Art Calendar

Eighteen is pleased to present 'It’s More Like an Obsession', a solo exhibition by Lulu Kaalund. Abstract tableaus, crafted with yarn, thread and pearls and mounted on wooden skeletons. The vivid and organic compositions actively engage the use of void, leaving space for the mind to wonder. Loopholes to other dimensions. Spaces to disappear or re-appear. The new works have an other-worldly quality to them, contemporary and ancient, as if they have always been with us in mind and now for the first time in physical form. An unspoken prehistoric language of abstraction. Portals to uncharted experiences.

With an extraordinarily well-developed sense for composition and colour work, Lulu Kaalund’s approach to crochet is rare. Working intuitively and only by hand, she often commences without a set strategy; the works emerge slowly and organically, spanning wall hung works, installations, wearable pieces and large-scale tapestries. Gripped by an urge to create, Kaalund appears as a medium destined to deliver wild, seductive, and self-willed works to us from another plane of existence.

V1 Gallery is pleased to present 'Verdure', a solo exhibition by Mads Hilbert at V1 Gallery's new gallery space at Slagtehusgade 44D.

Enter the green. Over the threshold into the painting. Through the painting into a verdant sea. Enclosed by vegetation. Dormant, sprouting, bolting, lush and dying. Endless cycles. Paintings as flower beds. Seasonal. Earthworms, flower onions, moist soil, weeds, butterflies, seeds, bright and murky hues of organic matter ingrained in the canvas. Paintings as portals. Momentarily engulfed by the sensation of vegetation. Photosynthesis on canvas. Pigment and light. Blooming. Figures wrapped in tapestries of foliage. Compositions becoming and unraveling simultaneously. Vibrating continuously.

Galleri Cora Hillebrand is pleased to announce the opening of an exhibition by Emanuel Cederqvist and Sara Nielsen Bonde.

MELK is excited to present the third solo exhibition by Swedish artist Erik Gustafsson titled 'A House of Clay'. Erik Gustafsson places his conceptual and contextual photographic process in dialogue with a simple premise, a truism of photography: to elevate the everyday, to find meaning and take seriously the smallest of occurrences in ordinary life, and to invoke a sense of gratitude and wonder toward consciousness, sensing and feeling. Sometimes excessively normal, elsewhere tender and intimate, later dense and complex, Gustafsson’s warm slices of life are digested in the darkroom, where the technical processes of photography fall in on themselves, becoming embedded in the image: collapsing the space between process and final product.

Balancing consciousness and coincidence, Gustafsson’s moments of magical realism speak of a permanence, a perpetual present, where the continually unfinished image can always be, at a later stage, altered, manipulated and reshaped. Gustafsson’s work is a structure that is built to collapse and resurrect again and again in new ways.

Gallery Steinsland Berliner is pleased to present Så ock på jorden, an exhibition by Swedish artist Elina Eriksson. This is the artist’s debut solo exhibition following her graduation from The Royal Institute of Art in 2022. Så ock på jorden is comprised of paintings on canvas and paper that congregate in a jubilant outpouring of colour and earnest sentiment.

Elina Eriksson’s visual stylings exist in the space between intuitive abstraction and descriptive familiarity. Swift and supple strokes of prismatic colour flow across the surfaces, like driven forward by the wind or other elemental forces, assembling as invigorative visions of life itself. Eriksson’s paintings convey an esoteric ambiguity that correlates the flow of windswept nature with the veins spindling through our bodies, suggesting that there exists a common plane of understanding for all that is living.

Noora Schroderus’s second solo exhibition at Galerie Anhava is titled M.O. (Modus Operandi). The Latin term refers to a person's typical way of functioning, and is often used in the context of criminal investigations. Noora Schroderus’s modus operandi is to examine humanity by manipulating materials and meanings, often with a dash of self-irony thrown in. Alongside scale and form, words and rules tend to stretch in unexpected directions in her work. Composed from letters made of brass, plastic, chalk and other materials, the overarching theme of the exhibition asks: What’s in the box? What lies behind words? Why is it so?

The new sculptures move from bare conceptualism towards insightful materiality and sharp humour. Schroderus examines power and gender, questions authorities and looks upon rules with reservation.

