Art Calendar

We can't wait to see you at CHART, 24 – 27 August at Charlottenborg in the heart of Copenhagen. Make sure to also visit these standout shows at our Copenhagen based galleries and the leading Nordic institutions that we are proudly partnering with for CHART 2023.

  • All countries
  • Norway
  • Denmark
  • Finland
  • Iceland
  • Sweden
  • Germany
  • Austria
  • England
  • Italy

Date

Venue

Exhibition

City

Country

  • 14 Dec—29 Feb

    C.C.C.

    Henriette Heise: Re:refrain

    Copenhagen

    Denmark

    C.C.C. are pleased to introduce Henriette Heise's solo exhibition 'Re:refrain'. The poster shows the interior of a pocket, and for Re:refrain at C.C.C. Heise has made a 2023 version of what that same idea looks like today. She can’t precisely date the short text that was originally penned on a small piece of paper. But it has been haunting her for years, like a refrain, a spell she can’t get out of her head.

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    Henriette Heise, a fragment of text, 2002. Courtesy of the artist and C.C.C

  • 7 Dec—1 Mar

    Saskia Neuman Gallery

    Group Exhibition: To Conduct Oneself – Project Space Exhibition #2

    Stockholm

    Sweden

    The gallery presents the #2 edition of their new project space with the exhibition “To Conduct Oneself”. The presentation is a curated group show with works from selected artists represented by the gallery.

    "No one has ever seen the self. It remains elusive, intangible. It only exist as an abstraction, an abstraction we call the mind, the individual. Stories of the self move through the precarious time of man, a time in which the idea of the self became a force, or a strain. If the self is a construct of the mind, a hypothesis of being, does it conduct oneself? Perceived as an inner entity. Shape, lose and rebuild until it is lost again. Carry on. The idea that keeps collapsing. But the self survives, it rises, conducts. No one has ever seen the self. It remains hidden, or just too individual."

    The show is curated by Sara Bäckbro and artists featured in the exhibition are Harry Anderson, Tobias Bradford, Nadine Byrne, Mark Dion, Dimen Hama Abdulla, Emil Heilborn, Erik Jeor, Josef Jägnefält, Susanna Marcus Jablonski, Jakob Solgren Nordenskiöld.

    Emil Heilborn, Untitled (experimental composition), 1940. Courtest of the artist and Saskia Neuman Gallery

  • 19 Jan—2 Mar

    Eighteen

    Anton Funck: A Moonlit Veil

    Copenhagen

    Denmark

    Eighteen is pleased to present 'A Moonlit Veil', a solo exhibition by Anton Funck. 'A Moonlit Veil' is comprised of a series of nine large-scale (236x148 cm) unique woodcuts on hand-dyed Somerset 300 gsm paper. It includes a large, singular, unique woodcut work composed of 7 elements and a smaller shaped woodcut, all created on 100 gsm Kozo paper. A ceiling installation consisting of hand-printed flags on 100 gr. Kozo paper, unifies the exhibition.

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    Anton Funck, A Moonlit Veil, 2024, Installation View. Courtesy of the artist and Eighteen

  • 19 Jan—2 Mar

    V1 Gallery

    Group Exhibition: City Life

    Copenhagen

    Denmark

    V1 Gallery is pleased to present 'City Life', a group exhibition curated by Marcus Leslie Singleton featuring works by Caroline Absher, Anthony Akinbola, Basie Allen, Cassandra Mayela Allen, Devin B Johnson, Dylan Rose Rheingold, Federico de Francesco, Hein Koh, Austin Lee, Eddie Martinez, Milo Matthieu, Ludovic Nkoth, Yashaddai Owens, Curtis Santiago, Marcus Leslie Singleton, Sissòn, James Ulmer and Nicole Wittenberg.

    City Life explores how artists live, work, and interact with their respective cities. What places they frequent; cafes, restaurants, art supply stores, clubs, bookshops. How expensive they have gotten, and how artists make cities and their communities within them livable.

    Historically, artists have always enriched their neighborhoods, particularly the working class communities that the artists could afford to live in or have studio in. Since humans have always valued beauty, the people that create beautiful things add value to the spaces they occupy. This results in people wanting to partake in these oases, and so the cycle continues; people follow the art, things end up costing more, and the rent goes up. Eventually the working class people and the artists are financially forced to leave their neighborhoods and find other places to live and work. This orbit, however cruel, is ultimately matched with the rise and fall of all societies throughout time.

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    City Life, 2024, Installation View. Courtesy of the artists and V1 Gallery

  • 2 Feb—2 Mar

    STANDARD (OSLO)

    Mari Slaattelid: Fakta om Kvelden (Facts in the Evening)

    Oslo

    Norway

    STANDARD (OSLO) is proud to present a solo exhibition dedicated to new paintings and works on paper by Mari Slaattelid.

