Art Calendar

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.

V1 Salon presents End Pages: A solo exhibition by Margaret Kilgallen.

End Pages delves into Margaret Kilgallen's exploration of material, language, and form. The title refers to the first and last pages of a book, often worn, stained, or torn, which Kilgallen painted on using reclaimed materials. Influenced by her time at the San Francisco Public Library, where she learned book restoration, Kilgallen’s works juxtapose the imperfections of discarded pages with her precise, bold linework. These pieces celebrate the handmade and wabi-sabi aesthetic, while also reflecting her study of typography. Kilgallen intertwines graphic letterforms with pictorial elements, blending the boundaries between text and image to create a dynamic visual language that challenges traditional forms of representation.

Margaret Kilgallen was born in 1967 in Washington, D.C., and lived in San Francisco, with her husband, Barry McGee, where she passed away in 2001.

From the 02 June to the 27 June, Galleri Bo Bjerggaard will present a series of works by Brazilian-German artist Janaina Tschäpe inside the gallery at Sankt Knuds Vej 23C.

Janaina Tschäpe’s multidisciplinary work embraces aquatic, plant, and human life, exploring the transformation of sensuous forms evocative of the natural world. Spanning painting, drawing, photography, video and sculpture, her sublime visual language dwells within the nebulous space between representation and abstraction. She seeks a ‘fluid dialogue between drawing and painting, both melting into each other’, wherein her compositions and landscapes feature colourful amorphous shapes and organic structures layered, overpainted and drawn upon each other in carefully calibrated hues.

Interested throughout her artistic practice in the experience of being underwater and how dimensions and perspective are lost, the sea is featured prominently in her photographs and videos, with floating creatures reminiscent of jellyfish or squid, and women’s bodies entangled with flowing fabric and balloons.

BORCH Editions is delighted to present the latest prints by Tal R.

The everyday life of Tal R’s family members is the focus of a new series of prints made with BORCH Editions. Transformations of the artists’ experiences are extracted onto paper in a rich combination of woodcut and etching, that causes the eye to wander between painted brushstrokes of sugar lift aquatint and brightly coloured areas of woodgrain.

Tal R is known for his ever-expanding universe of images, many of which he finds in everyday life, pop culture, or on his various journeys around the globe. The process of recycling or sampling material from his own, vast archive has long been characteristic for Tal R’s artistic practice. Using details from his large-scale paintings, the artist allows the viewer to experience the works as if through a magnifying glass, while at the same time creating autonomous new works. Tal R, born 1967 in Israel, lives and works in Copenhagen, Denmark. He has been collaborating with BORCH Editions since 1995.

“When Summer Ends” is Gina Hejdebäck's first presentation at Saskia Neuman Gallery. The exhibition is presented in the gallery’s project space and souterrain until the 28th of June.

Hejdebäck’s artistic practice is rooted in works on paper, where she incorporates watercolor and ink to build intricate layers of texture and form. Rather than relying on preparatory sketches, she integrates early marks directly into the final piece, allowing for the work to evolve organically. Her process involves layering color and paper, resulting in a form of collage. While each piece stands on its own while also contributing to a larger, continuous narrative within the artist’s body of work.

For Hejdebäck, the images she creates serve as a means to convey the complex moods and emotions that arise between people. Her works resemble scenes from a film — without a definitive beginning or end. Influences shaping her visual language include artists such as Tala Madani, Philip Guston, Ed Templeton, Margaret Kilgallen, William Kentridge and Robert Crumb.

Come and visit a Summer Group Show with works by gallery artists at Galleri Magnus Karlsson. The exhibition runs until June 28 at the Gallery on Fredsgatan 12 in Stockholm.