Public Service Gallery is proud to present 'Solstice', a solo presentation with American artist Bethany Czarnecki (b.1980). Bethany Czarnecki creates abstract paintings that project an atmospheric sense of place while exploring the paradoxes and complexities of the female form and its representation. Her swirling compositions investigate themes of gender, identity, the human psyche and sensuality.

Working slowly with oil paint, Czarnecki carves out multiple layers of concentric, biomorphic shapes that radiate chromatic planes. Ranging from opaque color fields to translucent overlays, nested silhouettes bend and bloom as they foster complex relationships within each composition. The artist’s use of repetitive forms signifies a distortion of time and place that allude to dreamscapes, while color becomes a carrier of emotion that ultimately reveals the unseen.

Is time travel possible within the object or act of painting? And does the past always linger in the present? The paintings of Kees Visser and John Zurier converse in many respects. They paint abstract color field paintings, consisting of many layers. However, there is a clear difference between their works and their artistic methods are different.

Repetition – memory – intuition. John and Kees agree that they don't really think when they paint, and neither seek self-expression. They use intuition, body memory and repetition. They know what they are doing, without thinking about it. They know the way, their own path, which they have found themselves. Kees with a method he has developed throughout his artistic career, John in search of ever-disappearing moments with haunted brushstrokes.

Matteo Cantarella is pleased to announce ‘Julia Selin knows nothing about the trees’, a solo exhibition of new paintings by Swedish artist Julia Selin. This is the artist’s first exhibition with the gallery, and first solo show in Denmark. Selins dark paintings take you beneath the surface and reveal a kind of landscape that has elements of both the figurative and abstract.

Andréhn-Schiptjenko is delighted to present 'Fiction of the Village in Frames', Mark Frygell’s third solo exhibition at the gallery. Mark Frygell's enigmatic paintings feature visual fantasy environments with sculpted, painted and patterned surfaces in oil. Drawing inspiration from art history, game art, folklore and mythology, the artist transcends specific cultural boundaries but often emphasizes caricature, the grotesque and the comic.


'Fiction of the Village in Frames' showcases the artist’s particular approach in blending traditional painting techniques with computer software, especially 3D engines. At the heart of the exhibition are fourteen paintings, created in chronological order, which combine 3D models and AI-generated imagery reinterpreted through painting.

'Il Sorriso Degli Dèi', [The Smile of the Gods] is a three person show featuring works by internationally acclaimed Swedish artist Klara Kristalova, Malmö based Swedish artist Emelie Sandström and Austrian artist Anna Schachinger. Blending three very different practices, the exhibition is entitled from a line of Cesare Pavese’s peculiar oeuvre Dialoghi con Leucò, where the Italian author imagined apocryphal dialogues between some of the most famous figures of the Greek mythology and used these characters as an excuse to reflect on myth, relations, and eventually, art itself.

Within an intergenerational perspective and caught in between Nordic myth and religion, fable and queerness, unruliness and feminism, the protagonists of this exhibition are women, as in many of the dialogues by Pavese and in the pan-European mythology. As Medea, Helen and Calypso did at the time of our ancient ancestors, Kristalova, Sandström and Schachinger’s art bring us far from reality and at the same time closer to our own selves, in a magical and feminine world filled with powerful symbols.

Þula is proud to present "Skriður // Drifts," a solo exhibition of new works by the Reykjavík-based painter Guðmundur Thoroddsen

Mock Yourself is the first solo show by Bologna based Italian artist Letizia Lucchetti, presenting in the form of a carnivalesque parade of figures, a new body of paintings which explores an intuition and looks like a celebration. Can masquerading be a way of expressing our own true self?

The answer comes in an intuitive and powerful style, where realistic portraiture is abandoned by Lucchetti in favour of a gestural process, and reality is recalled only by the funny and humorous characters hidden on the surface of these often large canvases. Carnival itself is a festivity historically loaded of symbols, and Lucchetti makes use of them all as a way to bring us all in her parade of masks, where dogs are in a harlequin costume and figures dance in a world upside down.

