cleans its beak, cranes its neck, competes for a place on the perch, peers at me with a certain look in its eye, or nestles up against a companion,” describes the artist.

Kannisto has been photographing birds in Finland and around the world for over a decade, offering her unique insights on the acceleration of environmental change. The past ten years have seen a drastic decline in bird populations all over the world, including Finland. The crested tit – the species portrayed in one of Kannisto’s diptychs – was formerly an endangered species, but is now on the critically endangered list. In her recent works, Kannisto has expanded her avian menagerie to challenging new species such as crows, owls, woodpeckers, hawks, bee-eaters and swallows. During her field work, she collaborates with ornithologists and bird ringers. She has received permission for her projects from the Finnish Centre for Economic Development, Transport and the Environment. The birds featured in Gestures were photographed in Finland and Italy.

"Oh! Oh! Oh! Oh! Oh!" ... scribbled in ink, the same word is repeated across the coarse cotton fabric. Each repetition of the word is ever so slightly varied, ever so slightly unlevelled, and ever so slightly pinched together. Only by squeezing the letters together can you stack so many of them: they multiply, frantically fll up the surface, and unavoidably confront you with that "Oh!" comes with a sense of urgency.

Most commonly, these are pieces of textiles that Ducrot gathered during decades of travels around Asia. A tea towel, a pillow case, a shirt - she would consider the sourcing of these textiles as creative of a gesture as any mark that would make herself. And rather than diferentiating between art and craft, Ducrot considers herself an equal that is working together with those that initially wove these fabrics, maintained them and mended them.

Isabella Ducrot (b. 1931, Naples) lives and works in Rome, Italy.

V1 SALON is pleased to present Situations, a solo exhibition by American artist James Ulmer.

James Ulmer draws inspiration from contrasting sources - from graphic novels, children’s toys, and commercial illustration, to Western art history, he joins a continuum of artists for whom painting is an exercise mediated through visualities reaching far beyond its legacy.

Ulmer about the works in the exhibition: " I was looking to translate my ideas through a simple pictorial language. My inspiration comes from colour and a connection between humans and nature. I come up with an idea, make a drawing, then start working out the colour ideas. I think about bigger shapes and the narrative element often comes later. For this body of work, it was all out my head no references. For other works it might be something I see on the street or printed material that sparks an Idea."

Wilson Saplana is pleased to present Jens Settergren's video installation Milk Plus. A sensuous and hypnotizing universe of sound and visuals, that invites us on a journey through the symbolic and cultural meaning of milk.

The video work, which consists of a floor-to-ceiling LED screen with four corresponding cruciform screens, opens with a classic and recognizable scene: White, smooth milk is poured into a glass against a sky-blue background.

As viewers, we are taken into a universe where milk possesses a fascinating and transformative power. In a poetic way, Settergren uncovers how milk – often associated with infants, innocence and purity – in the hands of industry and consumer aesthetics is both eroticized and commercialized. It is recognizable and synthetic at the same time, when the velvety, chalky white milk flows in slow motion and almost seems to acquire mythological creative power. The rhythmically changing images on the five screens point to how language and visual associations linked to milk have changed in line with technological development - and to man's constant striving for optimization of himself.

It is with great pleasure that Galleri Bo Bjerggaard presents the exhibition "Moving Image" with new paintings by Rasmus Nilausen (Born 1980). This is Nilausen's first solo exhibition at Galleri Bo Bjerggaard.

Rasmus Nilausen is a painter who challenges the boundaries of both language and painting. His works move away from the traditional understanding of painting and explore how we perceive and interpret the world through images, symbols and references. With a particular focus on ambiguity and humor, Nilausen creates a visual language where meanings are not always apparent, but invite the viewer to reflect on how we see and understand the world around us.

"Nilausen's paintings often crack a joke while simultaneously conveying a note of despair. As viewers, we are not mere external observers: these painting draw and compel us into the forcefield of the space- finding ourselves childlike, in amongst it so to speak - but also confined, much like entering a room or a wardrobe whose door has closed behind us".