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    Mari Slaattelid, Fakta om Kvelden (Facts in the Evening), 2024, Installation View. Courtesy of the artist and STANDARD (OSLO)

    Photo by Vegard Kleven

  • 16 Jan—2 Mar

    Galleri Bo Bjerggaard

    Per Kirkeby: Processing Nature

    Copenhagen

    Denmark

    Please join us at Galleri Bo Bjerggaard for an exclusive exhibition featuring the timeless paintings, sculptures and works on paper of Danish artist Per Kirkeby (1938-2018). The exhibition Per Kirkeby // Processing Nature captures the essence of the artist’s lifelong exploration of landscape, geology, and the wonders of the natural world.

    Per Kirkeby (1938-2018) was and remains a unique figure in both Danish and international art, his oeuvre so extensive that one might wonder if there really was just one Per Kirkeby. Or, indeed, how many Per Kirkebys were there? His work spanned numerous artistic media and societal fields, making it seem almost impossible.

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    Per Kirkeby, Processing Nature, 2024, Installation View. Courtesy of the artist and Galleri Bo Bjerggaard

    Photo by Anders Sune Berg

  • 18 Jan—2 Mar

    Saskia Neumann Gallery

    Pia Ferm: Plow your fields, keep your enemies close

    Stockholm

    Sweden

    Plow your fields, keep your enemies close is Swedish artist Pia Ferm's debut exhibition at Saskia Neuman Gallery, and her first solo exhibition in Sweden. Born 1986 in Lysekil, Sweden Pia Ferm graduated from the art academy Staedel Schule in Frankfurt in 2020, where she currently resides and works.

    The artist uses a range of different materials and methods in her artistic practice, including a focus on weaving and tufting, however also employing stone and marble in her sculptural practice. Ferm often builds her own looms, both for woven and tufted works, in varying sizes. Each work begins with a sketch, drawing or watercolor, which becomes the basis and origin of each woven or tufted work. According to the artist, the exhibition is about 'herself, because it always is to a certain extent'. Ferm wants to explore strategies around her work and process; 'it's always about my work, about studio work, about an undercurrent of thoughts regarding value and time, about the strangely elusive concept of currency and attempting to pull it all together... conceptually and practically.'

    The exhibition presents a suit of new works, including a large and extensive tufted tapestry in the gallery's first space, facing the street. Pia has also created several new smaller woven works, as well as a suite of medium-sized tufted tapestries presented in the gallery's interior space. In tandem with the new textile works, the artist has created marble sculptures that act as a mouthpiece for her ideas regarding her pursuits as an artist, as well as the thoughts that arise via her own reflections on her practice.

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    Pia Ferm, Still life no.5, 2023. Courtesy of the artist and Saskia Neumann Gallery

  • 8 Feb—3 Mar

    Galerie Anhava

    Mari Sunna

    Helsinki

    Finland

    Galerie Anhava is pleased to present a new solo exhibition by Mari Sunna. Showcasing paintings created during the last three years, the exhibition also includes drawings that the artist is displaying now for the first time. After the strong and captivating figures from her previous exhibition she has moved on to new realms of freedom. It is as if Sunna has dived into the depths of the body, image and mind, to bring back wondrous and striking images we now have an opportunity to encounter for the very first time.

    The new paintings teem with interlocking and stacked shapes and abstract views seen from the front, above, close up, far away. The soft surface of the works glows with colour and dim light, shapes become bodies, limbs, organs, faces.Is there an elongated neck, teeth, lips or an undulating fold of a body? The untitled works merge from the artist’s inner world and her concentrated, visual idiom that collapses the structures of thought and language.

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    Mari Sunna, Untitled, 2021. Courtesy of the artist and Galerie Anhava

  • 26 Jan—8 Mar

    Sharp Projects

    Small Sculptures

    Copenhagen

    Denmark

    The third edition of the annual group show, Small Sculptures, presents works by international artists, featuring glass-printed photography, wall-hanging sculptures, and suspended or hanging installations. The featured artists are Gillies Adamson Semple (UK), Alberte Agerskov (DK), Julie Falk (DK), Davide Hjort (IT/DK), Tarek Lakhrissi (FR), Mariya Pepelanova (BG/DK), Bernd Oppl (AT), Myles Starr (US), Elizabeth Orr (US), Anna Walther (DK).

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    Tarek Lakhrissi, BABY BOWSER, 2023. Courtesy of the artist and Sharp Projects

  • 2 Feb—9 Mar

    Galleri Specta

    David Svensson: Lånt Lys

    Copenhagen

    Denmark

    With the solo exhibition Lånt lys (Borrowed Light), SPECTA presents a series of new collage works and wall installations by the Swedish visual artist David Svensson. With light as a central focal point in his practice, David Svensson develops works that do not in themselves posses light, but which all capture light, are influenced by light and reflect it back; They borrow the light.

