Art Calendar

Andersen’s Contemporary is pleased to present Lithium Bliss, the third solo exhibition in the gallery by Danish artist Anders Herwald Ruhwald - an exploration of how the green economy materializes.

In Lithium Bliss, we step into a sensuous, sculptural world where materiality, transformation, and environmental consequence intersect. Five large-scale soft ceramic sculptures glazed in turquoise, blue, rose, and dusty yellow seem to echo the vast lithium extraction sites and mounds. On the gallery walls, a blue colour runs in fine strains from the ceiling to the floor in a viscous flow, allowing the liquid to reveal its physical properties as well as the surface structure of the walls.

With Lithium Bliss, Anders Herwald Ruhwald questions and problematizes the realities of aesthetic materials in the green economy. To this end, Ruhwald has developed a set of lithium-based glazes for the sculptures. Lithium is a key component in battery production, an essential element in the shift to green energy; however, the extraction of this material has substantial environmental impacts. Vast amounts of water are needed at the extraction sites, often covering thousands of hectares of land, displacing local communities and leaving large areas prone to erosion.

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?

Alice Folker presents the exhibition Summer, summer, summer, a group exhibition featuring the Gallery's artists. The public opening will be held Wednesday 25 June from 17.00 - 19.00 at the gallery on Esplanaden 14 in Copenhagen. Welcome!

Participating artists: Anna Stahn, Asger Harbou Gjerdevik, Augusta Atla, Casper Aguila, Frederik Næblerød, Helen Teede, Hiu Tung Lau, Jakob Storm, Karim Boumjimar, Liv Ertzeid, Maria Zahle, Marie Rud Rosenzweig, Mathilde Vogel, Ragnhild May, Sophie Kitching, Vera Ljunggren, Yasmin Sliai & Yukari Hotta.

Alice Folker Gallery is open all summer except for weeks 25, 28 & 29 ​ ​

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.

OSL contemporary presents Nagori: A solo exhibition by Emily Gernhild.

'Nagori' presents a series of paintings on canvas imbued with the sensory and symbolic experience of contact with the most extraordinary and mysterious fruits of the earth: citrus. In the work that gives the exhibition its name, a large bright yellow citrus fruit—perhaps a pomelo, genealogical ancestor of the citrus family—is depicted on a wide plate.

The bold lines and swirling brushstrokes do not merely describe the fruit but evoke a deep sense of metamorphosis and time. The paint, dense and sinuous, impresses the materiality of change onto the canvas: the fruit seems to become a symbol of a uterine gestation of time itself.

Eighteen presents 'The Nature Inside Me', a solo exhibition by Barry McGee.

Barry McGee creates vast, unpredictable, and improvised organic, site-specific installations. He incorporates paintings, ceramics, drawings, books, plants, photography, sculptures, and found objects into immersive exhibitions that sprout, grow, and flow over the walls, floors, and ceilings of the exhibition space.

Barry McGee, born 1966, lives and works on the American West Coast in San Francisco. Working in a wide variety of media that includes painting on wood, ceramics, drawing, zines, photography, sculpture, and large-scale installation, McGee refuses hierarchies of material or subject matter and treats all formats equally. His artistic style incorporates a multitude of inspirations: American folk art, sign-making, Op Art, and graffiti. McGee’s work is influenced by and reflects upon contemporary society, especially those who tend to be left behind by it, or choose not to play by its rules. In this recent body of work, the artist pushes his imagery into the iconic; figures and shapes are barely indicated, then repeated and mixed with abstract patterns.

The Nature Inside Me is Barry McGee’s third solo exhibition with Eighteen / V1 Gallery.

V1 Gallery is pleased to present 'In Canadafornia' - A solo exhibition by Geoff McFetridge.

'In Canadafornia' is Geoff McFetridge’s first solo exhibition where oil paintings serve as both points of departure and disappearance. The 16 intimately scaled tableaus were created over the past year. Originating as small, loose, notebook-sized studies, McFetridge often revisits each motif in several versions before completing a final iteration on panel.

