Art Calendar

Þula is proud to present Naissance de la Couleur / Fæðing litar, the first solo exhibition in Iceland by the esteemed French photographer Didier Goupy. The exhibition marks the debut of Odyssey, a contemplative photographic series developed across repeated visits to Iceland since 2021.

Goupy’s work spans decades and continents. Born in 1960, he began his photographic journey in Morocco and his early series from Ireland and Egypt swiftly earned him attention in major publications. Based in Paris since the mid-1980s, Goupy has contributed to renowned agencies including Sygma, while continuing to deepen a visual language that finds its roots in portraiture and flourishes in abstraction. Following extensive travels through India in the 1990s, his focus turned increasingly toward colour—not merely as hue, but as experience.

With Odyssey, Goupy approaches Iceland not as a documentarian, but as a seeker. The landscape becomes both subject and metaphor: a terrain at once immense and intimate, where colour is not simply seen, but sensed. His images, shaped by the spirituality of Rothko and the sensory nuance of Bonnard, oscillate between surface and depth, presence and memory.

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.

Galleri Magnus Karlsson is pleased to announce an exhibition with works by Hans Lannér in the inner room of the gallery. The Clock presents a series of new works in watercolour and dry pastel, which was recently shown in the exhibition Aviga rum (together with Berit Lindfeldt) at Konsthallen/Bohusläns Museum. Over the years, Hans Lannér has used a recurring motif in his works, the facade of the house – which can almost be said to constitute a kind of portrait, sometimes the windows become eyes! In recent years, he has also gone behind the facades and depicted interiors. These house formations and spatialities come together to form a stage for various everyday events and observations, where people or traces of them, are depicted with both tenderness and humour. With light brushstrokes and a delicate palette, he allows his images to emerge, only hinted at and fragmented, leaving the viewer to fill in the blanks. The reduced visual language reinforces the subject. With simple gestures and muted earthy colours, he creates stripped-down spaces where presence is palpable. The motifs, often like a stage set with the landscape and light as a backdrop, tell of the various changes in life – essential or important – or just quickly passing moments that capture us.

"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.

BORCH Editions are delighted to present a selection of print projects by Alexander Tovborg. Alexander Tovborg has been collaborating with BORCH Editions since 2007.

In the showroom BORCH Editions presents present a selection of etchings, woodcuts, and monotypes created in recent years. The prints are testaments to Tovborg’s unique visual universe, unfolding in ornamental shapes and rich colour combinations.

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.

Habitats inaugurates a new series of nomadic exhibitions by Gether Contemporary, which will feature both thematic group exhibitions and solo exhibitions in changing exhibition spaces. As part of the upcoming exhibition series, the gallery will host an international edition once a year in different countries around the world. Habitats thus marks not only the first edition of the new nomadic format but also the first international edition.

Habitats is thematically centered around nature and the connection and confrontation between wild and cultivated lands, with a focus on the surroundings of Bordeaux, at Chateau Champcenetz, a private vineyard just outside the city. The exhibition showcases interpretations of nature and its impact on our self-understanding by eight prominent contemporary artists; Rune Bosse, Rhoda Ting & Mikkel Bojesen, Julius von Bismarck, Nicolas Milhé, Hélene Bertin, Maarten Vanden Eynde and Linda Soh Trengereid. The works are displayed in the beautiful spaces of Chateau Champcenetz and in the magnificent nature surrounding the chateau, where the cultivated vineyards contrast with the wild forest.

Habitats is about the collision between the wild and the cultivated, and about sensing the connection between art and nature. The exhibition makes us rethink our relationship with the landscape, creating an awareness of our interconnectedness—not only with nature but also with one another. Habitats opens on April 4 and can be viewed until April 27, 2025, at Chateau Champcenetz in Bordeaux, France.

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.

Martin Asbæk Gallery is proud to present SECOND SLEEP, a new solo show by British visual artist Des Hughes. The artist’s work is perhaps best described as circumstantial, informed by material, chance encounters and observations, and characterised by a humorous approach.

Hughes avoids defining himself as a painter or sculptor and could instead be seen as someone who collects, fractures, and fuses fragments together, rethinking conventional methods and retelling what art can be. This freedom is reflected in the variety of materials and processes he uses, including cross-stitch, bronze, wood and plaster.