    If you delve into David Svensson's artistic work, you can see traces of a collector. Or rather, of an attention to specific things and their character. In a number of works he has i.a. made installations and public decorations in glass lampshades from the 20th century, works made with projection screens from the 1960s and installations of older objects in luminescent uranium glass. Characteristic of the objects that catch Svensson's interest is that they all have a relation to light and that they carry a story from a previous life contributing to the new composed narratives of the works.

    In the exhibition a number of works in the ongoing work-series Coverings are presented, where the contents of the books have been removed from the covers. These covers, often with a surface of canvas, dyed paper and perhaps partly with leather, are laid open, completely flat with the outer sides facing up and mounted on raw linen. The collages appear as abstractions of recognizable elements. At the same time, they appear as snapshots, in a play with compositions and formats that could continue. Occasionally, David Svensson has gilded parts of the compositions, and it appears magical when daylight catches the golden parts and adds an unreal shine glowing from the books. With the use of books in particular, Svensson has our attention because we can relate to the book as a place where new perspectives arise.

    The exhibition also showcases two installation works entitled Nutida dåvarande framtid #1 and #2 (Present then Future). They each consist of a large circle of dials from wrist watches, respectively front and back, where the light is caught in the surfaces of the dials. With these dials we normally wear on the wrist, time is illustrated as a larger conceptual matter that goes far beyond the time of the individual.

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    David Svensson: Det Gamla Huset / The Old House, 2023. Courtesy of the artist and Galleri Specta

  • 3 Feb—9 Mar

    Galleri Magnus Karlsson

    Jens Fänge: Ett Annat Land

    Stockholm

    Sweden

    We are delighted to announce Jens Fänge’s fifth solo exhibition at the gallery, Ett annat land (The Land Beyond). The exhibition presents new paintings – assemblages that contain an extensive range of techniques and materials. The title of the exhibition nods to Swedish author Mare Kandre’s lyrical prose debut I ett annat land from 1984. In the book, the secretive world of childhood is recreated. Jens Fänge dwells in a similar way on recognizable motifs that do not conform to clear structures and narratives, reminiscent of how children approach and portray reality.

    Stepping into Jens Fänge’s studio while he is working for an exhibition can be an overwhelming experience. Scattered across the floor are panels, paper, paint, brushes and tools. Contrary to what his works might lead one to believe, it is difficult to find traces of structure and control. After a while, however, a certain order begins to be discerned. From the fragmentary, one senses embryos for finished works. In an open working process, human figures, geometrically abstract paintings, felines and plant parts are moved between the panels’ painted backgrounds. The different parts seem to infect each other and leak meanings and associations between them. Certain motifs recur as refrains in literature or, if you will, choruses in a piece of music. From the retakes, a kind of fraternity arises between the works. In, for example, The Lion of Petrus Guarding the Stairs, there is a stylized room with a staircase behind an open door. The same room reappears with variations in other paintings in the exhibition. The repetition of spatiality is similar to how the image of a memory shifts in nuances and meanings as it is retold.

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    Jens Fänge, Ett Annat Land, 2024, Installation View. Courtesy of the artist and Galleri Magnus Karlsson

  • 23 Feb—9 Mar

    OSL Contemporary

    Sofie Berntsen: Landskap fra Hadeland

    Oslo

    Norway

    OSL contemporary has the pleasure of inviting you to OSL series: Sofie Berntsen 'Landskap fra Hadeland (Landscapes from Hadeland)' to celebrate the launch of her new artist book and accompanying exhibition of the same name.

    In recent years, Berntsen has explored the potential of various types of oil pastels. By using five different brands, she has around 400 colours to choose from. As she works her way through the woods and the landscape, the process is both documentation, experimentation and meditation. The pastels are sometimes used on found paper that she reuses, other times on paper made of recycled materials.

    Together the pictures form a wider landscape. They are just as much a narrative, bringing us through the woods, behind the light beneath the tree canopy, out to the view. At the same time, we can also read the works as a journey inward, in pursuit of what Olav H. Hauge referred to as a shelter in the woods, a place in the mind for internal productive calm. A place to work artistically in peace.

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    Sofie Berntsen, ‘Landskap med to trær’, 2023. Courtesy of the artist and OSL Contemporary

  • 16 Feb—10 Mar

    Galleri Cora Hillebrand

    Anna Pajak and Sanna Lindholm

    Göteborg

    Sweden

    Galleri Cora Hillebrand is proud to present the works of Anna Pajak and Sanna Lindholm.

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    Anna Pajak and Sanna Lindholm, 2024, Installation View. Courtesy of the artists and Galleri Cora Hillebrand

  • 15 Feb—15 Mar

    CF Hill

    Jesper Waldersten: Slutet är fantastiskt!

