Art Calendar

Þula is proud to present Naissance de la Couleur / Fæðing litar, the first solo exhibition in Iceland by the esteemed French photographer Didier Goupy. The exhibition marks the debut of Odyssey, a contemplative photographic series developed across repeated visits to Iceland since 2021.

Goupy’s work spans decades and continents. Born in 1960, he began his photographic journey in Morocco and his early series from Ireland and Egypt swiftly earned him attention in major publications. Based in Paris since the mid-1980s, Goupy has contributed to renowned agencies including Sygma, while continuing to deepen a visual language that finds its roots in portraiture and flourishes in abstraction. Following extensive travels through India in the 1990s, his focus turned increasingly toward colour—not merely as hue, but as experience.

With Odyssey, Goupy approaches Iceland not as a documentarian, but as a seeker. The landscape becomes both subject and metaphor: a terrain at once immense and intimate, where colour is not simply seen, but sensed. His images, shaped by the spirituality of Rothko and the sensory nuance of Bonnard, oscillate between surface and depth, presence and memory.

CFHILL is proud to present one of the largest exhibitions of Brazilian art in the Nordics. Carnival offers a vivid insight into Brazil’s dynamic art scene, exploring themes of faith, history, politics, and philosophy.

Long before Brazil had a name, art was central to life — expressed through nature, ritual, and community. As the country evolved, so did its art: from ornate church altars to bold modernism, from quiet resistance to joyful celebration. Brazilian art continues to reflect a profound sense of identity, struggle, and freedom.

Featuring works by Elian Almeida, Cristina Canale, Bruno Dunley, Maria Klabin, Artur Lescher, Vik Muniz, Tomie Ohtake, Alberto Pitta, and Sérgio Sister, the exhibition highlights a spontaneous, organic approach to art-making — translating Brazil’s cultural richness into vibrant and powerful forms. Their impressive portfolios include works housed in institutions such as MoMA, The Met, Tate Modern, Centre Pompidou, and Mori Art Museum, with participations in both the Venice Biennale and São Paulo Biennial.

i8 Gallery is pleased to present Radiance, a solo exhibition of new works by Ignacio Uriarte, on view from 3 April until 10 May 2025. The show is the artist’s fourth solo presentation with i8. Comprising typewritten and hand-drawn works on paper, as well as a sculptural wall installation, the works share a careful and diligent quality rooted in their simple, geometric forms and reflect the artist’s continued exploration of process and material.

Throughout his practice, Uriarte works within self-imposed boundaries, limiting his process to the materials and methods found within stereotypical office spaces until the early 1990s. While parsimonious in method, Uriarte’s compositions are rich in detail. Working with pen and paper, the artist creates geometric constructions and layers the ink to suggest depth and shadows, which produces detailed rhythm and movement within his compositions.

SPECTA is happy to present Black Crows in the Meadow, a solo exhibition by Svend-Allan Sørensen. Based on woodcut as his artistic medium, Svend-Allan Sørensen persistently explores new ways of working with the graphic medium as a traditional craft. Artificial intelligence, text fragments from rock and folk songs combined with insisting on always referring to nature make the works appear as a fusion of past and present and of culture and nature.

In three large woodcuts Sørensen uses text fragments which, with the presence of the crow, put us out into the landscape and yet most of all sets the tone of an atmosphere. The texts form images in our minds and are metaphorical. As a contrast, the series of smaller woodcuts A Crow and a Tree in a Landscape presents the visual expression of a truly dry pictorial description as formed by Artificial Intelligence. The use of both artificial intelligence and texts written by someone else gives Svend-Allan Sørensen's works a kind of vibration between the artist himself and that which lies outside him. The combination of the different approaches - an interplay between expressing oneself in one's own practice and making use of external contributions - makes the works appear as a partial dismantling of the artist's self.

Galleri Arnstedt is pleased to present its first opening of this season: the group exhibition Ex-students from Malmö Art Academy.

