Art Calendar

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.

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.

Helsinki Contemporary is pleased to introduce Leena Nio’s exhibition 'Dwellers'. Leena Nio's practice is underpinned by the pleasure of painting and looking. As she paints, she surrenders herself to the magic of colour and an abundance of details and intertwined brushstrokes. She plays with tensions between concealment and exposure, the personal and the universal, and juxtapositions of contrasting textures.

Nio’s latest exhibition consists of still life compositions capturing scenes of quotidian daily existence. Many are composed around a laundry basket, a mundane household item that is rarely celebrated in art, yet nevertheless an object in which there is beauty, softness and nuances to be discovered. A human presence is suggested indirectly through cropped fragments of garments and laundry.

Nio’s complexly layered paintings straddle between abstraction and representation. Things hidden behind façades are central to her recent paintings, many of which literally contain peepholes evoking the duality of daily existence: behind the public façade is a private world that is revealed only to one’s closest loved ones. Fluffy jumpers and other items of clothing appear as recurring symbols of the softening buffers that we erect between ourselves and external reality.

Galerie Anhava is pleased to open its 2025 exhibition programme with Ulla Jokisalo’s Wordplay.

Jokisalo's art is rooted in language and narrative. Her works combine the techniques of handcrafting, photography and cut-out with philosophical and conceptual reflections on the nature of childhood and memory. The recurring grey-haired figures of dolls and humans in her new works are woven into broader themes regarding the flexibility and fragility of memory and the mystery of childhood.

In this exhibition, Jokisalo’s conceptually and linguistically oriented approach is inspired by images of her mother’s childhood. Drawing from an extensive image archive, she prints, cuts, colours and embroiders the images. Alongside its linguistic-philosophical approach to craft, Jokisalo’s practice is also circumscribed by the surrealist tradition she embraced in her youth. The titles of the works, such as Fort-da, Être composé and Doppelgänger, point the viewer towards the key concepts that inspire Jokisalo’s art. In addition to individual pieces, the exhibition also includes the series Lapsuuskuvasto, where Jokisalo’s distinctive practice of layering black and white photographs creates a fascinating imagery that blends fairytale elements with the allure of Gothic horror.

ISCA Gallery is pleased to present Anything but the kitchen sink, a solo exhibition by Sophia Sørholt.

Sørholt draws inspiration from memories of her childhood kitchen—a space transformed by her own mother’s trolldeig handicrafts, a pliable dough popular in Norway for crafting sculptures. She shaped household produce into decorative compositions: fruit baskets, bouquets, and other ornamental arrangements. Painted with vibrant hobbylack and rich in texture, these handmade pieces complemented the fruit-themed tile backsplash, cramming the kitchen with nostalgia, evoking a perception of comfort.

The phrase “everything but the kitchen sink” evokes an image of excess and abundance, suggesting that nearly everything imaginable has been included, with little restraint. It can reflect a maximalist approach, where layers of colors, textures, and ideas are piled together to create something deliberately overwhelming and chaotic. Sørholt subverts this by replacing the ‘every’ with an ‘any’ in the phrase, meaning that some things are best left out. The lack of focus, overindulgence in ornamentation and unnecessary details can hide the more significant or valuable things lying beneath.

Through this exhibition, Sørholt invites the viewer to step into a world where artistry and memory intertwine. Her paintings serve as a reminder of the balance between inclusion and intention—of knowing when more is meaningful, and when it simply becomes too much.

CFHILL is proud to present EDICOLA, the latest exhibition by celebrated artist Liselotte Watkins. The centerpiece of Watkins’s fifth solo show at CFHILL is an intricately crafted hexagonal chapel, a structure that cannot be physically entered, composed of 18 paintings. Together, these works form a ”totem” that weaves together themes from art history, activism, philosophy, and pop culture.

With her resolutely analog process, Watkins crafts a distinct artistic vision, reimagining the canon of art history on her own terms. Inspired by figures such as Giorgio de Chirico, Helene Schjerfbeck, and Michelangelo Pistoletto, and contemporary elements like the Supreme logo. The exhibition also draws upon the artistic and cultural currents of 1970s Italy, including Arte Povera, and reflects on the extraordinary lives of Maurice and Katia Krafft, the legendary volcanologists whose passion for volcanoes ultimately claimed their lives.