Fascinated with the material world of objects and the every day, the work is an amalgamation of the environment that the artist encounters. But nothing is as it seems: wooden stools and stepladders deceive us as they turn out to be cast in bronze, while a large, jelly dessert set on the floor is made of resin. Des Hughes’ Second Sleep is a re-imagining of an earlier work, titled Empty House, which was a reminder of his first and most productive studio. Hughes has revisited this space to create what he describes as a ghost version, made of colourless aluminium. The title is a reference to the ancient practise of double sleeping widely practised throughout the preindustrial world. The period of wakefulness between first and second sleep was often known as ‘the watch’ – a useful window of time to be used productively and get to work.

Edit Sihlberg (b. 1989, Stockholm) presents a world imbued with contradictions. Serenity and compassion are marred by humour and escapism; all of which capture the inherent nature of time through each vibrant brushstroke. Sihlberg's work subtly examines the passage of time, always imprinted by the artist’s own gaze. Each object and symbol carry's references to memory, tradition and history — expressing movement and an unconscious glimpse of something lost, never fully accessible. The visual language is voyeuristic, an intimate yet distant purview, where the observer is invited to penetrate the inner workings of the painting. The interplay of distance and proximity creates a balance and dynamism, allowing for the work to appear both restful and vibrantly alive. Sihlberg's expression concedes the still life with recurring symbols and a juxtaposition of the artist's point of view, relating to the art historical traditions of Post-Impressionism and Swedish Modernism.

Edith Sihlberg holds an MFA Royal Academy of Stockholm. Her work is part of Public Art Agency Stockholm collection and the Uppsala Museum of Art. Sihlberg was awarded the Hilding Linnqvist Prize and Anna-Lisa Thomson Scholarship for Art in 2022, as well as having exhibited at Uppsala Art Museum. Her work has been presented in several institutional group exhibitions; Sparks of Joy, Körsbärsgården, Art on the Road, the Public Art Agency of Sweden and I Follow the Sun, Artipelag in 2024. Windings is Edit Sihlberg's first solo exhibition at Saskia Neuman Gallery.

Galleri Susanne Ottesen is pleased to present "3 nudes in a purple garden", a solo exhibition by Danish multidisciplinary artist Finn Reinbothe.

Finn Reinbothe (born in 1953 in Copenhagen) is a self-taught visual artist. Since 2001 he has been a member of Den Frie Udstilling. Reinbothe lives and works in Kindvig on Sydsjælland.

Helsinki Contemporary is pleased to present C, a solo exhibition by Eeva-Riitta Eerola. Echoing her desire to simplify, Eerola has named her new exhibition after a single letter of the alphabet: C. This emblem can be read in many ways: as a visual symbol, as a phoneme, or even as a word. Visually, its shape both encloses and opens outwards, recalling the phase of the lunar cycle when the Moon is visible only as a narrow crescent. In ancient carvings, the map of the Garden of Eden is inscribed as a fertile crescent at the confluence of four rivers, or as a rounded vessel containing paradise. Abstracted maps, streams and paths are among the prominent recurring elements in Eerola’s paintings, as are hands and eyes. The eye motif is significant in that the letter ‘C’ can represent the English verb ‘to see’, or its imperative form.

Eerola’s paintings invite our gaze to roam and for us to immerse ourselves experientially. The eye and the hand can be interpreted as symbolizing the painting process: when painting is reduced to its basic essentials, the gaze and the manual gesture are the painter’s most important tools. Eerola’s paintings engage in close study of the way we humans experience images. She is interested in exploring painting’s ability to convey an experience of spatiality and presence. In her new exhibition, spatial experiences are conveyed through images of gardens. Eerola’s gardens are semi-abstract, however, representing more of a conceptual and symbolic space than a physical one. Eerola’s practice also reflects her interest in the history of painting. In the exhibition C, Eerola has drawn inspiration from symbolism, an historic art movement that used symbolic images to suggest emotions and universal human experiences.

My work serves as a watering can that spreads droplets so that something else can grow. – Jacob Dahlgren

Galerie Anhava is delighted to present a completely new body of work by Jacob Dahlgren in his solo exhibition General & Specific. Dahlgren is known for his practice renewing the traditions of modernism with a fresh conceptual approach, always linking abstraction to our social surroundings with the perspective of everyday observations. The concept of artwork is constantly challenged with his surprising choice and use of materials, or by extending it to a life-long performance, such as Peinture Abstraite, his commitment to wear only striped T-shirts every day since 2001.