    Stockholm

    Sweden

    Slutet är fantastiskt (The end is fantastic) by Jesper Waldersten represents a pivotal shift from photography to painting and sculpture. Renowned for his cutting-edge style, Waldersten integrates his own observations with a dark sense of humor into every brushstroke. With 23 remarkable paintings and an exclusive collaboration with Herman Bergman Bronze Foundry resulting in a new bronze sculpture, Waldersten's artistic journey promises to be thought-provoking and visually arresting. This exhibition showcases his ability to confront life's absurdities with unparalleled wit and insight. Join us in this profound journey into the artist's ever-evolving perspective, where darkness and humor intertwine, creating a paradoxically comforting world.

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    Jesper Waldersten, Slutet är fantastiskt!, 2024. Courtesy of the artist and CF Hill

  • 15 Feb—15 Mar

    CF Hill

    Linea Matei: Ser du mig

    Stockholm

    Sweden

    CFHILL is happy to present the exhibition Ser du mig (Do you see me) by Linea Matei. Born 1990, Linea was raised in Södertälje, with her two sisters, a father from Romania, and a mother from Kiruna, Sweden. Her multicultural background has enriched her life and contributed to her quest to investigate, through art and design, how relations, behaviors and cultural norms affect people and societies. Linea holds a Bachelor’s and a Master’s degree in Textile Art and Textile Craft, from Konstfack University. Her unique handmade textile artworks are reminiscent of legendary female artist’s Louise Bourgeois and Sarah Lucas, with their expressive moldings of the human body.

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    Linea Matei, 2024. Courtesy of the artist and CF Hill

  • 3 Feb—15 Mar

    Persons Projects

    Nanna Hänninen: Vanishing View

    Berlin

    Germany

    Persons Projects is proud to present Nanna Hänninen’s exhibition Vanishing Views. In the selected works, Hänninen focuses on current environmental issues that affect global communities, while intrinsically warning all of a future that is fast approaching. Her minimalist work conceptually challenges our perceptions of climate change by exploring through photography the gradual disappearance of uniquely diverse ecosystems. Exploring these impacts, Hänninen combines different, seemingly detached objects and places. In merging these factors together, the artist has found her own way to visually address the urgency of climate protection.

    Nanna Hänninen’s photographs have, for over two decades, challenged our perceptions of reality by creating visual dichotomies. Having played a pivotal role within the Helsinki School since the late 1990s, she was one of the first Finnish female artists to utilize the photographic process as a conceptual tool in realizing large abstract images.

    Primary themes in Hänninen’s work range from the processing of memory, to the innate sense of isolation and how they all work together to form a collective, universal experience. Throughout Hänninen’s artistic career, she has consistently questioned how we mentally envision the presentation of space through our emotions, anxieties, and external threats. Her work explores how we use memory as a source through association to understand the future, as both are constructions of the mind that help us in finding the balance between the here and now.

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    Nanna Hänninen, Melting Ice (Arctic Sea Ice), 2017. Courtesy of the artist and Persons Projects

  • 31 Jan—16 Mar

    Croy Nielsen

    Albert Mertz, B. Ingrid Olson, Kern Samuel: Five Easy Pieces

    Vienna

    Austria

    Time is sentient in Five Easy Pieces. Wrapped in their ardent and solemn thoughts these three artists say no more than is necessary. They speak a laconic visual language, for these inductive states are a feeling and a gesture marked by the implacable need to express the presence of a state of being, for a form cannot measure, nor words define the vastness of the ineffable.

    Where rose tints melt into azure washes in Kern Samuel, the modest industrial materials of Mertz (i.e. Povera) transform with noble characteristics, color codes and contrasts, expansion and contraction. Such rectilinear thought forms therein contain innummerable spheres of the visible and invisible; the hidden realms are present. One thing leads to another. Here are three individuals who understand that simple things have no value unto themselves yet paradoxically gain in value as discreet channels of expression. Giving over to this world of external things requires a plainspoken language of interiority regardless of material concerns.

    The seductive pockets of architectonic two and three-dimensional space in B. Ingrid Olson, or the inscrutable windows of Albert Mertz therefore obtain a talismanic power. Such quality of elements contains a predisposed reality wrought forth into a given form. In Olson, the Eros of a body cavity, angular as a crevice and a crease, takes on greater proportional volume when inserted into a self-sufficient reduced space. There is complexity in the elegant folds of the simple and formal.

    Kern Samuel’s subtle emotive palette is impregnated with the recombitant actions of deconstruction where odds, and ends, coalesce into mediations of disparate parts. The fragments are a puzzle reconciled into a whole. Substratums of mixed media (rust, pigment, dye, and soil) transform pieces of stitched canvas, denim, or linen painted or stained with mutant blocks of dispersed color, undulating circles, and crescent moons. Suffused with the material richness of Delaunay and Orphism, these misshapen odes to painterly form are more than loose geometric abstractions; they are delicate filigrees of color and repetition endowed with the metrical rhythm of verse poetry.

