Art Calendar

Galleri Bo Bjerggaard is pleased to present the group exhibition Visual Voices, currently on view in the gallery. The show features works by the gallery’s artists.

Participating Artists:

A K Dolven
Anna Bjerger
Emily Gernild
Erik Steffensen
Janaina Tschäpe
Jonathan Meese
Per Bak Jensen
Per Kirkeby
Rasmus Nilausen
Tal R

Exhibition runs from 2 May - 28 May 2025.

OSL contemporary is proud to present tilts only (his shirts), a solo exhibition by AK Dolven.

A K Dolven (b.1953) lives and works in Oslo and Lofoten, Norway. Dolven’s practice involves a variety of media; painting, photography, performance, installation, film and sound. Recurring themes in her extensive production are the representation of natural forces and their deep resonance with human sensibilities.

Her work alternates between the monumental and the minimal, the universal and the intimate, resonating with concepts and structures beyond the confines of any particular piece. Interpersonal relations and interactions are central to her practice, and many of her performance-based works involve collaborations with other artists.

Galleri Magnus Karlsson is pleased to announce an exhibition with paintings on paper by Bruno Knutman (1930–2017). The Remote Viewer presents a selection of works made between 1979 and 2009. During this period, Knutman often favoured gouache over oil paint and produced some of his most important works. In this suite of paintings, a peculiar imagery emerges through intimate and subtle painting.

Anders Kreuger, curator, writer and lecturer, has written a text for the exhibition catalogue, which can be read in its entirety below. Since 2019, Kreuger has been the director of the private kunsthalle Kohta in Helsinki, Finland, and in 2010 he made the exhibition Wolf at the Door with Bruno Knutman at Lunds konsthall, Sweden. On Tuesday April 29, we will host a conversation between Kreuger and artist Jens Fänge about the exhibition.

Þula is pleased to present Data Gígar / Data Craters, a solo exhibition by Kristín Helga Ríkharðsdóttir.

"When making the paintings, I use 3D software to create images that are then digitally woven and stretched onto a frame. I use acrylic resin paint to add 3D to the works, along with found textiles and objects. I started this series of paintings in 2021 while I was doing my master's degree in New York. At that time, a volcanic eruption began in Reykjanes, and I was fascinated by watching it live and on the news. When I finally saw the eruption in person, I witnessed colorful, neon-colored lava flows erupting from the ground, forming a new mountain. The surreal feeling I experienced during this dynamic and transformative natural event inspired the paintings. The eruption reminded me of digital worlds, where constant creation and destruction take place – like lava flows rewriting the landscape. Since then, I have been working on the series intermittently, as volcanic eruptions seem to have "part of Icelandic everyday life. The imagery of the works includes iStock images, mathematical symbols, lottery balls, references to landscape paintings and multiplicity. Small people are often seen in the images, looking at the eruption with adoring curiosity, as the eruption represents both creation and destruction."

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.

Emma Sarpaniemi presents a selection of previously unseen photographic self-portraits in her first solo exhibition at Helsinki Contemporary, Snake Lifter.

Through the medium of photography, Sarpaniemi transforms herself into multiple characters while remaining unabashedly herself. She describes her photographs as a springboard for the viewer’s imagination. It is rewarding to analyse her photographs not only as constructed images, but also as performance documents: what matters most is the experience they convey. For Sarpaniemi, the camera is a tool for processing emotions, contemplating the world, and defying norms. The experience of womanhood is a recurring theme that runs throughout her oeuvre.

Creating art is an ever-evolving process for Sarpaniemi. Just as a snake sheds its skin every few months, Sarpaniemi creates a new ‘skin’ for herself with each new character, emotion and gaze that she captures with her camera. Each self-portrait is part of herself in some way, and photography is a process of constant self-invention.

Galerie Anhava is delighted to present an exhibition of works by two artists, Ida Koitila and Hanna Råst. Both artists explore the place of humanity in the future.

Ida Koitila's Crash of Air, (2015-16), installed in the gallery's lower level, invites the visitor to pause. The details of the work are not immediately apparent. On closer inspection, one begins to distinguish among the gravel hands that are clenched in different ways. The grey, yellow, green and blue hands are grasping stones or holding on to one another. Some are life-size, others appear swollen as if on the verge of bursting. Despite their size, the hands exude a sense of humanity. Some fingers are missing pieces, some hands are missing knuckles. One can almost feel the grip and touch of the hand on the skin. These broken hands harbour a power that holds the viewer in its grip.

