Art Calendar

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).

V1 Gallery is proud to present Perras, a solo exhibition by Cristina de Miguel.

In Perras, de Miguel 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. De Miguel's 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.

“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.”

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.

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.

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.

Galleri Susanne Ottesen is pleased to present the group exhibition:

Ragna Braase
& Nanna Abell, Martin Erik Andersen, Andreas Eriksson, FOS, Olav Christopher Jenssen, Bjørn Nørgaard, Kirstine Roepstorff, Tove Storch, Mette Winckelmann

"Braase's gouaches are not invisible esoteric vibrations, although they may at times present an air of mysticism. The kind of mysticism they possess is more concrete and material. Their deep colours can be described as vibrant, but it's their saturated materiality that lends them a quivering quality. The other works in the exhibition all share Braase's intensity of material which can be explored through glass, ceramics, silver, textiles, concrete, salt as well as rope. Like Braase's works they may possess an element of impenetrability that can feel alluringly mystical, but they are not symbolic. The works are specific and derive their character from their materials, which they can almost be said to perform."

- Excerpt from the exhibition text by Philip Pihl. Translated by Charlotte Lund.

"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.

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.​

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?