Art Calendar

Thula Gallery is pleased to present Elín Elísabet (1992) is a visual artist based in Iceland. With a background in illustration, she currently mostly makes oil paintings infused with fragments of poetry. Themes of belonging, generational history, rurality and ecology are prominent in her artwork.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Santeri Lehto’s paintings unfold like small poems about life. Minimalist yet resonant, his works are subtle and enigmatic, recalling hieroglyphs, haiku, or jazz improvisation. They propose a way of experiencing the world that is at once metaphysical and playful.

Lehto’s both delicate and assured handling of spray paint lends his work its distinctive character. Meaning and mystery emerge through the tension and interplay of compositional elements: what first appears gentle and harmonious gradually reveals a deeper, more contemplative dimension. Within the works’ apparent spareness, viewers often discover an unexpected sense of shared experience

V1 SALON is pleased to present The Fastest Way to a Feeling, a solo exhibition by Cristina de Miguel. To enter Cristina de Miguel’s exhibition is to follow a line that thinks as it moves. Swift strokes of pastel figure themselves out across the paper, each mark a movement of discovery towards an image still unknown. These drawings remain unshielded from the hesitation, speed, or doubt of their creation. They are exposed, bare, vulnerable. Everything stays in play; nothing is erased or polished. They are scenes of negotiation, quivering on the edge of completion.

CHHILL is proud to present Sweetish by artist Noah Beyene.

In the series SWEETISH, Beyene takes as his point of departure nineteenth-century Swedish painting and its influence on how Sweden has come to imagine itself. Artists such as Carl Larsson, Jenny Nyström, and Anders Zorn created images of everyday life, community, and national identity — from Midsummer celebrations and herring lunches to red wooden houses and summer landscapes. Beyene examines how these images continue to resonate today, and the tensions they carry within a contemporary Sweden in transition.

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

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

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

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

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

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

In the burgeoning light of spring, Galerie Anhava presents Heli Hiltunen‘s colourful and contemplative exhibition You shall sit upon emptiness and hold on to air. Here the artist takes further steps away from words, photographs and fragments of personal archives familiar from her earlier works, instead opening herself to the painted image. With her new paintings, Hiltunen creates for herself a path made of traces, memories and stains – a place to step into.

Galerie Nordenhake is proud to present Sciéance by artist Jerónimo Rüedi.

Jerónimo Rüedi builds depth and surface on canvas and panel to create immersive visual spaces. Smudges hover above like scratches on a lens, while scribbled forms emerge from deep within. These layered gestures generate distortions that fracture perception and produce cognitive schisms on the visual plane.

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

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

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

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

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

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

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

The exhibition is curated by Naja Bak Randtorp.

Alice Folker is proud to present Anna Stahn's series of works consisting of letter sculptures, reliefs, and leporellos revolving around exchanges, friendships, and nostalgia.

The letter in the envelope, addressed to a loved one or a friend, is an outdated technology which - even though postal systems in many places are being replaced by digitalized processes - we still recognize as something particularly intimate. Perhaps only for a few more generations, before the icon fades away or transforms into a memory of a slower time.

Gallery Seinsland Berliner is proud to present an exhibition of selected works by Linnéa Sjöberg.

Alice Folker is pleased to present a solo exhibition by Ragnhild May. Here is an excerpt from the artist:

My morning begins with one of two possible rituals. Option one is to be awakened by the phrase, "Mom, I want milk," shouted by my three-year-old. Option two is that the phrase, "more real than reality itself," mixes in with the dream.

Alice Folker is proud to present a solo exhibition by Sophie Z.S. Suaning. Here is an excerpt by the artist:

CARNE VALE

It is a cold and white February morning, Shrove Sunday.
I am working on finishing the paintings for Seende.
My eyes are tired of seeing and my lips are worn from kissing.

I drive toward the ancient passage grave by Sulkendrup Mill close to my studio. On the radio they're reading from Paul’s Epistles and the blind man regains his sight. They talk about carnival and the fast. Carne vale means “farewell to the meat,” they say. I am snow-blind. My eyes dart around in the white and the air is thick with shimmery confetti. The mound of the passage grave is covered by a thick layer of snow, and the hole into the base is a large black eye.

Gallery Gudmundsdottir presents Nacht, a solo exhibition by Anna Júlía Friðbjörnsdóttir, unfolding across the gallery space at Joachimst and in dialogue with Träume an extension of the exhibition at the Bunker in Linienstrasse.

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

ISCA gallery is delighted to present The Weight of Water, a solo exhibition by Martine Poppe featuring a new series of paintings exploring water as a central motif.

Water is never neutral. It gathers, presses, and exceeds its edges. It holds memory and reshapes what contains it. In The Weight of Water, Martine Poppe approaches water as both subject and structure - shifting, unstable, re-organising ground, perception, and scale.

In her fifth solo exhibition at Galerie Nordenhake, Sofia Hultén presents new kinetic sculptures, a series of works on paper, and two groups of new sculptures. The title draws on an expression from her hometown of Birmingham: While the term usually refers to a stubborn or mentally rigid person, the artist knows it from her youth, when it was colloquially used to describe someone who could consume drugs without any noticeable physical consequences. In her practice, linguistic ambiguities intersect with material narratives, generating new meanings through their friction.

Eighteen is pleased to present Alicia McCarthy's solo exhibition.

Alicia McCarthy’s abstract and colourful compositions instantly capture the viewer’s attention. From afar, the use of repeated geometric patterns recalls the Op Art of the 1960s. A closer look yet reveals that these optical effects aren’t engineered and calculated by machines with mathematical precision, but the result of a spontaneous gesture. McCarthy’s modular blocks of colours are rather improvised and embodied. By incorporating drips and splashes of colour, she lets her hand run free in her work, boldly embracing vibrant imperfection. Her works are built up from the centre, line by line, with a strong sense of presence.