Geoff McFetridge (b. 1971, Edmonton, Canada) is a Los Angeles-based artist and multidisciplinary auteur. Instinctively ignoring creative boundaries, his practice spans painting, drawing, sculpture, poetry, animation, graphic design, ceramics, public artworks, and title sequences for films including The Virgin Suicides, Adaptation, Where the Wild Things Are, and Her. He has exhibited widely across Europe, North America, and Japan. Geoff McFetridge: Drawing a Life, a documentary by Dan Covert, premiered to critical acclaim in 2023. In Canadafornia marks his sixth solo exhibition with V1 Gallery & Eighteen.

BERG Contemporary presents Still Life, a group exhibition curated by Ingibjörg Jónsdóttir.

This exhibition features contemporary works in various media that can be classified as an art genre called still life. The subject matter of these works is everyday things, which serve as a reminder of the beauty and transience of life. This branch of art history has existed alongside humanity for centuries, but gained and lost popularity and recognition according to the zeitgeist of each era. The first still life paintings are believed to be ancient Egyptian, from around the 15th century BC. They were painted on the walls of tombs, depicting meat, fish, and grain, believed to be useful to the deceased in the afterlife. During the golden age of Dutch painting in the 16th and 17th centuries, still life paintings became commonplace. To this day, still life paintings have developed within all movements of art, impressionism, expressionism, cubism, futurism, dadaism, as well as surrealism, and helped open up the possibilities toward abstraction. Media such as photography and video have been part of still life's discourse, but no matter the medium, these works have remained a strong source of information about everyday life and the parts of history rarely depicted.

As is tradition, Martin Asbæk Gallery kicks off the summer season with the annual group show Summer in the City. This year’s edition marks a special occasion: the gallery’s 20th anniversary.

The exhibition showcases new work by gallery artists alongside contributions from guest artists who have exhibited with Martin Asbæk Gallery over the years – including Iván Navarro, Cathrine Raben Davidsen, and Robert Janitz, among others. The show brings together long-time collaborators and new voices, offering a vibrant reflection of the gallery’s evolving profile.

Martin Asbæk Gallery warmly invite you to celebrate this milestone with them on July 4, from 16:00 to 18:00. And if you can’t make it to the opening, there will be plenty of opportunities to visit throughout the summer, as the gallery will remain open as usual.

Galleri Susanne Ottesen presents its Summer Show, EXPANSE, featuring works by Nanna Abell, Morten Buch, Jean-Marc Bustamante, Richard Deacon, Andreas Eriksson, Pernille With Madsen.

For 3daysofdesign, Galleri Susanne Ottesen hosted Australian design studio DesignByThem, presenting an interdisciplinary collaborative exhibition. Exploring form, materiality, and visual languages, the studio’s designware and selected artworks by gallery artists enter into intimate dialogues throughout the space. Emerging from this collaboration stems our group summer show.

There is an immediate kinship in this meeting of art and design – a shared sensitivity to surface, weight, and structure that is explored at human-scale. The featured artworks and furniture each offer a distinct approach to materiality, while a pervasive domesticity shapes the space. These are furnishings meant for sitting, lying, eating on and their arrival in the gallery transforms the space, creating inhabitable rooms.

Persons Projects is pleased to announce its summer exhibition, The Art of Renewal, opening on June 28 between 14.00 and 18.00 at the gallery on Lundenstr. 25 in Berlin. The exhibition brings together works by the three Helsinki School artists Nanna Hänninen, Ilkka Halso and Sandra Kantanen.

Nanna Hänninen, Ilkka Halso and Sandra Kantanen's conceptual approach to their photographic based practices has engaged deeply with ecological concerns over the past two decades. Through their unique interventions, each artist seeks to symbolically restore nature to what has been lost due to climate change, human neglect and urban encroachment.

By altering images of real landscapes, they draw attention to pressing environmental issues, both present and future, blurring the line between the real and the imaginary. Their works use paradoxical situations to emphasize the reality of ecological degradation – barren landscapes infused with color, nature artificially preserved within protective structures, and untamed urban meadows transformed into surreal landscapes.

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.