Helsinki Contemporary takes pride in hosting Ville Andersson’s fifth solo exhibition this April. 'Undertones' highlights the medium of drawing as a mode of being present and observing oneself and how one’s relationship with one’s surroundings keeps changing. The exhibition presents a powerful and cohesive body of work on paper that gains dynamism from subtle rhythmic accents and carefully placed surprises.

Andersson grounds us in core experiences of everyday reality using classic elements: pen, paper, hand and eye – ways of reaching out and touching to which everyone can easily relate. He masterfully builds tension through a dialogue of familiar and unknown elements, marrying the recognizable with the uncanny. His wily chiaroscuro leads the eye into details that reveal themselves to be part of an all-encompassing unity

C.C.C. is proud to present 'There is no outside of language' a solo exhibition of works by Julie Falk.

STANDARD (OSLO) is proud to present our first solo exhibition with Ben Sakoguchi. For more than 60 years, Sakoguchi has been working in the realm of historical painting; combining stark depictions of global events with critical humor, and translating dark episodes in our collective history into poignant vignettes. "Desastres de la Guerra / words & baseball" places Sakoguchi's nuanced baseball and words paintings alongside the five suites which comprise the "Disasters of War" series- a modern age portrayal of Goya's namesake etchings, which decried the cruelties and inhumanity of war.

Born in 1938 to ethnically-Japanese (American) parents in San Bernardino, California, Sakoguchi's childhood exposed him to the injustices of US internment camps and later to the captivating visuals of orange crate label marketing at the family grocery store. Sakoguchi's approach is inarguably informed by his own personal history, confronting us with the persistent nature of war and brutality as it mutates into its modern form.

Croy Nielsen is pleased to present a solo exhibition with the Swedish textile artist and digital graphics forerunner Charlotte Johannesson (b. 1943, Malmö).

Johannesson’s work is a synthesis of the artisanal and the digital. Trained as a weaver in the 1960s, the artist received her initial artistic impulse through the introduction to the work of Hannah Ryggen, whose figurative tapestries from the 1930–40s are imbued with a clear anti-fascist activism. In dialogue with countercultural scenes such as feminism, and the hippie and punk movements, Johannesson was influenced to work with motifs whose function would transcend mere decoration in favour of subversion, ​“turning the soft, warm domesticity of female craft inside out“¹, as the writer and curator Lars Bang Larsen puts it.

It is with great pleasure that Galleri Bo Bjerggaard presents the exhibition 'Till Månen' featuring works by the Swedish artist Jockum Nordström. This is Nordström's first solo exhibition at Galleri Bo Bjerggaard and in Denmark. Jockum Nordström (b. 1963) is one of Sweden's leading artists with a long and significant international career.

In the exhibition Till Månen, detailed collages and a wide selection of sculptures are displayed, including Nordström’s remarkable matchstick sculptures. The collages are meticulously constructed with imaginative figures and objects that spring from Nordström's interest in folk art, music, and nature. There is also a profound affection for paper as a material within the works. Both the collages and sculptures serve as a narrative portal to cultural references that challenge the viewer to explore.

To think of linguistics, and of language as a system of possibilities, is almost natural when one observes the production of Morten Buch, a singular and vast champion of forms that, as has been observed, combine the coldness of Danish expressionism with the everyday repertoire of American pop art and with the simplicity typical of minimalism.

A production that, for the past fifteen years or so, has taken on a precise direction: Morten Buch’s art abounds with still lifes filled with subjects familiar to all. No exoticism, no affectation, no impudence, no singular presence, just the objects that anyone would find at home. At times manifesting themselves as ordinary, easily recognisable presences, at other times more challenging, presenting themselves to the eyes of the beholder with forms deviating from common perception.

The artworks in the exhibition explore the interplay of material and abstract practices through strategies that intertwine the computational processing of weaving-related data with chemical reactions evocative of quasi-magical phenomena. On an LED screen facing the gallery's window, seven artist-coded generative algorithms, inspired by early computer art and system-based poetry, continually elaborate linguistic content drawn from various texts on weaving. Each algorithm is programmed for a day of the week, shifting at midnight. At the opposite end of the space, five photograms, a technique where exposure to light creates images directly on photographic paper, show lacy, hand-woven wiring of computer memory and electronic parts allegedly belonging to NASA's Apollo missions’ computers.