Hanna Råst has created plaster sculptures that are like fossils from the future, presenting material remnants of photographs as archaeological finds or pseudo-archives. Through the works, based on personal and found archival images, Råst speculates on what might ultimately remain of our visual culture. The images are distorted, fragmented and manipulated, either manually or digitally, the memory or moment recorded in them breaking down and calling into question the foundation upon which we construct our individual as well as collective identities.

In Karoliina Hellberg's new works, noonday ghosts play hide-and-seek with the light. While her previous exhibition saw snow settling on nocturnal yards, we now find ourselves in a warm day turning into evening. The time here is quiet, gentle and in the air, not mechanically ticking, violently determined by the pealing of bells or linearly imprisoned in the grid of a calendar. Its rhythm is instead that of a beating heart, of recurring memories and visiting premonitions.

Hellberg is fascinated by time, and painting is her way of dealing with its passage and how it becomes layered. In preparing this exhibition, her attention was caught by images of 17th-century Scottish sundials on the pages of books on gardening. These obelisk-like structures typically had engraved messages on their sides and were fitted with several gnomons, each indicating a different attribute of time, light, or emotion. Rather than displaying exact time, their purpose was often to serve as a reminder of the beauty and impermanence of life: I count the sunny hours. But soon it will be night.

With every magnificent oil painting, delicate watercolour, litography print and wooden object, the reality of Hellberg's works expands and deepens. In the endless rooms and gardens of Hellberg's houses, layers of time and spaces of light become organically interlaced and fold into one another. In some corner, a secret lush hiding spot opens up – a place to drowse away for a while. On waking up from the sweet afternoon nap, the shadows of the approaching evening already press gently on the skin. Time told by the sun is so uncertain, yet inevitable.

Galleri Susanne Ottesen is pleased to present the group exhibition:

Ragna Braase
& Nanna Abell, Martin Erik Andersen, Andreas Eriksson, FOS, Olav Christopher Jenssen, Bjørn Nørgaard, Kirstine Roepstorff, Tove Storch, Mette Winckelmann

"Braase's gouaches are not invisible esoteric vibrations, although they may at times present an air of mysticism. The kind of mysticism they possess is more concrete and material. Their deep colours can be described as vibrant, but it's their saturated materiality that lends them a quivering quality. The other works in the exhibition all share Braase's intensity of material which can be explored through glass, ceramics, silver, textiles, concrete, salt as well as rope. Like Braase's works they may possess an element of impenetrability that can feel alluringly mystical, but they are not symbolic. The works are specific and derive their character from their materials, which they can almost be said to perform."

- Excerpt from the exhibition text by Philip Pihl. Translated by Charlotte Lund.

Public Service Gallery is pleased to present Oliver Sundqvist’s Salad Days, a solo exhibition on display in the gallery’s Vault space.

Salad Days is a sticky, sunburnt dive into the mythology of youth — not as it was, but as we wish it had been. Through cartoon logic, brawls in resin, and bite-sized icons caught mid-meltdown, Sundqvist reimagines innocence as a performance: staged, exaggerated, and permanently suspended in high summer.

The exhibition is populated by softened punchlines and violent sweetness — abstract tumbles, swollen colors, and characters teetering between joy and collapse. Drawing from childhood symbols, commercial mascots, and Renaissance moods gone sideways, the works in ‘Salad Days’ hover in a state of beautiful confusion. A sugar crash in slow motion. A fight scene in a fruit bowl. This isn’t a return to youth. It’s a remix of its leftovers. Salad Days is Sundqvist’s second solo exhibition at Public Service Gallery, following Symphony Hour in 2023. Oliver Sundqvist (b.1991, DK) lives and works in Copenhagen, Denmark.

Public Service Gallery, in collaboration with NEVVEN (Gothenburg), is pleased to present Olof Marsja’s ‘A Gathering of Watchers, Seers and Geists Discussing the Probability of Them Experiencing True Light’. This exhibition brings together over a dozen works that survey the Swedish artist’s production over the past two years.