The notions of general and the specific shift constantly in the exhibition, that presents itself as a sort of a continuous loop: the starting point of the works lies in the chain of moments captured in the photographs – in the repetitive act of active observation Dahlgren has assigned himself, or his eyes with. To notice the everyday abstractions and to capture them. In the same way, the artwork does not end with the exhibition, to the doorsteps of the gallery. The loop continues in the multiple chains of moments along with the visitors as their eyes follow the artist’s example and begin to actively notice the abstractions in their surroundings as they continue their way on the street, in a tram, in a supermarket, at their home. This way, the whole world becomes an exhibition for Dahlgren – and an art object in itself.

CFHILL is proud to present one of the largest exhibitions of Brazilian art in the Nordics. Carnival offers a vivid insight into Brazil’s dynamic art scene, exploring themes of faith, history, politics, and philosophy.

Long before Brazil had a name, art was central to life — expressed through nature, ritual, and community. As the country evolved, so did its art: from ornate church altars to bold modernism, from quiet resistance to joyful celebration. Brazilian art continues to reflect a profound sense of identity, struggle, and freedom.

Featuring works by Elian Almeida, Cristina Canale, Bruno Dunley, Maria Klabin, Artur Lescher, Vik Muniz, Tomie Ohtake, Alberto Pitta, and Sérgio Sister, the exhibition highlights a spontaneous, organic approach to art-making — translating Brazil’s cultural richness into vibrant and powerful forms. Their impressive portfolios include works housed in institutions such as MoMA, The Met, Tate Modern, Centre Pompidou, and Mori Art Museum, with participations in both the Venice Biennale and São Paulo Biennial.

i8 Gallery is pleased to present Radiance, a solo exhibition of new works by Ignacio Uriarte, on view from 3 April until 10 May 2025. The show is the artist’s fourth solo presentation with i8. Comprising typewritten and hand-drawn works on paper, as well as a sculptural wall installation, the works share a careful and diligent quality rooted in their simple, geometric forms and reflect the artist’s continued exploration of process and material.

Throughout his practice, Uriarte works within self-imposed boundaries, limiting his process to the materials and methods found within stereotypical office spaces until the early 1990s. While parsimonious in method, Uriarte’s compositions are rich in detail. Working with pen and paper, the artist creates geometric constructions and layers the ink to suggest depth and shadows, which produces detailed rhythm and movement within his compositions.

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.

Gallery Steinsland Berliner is proud to present EDGE, a new exhibition by Swedish artist Leo Park. Following his debut in 2021, this exhibition marks the artist’s second solo show at the gallery. On view are a series of paintings that expand on the artist’s signature style while exploring new perspectives and expressions. For the first time, Park will also present sculptural work which translates his painterly language into three dimensions.

Park is known for his characteristically bold oil paintings wherein the human form is transmuted into abstract formations that occupy a space between corporeal and chimerical. His awareness of and fascination with art historical tropes and traditions manifest as both subtle and overt nods to art works, genres and ideas of the past. His continuous depiction of “the nude” being a long-standing example of this. Increasingly self-referential, Park’s work now carries elements across exhibition boundaries, effectively consolidating a distinct visual world uniquely his own.

In EDGE, the artist’s previously sun-soaked milieus have been replaced by jet-black backdrops that accentuate the stark edges of the rose-hued and fleshy figures inhabiting the space that now appears decidedly interior. The perspective is intimately zoomed in, revealing tangled and disjointed limbs arranged upon decadent white bedsheets. The use of chiaroscuro (strong contrasts between light and dark), commonly associated with baroque art combined with the tightly framed compositions imbues the works with a sense of theater.

Sharp Projects are excited to present Interior Views, a new solo exhibition by Elizabeth Orr.

Born in Los Angeles and based in New York City, Elizabeth Orr creates sculptures that engage with the codes of built environments. Her works often take the form of architectural elements such as louvered shades, outlet plates, fences, and other barriers that obscure sightlines. By emphasizing objects that usually linger in our peripheral vision, Orr plays with the mechanisms of framing and exclusion, which makes one believe that her medium is not necessarily sculpture but rather perception.

Orr’s work has been exhibited internationally and she has been included in publications such as Girls Like Us, Artforum, DIS Magazine, Artnews, ​​and BOMB magazine. Elizabeth Orr manages the estate of her late father, the California Light and Space artist, Eric Orr (1939-1998).

In Cristina de Miguel’s solo exhibition Perras, she explores the chimera, a hybrid creature both human and animal, illusory and mythic. Grafting together a dog's body with a human’s creates an uncanny, surreal presence on the canvas, eliciting a visceral reaction. These hybrid figures serve as a vessel for examining queerness, autonomy, rebellion, and women’s defiance of societal expectations. “For me, dogs symbolize instinctiveness and freedom, a raw, unrestrained power that resonates deeply, particularly in today’s political climate. A dog can be domesticated but at its core is wild. I’ve experienced the tension between the desire for freedom and the structures that constrain it. These paintings become a space for me to confront and reconcile this dissonance.”