Artists: Mamma Andersson, Roger Andersson, Idun Baltzersen, Duda Bebek, Amy Bennett, Helene Billgren, Anna Bjerger, Mette Björnberg, Thomas Broomé, Marcel Dzama, Niklas Eneblom, Sara-Vide Ericson, Jens Fänge, Carl Hammoud, Tommy Hilding, Kent Iwemyr, Richard Johansson, Susanne Johansson, Lisa Jonasson, Johanna Karlsson, Bruno Knutman, Klara Kristalova, Peter Köhler, Hans Lannér, Petra Lindholm, Ulf Lundin, Maria Nordin, Jockum Nordström, Jeff Olsson, Bella Rune, Alejandro Sintura & Ebba Svensson

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.

From the 05 June to the 28 June, Galleri Magnus Karlsson will present a summer group exhibition with works from the 32 artists of the gallery:

Mamma Andersson
Roger Andersson
Idun Baltzersen
Duda Bebek
Amy Bennett
Helene Billgren
Anna Bjerger
Mette Björnberg
Thomas Broomé
Marcel Dzama
Niklas Eneblom
Sara-Vide Ericson
Jens Fänge
Carl Hammoud
Tommy Hilding

... and many more!

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.

It is with great pleasure that Helsinki Contemporary announces the opening of the artist Hans Rosentröm’s third solo exhibition at the Gallery.

Gradually, then suddenly explores the interplay between human voices, architecture, and technology. The exhibition stands on its own but also forms a companion piece to Rosenström’s installation featured on Vallisaari Island as part of Helsinki Biennial.

The exhibition draws on the artist’s long standing interest with various physical, psychological and social façades that separate us and form our social fabric, as well as the history of black mirrors. The Claude glass, or black mirror, is a small optical device named after the French painter Claude Lorraine (1600-1682) that was used by 18th century landscape painters. When using the tinted mirror, the painter would turn their back on the landscape they were studying. Today we are again observing the world through new black mirrors, in the form of the smart devices that have pervaded our lives.

The exhibition takes its title from Ernest Hemingway’s novel 'The Sun Also Rises' (1926). In the book, one of the characters asks another how he went bankrupt, to which the latter replies: “Two ways. Gradually, then suddenly.” Rosenström heard the quote on a podcast hosted by the British academic David Runciman, who described the way social phenomena creep up gradually: by the time things reach a point of demanding urgent attention, it is often too late – the change has already occurred. So too Rosenström’s installations can be interpreted as silent signals – simple, understated, almost intangible, and yet surprisingly physical and complex in implications.

The gallery’s spring season concludes with The Spider Learned to Count, Heini Aho's insightful, witty and wise show in which she plays with everyday objects scaled up to monumental proportions and examines seemingly insignificant things. A watercolour palette is enlarged to colossal size, while bronze tea bags await their user in a cup, looking strikingly authentic. Aho finds endless potential in everyday objects. In her video work Individually Wrapped, a car tyre slowly rolls over a sequence of wrapped, bottled and bagged packages that pop, burst and flatten before our eyes.

A large bronze sculpture, Holy Tip, rests on a surface covered with a white cloth and glass. Its amount cannot be determined, as the pattern is a composite of two different banknotes and the tip is thus not valid currency. Nearby, a sculptural duo from the series Small Sculptures That Tell Us Something Big Was Here reclines on a pedestal. Titled Half-Eaten, it features a cast-aluminium watermelon and lemon, both sliced in half, with foil covering the cut surfaces.

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.

STANDARD (OSLO) presents Red Herring: a solo exhibition by Anna Zacharoff showing at the gallery on Waldemar Thranes Gate 86C from 05 June until 05 July.

There will be a preview of the exhibition held on Thursday 05 June at 18-20.

For more information, reach out to STANDARD (OSLO).

Lagune Ouest presents Siege of the castle of love, a solo exhibition by Jakob Ohrt, on view in the gallery at Tagensvej 85 between 05 June and 04 July.

The opening will take place between 5-8pm on June 5th, 2025.

More information about the show:info@laguneouest.com

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.

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?

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.

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.