Art Calendar

Galleri Susanne Ottesen is pleased to present All The Darkness Behind The Light: A solo exhibition by Kehnet Nielsen

Kehnet Nielsen is renowned for his richly layered paintings, blending personal experience with literary and art historical references to create what he describes as ‘psychological landscapes’. This exhibition marks over three decades of collaboration between Nielsen and the gallery, with a series of twenty-five new paintings. A self-contained library will invite visitors to experience the works guided by the cast of cultural characters – from Ernest Hemingway to Albert Camus and Cy Twombly to Sophie Calle – who accompany Kehnet through his creative process. "Creating, considering and interpreting an artistic work, linguistically or visually, are two sides of the same coin albeit different. Language creates images, and images create words, to interpret what is seen and what is felt." - Kehnet Nielsen

Gerdman Gallery is pleased to present "What is gathered is not memory" by Johnny Höglund.

In his latest body of work, ‘What is gathered is not memory’, Swedish painter Johnny Höglund translates this immaterial stream into the physicality of painting, re-rooting the digital in tangible reality. Screenshots, the “unglamorous workhorses of digital culture,” capture images already slipping away. They hold the potential of memory yet risk remaining invisible: anonymous fragments with thousands of possible meanings. In Höglund’s hands, these images are metabolised and transformed, shifting from the speed of the feed, to the slower rhythm of painterly brushstrokes. Through the simple flick of a thumb, we scroll, save, and share the endless stream of images that shape our daily digital lives. These fragments of visual culture—screenshots, keepsakes, passing impressions—become both intensely personal and entirely anonymous, fleeting moments detached from time and place.

Persons Projects is proud to present Jyrki Parantainen’s solo exhibition, Secular Limbo, a poetic reflection on the alchemy between emotions and memory. Additionally, for Berlin Art Week, we will present a selection of lightboxes from his famous Fire series at Hallen 06 in the Wilhelm Hallen, Berlin. Jyrki Parantainen is one of the most influential artists to emerge from the Helsinki School. As the leading professor of the photography department at Aalto University of Art, Design, and Architecture for over ten years, he played a crucial role in developing this unique educational platform into one of the most recognizable and influential departments worldwide. Parantainen’s current exhibition at Persons Projects introduces his most recent works from the Poetry of Circulation series, complemented by his sculptures and objects from the Between Heaven and Earth series. This collection of works carries on his fascination with developing conceptual approaches and working methods by combining and weaving various philosophical and historical themes into his art pieces.

The overall theme that revolves around the core of Parantainen’s art deals with the basics of what it means to be human. Life, death, love, and hate all become the paint which he mixes on his emotional palette to create the underlying humour that forms its own score of absurdity. The exhibition Secular Limbo investigates the relationship between art and religion from a range of perspectives, exploring different aspects of both physical and psychological elements that highlight the weaknesses within the human condition. His work can be critical of religious ideas while at the same time inviting descriptions like ‘metaphysical’, ‘mysterious’, and ‘cosmic’.

ISCA Gallery is pleased to present the exhibition "som havet sladrer" by Øyvind Bast.

The title of the exhibition ‘som havet sladrer,’ (as the sea gossips,) is taken from the children’s book The Man Who Had a Pirate Mother, translated by André Bjerke in 1974 — a story the artist read to his son on the day he produced these reliefs on the beach. Cast directly in plaster, the works are formed in shallow excavations in the sand, into which Bast pressed fragments of stucco, acorns, shells, and other found objects. The plaster, mixed with seawater, carries both the material and the imprint of the shoreline itself. The works suggest how the sea murmurs of distant events — ice breaking in rivers, storms taking shape, changes in the world far beyond sight.

Andersen’s is very proud and honored to announce the first solo show in Denmark by internationally acclaimed French artist Philippe Parreno opening Friday August 22.

As a key artist of his generation, Philippe Parreno has radically redefined the exhibition experience. Rather than presenting isolated artworks, Parreno transforms the exhibition into a unified, immersive entity. He sees exhibitions as scripts of choreographed events where image, sound and visuals led visitors on a immersive journey through the space. Parreno works in a diverse range of media including film, sculpture, drawing, and text, and his use of different media will be presented in the show at Andersen’s.