The works in Perras are painted with a technique de Miguel calls a “soft treatment.” Painting on unprimed canvas allows the artist to use a very liquid paint that the canvas absorbs like ink, leaving behind a "stain" with almost no texture. This gives the works the immediacy of a drawing. De Miguel says: “they’re fast, uncorrectable, and spontaneous, they work almost like images being swallowed by the sea.” A key facet of de Miguel’s work is her exploration of how bodies find freedom. She does this through distortion, alternative assemblies and actions of the body. She is particularly interested in queer bodies that exist outside the established order and are unbound by societal constraints.

The characters in de Miguel’s paintings are semi-autobiographical. They are self-portraits that serve as a reflection of women’s subjectivity. For de Miguel, painting is meant to be felt rather than merely understood on an intellectual level. Her work demonstrates technical ability and is simultaneously a total rejection of it. The works are intense, containing raw, physical gestures. They map the artist’s decisions and the euphoria of being alive.

Painterly atoms splitting. Doors to the multiverse ajar. No immediate beginning or end. Perpetual motion. Gears turning, interlocking, levitating. A transcendental surface. In and out of focus. Permanently ephemeral. A cosmic sensibility. So, Futura 2000’s solo exhibition, The Mechanical Age, opens with two striking red, white, and black sibling paintings, Sister and Brother, aerosol on primed canvas, which was executed in 2025. Pairs of Pointmen, Futura 2000’s seminal characters, converge in a new series of collaged works on paper. Each of the twenty new works also includes a banknote from a country that the artist has visited during his lifetime or dreamt himself to. The banknotes now appear as relics, long-lost tokens from a physical capitalist age, where tangible currency and commerce went hand in hand. Financial postcards from Ukraine, Zaire, Denmark, Cuba, America, and many other nations. Within the paintings, silhouettes of gears float in and out of the compositions, interacting with currencies and abstracted figures, a perplexing sensation of loss of gravitation. The works have a transitional feeling, leaving behind the concrete and drifting towards something else, less solid, uncertain, and spectral. The moment of departure. Two dynamic atom compositions on canvas, created with aerosol on primed canvas, Husband and Wife, bounce with a buoyant energy. The two paintings feel simultaneously interconnected and free, emphasising a sensation of community and cycle in the exhibition. We co-exist in an interlinked world where cause and effect become still more apparent in our relationships with each other and the rest of the planet.

Matteo Cantarella is pleased to announce Keywords: A Vocabulary of Culture and Society, a solo exhibition by Pakistani-born American artist Maryam Jafri. The exhibition debuts a new body of work alongside ‘BEER’, a multiple from the series ‘Generic Corner’ first exhibited by Jafri at Kunsthalle Basel in 2015. The exhibition marks Jafri’s first solo show with the gallery.

For over twenty years Maryam Jafri has worked across diverse media including video, installation, and photography, with a specific interest in questioning the cultural and visual representations of history and political economy and their impact on our quotidian experience. Maryam Jafri lives and works in Copenhagen, Denmark.

ISCA Gallery is pleased to present Døgnrytmer (Circadian Rhythms), a solo exhibition by Signe Solberg featuring a new series of wall-mounted reliefs in metal, stone, and wood. Through a distinct geometric language of unfolding triangles, Solberg explores the notion of Circadian Rhythms—unseen cycles that shape both our physical presence and mental landscapes. Her works reflect these natural fluctuations through structured repetition, measured interruptions, and shifts in materiality. Copper and brass, patinated with simple household substances, bear the marks of time, temperature, and handling. Hues of green, blue, and turquoise emerge across the surfaces in a painterly manner, revealing the quiet passage of transformation.

At the core of Solberg’s practice is an engagement with space and boundaries—both physical and mental—and a relentless pushing and stretching of their limits. For this exhibition, she has created a series of framed compositions: nearly flat reliefs in metal, wood, and stone, presented in square and rectangular formats. These structured boundaries provide a place for rest and resolution, guiding perception while anchoring the compositions in a defined space. Within them, a delicate balance unfolds—openness and containment, harmony and movement, order and flux. Much like the exhibition’s title, the works navigate the ebb and flow of time. Just as we adjust to personal rhythms while constantly adapting to the interruptions and influences of others, these pieces embody a dynamic tension between continuity and disruption, stability and change.

