Art Calendar

V1 Gallery is pleased to introduce Richard Colman's solo exhibition 'Where the Palm Meets the Pine'.

In the exhibition, Richard Colman presents a radical new body of work: 21 paintings created over the past year. In flux. In and out of focus. Vibrating. The new works feel urgent and timeless. Transforming. Groups of figures appearing and disappearing. Compositions disintegrating and consolidating. Somewhere beyond figuration and abstraction. Cycles of painting and repainting. Saturated deep hues. Colors shimmering. Layers trembling. Past, present, and future intertwined. Acutely now, but only momentarily. Melancholic yet optimistic. Navigating the human condition. Finding strength in fragility. Beautifully uncanny. Transcendental painting.

BERG Contemporary invites you to celebrate the festive season with their Christmas Exhibition. Our Christmas exhibition features an array of works in various media by artists associated with the gallery, highlighting the dynamic qualities of their work.

Featured artists are; Bernd Koberling Bjarni H. Þórarinsson Dodda Maggý Finnbogi Pétursson Goddur Haraldur Jónsson Hulda Stefánsdóttir John Zurier Katrín Elvarsdóttir Kees Visser Kristján Steingrímur Páll Haukur Sigurður Guðjónsson Steina Vasulka Þórdís Erla Zoëga.

SPECTA is pleased to present Ellen Hyllemose's solo exhibition 'Mirror Mirror Mirror' presenting new works that may have the landscape as their starting point, but which offer us a reflection very different from the classic landscape depictions we know from art history. Rather than a specific description of man in relation to nature, Ellen Hyllemose offers us fragments, memories, negotiations and doubts about our being in the landscape.

The use of found objects such as the rusty harrow and beach goods, and practical and non-valuable materials such as mdf and masonite is characteristic of Ellen Hyllemose's practice. Materials we relate to and know. Put together with lycra, which embraces the other materials in bright colors, the hard and functional materials are made soft and more bodily. With its poetic title Mirror Mirror Mirror, the point is to open up to multiple interpretations. One could be that the works mirror each other, as when you think of the traces of the harrow reflected in the movement of the body in the strokes of man-sized paintings that have saw marks mirroring the strokes of paint. And back to the movement in the landscape, along the edge of the fields.

Helsinki Contemporary is pleased to present new clay paintings by Heidi Lampenius in the exhibition 'Ground Color'.

They reprise her signature symbolic language of painting that is based on the natural sciences and her experience of nature. The title of the exhibition is ambiguous: ‘ground’ can mean ‘earth’, but it can also refer to the surface used for painting. In this exhibition, earth serves as the ‘ground’ both conceptually and literally. The artist’s new explorations in clay reflect her quest for a new sense of groundedness – her desire to return to tangible basics.

The paintings in the exhibition are composed around simple geometrical shapes that enclose folds and diagrams. Her abstract paintings conceptually represent her investigations into the hidden world of clay. While her forms are angular, there is great tenderness to her painting style and tonal scale. The artist’s enduring themes – time, nature and memory – are revisited in series such as Stairs, in which the viewer can make out the shape of stairs simultaneously leading up and down, and in multiple directions all at once. For Lampenius, stairs symbolize harmonious cycles, their circular movement representing reassuring continuity and harmony – an endless cycle where what is at the ‘top’ and at the ‘bottom’ are inextricably linked.

Andréhn-Schiptjenko is pleased to present Kristina Jansson’s solo exhibition Paintings for People in Trouble. The exhibition is Jansson’s fourth with the gallery.

The exhibition Paintings for People in Trouble explores two main questions: one deals with painting and its ability to tell what the photographic image cannot, the other deals with painting from the artist's and art's own position of trying to grasp the world as it is unfolding right now.