Helsinki Contemporary is pleased to present Swedish sculptor Roland Persson's third solo exhibition at the gallery titled "Uninvited Guest".

Roland Persson is known for his surrealistic works based on hyper-realistic silicone casts of objects, animals, and plants. As an artist he explores the interface between consciousness and the subconscious, between humans and nature, and between the private and the public.

The works in this exhibition are partly built on Persson's childhood memory of his aunt's apartment where the furniture was covered with white sheets after the aunt moved to America. The eerie atmosphere of absence in the rooms of the home is conveyed in an installation where we see, among other things, goats walking on a bed. In the gallery, sheets are propped against the walls, resembling a theatre or film set. The pleated silicone, imitating white fabric, drapes, covers, and protects from view. In addition to goats, another animal roaming the quiet installation is the great cormorant, a bird widely regarded as a nuisance in the Nordic archipelago.

BORCH Editions is pleased to present Cassetta’s handcrafted frames, designed by Mentze Ottenstein, Anne Dorthe Vester, and bahraini—Danish and carefully curated according to a series of prints by artists collaborating with BORCH Editions. The selection of prints by Mamma Andersson, Nanna Debois Buhl, Andreas Eriksson, Marianne Grønnow, Emma Kohlmann, Tal R and Matt Saunders offers a contemporary take on the classic landscape motif. Cassetta’s distinct focus on tactility, materials, form and detail corresponds with the classic printing techniques still used at BORCH Editions’ printmaking studio.

Galleri Bo Bjerggaard is pleased to introduce the group exhibition "All Nature has a Feeling" featuring Anna Bjerger, Hayley Barker, Helene Appel, Josephine Halvorson, Lisa D. Manner, Mike Silva, Tal R, Tue Greenfort.

The exhibition explores how many people today do not see themselves as part of nature but rather regard nature as a background or backdrop for their lives. Two individuals have been key sources of inspiration for the exhibition: author, herbalist, and art critic Olivia Laing, and philosopher Emanuele Coccia.

From a contemporary perspective, Olivia Laing has inspired us to investigate how nature in our modern, urbanized world often feels distant or inaccessible — yet remains a vital source of healing and connection. For Laing, nature is not merely a passive backdrop but a living force that actively participates in our emotional lives. Nature can break through the isolation and alienation many experiences today, fostering a rediscovery of our deep relationship with our surroundings.

Philosopher Emanuele Coccia adds further depth by reminding us of our ecological age, where the environmental crisis necessitates a new way of thinking about our relationship with nature. He emphasizes that we often overlook what truly nourishes us when we treat nature as a passive background rather than an integrated part of life.

Saskia Neuman Gallery is pleased to present "Partial Parade" by American artist Gavin Gleeson. The exhibition marks his debut in Sweden, and his first solo exhibition in Scandinavia. Gavin Gleeson's work was first presented in the gallery's group presentation at CHART Art Fair 2025.

Gleeson grew up in Kentucky to Irish parents and is currently based in London, where he earned his MA from the Royal College of Art (2024). In his work, the landscapes, structures and psychological undertones of his upbringing intersect with the cultural echoes of his heritage. This duality runs like a wayward thread throughout his work — intimacy and distance, melancholy and playfulness, safety and unease.

Partial Parade Partial Parade presents a practice in which painting is not a closed image but an open construction—ready to be activated by the viewer’s own memories and imagination. Ladders, grandstands, tables, and balloons become points of departure for inner parades: processions of memories, associations, and atmospheres that never fully reveal themselves, yet carry their own weight and presence.

Galleri Cora Hillebrand is pleased to present the duo-exhibition "I Woul walk a Mile for a Camel" by artists Henrik Ekesiöö and Emma Ståhl.

Þula is pleased to present the exhibition "HUMAN / MAÐUR" marking a milestone. It is Steinunn Thórarinsdóttir’s first solo exhibition in Iceland in almost a decade, coinciding with her 70th birthday and the publication of a new book surveying her life’s work under the same title, by KIND Publishing. The exhibition gathers sculptures that reflect her lifelong exploration of the human figure as a vessel of meaning, and as a mirror for each of us.