Marsja works with sculptural expressions that analyse and blend uncannily the ultra modern contemporary digital reality and pop culture with history and traditions connected to his Sámi heritage and Duodji (Sámi craft). Crafts and materials are central in Marsja’s research - his works being deeply marked by the plurality of practical knowledge and references that characterise the hybrid forms with which he, both seriously and humorously, analyses questions of history, the contemporary world and identity.

Shown in the gallery’s main space, this will be Marsja’s first solo in Stockholm since he was awarded the 2019 Maria Bonnier Dahlin Foundation Grant. His works is part of some of the most important public and private collections in the Nordic region. Olof Marsja (b.1986, SE) lives and works in Gothenburg, Sweden.

Galleri Magnus Karlsson is pleased to announce the exhibition M/S Eternity with works by Richard Johansson in the inner room of the gallery.

Richard Johansson’s (Sweden, b. 1966) works could be excerpts from a road movie without end. They involve in a constant search for stories and encounters with characters waiting to be discovered. The journey goes beyond the highways and meanders into the darkness, ever closer to the core of existence. An imagery that tenderly depict memories, dreams and personal heroes. Richard works in a large variety of techniques and skillfully switches between different materials and expressions.

M/S Eternity, the title of the exhibition, is also a large sized sculpture in aluminum and wood, depicting a ship. The work was created in connection with the loss of his father and is both a tribute and a meditation on time, transition and memory. Surrounding the sculpture is a series of small paintings that reflect on the people and moments that shape us, even if they often go unnoticed. The works carry both melancholy and humor, much like life itself.

Galleri Riis presents Bright Idyll: a group show with gallery artists.

Bright Idyll:

Horizons, near and far
Real or imagined
First smile, last breath
A spiritual streak
The month of May
Bursts of life, the promise of summer
What lies ahead

Works by

Morten Andenæs
Per Berntsen
Marie Buskov
Hamish Fulton
Håvard Homstvedt
Daido Moriyama
Eline Mugaas
Kristin Nordhøy
Paul Osipow
Rallou Panagiotou
Hanneline Røgeberg
Stein Rønning
Günter Umberg
Tone Vigeland
Sverre Wyller

"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.

Persons Projects is pleased to present Mostly Drawings, a solo exhibition by Kristján Guðmundsson.

Kristján Guðmundsson is one of the most important conceptual artists to emerge from Iceland. The exhibition extends Guðmundsson's lifelong fascination with the medium of drawing, meticulously reducing the emotional expressiveness of each piece by focusing his attention on the precise nature of the materials used. His work reflects his minimal aesthetic philosophy, resonating with an understated sense of poetry, humor, and pragmatism.

This is most evident in his ‘potential drawings,’ which combine graphite rods with paper rolls, reducing the concept of the drawing to its essential components. Complementing these abstract works, Guðmundsson’s graphite typographical symbols—such as hashtags, exclamation marks, and other signs encountered in everyday communication—become the raw material he uses to redefine his visual language.

Mostly Drawings will open during this year’s Gallery Weekend in Berlin on May 02.

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.​

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.

Arnstedt Östra Karup is pleased to present a new solo exhibition by Alexandra Kucharska.

Alexandra Kucharska (b.1981, Gdańsk; PL) lives and works in Malmö, Sweden. She was educated Munka Konstskola andat Malmö Art Academy (2002-2007) and holds an MA in fine arts.

More information TBA.

Arnstedt Östra Karup is pleased to announce a new solo exhibition by Elisabeth Östin.

Elisabeth Östin (b. 1989, Viken) is a Swedish artist who lives and works in Arrie. She received her MA from Malmö Art Academy in 2019. Her paintings have been described as fantastic and abominable, bordering between what seems familiar and yet unknown.

More information TBA.

NEVVEN is proud to present Konvergenser #10, a group exhibition marks the 10 year anniversary of the gallery.

Participating artists:

Alexander Basil, Anastasia Bay, Giorgio Celin, Fanny Hellgren, Naeun Kang, Zsófia Keresztes, Sigve Knutson, Emma Kohlmann, Klara Kristalova, Letizia Lucchetti, Eric Magassa, Olof Marsja, Minh Ngọc Nguyễn, Charlie Roberts, Emelie Sandström,Toshio Shibata, Devin Troy Strother, Oda Sønderland, Alina Vergnano.