A key issue in Jansson's practice has always been the capacity of painting to problematise and deepen the question of perception in a way that the photographic image cannot. If a photograph is a section of what has been omitted outside of the viewfinder, the painter makes different decisions in their process. What has been omitted from the motif still has a presence in the finished painting. The painting itself can be said to represent a world of its own. As a viewer, engaging with a painting opens up other layers compared to looking at another type of image: if the eye can sweep over a photo, the painted image offers a different resistance because every part of the motif is there on account of an active choice. It invites a deeper contemplation where a painting is never just a depiction, but as much a friction between motif and materiality. In the relationship between the artwork, its viewer and the ever-present now that the painting represents, a place of self-reflection arises, where the painting can ultimately become more of a mirror than an image.

Gallery Steinsland Berliner welcomes you to join them for this year’s final exhibition; 'Our Winter Show 2024'. The Winter Show has been a recurring event since the gallery’s inception. Consisting of works in varying mediums by gallery represented artists, as well as additional contributions from artists admired and invited by the gallery, 'Our Winter Show' is a joyous gathering dedicated to old and new friends.

Galleri Cora Hillebrand is pleased to introduce the exhibition 'Holy water' by Jessica Ekström.

MELK is excited to present Lille Istanbul, Andreas Meinich’s second solo exhibition at MELK.

As something is photographed it goes from being an object, a place, a person, and becomes an extended version of itself, a motif. As Andreas Meinich’s photographs are digitally woven using a jacquard technique, the motifs become further removed from their origin, and this translation from photograph to tapestry in a sense reverses the act of documentation that occurred at the click of the camera, and makes the imagery less reliable, more fantastical, more up to belief. Walking into a room filled with Meinich’s tapestries seemingly floating in midair, creates a feeling of entering a dream world, the room itself the bed as we get under the covers and experience other realms of possibility, a place of childlike innocence and wonder. This feeling is strengthened by the fact that the objects and formations we stumble upon within Meinich’s photographs have, almost without exception, an element of folklore to it.

Þula is pleased to present the exhibition 'In Watermelon Sugar' by Auður Lóa Guðnadóttir who lives and works in Reykjavík. She is an artist who explores the boundaries between the subjective and the objective, sculpture and drawing, art and reality. Her subjects are everyday objects and figurative imagery, drawing from both ancient and recent history.

Auður Lóa aims to activate the artworks themselves, always considering them as phenomena within their own social context. Auður Lóa focuses on painted papier-mâché sculptures, and this rough and unruly material gives her work a humorous and distinctive character. By using this seemingly lightweight medium, she achieves unexpected depth and offers an unconventional perspective on her subjects.

Etage Projects is delighted to present 'Alien Workshop', a new solo exhibition by renowned Swedish designer Fredrik Paulsen. Celebrated for his bold experimentation with color, form, and material, Paulsen continues to redefine the boundaries between art and design, crafting pieces that inspire and provoke thought.

In 'Alien Workshop', Paulsen introduces a new body of work that further explores his fascination with color and texture through his brand, JOY Objects. The exhibition features tables adorned with richly pigmented, fluid surfaces, reminiscent of the vibrant patterns found in nature—particularly the striking markings of poisonous frogs in tropical rainforests. These pieces exemplify Paulsen’s ability to blend art with functionality, inviting viewers to engage with their surroundings in new and dynamic ways.

Paulsen challenges traditional notions of design, creating pieces that resonate with contemporary life while offering a sense of wonder. The exhibition invites viewers to reconsider their relationship with everyday objects, encouraging a dialogue between the functional and the fantastical.

Coulisse Gallery proudly presents Unpunished Goodbyes, a group show featuring Evelina Jonnsson, Bartosz Kowal, Ant Lakomsk, and Ian Lewandoski.

The show highlights the complex and often overlooked nuances of departure or loss – how open endings gnaw and bite. Beyond the physicality of absence, this exhibition confronts the shield of leaving and the punishment of separation. Here, the fragility of relationships and the silence left in the wake are personified, inanimate, and recounted in the tension held in bodies and processes. Thus, each artist presents their interpretation of leaving or notions of impermanence. There is something unresolved, unforgotten, unforgiven.