Andersen’s is pleased to introduce the first solo exhibition in the gallery by Danish artist Victor B. P Bengtsson.

In the exhibition Town Squares, we enter a town square overflowing with delicious market goods and merchants, all offering themselves in an intricate tangle of hats, bells, fresh fish, and strings of sausages. A single sentence is whispered from one merchant to another. It is passed along to the next person, and the next. Little by little, the story changes—facts and narratives blur, giving life to humorous and imaginative interpretations and fantasies. As a continuation of Bengtsson’s exhibition Horse Droppings Are Not Figs, presented at O - Overgaden from February to May 2025, Town Squares at Andersen’s focuses on how narratives and reconstructions of events and "facts" become increasingly distorted as they move further from their original source. Ultimately, new stories emerge from a chit-chatting crowd—stories that are more fiction than fact. We experience it on todays’ digital "town square” like Twitter/X, where utterances and statements spins around in a turbulent carousel of true and false and end in brain rot and a flat earth. For Town Squares Bengtsson has created six new large scale and three smaller paintings using his unique technique of applying color to hessian embedding motifs into the fabric’s rough texture.

Scientific methods plays a great part of Bengtsson’s artistic practice as the artists delves into posthumanist medical theory, particularly focusing on the future of hybrid human and nonhuman bodies. His paintings capture the grotesque and the magical as states of metamorphosis, where all bodies are in the act of becoming. Bengtsson’s works are a labyrinthine simulacrum — a maze of illusions filled with heavy archetypes and figures that exude meaning, even as the rationale for their interconnectedness has fallen apart. The artist intends for his paintings to become surreal future relics, artifacts that claim to describe known phenomena but exist in a context that feels otherworldly or out of time.

"To be an artist is to hold a room of one's own sexuality. Indeed, it is only recently that we have begun to acknowledge that female artists, too, have had male muses, just as male artists have historically had female muses. The recognition of female sexuality in our visual culture and fine art as something psychological, creative and spiritual – rather than merely an object of male desire – is, perhaps surprising for some, also part of the broader development of politics in terms of strengthening artistic freedom, women's free speech and equality. Furthermore, when artists like me create works that engage with eroticism as both theme and motif, it is in order to examine that which remains vastly underrepresented in art history: the female gaze and visual representations of female sexuality. If I can map not only the subject of desire but, more crucially, the space of desire itself, then I do so. In other words, to paint is to wear the 'wings of desire’."

- Augusta Atla

As testimonies to – or perhaps memories of – people, places, things, feelings, and touches, Jóhan Martin Christiansen presents a series of plaster reliefs in his first solo exhibition in Alice Folker Gallery. Being quite literal imprints – casts of found cardboard boxes – the reliefs seem to signify something that once was, but no longer is. As afterimages or traces of the past, they carry the outlines of a footprint, a pattern, a logo, or a colour faded in the process of transference from the original cardboard box to the plaster cast.

Yet, Christiansen’s works are not simply mimicking minimalist investigations of temporality, form and colour. Although at times, they may seem related to artists such as Robert Ryman, whose works attain an almost profoundly physical degree by adhering to a white palette. Christiansen’s casts are something more. They are intimate portrayals of a family member, who left a dent, a mark or a footprint on a piece of cardboard. They are testimonies to queer culture, where the outline of a shoe that was once spray painted remains on a piece of cardboard. They are afterimages of lives and lived experiences.

This one outline is following me home. It’s about the same size as my hand, I always feel suspicious before trying it out, it seems more like the size of a room, any room. I’m not making it up. She is crawling up the trees and down the stairs as I pass them. Not in a hurry, but definitely on a tight schedule. ​ No no wait a minute, let’s rewind- The people around the table left suddenly, chairs scattered, voices still hanging in the air, outlines multiplying and falling out of shape when repeated. You try to remember the events of the day, but it’s kind of hard to predict. Gum hard as stone but insistently chewing, you really need to commit to it. Close your eyes and try to imagine, you're in a mute room, this takes place somewhere between the beginning and the end, or I guess it does. There is this opportunity in the corner, a door, the direction is undefined, but you just know it’s something you need to take careful note of. Headlights from the slightly open door blind you and when your vision returns, the outline is the first one showing up before the texture and the weight follow. You feel it in your gut before it reaches your ears. Stepping out of the window and across the street, she tries on the dresses in the reflection. Things that seem mundane can be very emotional.​

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.