Presenting companions encountered in the everyday, inviting us to stop, to reflect, and to recognise ourselves and one another in their quiet, enduring presence. They remind us that art is not apart from life but an integral and essential part of it.

Galerie Anhava is pleased to introduce the exhibition "C'est si bon" by the artist duo Tilpo. The name Tilpo is the pseudonym of painter Hans Eriksson and set designer Hanna Aihonen. Sharing several decades of practice between them, the artists create their works collaboratively, with Eriksson doing most of the painting in dialogue with Aihonen.

The title of the exhibition is a French chanson from 1947, and is a hymn to good life after the war years. This exhibition explores life as both a dream and an escape from reality, which is not merely a matter of denial but also consolation. We consume lifestyles, travelling to distant lands and living out our dreams of abundance while the world around us is in flames. These are the thoughts we have turned over in our minds while creating the exhibition. To express this, the works are painted as a kind of poetic gesture.

CFHILL is pleased to present The Theatre, the second solo exhibition by artist Anna Zimmerman. In her works, she explores the roles we play in life, the masks we wear, and the barriers we construct to protect ourselves. Inspired by her own experiences of the theatre—a place she discovered as a teenager, and which proved both healing and formative—Zimmerman returns to this concept as a metaphor for human identity and the strategies we employ to navigate existence.

The exhibition showcases new works in which the symbolism draws on historical costumes, royal portraits, advertising imagery, and popular culture. Among these are The Insect, where a transparent jacket functions as an exoskeleton; Childhood Dream, in which a corset is adorned with hundreds of beads from a children’s craft box; as well as Fortune Fortress and The Gambler, works that probe status, wealth, risk, and protective mechanisms.

CFHILL is pleased to present "Landskapsflykten" by Jesper Waldersten (b. 1969). The exhibition is Waldersten's first sustained engagement with the landscape genre. Known for his incisive draughtsmanship and raw, elegant imagery, Waldersten here turns to nature as a stage charged with tension and ambiguity. Figures emerge and dissolve, atmospheres shift, and layered compositions hold the trace of memory and absence. Resonating with the Northern European tradition of landscape as more than backdrop, the series opens the genre to a personal, contemporary register—poetic, unsettling, and open-ended.

Waldersten emerged from illustration and sharp satire to become one of Sweden’s most recognisable contemporary artists. Mixing words, photography, music, and drawing, his work is at once witty and serious. He has published acclaimed books and exhibited widely, including Fotografiska, Färgfabriken, and Kulturhuset Stadsteatern, with international presentations in Berlin and Shanghai. He lives and works in Mariefred, outside Stockholm.

SPECTA is pleased to present the solo exhibition "Walk Talk" presenting a series of new works by Peter Holst Henckel, rooted in the consequences of the global climate and biodiversity crisis we all feel.

The exhibition poses the question: how do we act when faced with a reality that can feel overwhelming? With both gravity and poetics, Peter Holst Henckel explores how art can contribute to the conversation around some of the most urgent issues of our time. The exhibition also serves as the artist’s personal response to the uncertainty and reflections many share when confronting the crisis.

The title Walk Talk plays on the expression “Walk the Talk” – that is, to put action behind one’s words. As a concrete approach, Peter Holst Henckel has chosen to create all the works in the exhibition from existing materials. Reuse, transformation, and composition are guiding principles of the exhibition, and objects that have already lived a life are given new form and meaning. In this way, Walk Talk becomes both a reflection on the climate crisis and a poetic example of how we can rethink and create anew from what we already have. The exhibition reveals a new facet of Peter Holst Henckel’s practice, while remaining connected to his longstanding interest in the tension between a work’s external form and its underlying meaning. He often works with shifts between the visual and the linguistic, between image and title, where friction arises that prompts us to pause and reflect.

Wilson Saplana Gallery is delighted to present Maiken Bent’s second solo exhibition at Wilson Saplana Gallery, titled "Hydraulic Gear and Love Joy Coupling".