The title EDICOLA holds a dual meaning: it translates to “kiosk” in English, conjuring images of the small newspaper stands that once dotted cities like Rome and are now disappearing. It also refers to the small saint images housed in miniature chapels found throughout Italian villages—symbols of everyday spirituality. Through this duality, Watkins’s work evokes both nostalgia and timeless significance.

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.

CFHILL presents a curated collection of watercolors celebrating the long-standing collaboration between Mats Gustafson and the house of Dior, in conjunction with the launch of Dior by Mats Gustafson Vol. 2.

The watercolors feature creations designed by Dior’s creative director Maria Grazia Chiuri, the fashion house’s first female creative leader. These works embody Gustafson’s characteristic timeless elegance, with expressive contours, striking contrasts, and a captivating color palette. His minimalist yet powerful artistic style has earned him recognition as both a fashion illustrator and an artist. In addition to his collaboration with Dior, Gustafson has worked extensively with fashion houses such as Hermès, CHANEL, Tiffany & Co., and publications like Vogue and The New Yorker. As an artist, Gustafson has held numerous solo and group exhibitions. Most recently, his works were featured in the critically acclaimed exhibition Romanticism – A Way of Seeing at Sweden’s Nationalmuseum.

SPECTA opens 2025 with the exhibition 'There Is a Light', featuring works by three artists; Christina Augustesen, David Svensson and Thordis Erla Zoëga, who all use light - both daylight and artificial light - in their works, but with very different means and focus.

Common to the works in the exhibition is the use of light as a driving force for impressions that are, above all, sensuous and open. An atmosphere we can sink into, loose ourselves in and remember that even in the dark month of January, and in a dark time, There Is a Light.

Saskia Neuman is pleased to present the exhibition 'Narrow is the path' which presents a suite of new ceramic works by Harry Anderson. Together the sculptures form a tide of faces and expressions that move between reality and dream, where the evocative presence of the sculptures reveal an emotional drama. Feelings of hope, love and lust are distorted into looks of despair, desperation and sadness. On narrow shelves along the walls of the gallery, a myriad of sculptures move in tandem; a slow dance, with their gaze turned towards the exhibition space in various angles.

Harry Anderson explores ideas of routine and repetition, via the works in the exhibition. Anderson asks himself the question; what happens when restriction, limitation and structure are allowed to govern his own consciousness? Based on a biblical expression, the artist found the source and title of the exhibition. Narrow is the Path informs us on how entry and the path to a true, wholesome life is narrow, difficult to navigate, while the path to hell is broad and easily accessible.

The suite of ceramic works is the result of the artist's own relationship to strict routine and repetition. The narrow path lies all too close to Anderson's relationship to life, where this strictness and boundaries create both a shield and a threat to the artist’s absolute freedom. A delicate balancing act between control and chaos. It is in these spaces, the in-between that Anderson finds his breaking point, where the gaze, his contemplation begins to seek out undiscovered elements and phenomena. When that order changes, an unpredictable moment occurs, where minimal change leaves an imprint on time and space. The sculptures, in their form and ornamentation, reflect these unattainable shifts.

Þula is pleased to introduce the exhibition 'Infinite Randomness' by Björk Viggósdóttir. Her work often spans multiple media, where the visual language plays with the viewer’s senses. She creates installations that evoke particular sensory perceptions within a space, often requiring the audience’s active participation. Her art encourages viewers to step away from logical thought and tangible reality, instead unleashing their imagination.

Björk Viggósdóttir is an artist who transforms space into a stage of perception. The blue and white color palette forms a recurring motif, much like the drumbeats and soundscapes that open up a prophetic sphere. We don’t merely look into it—we are inside it. We don’t observe infinity—we are infinity.

Gallery Steinsland Berliner is proud to present a solo exhibition by Swedish artist Esse-Li Esselius titled 'The Artist in Transsexual Transformation'. This is the first exhibition with the gallery for Esse-Li Esselius (b. 1948, SE) who is previously known for her work within the fields of photography, film, video graphics and cartooning.

The exhibition features a series of original photographs dating from the late 1970’s in which the artist has, through experimental self-portraits captured with a Polaroid SX-70, explored the material properties of the photograph as well as manifested a more accurate representation of self, informed by the artist’s own experience of gender dysphoria.