The show features works by six recent graduates from Malmö Art Academy, all working in different techniques and mixed medias.

Participating artists:

Carin Castegren
Cornelia Hermansson
Anton Kai
Amanda Moberg
Kristyan Nicholson
Alice Indi Ryne

The exhibition is on view at the gallery through 17 May 2025.

Spring has sprung and V1 SALON is pleased to present Sometime in the Spring (Somewhere in the Fall), a solo exhibition by Mads Bryld. The second exhibition in the cycle Somewhere in Fall will be presented in the fall of 2025 in V1 SALON.

In Mads Bryld’s new paintings, the seasons transition. Subtly and reserved, winter turns to spring, and summer stretches lazily into fall - like a cat waking up from a nap. If you don’t spend much time in nature, the change of seasons can feel abrupt - almost violent. You feel unprepared. If you do spend time in nature, cultivated or wild, in your garden, in the cemetery, the forest or in the mountains, you feel the constant and infinite cycle, the everlasting transition. You sense the minute change in temperature from one morning to the next, how the April sun has moved slightly higher above the oak gathering strength, to step out of winter and leaf out. Bryld’s oil paintings embody this wonderful super slow cycle of everything. The mechanics of existence.

Sharp Projects are excited to present Interior Views, a new solo exhibition by Elizabeth Orr.

Born in Los Angeles and based in New York City, Elizabeth Orr creates sculptures that engage with the codes of built environments. Her works often take the form of architectural elements such as louvered shades, outlet plates, fences, and other barriers that obscure sightlines. By emphasizing objects that usually linger in our peripheral vision, Orr plays with the mechanisms of framing and exclusion, which makes one believe that her medium is not necessarily sculpture but rather perception.

Orr’s work has been exhibited internationally and she has been included in publications such as Girls Like Us, Artforum, DIS Magazine, Artnews, ​​and BOMB magazine. Elizabeth Orr manages the estate of her late father, the California Light and Space artist, Eric Orr (1939-1998).

In Cristina de Miguel’s solo exhibition Perras, she explores the chimera, a hybrid creature both human and animal, illusory and mythic. Grafting together a dog's body with a human’s creates an uncanny, surreal presence on the canvas, eliciting a visceral reaction. These hybrid figures serve as a vessel for examining queerness, autonomy, rebellion, and women’s defiance of societal expectations. “For me, dogs symbolize instinctiveness and freedom, a raw, unrestrained power that resonates deeply, particularly in today’s political climate. A dog can be domesticated but at its core is wild. I’ve experienced the tension between the desire for freedom and the structures that constrain it. These paintings become a space for me to confront and reconcile this dissonance.”

The works in Perras are painted with a technique de Miguel calls a “soft treatment.” Painting on unprimed canvas allows the artist to use a very liquid paint that the canvas absorbs like ink, leaving behind a "stain" with almost no texture. This gives the works the immediacy of a drawing. De Miguel says: “they’re fast, uncorrectable, and spontaneous, they work almost like images being swallowed by the sea.” A key facet of de Miguel’s work is her exploration of how bodies find freedom. She does this through distortion, alternative assemblies and actions of the body. She is particularly interested in queer bodies that exist outside the established order and are unbound by societal constraints.

The characters in de Miguel’s paintings are semi-autobiographical. They are self-portraits that serve as a reflection of women’s subjectivity. For de Miguel, painting is meant to be felt rather than merely understood on an intellectual level. Her work demonstrates technical ability and is simultaneously a total rejection of it. The works are intense, containing raw, physical gestures. They map the artist’s decisions and the euphoria of being alive.

