Gallerist Q&A - Gitte Skjødt Madsen

How did you come to open a gallery?

I’m an art historian and have worked in galleries in Denmark for years. When Covid hit, everything shut down, and was put on hold. During that time, I realised how many incredible Danish artists, like Nina Beier, Ann Lislegaard, and Benedikte Bjerre, were back in Copenhagen due to the pandemic. Despite their strong international profiles, they weren’t widely visible on the Danish commercial scene and it felt like the right time to spotlight these artists locally.

Could you tell me how your first exhibition came about?

Our first exhibition in the gallery was ‘Plug’ by Nina Beier and came together quite naturally. I was at a summer house with Nina and some other artists, and we were discussing the idea of creating something in a space that wasn’t necessarily a traditional gallery. Since Nina had just moved back to Denmark, it felt like the right moment to make her work more visible locally.

We wanted to feature existing pieces rather than commission new ones. 'Plug' included sinks and bidets in soft pastel tones with hand-rolled cigars lodged in the drains. The gallery was kept entirely grey to emphasise the pieces, and the smaller exhibition space made the show feel bold and striking. It could have been a bigger exhibition, but the size of the room actually worked perfectly, making it a statement.

How did you decide on the location and the name ‘palace enterprise’?

We wanted a central location without an established art history, somewhere where the art could stand out clearly. Our space, being close to the Central Station, is in a clean, concrete 1950s building with no ornamentation. The area is unique, with little previous connection to the art world, so it felt like the right place as we wanted to contribute something new to the commercial scene.

We thought it made sense to locate ourselves somewhere new to support our idea of bringing something different to the table. Today, more galleries have moved to the area, and we’re glad to have neighbours. But it was important initially to carve out our own path in a new area.

As for the name, we ventured far. We considered many options. I felt it was important not to use the gallerist’s name, as the focus should be on the artists. We also wanted to connect with the area’s history. This street, known as ‘Exchange Street,’ was once a glamorous travel hub. It was home to the SAS terminal, where people would check in, perhaps have a cocktail or cigarette, and then be shuttled by bus to the airport for their flight. The area still has this blend of old-world charm and modernity, with iconic landmarks like Palads Cinema and Tivoli nearby.

So the name palace enterprise came from a mix of ideas. 'palace' ties to the nearby cinema and the grandeur of the area, while 'enterprise' hints at something more futuristic, like the Star Trek spaceship, and references the travel theme.

What would you say characterises the gallery?

It’s difficult to say—that’s for others to decide. Personally, I have a real passion for sculpture, particularly conceptual works, and the space is perfect for that. When we were looking for a gallery space, there were both larger and smaller options nearby, but we all agreed the smaller space was ideal. It reduces the pressure and allows the artists to focus on one to three works, giving them the attention they deserve.

How would you describe your role as a gallerist?

I see myself very much as a tool for the artists. As an art historian, I also prioritise ensuring the artists’ work is inscribed in art history. Collaborating with the artists and supporting them as much as possible is essential. The artists I work with are very skilled and professional, so my role is really to help position them in strong collections and museum exhibitions, both in Denmark and internationally.

I see connections between works and collections, and I facilitate those discussions. It’s about ensuring the work is shown in the right places, getting curators and foundations to visit the exhibitions, and expanding our network through fairs.

I try not to interfere creatively; it’s not my place to dictate what they should create. For example, with Tora Schultz’s most recent exhibition, I had little idea of what she’d bring. She’s a young artist, but her work is so strong that I completely trust her to produce great pieces. We’ve had some discussions, but she’s based in New York and has been busy, so my involvement was minimal.

How important is the conversation as a gallerist?

It is a big part of what we do. For example, in Tora Schultz’s exhibition 'file', her bronze-cast diaries were not only beautiful objects but also carry layers of meaning. Visitors can choose to engage with those layers or not, but the diary format often invites personal associations.

I had guests who commented on the weight of the books, saying it represented the weight of a lived life. I hadn’t even discussed this with the artist, but it added depth to the work. In a small gallery like ours, being right in the middle of the exhibition fosters these engaging conversations, where people often draw parallels to their own lives, adding further layers to the works.

How has your approach to the art world evolved since you started?

International art fairs have always been a key part of my work, and I still see their value, despite debates about their relevance and the environmental impact of global shipping—we need to be mindful of CO2 emissions and how we move and circulate goods around the world. With that said, you could argue that art is inherently sustainable. It’s not something disposable. When you buy a piece, it’s kept for a long time and doesn’t fall into a throwaway culture. However, attending fairs needs to be done in a very respectful way, absolutely, and we aim to do that.

For instance, we wanted to participate in Frieze London last year, but given the high costs of fairs and the environmental impact of shipping art globally, we decided to bring the works in our luggage. So, Benedikte Bjerre’s ‘The Birds’, featuring inflatable penguins, was packed as hand luggage, which worked brilliantly.

Do you have any advice for aspiring collectors?

Be curious. You don’t need all the answers or to fully understand a work. I believe it’s exciting to keep the conversation going and continue finding new and interesting aspects of a work. That’s why children make great visitors because they’re unafraid to say what they see, while adults often hesitate, thinking there’s a ‘right’ answer.

You don’t need to understand everything; the key is to follow your curiosity. Especially with conceptual sculpture, many people say, "I don’t get it," but instead, they should ask, "This is interesting! What’s happening here? What’s the idea behind it?"

Where is the gallery headed? Any big plans for the future?

We’ll be hosting more exciting exhibitions and applying for international art fairs again, including Frieze London, CHART, and Basel. We’ll also introduce new artists over the next year. We also aim to expand our client base and are working on building relationships with more private collectors. Being part of international networks and attending fairs is therefore crucial, as it exposes us to new global connections.