palace enterprise, founded in 2021, is directed by art historian and owner Gitte Skjødt Madsen. Located in a 1950s modernist building in the center of Copenhagen, the gallery is committed to presenting unique positions across generational divides. The program disseminates Danish and international artists, whose work encompasses a wide range of media, from conceptual sculpture and installation to performance and new media.
Kirsten Ortwed’s work is characterized by a sort of artistic research exploring what sculpture fundamentally is and can be. She works with a wide range of materials such as the traditional bronze, onyx and ceramics to the far more unconventional ones, e.g. bee’s wax, polyurethane, and aluminium. The combination and relationship between form and material is essential to Ortwed's artistic practice, just as she examines the relationship between form and space with special attention to process and transformation.
Kirsten Ortwed (b. 1948; DK) has exhibited widely across the world. Her work is permanently acquired by Louisiana (Humlebæk; DK), Centre Pompidou (Paris; FR), SMK (Copenhagen; DK), Moderna Museet (Stockholm; SE), KIASMA (Helsinki; FI), Nasjonalmuseet (Oslo; NO), Morgan Library & Museum (New York; US), ARKEN (Ishøj; DK), and more. She represented Denmark at the Venice Biennale, the Danish Pavilion (1997).
Gogo
Installation View 2022
Courtesy of the artist and Den Frie Udstillingsbygning. Photo by David Stjernholm
B5
Cast aluminium and stainless steel 1997
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Einfluß
Aluminium 1991
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Kraka
Wood and knitted hemp 2022
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
O.T.
Bronze and paint 1984
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Skulptur-Einstellung
Colour photo and perspex 1991
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Simon Dybbroe Møller is concerned with the construction of an image, in which notions of documentation and representation are continuously challenged and reshaped. In a conceptual fashion, the artist dissects our understanding of photography or rather the photographic through an exploration of perception and memory. Rather than settling into one medium or style, Dybbroe Møller continuously probes new territories in which he seamlessly moves between film, photography, found objects, installation, sculpture, performance, writing, curating, and teaching.
Simon Dybbroe Møller (b. 1976, Aarhus; DK)) is currently a professor at the The Royal Danish Academy of Fine Arts. His works are permanently acquired by ARoS (Aarhus; DK ), Belvedere 21 (Vienna; AT), MMK (Frankfurt AM; DE), and SMK (Copenhagen; DK). In June 2024, he opened a survey exhibition, Thick & Thin, Kunsthal Charlottenborg (Copenhagen; DK), curated by Krist Gruijthuijsen, Director of KW Institute (Berlin; DE).
Maison de Regret
Windows, wood, leaves, banknotes, wrappers 2018
Courtesy of the artist and palace enterprise
Animate V
4K video, sound, duration 06:24 min 2012
Courtesy of the artist and Kunsthal Charlottenborg. Photo by David Stjernholm
Aperture & Orifice
Washed concrete, plastic bags 2014
Courtesy of the artist and palace enterprise
Boulevard of Crime
Lamp, shoes, tiles, shoe polish 2022
Courtesy of the artist and Kunsthal Charlottenborg. Photo by David Stjernholm
Benedikte Bjerre works conceptually with sociological phenomena in a versatile practice focusing on sculpture and installation which often reflects on the current state of society. Bjerre often uses observations from her everyday life, as she engages in how the beholder experiences their surroundings. In her work she examines sculptural qualities in relation to the architecture of a given space.
Benedikte Bjerre (b. 1987, Copenhagen; DK) graduated from Städelschule in Frankfurt am Main (2015) and Royal Danish Academy of Fine Arts in Copenhagen (2016). Recent exhibitions include: Kunsthal Charlottenborg (Copenhagen; DK), Kunstverein Göttingen (Göttingen; DE), SMK (Copenhagen; DK), Den Frie (Copenhagen; DK), O-Overgaden (Copenhagen; DK), and ARKEN Museum of Contemporary Art (Ishøj; DK).
Day to Day
Installation View at O—Overgaden 2024
Courtesy of the artist and O—Overgaden. Photo by Laura Stamer
Sex and the City
Installation View 2023
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Nearly Newborn
Fibreglass, epoxy 2023
Courtesy of the artist and palace enterprise. Photo by Jan Søndergaard
Thrive
Aluminum, epoxy 2023
Courtesy of the artist, palace enterprise, Copenhagen and CHART in Tivoli 2023. Photo by Jan Søndergaard
In Ann Lislegaard’s work, experiences of simulated spheres are created by means of interdisciplinary hybrids and connections — between architecture and cinema, between fictional narratives, human beings, machines, and animals. In this context, which draws on the historical residues of culture and technology while building on feminist gender theories, the boundaries between the real and the imagined are blurred, and concrete and simulated worlds interpenetrate and are reorganized within one another.
Ann Lislegaard (b. 1962, Tønsberg; NO) has exhibited widely, notably: MOCAD (Detroit; US), Astrup Fearnley (Oslo; NO), Moderna Museet (Stockholm; SE), Tel Aviv Museum (Tel Aviv; IL), SMK Denmark (Copenhagen; DK), The Henry Art Museum (Seattle; US), Raven Row (London; UK), and Kyoto Art Center (Kyoto; JP). She has participated in numerous biennales, including the Venice Biennale, Sao Paolo Biennale, Sydney Biennale, and the Gwangju Biennale.
Gateway
3D-rendering, Lamda, printed on Kodak Endura 2007
Courtesy of the artist and Galerie Paul Andriesse
Science Fiction_3114
Neon, sound 2009
Courtesy of the artist and palace enterprise
Orakel, en animation
Neon (‘cool white’), approx. 311 mounted elements 2016-2018
Courtesy of the artist and The New Carlsberg Foundation. Photo by Anders Sune Berg
Click/tap image to see full size
Gateway
3D-rendering, Lamda, printed on Kodak Endura, 2007