Convergence: at the same time in the same place something happens. It is a magical equation and an alignment of stars, where energies are released, floating in the air like dust shining backlit. It is a shared direction, consciously or unconsciously pursued. It is a shared concept searched through different media, or it is different ideas manifesting through similar execution. We categorise, we attempt to define genres and styles, but sometimes it is just about looking.

SPECTA is pleased to present the project Creative Responses, curated by Auður Aðalsteinsdóttir and Þórdís Aðalsteinsdóttir. The project will be resulting in a symposium at the University of Copenhagen (May 15), a catalogue released and an exhibition later this year at the Akureyri Art Museum in Iceland. And, opening on May 16, talks and an exhibition in SPECTA presenting works by 13 artists who all deal with the climate and ecological crisis in a large variety of ways.

The exhibition can be described as cacophonic, as it gives voice to many aspects of dealing with crisis, emotional as well as material – on show are works made from recycled materials, works depicting co-existence or lack of interconnected-ness with nature, heritage and new lifeforms and colors.

Featuring works by Angela Snæfellsjökuls rawlings, Aurora Robson, Bolatta Silis-Høegh, Camilla Thorup, Hekla Dögg Jónsdóttir, Hildur Hákonardóttir, Jóna Hlíf Halldórsdóttir, Kristinn Már Pálmason, Laura Ortman, Peter Holst Henckel, Sigga Björg Sigurðardóttir, Sigrún Inga Hrólfsdóttir, Þórdís Aðalsteinsdóttir.

Andréhn-Schiptjenko is pleased to present Sabine Mirlesse's solo exhibition Instruments, opening on Saturday May 3.

In conjunction with the exhibition, the gallery will also unveil Ode to Measurement, a bronze sculpture installation by Mirlesse, set in the waters off the island of Skeppsholmen, Stockholm. The installation will be inaugurated on May 3 at 12:00–13:00 by the octagonal pavillion at Västra Brobänken, near Flaggmansvägen 13.

Following her 2024 debut at Andréhn-Schiptjenko, Paris, Franco-American artist Sabine Mirlesse has conceived a new body of work specifically for the Stockholm gallery and its surrounding archipelago landscape. The sculptures presented in Instruments were inspired by research Mirlesse conducted in Stockholm, notably through the SMHI (Swedish Meteorological and Hydrological Institute) and in the archaeological collections at the Historiska Museet. An off-site installation in the Baltic Sea will inaugurate the exhibition and act as its conceptual centerpiece, inviting viewers to consider tools designed to interact with and decipher the natural world as functional, aesthetic and spiritual objects.

Þula is pleased to present Mirror Image/Spegilmynd, a solo exhibition by Áslaug Íris Katrín Friðjónsdóttir.

Áslaug Íris Katrín Friðjónsdóttir (b. 1981) holds an MFA from the School of Visual Arts in New York (2009) and a BA in Fine Arts from the Iceland University of the Arts (2006). Her work is distinguished by a rich sense of materiality, exploring abstract imagery through diverse materials and methods. She experiments with textures, such as drawing on petrified surfaces and integrating stone with other components, resulting in a distinctive sculptural painting style.


"I tell you about the stones I found on the shore. Maybe I was a girl, maybe I was a teenager. They were glowing treasures, brightly coloured gems that faded on the nightstand, out of context, dry. The world is full of scattered stones, I say, heavy-hearted. Each of us holds meaning within the whole, but not outside of it; we are faded stones. But you comfort me again, just as the butterfly folds its wings. You remind me of the time the stone carries. Its journey through sea or land, its origin, fracture, the softened lines of experience. And you place carefully chosen stones at the crossing of paths; cairns as testimony to fleeting moments of shared understanding. Maybe it was I who was never a teenager. Maybe it was I who woke to ticking in a foreign room. Then, the butterfly lifts its feet from the ground. It needs two wings to fly."

- Excerpt from Mirror Image/Spegilmynd exhibition text by Melkorku Ólafsdóttur, translation by Hólmar Hólm.

palace enterprise is pleased to present back up: a solo exhibition by Kirsten Ortwed.