Through a process of physical manipulation during the stages of development, the instant photographs have taken on unusual textures and sculptural qualities which are not inherent to the medium itself. Esselius discovered that placing the developing photograph over a burning flame initiated a chemical reaction that caused tiny eruptions across the image's surface to a rippled and painterly effect. The heat simultaneously caused the photographs to crumple and fold in on themselves, rendering them into a type of three-dimensional photographic object. Through these methods Esselius further differentiated the instant photo which in itself had become a popular format amongst artists of the time due to its revered quality of existing as "an original".

Dorothée Nilsson Gallery is pleased to present the acclaimed artistic duo Inka and Niclas Lindergård first exhibition 'Perceptions' with the gallery, presenting a selection of their works. The acclaimed artistic duo primarily create photography-based works. Their diverse practice draws inspiration from the aesthetics of popular culture, examining its influence on how we perceive nature. Inka & Niclas explore the spectrum between idealised beauty and the absurd, blending existential themes with a hint of flamboyant triviality.

In their lens-based practice, Inka and Niclas Lindergård recurrently delve into the realm of the overly consumed portrayals of nature. Throughout their work, the artist duo has investigated the mechanics of vision and our relationship with nature as depicted through the camera lens. Despite classical training in the photographic medium, there is a constant urge to challenge its conventions, to playfully explore what photography can be in the encounter with new materials and forms. Today, photography and the photographic gaze have become so prevalent that most of us now possess a developed visual perception. We know at increasingly younger ages when the lighting conditions are optimal for a certain type of image, or from which angle a landscape is most ideally depicted. With the help of digital platforms, nature photographs are consumed in a way never before seen. We have access to innumerable sunsets, seascapes, and depictions of the most magnificent northern lights – to the extent that the eye becomes saturated with the heightened beauty. The abundance simply numbs us. How does this affect our perception?

Wilson Saplana Gallery is pleased to introduce a new body of works by Ida Thorhauge in the exhibition 'A Storm Within'. Ida Thorhauge takes a fresh approach to her practice, allowing the women to stand alone—strong and stoic—within the frame. There is something new at play, even though the paintings unmistakably bear Thorhauge’s signature. Like her previous works, they are painted with presence, vibrant colors, and bold brushstrokes. The figures’ bodies are broad, firmly grounded in the earth, with large, expressive hands that convey a clear sense of gesture.

Rather than exploring inner psychology, Ida Thorhauge’s new works present a projection of personas and stereotypes that are depicted in our collective cultural imagination. Other examples of identity’s plasticity can be found in the work of American artist Cindy Sherman, who also engages with imitating culture-defining images and concepts. Sherman uses herself in disguises, portraying all kinds of different types of women, which ultimately converge in one woman—herself. However, in Thorhauge’s new paintings, there is more at play. We see depictions of women who all stand, or almost float, within the pictorial space, without a background or much context. Their feet are hidden, and their bodies are only suggested through the expressive strokes in the colorful dresses. It is instead the gaze, the hands, the choice of colors, and a few added elements that tell the story of women we already feel we know from images of Madonnas, Ophelia narratives, moods from the Brontë sisters, Edvard Munch, Japanese manga, the Bloomsbury Group, and much more. Yet, they remain unfamiliar, and must be rediscovered—perhaps on their own terms.

Andréhn-Schiptjenko is pleased to present Martin Jacobson’s solo exhibition Portraits & Silhouettes.

Dreams, myths and archetypal imagery converge in Martin Jacobson's paintings, serving as portals to shared human consciousness and experiences unbound by time. Drawing from these collective symbols, Jacobson creates an associative stream that reflects on how we perceive ourselves in relation to the world, offering introspective explorations of the human experience.

Jacobson’s creative process is a journey into the unknown, a dialogue between him and the painting that unfolds with unpredictable discoveries—part memory, part dream. Characters and landscapes materialize as if they have always existed, waiting to be uncovered. He describes his approach not as creating, but as finding: the image revealing itself from behind a curtain of whimsical coincidences. The resulting works invite the gaze to wander, explore or simply rest, evoking moments of recognition and wonder without the need for explanation.

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.