Dorothée Nilsson Gallery is pleased to introduce the exhibition in celebration of the release of the new publication 'Today is not possible' by Marike Schuurman.

The exhibition by the same name consists of a selection of photographic and film works from the last 25 years. Marike Schuurman uses the medium of photography to investigate the ambiguity of human-made spaces and landscapes. Starting point of Schuurman’s work are stories or situations that she observes and deal with absurd human attempts to change or influence the world around them. The artist uses a specific photographic technique for each theme, as well as reflecting on and illuminating the medium of photography and the associated production processes in her work.

CFHILL is pleased to present previously unseen charcoal sketches and oil paintings by 1948 by Olle Bærtling. Both during his lifetime and after, his unique abstract artistic practice has been celebrated at exhibitions in countless national and international museums. Since the 1950s, his works have appeared at international art fairs and Biennales around the world.

Olle Baertling’s art career really took off in the late 1940s. He began painting in 1934, and over time, art came to occupy more and more of his time. He arrived in Paris in 1948 to gain guidance from the great artists of the time, and it was here that the foundation for his distinctive works was created. The model sketches, in particular, are exciting, showing strong inspiration from Henri Matisse and Fernand Léger.

CFHILL is pleased to introduce Viola Sparre's debut gallery exhibition 'Betraktare'. The exhibition consists of thirteen artworks, all created with oil on canvas from 2023 to 2024. The paintings explore deeply personal themes surrounding family dynamics, memories, and the psychological landscape of childhood.

Viola Sparre's art reflects a search for identity and belonging, often inspired by self-experienced complex family relationships and private emotions—expressed through a distinctive raw figurative aesthetic. In her work, Sparre investigates questions of identity, attachment, and the psychological inheritance of childhood, growing up with eight siblings. She creates scenes that merge different timelines—past and present blending together to form new perspectives on the familial. The artworks on display sometimes depict subtle conflicts, sometimes direct confrontations, all with a deeply personal foundation.

Martin Asbæk Gallery is proud to present Sōzō, a new solo exhibition by Adam Jeppesen in collaboration with Kim Dolva. Jeppesen and Dolva have collaborated since 2019, most recently in the exhibition Al paso de la lumbre presented at MACA – Atchugarry Museum of Contemporary Art in Uruguay in the beginning of 2024.

In Sōzō, Jeppesen continues his previous investigation of themes such as time and perception, which have both been shaped by scientific, philosophical and spiritual narratives. But also, the unique challenges of our time play a significant role in the new work, as Jeppesen and Dolva explore a world we can never fully comprehend. As much of our understanding of the world is a construct, designed to fit within the confines of what we can grasp, a sense of mystery is oftentimes lost.

Wilson Saplana Gallery is pleased to introduce Hannah Toticki's first solo exhibition at the gallery. 'A million times and more' examines and highlights the concept of interconnectedness. It is manifested in a series of ambitious works, the largest being a water-installation consisting of a network of fifty meters of water pipes and kitchen sinks.

The title of the exhibition 'A Million Times and More', refers to the repetitive reproductive work, to cooking, the endless dishwashing, and to all the carework that connects us as humans. We are also connected by millions of drops of water. Water is absorbed into and expelled from our bodies, and the daily routines in our homes are made possible by our infrastructure of this essential water. This water we take for granted in our daily lives, but which is increasingly a scarce resource on a global scale.

Eighteen is pleased to present 'In Call and Response' by Søren Behncke.

Behncke gathers a dream team of artists for a conceptual studio session. He evokes the compositional technique of call and response used in music and adapts it for the visual arts. In the exhibition, Behncke responds to the call of a diverse group of artists such as Henri Matisse, Vilhelm Hammershøi, Alexander Calder, Paul Gauguin, Fernand Léger, Josef Albers, Le Corbusier, Roy Lichtenstein, Theo van Gogh, Max Ernst, Claude Monet, Pablo Picasso, and Joan Miró. In his compositional answers, Behncke transforms, comments, adapts, challenges, paraphrases, and plays. The result is a series of curious, open-ended paintings, prints, and sculptures that engage directly with a contemporary interpretation of art and art history, understanding works of art and art history as a continuous stream of ideas, expressions, questions, and dialogues.