Palace Enterprise is pleased to present Prelude for a Press, a group show organized and edited by Jesper List Thomsen.

We find Henri Michaux diving “as blood runs in the veins,”[1] uncaring, flawlessly adept, from bed into literature, a poetry that allows even those who can’t swim, let alone dive, to dive deeper, better and more profoundly. This is an articulation of Michaux the writer, happily, buoyantly, venturing into an athleticism that his day-body denies him. And it is here, as an athlete in bed, that he declares love for that which is carried by the imagination, a delirious body reaching rare depths poetically and at sea.

V1 Gallery is pleased to present Neighbours, a solo exhibition by Loji Höskuldsson.

The exhibition originated from the fictional next-door neighbours to Danish furniture designer and architect Finn Juhl. It is a family of four, a mother, a father and their two kids in their early teens. The family holds the aesthetic power within the home, each member shaping it in different ways. Loji Höskuldsson’s process is excruciatingly slow, days and months, stitch by stitch, small and large-scale compositions appear on burlap, giving him ample time to reflect on the subject matter at hand.

Persons Projects is proud to present a solo exhibition of new works by Finnish artist Riitta Päiväläinen from the Helsinki School. The series, titled Phantasma, was created in the dramatic, isolated landscapes of Iceland and Lapland. Phantasma evokes the fleeting, ghostly presence of her textile installations, capturing ephemeral moments where memory, imagination, and nature converge.

Borch Editions proudly presents Andreas Eriksson's poetic translations of natural environments.

The exhibition presents a group of original prints that reveal the experimental and layered processes behind Andreas Eriksson’s practice. Whether it is paintings, weavings or graphic works, Eriksson first explores the inherent nature of his materials, testing their capacity for making the marks and textures that eventually form his compositions. Once he has achieved a deeper understanding of the materiality of his mediums, it is crucial for his creative process that the final works are created intuitively.

Avlskarl Gallery is proud to present Colour Drenched, Morten Løbner Espersen’s third solo exhibition at the gallery.

The starting point for the exhibition is the cylinder. A familiar shape: simple and almost self-explanatory. However, in its apparent straightforwardness it contains a precision that makes it fundamentally demanding. A shape that reveals even the slightest imbalance.

For Espersen, the cylinder represents a return to something familiar. Not because the cylinder is a classical ceramic archetype, but because its controlled nature invites in chaos. The shape emerged during a period of “artistic frustration”, when the need for simplicity became particularly strong. As Espersen says: “There is a balance, a strength, and a harmony in the cylinder shape. For me it expresses a calmness and a presence.”

We look forward to welcoming you in the gallery for the opening of Olav Christopher Jenssen’s solo exhibition Archaeology on Friday 20 March.

Olav Christopher Jenssen (b. 1954 Sortland, Norway) lives and works between Lya, Sweden and Berlin, Germany. He was appointed professor at Hochschule für Bildende Künste in Hamburg i 1996, and has since 2007 held a professorship at Hochschule für Bildende Künste Braunschweig in Germany. He is represented in important public collections, including the Museum of Modern Art, New York, Moderna Museet, Stockholm, Astrup Fearnley Museum among others.

Galleri Magnus Karlsson is pleased to announce Richard Johansson’s tenth solo exhibition at the gallery. The exhibition In the Shadows of Myself presents a series of eighteen sculptures in linseed oil-burnt cast iron.

Throughout his artistic career, Richard Johansson has been passionate about unpretentious and straightforward visual storytelling. He has lovingly drawn inspiration from the direct appeal and unadorned language of folk art. Echoes of this tradition can often be seen in his own art, which encompasses a variety of techniques and materials. Over the years, he has moved freely between sculpture, painting and drawing, always with a deep-rooted sense of craftsmanship and materiality.

Matteo Cantarella is pleased to present 𝘋𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘤𝘦, a solo exhibition by Sanna Helena Berger (b. 1983, Sweden). The exhibition marks the first solo presentation of Berger's work in Denmark and first show with the gallery.

The difference is the remainder left after subtracting one value from another. By outlining the positions and dimensions of previously exhibited artworks in the gallery, Berger subtracts these formal positions from the space - declaring the vacant as potential. Her work's size-specificity is thus determined by this negative space - absence is inverted into presence. The outlined lack of work and th e exhibited work is equalised as value - a value not determined by materiality. Lack becomes a formal position on par with addition.

Sanna Helena Berger works with site- and situation-specific installations informed and influenced by critical theory, philosophy and analysis. Her extensive writing acts not only as a coupling discourse to the exhibition, but presents the exhibition as an extension of her writing—material and theory lands on par. Her auto-didactic position manifests as a reflexive discipline, particularly in her writing, where Berger melange auto-biography with theory, utilising language both as method and topic, set in a non-disciplined form. The voice oscillates between the empirical and observed, leaving a self unpolished, openly inadequate - as with her material works, embracing lack, showing dilemma; opposing a final finish.

BERG Contemporary is pleased to present the exhibition data-verse by Ryoji Ikeda.

In his data-verse (2019-2020), Ryoji Ikeda is driven by scientific facts, which he extracts from his studies of quantum physics and mathematical theories. According to the artist, it is the result of an accumulation of research gathered over the course of sixteen years.

The work stems from Ikeda's yearning to understand what nature is and its scientific principles. Therefore, the building blocks of his visuals are sourced from particle physics, cosmology, astrophysics, and extensive data sets from institutions such as NASA, CERN, and The Human Genome Project. Understanding concepts such as galactic coordinates, the structure of protein and DNA, and deciphering their information from scratch became the foundation of the work.

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