Galleri Magnus Karlsson is pleased to announce Anna Bjerger’s fourth solo exhibition at the gallery. Home Encyclopedia presents new paintings made in the last year. In connection with the exhibition, a catalogue is produced in which the art critic Karin Faxén Sporrong has written an essay.

Anna Bjerger’s paintings fundamentally convey a serene and observant reflection on the concrete and visible. An observation and a slow invocation of the immediate and immobile object. Painting in general, and the still life in particular, has always been a form of impossibility, like black magic; an obstruction of life and time, an act that turns the transience of life into an artificial now: whether this be the presence of a tea mug in a bed, a chocolate’s narrative, or an egg frying in a pan. It is about weighing up the situation. Repositioning objects to find the way, to create movement and balance in the picture. Reflecting on what space the objects are actually located in. There is no after or before. Nothing else, anywhere. There is only a seeing, characterised by expectation; a rare silence.

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.

"Over the past few weeks, while watching Mickael Marman complete the works for 'hello driver,' I have realized that this guy is not only good at making pictures but also obsessed with them."

For Marman, it seems both a blessing and a curse. The intuitive and expressive nature of his paintings, which looks as if they are created impulsively or destructively, is, in fact, meticulous work around the clock. Messages and snapshots on WhatsApp, whatever hour, reveal the fact that every spot or stroke has been thoroughly considered – that every detail has been discarded, reconsidered, and altered in form, color, and material multiple times.

The concept-shattering idea and feeling coming from a sudden change of perspective, the frightening and illuminating sensation coming with losing all that we considered safe and consolidated is at the core of the new works that the Italian visual artist with a background in mathematics Corinna Gosmaro presents to us with The Point’s Shadow. It is the doubt that follows the realisation that things might not be as they seem, the reflection that is set in motion when reflecting on our nature and the world around us. She writes: “Our inherent need to comprehend reality is both our condition and our paradox: the closer we try to get, the more that point, once seemingly fundamental to our perception, begins to cast a shadow. It reveals something else—something slightly different—that confuses us, challenges us, and compels us to reconsider ourselves.”

It is in this moment we can appreciate the richness of the fascinating and magnetic works by Gosmaro: at the crossroads between sculpture and painting, or somewhere else where neither of these two definitions applies, with an approach that one would define more conceptual than empiric, the artist is able to fluently speak both a language of gestural and intuitive artistic creation and a discourse rationalising bright and intriguing ideas, like the one setting the tone to The Point’s Shadow.

Dorothée Nilsson Gallery is pleased to present KOHLE, a solo exhibition by Dutch artist and photographer Marike Schuurman as part of EMOP Berlin 2025. Under EMOP’s leitmotif What stands between us, Schuurman’s exhibition examines the profound social and environmental scars left by lignite mining in former East Germany. Schuurman’s photographic practice navigates the tension between documentation and abstraction, capturing human-altered landscapes with a perceptive eye. Her images, rooted in specific locations, document both their transformations and their enigmatic, often overlooked qualities. Yet rather than functioning as straightforward records, her photographs invite a conceptual and sensory contemplation – what remains, what disappears, and how we perceive the traces of history imprinted on the land.

With KOHLE, Schuurman brings her distinctive perspective to the legacy of erasure and resilience in the Lusatian landscape, creating a dialogue between past destruction and future uncertainty. In the series Kohle (1985-2017) she documents lost villages and displaced communities, places erased from the map without public consent. Using her “Reclaiming Negatives” technique, she captures the melancholic presence of what is no longer there – ghostly landscapes and erratic boulders that serve as silent memorials to fractured histories.

Communication is a key element of all human existence. Across centuries, we have devised countless systems to decipher, categorise, navigate, and make sense of the world. Often, our readings serve us well, but sometimes misreading leads us astray. Language and symbols are familiar vessels of meaning, yet we have also built global signalling systems such as the International Code of Signals, standardised in the early twentieth century. Overseen by the International Maritime Organization, this universal lexicon of urgency and intent defines numerous signals, designed to ensure clarity especially in moments of crisis.