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    B. Ingrid Olson, psycho index, 2013–2023

    Photo by Ander Sagastiberri

  • 2 Feb—16 Mar

    BERG Contemporary

    Monika Grzymala: SONGLINES

    Reykjavík

    Iceland

    Monika Grzymala is listening with her hands. Based on the articulation of the line, her work weaves her thoughts continuously into the space before her. Describing the creative process as one of immediacy, her works are often site-specific and carry a sense of bodily expression. Perhaps best known for her large-scale installations, and hand-made paper works, her second solo exhibition at BERG Contemporary serves as an excellent example of her vibrancy as an artist and connector. Based on a never-before-seen series of molded cotton paperworks, the title of the exhibition derives from her papermaking studio in Berlin, situated below a music school. Integrating the sounds from the surrounding spaces around her, lines start to form, melodies turn to lifelines, wordless poems, -concertos in space.

    When entering the exhibition, we are confronted with the rhythm and flow of an all-encompassing tape structure, a Raumzeichnung, and become suddenly ostensibly more aware of our own scale, as the black tape has served as an extension of the artist’s shifting, shapes and gestures before we arrived. As described by the artist herself; “All the sounds and stories are already existing, and constantly interweaving. When I make art, I just need to pick up the songlines and make them visible in the new work.”

    Past the lines of the paperwork, trickling by like traces in snow, we come across Kinesphere, a braided sculpture floating in the air, inside the innermost room. Often described as the spatial consequence of our movements, the traditional geometry of a kinesphere is destined to support our personal space and body territory, a supporting structure for personal interactions. An evolving piece, the white paper wirework has been exhibited twice before, continuously shapeshifting and incorporating itself into its surroundings, as if it’s growing with every place and person it encounters. Thus, in true kinesphere manner, our stories and being there become invisibly interconnected to the shapes and gestures of the ones that entered its realm before us. It therefore serves just as much of an architectural intervention as her tape works, within poetic measures.

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    Monika Grzymala, Songlines #14, 2024. Courtesy of the artist and BERG Contemporary

  • 9 Feb—23 Mar

    Galleri Susanne Ottesen

    Group Exhibition: geMALT

    Copenhagen

    Denmark

    geMALT showcases works by five artists and former students of Olav Christopher Jenssen.

    Helene Appel has a distinctive practice painting on a 1:1 scale. Appel conjures images that straddle the threshold between realism, sculpture and abstraction. She uses paints and painting techniques that allow her to closely emulate the specificities of each individual subject she paints: the materials she uses, such as oil, watercolour or encaustic, start to resemble the object itself, giving the painted object a physical and three-dimensional presence.

    Leonie Terschüren creates predominantly large-scale and colour-intensive works on paper and fabric, moving in the realm of immersive abstract painting.

    Stella Oh condenses emotional states that are translated into atmospheric, momentary memory images through her large-format paintings. This results in multi-layered veil-like surfaces, sometimes glazing, transparent and light, sometimes opaque and disharmonious.

    Matthias Jun Wilhelm displays both calligraphic precision and loose spontaneity through his paintings, interweaving motifs through new vocabularies and methods.

    Heehyun Jeong focuses on observations of phenomena that she finds in nature, translating them using different painting and printing techniques. The beginning of her work often stems from an intensive and precise period of observation, followed by her own understanding and interpretation of nature.

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    geMALT, 2024, Installation View. Courtesy of Galleri Susanne Ottesen

  • 23 Feb—23 Mar

    Gallery Steinslander Berliner

    Matti Kallioinen: Mellanting

    Stockholm

    Sweden

    Gallery Steinsland Berliner proudly presents Mellanting, a solo exhibition by the Swedish artist Matti Kallioinen. In Mellanting works of various mediums are presented, including painting, drawing, and sculpture, among them a type of paintings which the artist simply refers to as “puzzle paintings.” Here, Kallioinen demonstrates his ability to find new approaches to the process of image-making and its fundamental premises.

    Perhaps the most immediately recognizable aspect of Kallioinen’s artistic practice is the expressive colours and shapes that are present regardless of the medium. The works are playful and sometimes primitive in their expression but in fact contain layers of complexity. A line in Kallioinen’s works is deceptively simple; often, it proves to be indefinable upon closer examination. The sculptural wave forms that the artist has been working on for several years in various scales and materials are based on hyperbolic geometry and are also seen in Mellanting, this time as ceiling-hanging sculptures.