As in much of her previous work, Maiken Bent playfully challenges artistic hierarchies, aesthetic conventions, and the contrast between maximalism and minimalist form language. With great energy and clear intention, Bent pushes the boundaries of sculpture, sending us on a tour de force of associations and imagery through a whirlwind of materials. We are guided through a variety of distinct worlds: the body-obsessed gym space, gritty warehouses, and the nostalgic Danish interior tradition featuring hand-stitched tanned leather and warm, rustic stoneware. Bent questions the well-established notion of "good taste," transforming everyday hardware-store items into works of high-cultural visual art. Bent treats the gallery space on Vesterbrogade, just across from Copenhagen Central Station, as both a stage to be viewed and a space to be physically entered. The large windows facing one of Copenhagen’s most iconic streets provide the perfect backdrop for the poetic tension of opposites she creates.

The exhibition invites us into a space of paradoxes, hinting at multiple layers of interpretation, especially in relation to the stereotypically "gendered" materials on display. A heavy, masculine crane dressed in soft, colorful, stitched leather conjures a girlish universe that feels oddly contradictory. Yet there’s also a kind of lusciousness in the overworked ‘80s Memphis Group-style blue when it’s paired with corny, patterned leather straps. The same applies to Bent’s recurring use of the boat fender, a humble, overlooked object, here adorned with leather and chains, suspended in an opaque structure. Suddenly, it begins to resemble a cuddly cat, an exclusive handbag, or an unreadable yet enticing object from a secret club.

Galleri Riis is pleased to present "Sprekken i gulvet" by Morten Andenæs.

For nearly two decades, Morten Andenæs’ dense photographs of people, animals, objects and spaces have sought to represent the often contradictory narratives that characterise our initial surroundings, while questioning the role images and language play in shaping reality. A crack in the floor can be the first sign of impending collapse. It can be a symptom of the gap separating a word from the thing it denotes, or suggest that something hitherto hidden is about to emerge. It can also be a door ajar, affording us a glimpse of something that foreshadows language and forms the basis for the seamless reality typically targeted by the camera, but which we rarely have direct access to.

"The crack in the floor" consists of twenty-three new photographic works, and is Andenæs’ eighth solo exhibition at the gallery. The works on display are stripped of narratives, but rife with formal tensions. The relationship between surface and volume, figure and ground, absence, emptiness, darkness and shadow forms a grammar of its own. The work Neither shadow nor thing is emblematic. When an object and its shadow merge, the distinction between one and the other, between cause and effect, something and nothing is difficult to grasp.

OSL contemporary is pleased to present an exhibition by Per Barclay.

"It is not easy to find firm ground in Barclay’s works. Like the small sculptures of houses caught in states of dissolution or becoming, I am left unsettled. The aestheticization in Barclay’s works does not function as a veil but a reminder that even the most beautiful surfaces rest upon a dirty, untenable foundation. His mirrors do not invite us into ponder dark riddles that postpones recognition but confront us with a challenge: to reckon with our own partial perspectives, our incomplete understandings, and our responsibility for the present we inhabit."
- excerpt from text by Mathias Danbolt

Dorothée Nilsson Gallery is proud to present Mehr Licht: a solo exhibition with Sascha Weidner.

Marking ten years since his passing, „Mehr Licht“ revisits Weidner’s poetic and emotionally charged images, which create a radical and subjective visual world shaped by perception, longing, and coded symbolism. Through his photographs, Weidner celebrates and captures the beauty of the perfect moment, turning unconditionally towards himself and his environment.

His radically subjective cosmos of images is a poetic film of life, in which every shot is an exuberant affirmation of life or a quiet melancholy. Weidner often used a mix of formats and sized photographs, covering entire exhibition walls with images that invited viewers to form their own associations and discover unexpected connections.

The exhibition coincides with the release of the publication “Estate und Künstlernachlass,” authored by Ole Truderung, the Estate of Sascha Weidner, and Inka Schube, curator of photography at the Sprengel Museum in Hanover. The booklet will be presented during a panel discussion at the Berlinische Galerie on September 12 at 4 p.m., as part of Berlin Art Week. The panel will feature Truderung, Schube, and Dorothea Schöne, director and curator of Kunsthaus Dahlem in Berlin.