The delicately crafted drawings, unfolding across the copper plates, collide with the traditionally masculine domain of strategy and conflict. The code EL, or ECHO LIMA, is drawn from this system. It signals a request, an imperative: Repeat the distress position. Between the two-dimensional and three-dimensional elements, a tension emerges, a residue of transmission where systems collapse into one another. In this space, we recognise our fundamental desire to decode, to assemble, to bring meaning into form. Yet this is a game without clear rules, without an obvious victor. What remains is a profound longing to complete the puzzle.

This group exhibition brings together three young artists at the beginning of their careers with one of the gallery’s most established artists in a dialogue about how we approach works of art. The title of the exhibition is derived from a quote by Sally von Rosen on how she would like her works to be perceived – letting the intuitive meeting with an artwork precede the intellectual interpretation of it.

Annika Elisabeth von Hausswolff’s The Blind Woman from 1998, depicting a woman being led by her guide dog in the night down a brightly lit staircase, takes on the role of a symbolic portal into the discussion on that act of letting go and trusting that both one’s intuition and senses leads one in the right direction.

Without wishing to force the different artistic practices into a shared narrative, there are still elements in their work which can be seen as unifying. In the respective practices of Dhunsi, Ngọc Nguyễn and von Rosen there is a sense of tension, an almost push-pull movement, in the way their work goes against preconceived notion within their genres or the way in which they approach their subject-matter. Their work can also be said to vibrate in an “in-between”-state, never caught in a static place, but rather in a state of flow or development.

Etage Projects is pleased to introduce the group exhibition 'Time is a Mother' with works by Chloe Royer, Formafantasma, FOS, Marie Holst, Minjae Kim, Zuzana Spustova. The exhibition unfolds as a meditation on the fragile, fleeting nature of existence. Woven through themes of vulnerability and resilience, the exhibition traces the quiet violence of time—how it erodes, nurtures, and shapes bodies, natural materials, and histories.

Referencing the poetry collection of the same name by Vietnamese American poet Ocean Vuong, Time is a Mother engages with tenderness and rupture, exploring the tension between survival and loss, nurture and violence, memory and transformation. Here, time is not only a force of decay but also one of creation—an intimate witness to the delicate threads that bind us to the world, to each other, and to what remains.

These themes are reflected in a diverse range of works and materials, spanning textile, leather, metal, glass, pre-industrial resins, wood, bronze, mirror, ceramic, and natural elements like claws and bone— materials that evoke cycles of transformation, preservation, and fragility, hinting at the tensions between permanence and impermanence.

Marie Lund’s (b. 1976, DK) artistic practice arrives from a contemplation on the interdependencies between architecture, space, objects, and bodies. Her sculptural works hold references to existing, functional objects, which she releases from their original use and transforms through tensile material processes into abstract sculptural structures. Often situated in relation to liminal positions, in resistance to sculpture as autonomous object, they activate their environment, encompassing encounters between body and space, and exchange with artworks by other artists. In turning to ideas of hosting and openness, space is given rather than merely occupied. Accordingly, Lund’s sculptures resonate as social as well as spatial frameworks, fostering mutual forms of dependency within exhibition formats.

SPECTA is happy to present Black Crows in the Meadow, a solo exhibition by Svend-Allan Sørensen. Based on woodcut as his artistic medium, Svend-Allan Sørensen persistently explores new ways of working with the graphic medium as a traditional craft. Artificial intelligence, text fragments from rock and folk songs combined with insisting on always referring to nature make the works appear as a fusion of past and present and of culture and nature.

In three large woodcuts Sørensen uses text fragments which, with the presence of the crow, put us out into the landscape and yet most of all sets the tone of an atmosphere. The texts form images in our minds and are metaphorical. As a contrast, the series of smaller woodcuts A Crow and a Tree in a Landscape presents the visual expression of a truly dry pictorial description as formed by Artificial Intelligence. The use of both artificial intelligence and texts written by someone else gives Svend-Allan Sørensen's works a kind of vibration between the artist himself and that which lies outside him. The combination of the different approaches - an interplay between expressing oneself in one's own practice and making use of external contributions - makes the works appear as a partial dismantling of the artist's self.

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.