Søren Behncke has worked with this approach at the core of his practice for the past decade, performing pilgrimages to the homes, studios, museums, cities, and geographical areas of the artists he engages in conversation with to access a better understanding of their circumstances and language. In Call and Response, he engages one of his own earlier paintings, Skadestuen, 2007, with this method, creating a very different new composition and painting, The Palace of the King of the Birds, 2024, the title a reference to an unreleased instrumental Beatles composition that has changed form again and again over time. This emphasizes that there is a musicality at play in the visual arts, that works of art are not definitive, but objects with their own agency, changing constantly.

Public Service Gallery proudly presents Valentin Ranger’s ‘Hearts’ Choir’, the French artist’s first exhibition in Scandinavia. Through an exchange between physical interfaces (sketches, drawings, paintings, sculptures) and technological ones (3D modeling), Ranger has developed a vast visual vocabulary issued from a constantly evolving library of forms, through a performative act. This process has allowed for the construction of a mutating repertoire.

A recent development finds concepts of time as central to the artist’s practice: a quest to synchronise multiple clocks, those of the physical world and those of the digital world. The meeting of two clocks, of two different bodies, becomes a space for amorous dialogue. Each element from his graphic lexicon — screws, gears, hands, motors — now contributes to defining the temporality of bodies in this hybrid space, where the work of the hand, of physical experience, meets the memory of the technological world.

OSL contemporary is pleased to present the exhibition 'Provenance of Light' curated by Dag Erik Elgin. This group exhibition features works by Per Barclay, Camille Corot, Ángela de la Cruz, Dag Erik Elgin, Ane Mette Hol, and Lawrence Weiner.

Provenance of Light delves into the concept of provenance and the fundamental significance of light - exploring its physical and poetic dimensions. The exhibition reflects Dag Erik Elgin’s longstanding exploration of provenance as an artistic and conceptual theme. He views provenance not merely as history but as a physical intervention and continuation of the artist’s work. By examining origins and ownership histories, Elgin offers a unique perspective on the role and value of art in society. These themes resonate with Elgin’s current exhibition intervention, BOMBA, at Kunstnernes Hus, tied to Pablo Picasso’s iconic Guernica. BOMBA focuses on the ambiguity of light in modernism, symbolised in Picasso’s painting by a lamp that represents both a lightbulb and a bomb. The exhibition examines light as an ambivalent symbol - a technological revolution that fosters social life but also a destructive force in the context of war.

STANDARD (OSLO) is pleased to present the group exhibition 'To Gain a Hold of the Stone That Forever is Falling' featuring artists Nina Beier, Gardar Eide Einarsson, Mikael Lo Presti, Chadwick Rantanen, Julia Rommel.

NEVVEN is proud to present the first solo show in Scandinavia by Hungarian artist Zsófia Keresztes. If one were to list the very few sculptors of the Gen Y who would be possible to undoubtedly point out as uniquely personal in their language and material research, Zsófia Keresztes would surely be among them.

Highlighted by her monumental solo presentation at the Hungarian Pavilion for the Venice Biannual 2022, her colourful, timeless and sinuous mosaic-covered sculptures have gained international recognition both for their unique and instantaneously recognisable style, but also for their capacity to bring the viewers into environments where archaic and futuristic merge unlocking discourses about self-identity, and where sensuality is bordering the otherworldly.

Andersen's is pleased to introduce the solo exhibition 'Mutation Celebration' by Danish artist Esben Weile Kjær.

Gateways is a duo exhibition by Ann Lislegaard and coyote, an artist collective founded in 2017. It presents Lislegaard’s 2007 works Gateway (Colours and Places of Bellona), a series of saturated, tonal prints that appear like portals to a distant realm, alongside coyote’s video work New Centuries are Rare (2023), which indicates a timeline from the 1900s miner strikes to the establishment of the electronic music festival in Norberg a hundred years later merged with underwater footage of flooded mine shafts.