Dorothée Nilsson Gallery is proud to present Mehr Licht, a solo exhibition with Sascha Weidner. Marking ten years since his passing, Mehr Licht revisits Weidner’s poetic and emotionally charged images, which create a radical and subjective visual world shaped by perception, longing, and coded symbolism. Weidner’s images, writes Inka Schube in Intermission II, are populated with faces covered by hoods, androgynous bodies, energetic ankles, and hands seeking images: between sky, water, earth, forest, and stone. She continues, “As if nothing were fixed by gravity, no up and no down. As if there were no borders beyond the troubled paradises. Let us think differently, be different.”

Weidner’s work was meticulously composed. He took great care to thoughtfully position light and shadow to accentuate the, as he says, “often unreal, sometimes deeply evocative atmosphere of reality”. He said that he didn’t like so-called clean exhibitions. Works from different series and diverse formats were combined in non-linear and asymmetric configurations that covered entire walls. Weidner used his images as codes, combining them into something bigger. Unrelated, individual images became part of a grander overarching narrative. Viewers were invited to form their own associations between the images and discover unexpected connections. He wanted the pictures to explode on the wall, “like cosmic fireworks”.

STANDARD (OSLO) is pleased to present Shikh Sabbir Alam's exhibition 'Still Life' in the gallery.

Andréhn-Schiptjenko is pleased to present "Loops and Lamentations" by Katarina Löfström. The exhibition creates an extensive room installation consisting of video, sculptures, a floor-covering work, painted walls and wall-installed works which extends the visual language and sound of her new video work The Elements (2025) into the gallery room.

In her works, Löfström has often examined different phenomena and occurrences by separating them into their smallest components and analysing them in depth. In The Elements, Löfström approaches the tapestry The Four Elements, composed by Karin Larsson (1859-1928). The artist couple Carl and Karin Larsson have come to define the Swedish National Romanticism at the turn of the 20th century. Whilst Carl gained international recognition for his paintings, Karin Larsson has in retrospect become a highly revered textile artist and designer, who’s creations for their home Lilla Hyttnäs in Sundborn, has made a permanent mark in Swedish design history. Growing up in Falun, near Lilla Hyttnäs, Löfström was from an early age fascinated by a section from Carl Larsson’s painting Azalea (1906), which her family had a poster of in the kitchen in her childhood home. In the painting, the tapestry The Four Elements can be seen, still in the loom, and this part of the work created a seemingly abstract section in the otherwise figurative painting. For her, it came to constitute an abstract loophole in a figurative world.

Eighteen is pleased to present "Two Flies Danced", a solo exhibition by Maximillian Brown.

Galleri Susanne Ottesen is pleased to present Fatima Moallim's first exhibition in Denmark. Moallim engages with Galleri Susanne Ottesen as a studio space, a performance space, and an exhibition space. Working on-site and in dialogue with her surroundings, Moallim reveals a process usually hidden from view, joining a lineage of artists who have inhabited the gallery since its founding in Gothersgade in 1989.

On Monday 20 October, Fatima Moallim relocates her studio and starts working on Manuals. As her artistic process begins, so too does the exhibition. While the artist has continuous access to the gallery, visitors are invited to experience the exhibition during regular opening hours. On Wednesday 12 November, the gallery will host a reception marking the laying down of tools and completion of the works. The show will remain on view through Saturday 15 November. Through active engagement with her environment – its textures, scale, and soundscape – Moallim fluidly transforms materials into sketches, complete or unresolved. She pins paper, canvas, or linoleum to the walls and draws rapidly, often across multiple surfaces at once. These living compositions remain in the gallery, shifting across the space as the exhibition evolves.

BERG Contemporary is pleased to present a new solo exhibition by Páll Haukur, featuring new works in various media, including paintings and sculptures.

Páll Haukur reflects on the ideological relationships between nature, culture and the human experience. He continuously interrogates any given notions of meaning, often asking what constitutes an object. His work often represents flux, resulting in an aesthetic experience that constantly demands its viewers of re-evaluation of themselves in relation to the space and objects around them.