Excerpt from exhibition text by Nanna Friis:

Back is back, backing up is backing up, and isn’t any casting process an act of saving. Not from danger but for longer or shorter futures. Sculptures tend to pile up and turn into a body of work. A body of work is easily mistaken for an archive, so what can we do when it turns its back on us.

We can:

save some questions
look closer
consider whether the opposite of a bright pool is a brown hill
consider whether the opposite of casting metal is trimming hair
consider whether the opposite of the gaze is the sculpture or the closed eyes

The opposite of backing up is throwing out. Kirsten Ortwed found two discarded heads in Italy and stored them for later use.

i8 Gallery is pleased to present Roni Horn: Mother, Wonder, a solo exhibition of new work by Roni Horn, on view from 22 May until 12 July 2025. The show, Horn’s sixth solo presentation at i8 Gallery, debuts a photographic series of Landbrot, an area in southern Iceland known for its mossy, undulating landscape. Featuring portraits of pseudocraters, a volcanic form created as lava flows through wetlands, Horn’s photographic compositions couple the rolling hills, emphasising an anthropomorphisation of the terrain. The acts of pairing and doubling, often used by Horn in her work, invite deeper consideration from the viewer and underscore the surreality and indeterminacy of the hills.

This spring, Wilson Saplana Gallery celebrate the power and talent of five of the gallery’s artists: Maiken Bent, Mette Winckelmann, Miriam Kongstad, Maria Wæhrens, and Hannah Heilmann.

The human body is central to this exhibition, as the artists explore questions and forms of resistance to contemporary norms, oppression, and anti-democratic tendencies. Together, the works form a large-scale presentation across different media. On the gallery wall stretches a more than 3.5-meter-wide constructivist painting by Mette Winckelmann, echoing the rhythm of Miriam Kongstad’s battery-like sculptures lying side by side on the floor. At the top step, a near animalistic-futuristic standing frame for handicapped children by Maiken Bent is mounted to the floor with colorful kettlebells, facing Hannah Heilmann’s three large-scale, dark photograms of souls departing from church-like lancet windows. At the back of the gallery, paintings from Maria Wæhrens’ archive reflect sexual expression and identity in the machine age, capturing bodies entangled in wires and machinery.

Each work in the exhibition invites dialogue with the viewer. Bodies hang in suspension, teeth grind, energy is building — in these dark times, conversations are mere tools for vigorous objects. Charged and ready with their potential power. Do they offer comfort from a caring, feminist perspective? Or are they lethal, ready to explode?

CFHILL is pleased to present In Pure Veritas: A duo exhibition featuring works by Alexandre Diop and Keith Haring.

In Puer Veritas – Latin for “in the child lies the truth” – frames a powerful encounter between two generations of artists united by their commitment to truth-telling, social responsibility, and radical visual expression. This exhibition brings together Keith Haring’s iconic Subway Drawings with Alexandre Diop’s newly produced assemblage works, created on found doors by recycled materials. Both artists create with an immediacy and energy that speak directly to the viewer – from the street, to the street. The exhibition title, signed by Diop, is more than a poetic phrase; it captures the unfiltered clarity and honesty that permeate both artists’ work:

“The truth of children lies in their honesty, their clear vision. It’s an unspoiled space, where there is no judgment or categorization. Both Haring and I create from that place. We speak directly – not just to children, but about them, for them. They are the ones who will inherit the world we paint.” — Alexandre Diop

Keith Haring was known for using New York subway advertising panels as his canvases – a spontaneous, public, and powerful medium aimed at everyone traveling through the city. Alexandre Diop finds a similar expressive space in abandoned doors. For Diop, the encounter with Haring is not just an art historical dialogue, but a crossgenerational kinship. Both are club kids – Haring from the 1980s New York scene, Diop from Berlin in the 2000s. These were spaces of freedom, where race, gender, and sexuality dissolved. Haring brought that freedom to the subway, Diop to and through doors. What also unites them is their creative method: inexpensive materials, rapid gestures, found surfaces. For both artists, the medium becomes secondary – yet crucial. It is the direct act, the physical approach to the surface, that defines the work.

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.