Painterly atoms splitting. Doors to the multiverse ajar. No immediate beginning or end. Perpetual motion. Gears turning, interlocking, levitating. A transcendental surface. In and out of focus. Permanently ephemeral. A cosmic sensibility. So, Futura 2000’s solo exhibition, The Mechanical Age, opens with two striking red, white, and black sibling paintings, Sister and Brother, aerosol on primed canvas, which was executed in 2025. Pairs of Pointmen, Futura 2000’s seminal characters, converge in a new series of collaged works on paper. Each of the twenty new works also includes a banknote from a country that the artist has visited during his lifetime or dreamt himself to. The banknotes now appear as relics, long-lost tokens from a physical capitalist age, where tangible currency and commerce went hand in hand. Financial postcards from Ukraine, Zaire, Denmark, Cuba, America, and many other nations. Within the paintings, silhouettes of gears float in and out of the compositions, interacting with currencies and abstracted figures, a perplexing sensation of loss of gravitation. The works have a transitional feeling, leaving behind the concrete and drifting towards something else, less solid, uncertain, and spectral. The moment of departure. Two dynamic atom compositions on canvas, created with aerosol on primed canvas, Husband and Wife, bounce with a buoyant energy. The two paintings feel simultaneously interconnected and free, emphasising a sensation of community and cycle in the exhibition. We co-exist in an interlinked world where cause and effect become still more apparent in our relationships with each other and the rest of the planet.

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.

ISCA Gallery is pleased to present Døgnrytmer (Circadian Rhythms), a solo exhibition by Signe Solberg featuring a new series of wall-mounted reliefs in metal, stone, and wood. Through a distinct geometric language of unfolding triangles, Solberg explores the notion of Circadian Rhythms—unseen cycles that shape both our physical presence and mental landscapes. Her works reflect these natural fluctuations through structured repetition, measured interruptions, and shifts in materiality. Copper and brass, patinated with simple household substances, bear the marks of time, temperature, and handling. Hues of green, blue, and turquoise emerge across the surfaces in a painterly manner, revealing the quiet passage of transformation.

At the core of Solberg’s practice is an engagement with space and boundaries—both physical and mental—and a relentless pushing and stretching of their limits. For this exhibition, she has created a series of framed compositions: nearly flat reliefs in metal, wood, and stone, presented in square and rectangular formats. These structured boundaries provide a place for rest and resolution, guiding perception while anchoring the compositions in a defined space. Within them, a delicate balance unfolds—openness and containment, harmony and movement, order and flux. Much like the exhibition’s title, the works navigate the ebb and flow of time. Just as we adjust to personal rhythms while constantly adapting to the interruptions and influences of others, these pieces embody a dynamic tension between continuity and disruption, stability and change.

STANDARD is happy to present "SKUGGAN" ["THE SHADOW"], a solo exhibition by Torsten Andersson.

Next year will mark the 100 year anniversary for Torsten Andersson's birth. Born in Östra Sallerup, in the Skåne region of Southern Sweden in 1926, he graduated from the Royal Academy of Fine Arts in Stockholm in 1950. After early success as a young painter - which included several exhibitions with Galerie Blanche as well as inclusion of the São Paolo Biennial in 1959 - he abandoned his career and life in Stockholm, and returned to his childhood home in Benarp in 1966. After a six years pause from making artworks, Andersson returned to his practice and was in 1986 subject of a major retrospective exhibition at Moderna Museet in Stockholm as well as Malmö Konsthall in Malmö in 1987. Other exhibitions include "Sextant. Six artistes suédois contemporains" at Centre Pompidou, Paris (1981); "The Louisiana Exhibition", Louisiana, Humlebæk (1997); "Zeitwenden", Kunstmuseum Bonn, Bonn (1999); as well as "Carnegie Art Award", which he won in 2007 - two years before his death in 2009 - with a touring exhibition that included such venues as Museum of Contemporary Art Kiasma, Helsinki; Henie Onstad Kunstsenter, Høvikodden; and The Royal Academy of Art, London. Later this year, Andersson is subject to a solo exhibition at Dalslands Konstmuseum in Upperud, Sweden.

This exhibition is developed in collaboration with Galerie Nordenhake, Stockholm, and the Torsten Andersson Foundation, Stockholm

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.

"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.​

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.

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.

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?

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.