It is with great pleasure that Wilson Saplana Gallery can welcome you to the gallery's first SPRING SHOW, which is a group exhibition with all the gallery's represented artists: Maiken Bent, Ida Thorhauge, Jens Settergren, Jytte Rex, Mette Winckelmann, Mikkel Ørsted, Maria Wæhrens, Niels Pugholm, Miriam Kongstad, Hannah Heilmann, Kim Richard Adler Mejdahl and Hannah Toticki.

Andersen's is pleased to announce the opening of Fernanda Galvãos solo show, 'Sibila'. Immersed in deep blues and blacks, her landscapes and inanimate beings retain something of the psyche itself, which insinuates itself between the dreamlike, memory, and fabulation.

Among corals, anemones, seaweeds, and scallops, new carnivorous plants emerge in these environments, heralding a new future. As in her most recent painting “Tube Feet, Spine Teeth” (2024), a large echinoderm surrounded by pedicellariae and ambulacral feet resembles a large mouth expelling and sucking up all that liquid. It is its scale and intense red that confer something animalistic and lively to the form, reinforcing the ambiguity and strangeness of its presence.

Martin Asbæk Gallery is proud to present “Walking Shadow” by Maria Rubinke, the artist’s largest and most ambitious show to date. The exhibition, which has been two years in the making, revolves, much like the artist’s previous work, around existentialism and an on-going exploration of darkness. However, a glimmer of hope is present in Maria Rubinke’s recent work.

Her oeuvre, which once revolved around pure white porcelain, now primarily consists of pieces cast in bronze or carved in marble. Both costly and weighty materials, which, as they also represent most surviving ancient art works and therefore much of our cultural legacy in the West, require an artistic pledge as they’ll remain long after we are gone.

A stack of colourful tiny stools, pearly wet as if covered in sweat are surrounded by an array of half drunk glasses of beer. This luscious still life is presented in front of a semi-invisible dark backdrop of plants, that enhances the bright colours of the objects in front, but still adds a layered depth in which green foliage appears here and there. The image is shiny and glossy, looking like it could have been on a poster or the page of a magazine, with just next to it a logo, or maybe a slogan. Commercial photography, with its tropes and tricks, its apparent neutrality, but even just by generally being ahead in technological progress, has always been bringing small and larger revolutions into fine art photography.

These revolutions became first a trademark for some, but each time, while practices defined as a revolutionary turned into established and filled museums, new generations of photographers have always started using these advances as a language, just one of the possible languages to be bent into their own narratives, taking the shape of new ideas and experiences. So it has been for colour photography, as it has been with the glossy and composition-perfect style of the still lifes and studio pictures which Minh Ngọc Nguyễn masters in technique.

Lipps' expression is a beautiful synthesis of the artist's own, very personal view of a pseudo-hyper realistic realm which he opposes with a playful, challenging aesthetic. His work sets the painting, as a medium, on its edge.

The title of the exhibition is Bra staket. The title holds all meaning and at the same time poses a total enigma of information. Difficult to discern, the artist seems unencumbered by any limitations, toying with an entire scholastic entity of knowledge and wisdom. He knows, and shares, withholding nothing, but then cryptically exudes morsels of humor for us to taste, again, with each brushstroke, and in each title of work.

i8 Gallery is pleased to present Real Time, a year-long exhibition by Andreas Eriksson at i8 Grandi. The presentation opens on 18 January and will be on view until 18 December 2024. Throughout the year, the show will evolve with the addition of one new painting a month, all the same size, concluding with twelve paintings in December. In the adjunct gallery room, Eriksson presents a new edition in the form of a calendar, which is printed in an edition of 366 to reflect the length of this year.

Eriksson’s exhibition is the third year-long presentation at i8 Grandi, following B. Ingrid Olson in 2023 and Alicja Kwade in 2022. Spanning far longer than traditional museum or gallery shows, i8 Grandi’s programming focuses on concepts of space and time. The sustained duration of the annual format allows artists to consider how time affects their work, and the fluidity encourages audiences to revisit the changing installations. This exhibition marks Eriksson’s second show with i8.