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    Matti Kallioinen, Mellanting, 2024. Courtesy of the artist and Gallery Steinsland Berliner

  • 16 Feb—28 Mar

    Helsinki Contemporary

    Group Exhibition: Not Enough Room to Swing a Cat

    Helsinki

    Finland

    Helsinki Contemporary’s second exhibition of the spring season, Not Enough Room to Swing a Cat, introduces three names new to our gallery: Anton Alvarez, Jussi Goman and Santeri Lehto. The trio shares a common stylistic approach: abstract minimalism – but not the nostalgic, lukewarm variety. Their brand of abstract minimalism revolves around each creator’s clever and inimitable use of curious, disarming gestures to tease out and reinvent something beautiful and special.

    Not Enough Room to Swing a Cat courageously imparts its own visual narrative as part of a historical continuum. Through contrasts and clashes, the exhibition reconciles opposites in a grand, startling back-and-forth of feminine and masculine expression, deconstruction of form and its creative reconstruction, the paintings and sculptures merging in a riot of colour and dance of sweet misshapenness and misshapen sweetness.

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    Jussi Goman, Hibernation, 2024. Courtesy of the artist and Helsinki Contemporary

    Photo by Jussi Tiainen

  • 24 Feb—31 Mar

    Þula

    Lilja Birgisdottir and Ingibjorg Birgisdottir: Fated

    Reykjavík

    Iceland

    Þula proudly present the exhibition 'Fated' by Lilja Birgisdottir and Ingibjorg Birgirsdottir.

    All our lives we sell our time and energy to be able to acquire things. Slowly but surely they accumulate until they end up hidden in a closet or storage, and lose their purpose. And so our homes are inflated, inflated by things that follow us, or maybe have always been there, sometimes it's hard to remember where it all came from. In the end, it inevitably comes to the point that we can no longer have space for all that has accumulated. Then, of course, it's time to get a bigger house and work more, earn more, expand more Expand, in order to transport closed boxes from one darkened storage room to another. And when the day and night of life have come, our children will have the fate to go through our cabinets, drawers and cupboards and choose which legacies they want to continue to grow with between their homes.

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    Lilja Birgisdottir and Ingibjorg Birgisdottir, Fated, 2024. Courtesy of the artist and Þula

  • 1 Dec—2 Apr

    Galleri Cora Hillebrand

    Anna Strand: The Assignment

    Göteborg

    Sweden

    Galleri Cora Hillebrand is pleased to introduce Anna Strand's exhibition 'The Assignment'. The Assignment is based on twelve recovered analogue 35mm films. Eight photographs and a contact sheet have been selected. These are interspersed with short texts. Among other things, they say that an aspiring photographer has been given the assignment of photographing a stranger. In the present tense of the text, the narrator reflects on why she censored the last film then, twenty-three years ago. And why she has chosen to make a contact sheet of it now.

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    Anna Strand, The Assignment, 2024. Courtesy of the artist and Galleri Cora Hillebrand

  • 23 Feb—5 Apr

    Andersen's Contemporary

    Farshad Farzankia: We Watchin

    Copenhagen

    Denmark

    Andersen's Contemporary is pleased to present ’We Watchin’, a solo exhibition by Farshad Farzankia. Farzhad Farzankia paints symbols of both personal and political significance, ancient Persian symbols such as tulips, roses, birds, and human figures, the signs are many but precise, rendered in bold colors and expressive strokes.

    Many of the signs and symbols that appear in the paintings, represents in many ways the complex reality we find ourselves in, namely a reality that points in many directions and possibilities with many solutions, solutions that can come with an understanding and acceptance of the complexity of the other, and the differences between us. In some way the exhibition tries to connect these questions and differences in one common room, in the spirit of hope.

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    Farshad Farzankia, We Watchin. Courtesy of the artist and Andersen's Contemporary

  • 23 Feb—6 Apr

    Gether Contemporary

    Hyperweirdkids - Laura Klünter & Mario Mertgen: Fading Bliss

    Copenhagen

    Denmark

    Gether Contemporary is proud to present Hyperweirdkids' (DE) first solo show with the gallery. Hyperwierdkids is a duo formed by Laura Klünter and Mario Mertgen, who have been working together for the past four years to create a collaborative contemporary visual language that attempts to contextualize historical sign systems in digitized popular culture. Their debut solo show in Denmark, Fading Bliss, presents impressive and unexpected environments that seamlessly blend historical time with the virtual and contemporary realm, asking questions about what will happen when the construct of historical bliss gradually fades. Are we to be left behind as tourists on nostalgic revisits, or is history given a chance to reinvent itself and the way we perceive it?

    In a remix of techniques, Hyperweirdkids appropriates and translates forms, styles, and spaces across and beyond time. Through the lens of digital tools, Hyperweirdkids weaves a tapestry of reinterpretations that breathe new life into historical elements - whether canonical motifs like the ancient vase or the idealized male torso - or depiction strategies like baroque or impressionist strokes for depicting fruits - by infusing them with contemporary aesthetics like pixels, graphical forms, naïve strokes, airbrush realisms, and abstract figuration. The young duo’s eclectic and anachronistic painterly approach shows an obvious mastery of depiction techniques and appropriation of iconic styles. This abundance of variety poses the spectator to overcome the basic question of whether the works are skillfully painted and instead points beyond that to the very nature of imagery itself. Hyperweirdkids further highlight this by introducing various viewpoints and canvas intentionally left blank.