Páll Haukur graduated with a Master of Fine Arts degree from the California Institute of the Arts in 2013 and has been exhibiting widely since then, with exhibitions at the Reykjavík Art Museum and the National Gallery of Iceland, among others. He is an assistant professor at the Department of Fine Arts at the Iceland Academy of the Arts and is active in exhibitions and research both domestically and internationally.

V1 Gallery is pleased to present Scenes from the Second Story, a solo exhibition by Rose Eken. Rose Eken’s new ceramic snapshots - an art oxymoron, if ever there was one, combines the dynamic, ephemeral and intuitive composition of the snapshot with the contemplative, sensitive, meticulous and often volatile process of working in ceramics.

The ceramic paintings revolve around themes such as vulnerability, human connection, disputed beauty, desire, empowerment, intimacy, womanhood, fleeting youth, admiration and how personal emotion intersects with history. The new works feel diaristic yet carefully attuned to how images circulate and resonate culturally. Collapsing hierarchies -treating carefully composed portraits, iPhone blurs, still lives and casual snapshots with the same seriousness and dedication. In the new paintings Eken elevates her subjects to icons while not letting go of grit, fragility and longing. Seemingly classic motifs arise from mundane situations at the local bar, exhibition openings and concerts. Rather than realism, she aims for emotional truth and poetic resonance. Tender, at times wistful, but unsentimental, engaging and deeply human.

"Scenes from the Second Story" portrays an extended creative community (musicians, artists, performers, writers and creators of all sorts). An eclectic group of humans bonded or loosely intertwined by curiosity, creativity and Rose Eken. In and out of orbit around her and each other. In and out of synch in continuous motion. An abstract atom diagram with an elusive core. An expanding map with a shifting center. A dance ensemble with individual soundtracks and choreographies. The works never become naval gazing, as you don’t need to know this eclectic cast of characters to engage with them. There is joie de vivre, combined with a tristesse in the exhibition, remembering that dedicated creativity always comes at a cost, but not necessarily traditional benefits in your own lifetime. Moments like this never last - unless you keep and care for them. Scenes from the Second Story is a fractured poetic portrait of an ongoing moment -a movement.

NEVVEN is pleased to present 'Defrag' by Naeun Kang.

Defrag is the first gallery solo show in Sweden by the Oslo based South Korean artist Naeun Kang. With painting as her main medium, the still very young Kang (Changwon, 1994) is able to access in a unique and striking way to the very soul of art making. Memory, dysfunctions, closeness (or the lack thereof) animate a realm where symbolic doors are open into the depths and complexity of her own private life, unlocking reflections that often involve us too. And it is by finding the way to depict these fleeting and abstract emotions that she brings visual art to its full potential and meaning, allowing us all to visualise and access the unspeakable, in this case hers and ours fragile and fluid inner lives. In doing so, the 2023 KHiO (Oslo National Academy of the Arts) graduate is often able to move and shatter her public, tragically and hilariously, but also to reorganise and try metabolising her own life experiences and feelings, as old operative systems did with the defragmentation disk process, in lingo Defrag.

It is with great pleasure that Alice Folker Gallery present Karim Boumjimar’s solo exhibition 'Mouths, Vessels, Portals' in the gallery.

Karim Boumjimar works through performance, drawings and ceramics. Each medium enriches the other in a symbiotic expression. The focus is on understanding different sexual, racial and natural identities and challenging the prevailing social hierarchies and norms. He creates spaces where all individuals are celebrated, and tries to evoke empathy and provoke societal change in line with a romantic vision of a just and compassionate society.

Arnstedt is pleased to present an exhibition by artist Dan Wolgers.

In his exhibition Your Word, Dan Wolgers demonstrates the despair and anguish that most people probably feel when they've lost their slip of paper — when they've lost their faith, their hope, their inspiration.

Already out in the gallery’s reception, the visitor has encountered a dozen paradoxical tableaux (all images produced through simple prompts to an AI robot), which in a surprising and humorous way depict the symbiosis between the Artist and the Art (here, Wolgers and the Art) — that very symbiosis, that mutual dependence from which humanity is created, and which manifests itself in so many varied expressions and forms throughout life, for better and for worse.

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.