The exhibition invokes the imagery of gateways, portals and openings as devices for spatial and temporal travel, exploring their potential for transversal speculation after the end of history.

Galleri Magnus Karlsson is pleased to present Lisa Jonasson’s third solo exhibition at the gallery. The exhibition 'Reality Trip' presents collages and assemblages in painted, cut paper and wood made in recent years, as well as a series of new sculptures and objects in bronze and mixed media.

Lisa Jonasson works intuitively with her images and compositions. A process where an initial statement nourishes what comes next and the final result cannot be predicted until the last piece has fallen into place. The finished works contain large quantities of small, painted and cut pieces of paper, which are joined together to form a complex and teeming imagery. The meticulous collage technique she uses is a complicating factor, a necessary friction and slowness. By concentrating on the hand, the scissors and how they interact with the paper, thoughts can be limited and chiselled out. Not everything is possible, just one thing at a time. The detailed and enigmatic images can be experienced as winding labyrinths or rebuses. Imaginative and figurative but with a broken narrative.

Persons Projects is pleased to introduce the group exhibition 'The Helsinki School—Out of the Depths of Photography' featuring artists Milja Laurila, Anni Leppälä, Niko Luoma, Jussi Nahkuri, Jyrki Parantainen and Niina Vatanen.

'The Helsinki School—Out of the Depths of Photography' continues in its longstanding tradition of pushing the boundaries of how we perceive and interpret the photographic image. This presentation features a range of explorations into how different materials—such as fabrics, layered collages, and folded film negatives transformed into sculptures—can be utilised to form a new visual language within the photographic process today. It represents a collective effort to redefine the material qualities of the photograph, attempting to recover its magic as a physical object. This is the first fully dimensional overview from any previous Helsinki School presentations to conceptually challenge these existing parameters.

For her third solo show, Marijke van Warmerdam returns to Galleri Susanne Ottesen and Copenhagen with The sun comes in, an exhibition which explores notions of time and human connection, both visible and invisible. For van Warmerdam, a moment never exists in isolation but is inherently connected to that which came before and that which is about to happen. Her work often features the natural environment: the ocean, water droplets, sunlight, animals, and green spaces, and those featured in this show are no exception. Here, van Warmerdam draws our attention to the sun: essential to our earthly existence and our earliest means of time-telling. Visitors will be greeted by a monumental wallpaper featuring a photograph of the young artist. Also on view are three of her renowned looped video works, a sculptural installation and a series of brand new photographic editions. Van Warmerdam’s work is sometimes described as one of gentle beauty, but they contain powerful universal images and are imbued with a fizzing energy, no matter how fleeting the captured moment may be.

Matteo Cantarella is thrilled to announce ‘Ghost Machine’, a solo exhibition of new works by Danish artist Sif Hedegård. Known for her performative actions using her body to reframe themes of fragility and trauma, in ‘Ghost Machine’ Hedegård debuts an installation of motorized clockwork sculptures pacing through cadenced, purposeless motions.

Sif Hedegård (b. 1986, Denmark) lives and works in Copenhagen, Denmark. Hedegård holds an MFA from Funen Art Academy in Odense, Denmark. Her work has been exhibited at Den Frie Centre for Contemporary Art (Copenhagen, Denmark), Celsius Projects (Malmö, Sweden), Bonamatic (Copenhagen, Denmark), Hot Dock (Bratislava, Slovakia), I: project space (Bejing, China) and at Shanaynay (Paris, France) among others.

BORCH Editions has the pleasure of introducing the exhibition 'Two Suspects' by Marie Rud Rosenzweig and Anna Stahn. The artists have worked in parallel in the studio to produce a series of prints.

The theme of Two Suspects revolves around the feminine in a world where the fascination for true crime, violence and the uncanny is significantly present in entertainment culture. Together, Rosenzweig and Stahn examine gender stereotypes and highlight a stream of aggression that follows the feminine.

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.