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    Hyperweirdkids, Totentanz, 2023. Courtesy of the artists and Gether Contemporary

  • 22 Feb—6 Apr

    palace enterprise

    Kirsten Ortwed: Presents

    Copenhagen

    Denmark

    palace enterprise is proud to present the solo exhibition Kirsten Ortwed Presents.

    Kirsten Ortwed work is characterized by a sort of artistic research exploring what sculpture fundamentally is and can be. She works with a wide range of materials, from traditional material such as bronze, onyx and ceramics to the far more unconventional ones, e.g. beeswax, polyurethane, and aluminium. The combination and relationship between form and material is essential to Ortwed's artistic practice, just as she examines the relationship between form and space, with special attention to process and transformation. Through decades she has been working with the concept of 'negative form', the form around the form, where she makes what is absent from the center, the work itself.

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    Kirsten Ortwed, Presents. Courtesy of the artists and palace enterprise

  • 23 Feb—6 Apr

    Gether Contemporary

    Uwe Henneken: Integrity Studies: Painting in a World Unhinged

    Copenhagen

    Denmark

    Gether Contemporary is thrilled to present Uwe Henneken's (DE) first ever solo exhibition with the gallery. Henneken's dynamic and ever evolving practice takes center stage in Integrity Studies: Painting in a World Unhinged, where dream-like scenes serve as a captivating exploration of introspection and extrospection, encapsulating the surreal essence of the modern world.

    The exhibition delves deep into the concept of integrity, transcending its role as a personal virtue to become a potent force for healing and wholeness. Henneken draws parallels between integrity and integration, underscoring an ongoing journey that demands daily navigation and the dialogue within every work weaves a continuous thread between control and letting go.

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    Uwe Henneken, Departure and Arrival, 2024. Courtesy of the artists and Gether Contemporary

  • 22 Feb—6 Apr

    Andrehn-Schiptjenko

    Xavier Veilhan: Crop Top

    Stockholm

    Sweden

    Andrehn-Schiptjenko is pleased to present Crop Top, a new exhibition by Xavier Veilhan. In Crop Top, the organic and the digital converge, as do images and volumes. Starting from his series of "blurred" 3D scanned portraits, Veilhan wanted to abstract these works further as well as use materials that correspond with his newfound environmental focus. The material used in this exhibition is essentially raw wood: a renewable material that has been transformed. Most of the wood comes from the region of Sologne, where it is milled directly. Crop Top is also Veilhan’s first opportunity to experiment with a way of conceiving exhibitions that can travel by sea and the majority of the presented works have been brought to Stockholm by sailboat. This environmental and artistic project will develop through exhibitions and collaborations over several years and journeys, including transatlantic ones. The sea freight and the exhibition itself are two parts of a project which fuse as the reality of renting a sailboat, living on it and transporting artworks, meets the reality of the finished exhibition.

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    Xavier Veilhan, 'Constance n°2', 2023. Courtesy of the artist and Andrehn-Schiptjenko

    Photo by Émilie Mathé Nicolas

  • 22 Feb—14 Apr

    NEVVEN GÖTEBORG

    Vinna Begin: Featherlight

    Göteborg

    Sweden

    NEVVEN GÖTEBORG is pleased to introduce the new solo show 'Featherlight' by Vinna Begin. Vinna Begin’s work delicately balances shape, colour and light amid structures one encounters in nature. Portraits of lucid experience, rendered as soft, hazy marriages of organic form, mirror her interest in the universal, contemplative and transcendental.

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    Vinna Begin, Salutation, 2023. Courtesy of the artist and NEVVEN

  • 22 Feb—20 Apr

    i8

    Ragnar Kjartansson: Mother And Child, Gin and Tonic

    Reykjavík

    Iceland

    I8 Gallery is pleased to announce Mother and Child, Gin and Tonic, an exhibition of new paintings by Ragnar Kjartansson.

    Mediums are indelibly linked throughout Kjartansson's practice: paintings are performative, films are painterly, and performances are sculptural. In capturing scenes of working from his studio and home, Kjartansson continues his interest in exploring the spectacular and the nature of painting. Throughout these works, life appears still, but they resonate with the characters who are just out of view.

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    Ragnar Kjartansson

  • 25 Jan—17 May

    NEVVEN BOLOGNA

    Group Exhibition: Mastabatoom, Mastabadtomm

    Bologna

    Italy

    We are proud to announce 'Mastabatoom, Mastabadtomm'. With its title excerpted from one of the most famous (and ridiculous) scenes from James Joyce’s 'Finnegan’s Wake', 'Mastabatoom, Mastabadtomm' is a group show opening at NEVVEN BOLOGNA, the second of the two exhibitions inaugurating its new Italian venue. Lyrically curated, this show presents a rich and diverse collection of materials, practices, stories and traditions in a very controlled chaos, as the fall onomatopoeically described by Joyce and quoted in the title. The show includes three artists represented by NEVVEN (the Swedish Olof Marsja and Norwegians Oda Iselin Sønderland and Sigve Knutson) and three new collaborations (the Danish-Vietnamese Minh Ngọc Nguyễn and Italians Lula Broglio and Mattia Pajè). 'Mastabatoom, Mastabadtomm' wants to be a celebration and an introduction for the Bolognese public to NEVVEN, which is far from being exhaustive, yet presenting the project’s past in Sweden and its future in Bologna, as a link between Northern Europe, the ultra-contemporary international art scene, and Italy.

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    Minh Ngọc Nguyễn, Apple a Day, 2023. Courtesy of the artist and NEVVEN BOLOGNA

  • 25 Jan—17 May

    NEVVEN BOLOGNA

    Mikael Lo Presti: Home as a Silhouette

    Bologna

    Italy

    NEVVEN BOLOGNA is proud to present “Home as a Silhouette,” the first exhibition in Italy by Swedish artist Mikael Lo Presti. Represented by and in some of the most important Scandinavian institutions, collections and galleries, such as Astrup Fearnley Museet and STANDARD (OSLO) among others, Lo Presti presents a selection of new works which brings forward two of the series that has made him such a unique voice in North Europe: his portraiture and still life. Both these series are part of a visual language that uses objects and quasi-metaphysical portraits as symbols for personal narratives, like the oranges appearing often in his still lives, a childhood memory of his father, an Italian immigrant in Sweden. These two series intertwine in “Home as a Silhouette” and are even more linked to his relation to Italy, a country he knows both very well, yet only from afar, like the silhouettes of houses which are a recurring symbol in his new paintings on show, and an invite for reflections on migration, origins and returns.

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    Mikael Lo Presti, Silhouette, 2023. Courtesy of the artist and NEVVEN BOLOGNA

  • 20 Jan—2 Sep

    Dorothée Nilsson Gallery

    Martina Hoogland Ivanow: With Eyes Sensitive for Green

    Berlin

    Germany

    Dorothée Nilsson Gallery is pleased to start the new year with Martina Hoogland Ivanow’s exhibition With Eyes Sensitive for Green. Hoogland Ivanow’s exhibition consists of selected fragments and art objects from her on-going work on a feature-length documentary entitled Second Nature, which follows a group of individuals who dream of a communal existence in nature, drawing inspiration from hunters and gatherers. It serves as a contemporary documentation that illuminates our propensity for irrationality and our search for meaning in these challenging times.

    What has become evident to Hoogland Ivanow during the film’s production is that the challenge perhaps lies not solely in Western society’s ignorance of nature in terms of practical knowledge or conveniences but rather in individualism and a lack of willingness to collaborate, as well as the unwillingness to give up certain privileges. The exhibition underscores the importance of reflecting on one another and our aspirations, where nature assumes a secondary role. This might be where the difficulty of the overall transition lies. For Hoogland Ivanow, the film serves as a mirror reflecting the paradoxes of human behavior and the disorientation that characterizes our times, conveying these complexities through an interpretation that blends humor, absurdity, and evocative imagery.

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    Martina Hoogland Ivanow, With Eyes Sensitive for Green, 2023. Courtesy of the artist and Dorothée Nilsson Gallery

  • 18 Jan—18 Dec

    i8 Gallery

    Andreas Eriksson: Real Time

    Reykjavik

    Iceland

    i8 Gallery is pleased to present Real Time, a year-long exhibition by Andreas Eriksson at i8 Grandi. The presentation opens on 18 January and will be on view until 18 December 2024. Throughout the year, the show will evolve with the addition of one new painting a month, all the same size, concluding with twelve paintings in December. In the adjunct gallery room, Eriksson presents a new edition in the form of a calendar, which is printed in an edition of 366 to reflect the length of this year.

    Eriksson’s exhibition is the third year-long presentation at i8 Grandi, following B. Ingrid Olson in 2023 and Alicja Kwade in 2022. Spanning far longer than traditional museum or gallery shows, i8 Grandi’s programming focuses on concepts of space and time. The sustained duration of the annual format allows artists to consider how time affects their work, and the fluidity encourages audiences to revisit the changing installations. This exhibition marks Eriksson’s second show with i8.

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    Andreas Eriksson, Real Time, 2024, Installation View. Courtesy of the artist and i8 Gallery