Programme

For CHART 2026, Aapo Nikkanen and Raudie McLeod perform Subvocal. The audience is hypnotised and their relationship with technology briefly suspended, while attention is reoriented through suggestion, metaphorical storytelling, and audiovisual stimuli.

Artist, researcher, and trained hypnotherapist, Aapo Nikkanen uses hypnosis to examine the cognitive effects of new technologies, asking how they inconspicuously shape the ways we interpret, trust, and respond to the world.

Subvocal (2026), directed and performed by Nikkanen, with music and sound design by Raudie McLeod, treats the unconscious not as a neutral inner space, but as contested territory – one shaped by extraction and influence, but still open to self-determination. Performed in the movie theatre of Charlottenborg, the piece combines hypnotic suggestion, music, and projected light to construct a "cognitive cinema."

Subvocal is not recommended for individuals with photosensitive epilepsy. Age limit: 16. No admission after the performance begins.

Photo by Dino Bossini

For CHART 2026, Alberte Skronski will perform “Link Pimousine (Pink Limousine)”; a pink limousine moving through the crowds and around the courtyard of the fair.

The humor of the grotesque runs like a common thread through Alberte Skronski's works. Across video, installation and performance, she explores the activist potential of humor, dresses up, plays and makes children's TV for adults. A duality is always present in Skronski's works as she builds absurd and colorful parallel universes of cardboard and recycled materials. They are characterised by a happy and playful aesthetic, but also contain a kind of grotesque horror. Like at a children's birthday party, where the clown is supposed to be funny, but is it really?

Two people dressed as a pink stretch limousine drive (walk) around the courtyard of Charlottenborg. Turning corners and going up stairs, the limousine moves as if in a cartoon going where no limousine has ever gone before.

A panel discussion exploring how a new generation of collectors is reshaping the art world, challenging established market structures, collecting practices, and value systems. Bringing together emerging voices and industry perspectives, the conversation will examine how evolving priorities and modes of engagement are influencing the future of collecting and the broader art ecosystem.

For CHART 2026, we are delighted to present a conversation moderated by Carola Wiese, UBS Family Advisory – Art and Collecting, in dialogue with Anne Hilde Neset, Director at Henie Onstad, Lars Veen Uldal, Sustainability Specialist and art collectors, and Anton Boros, insert title.

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

“The Elements” is a deconstruction and visual remix inspired by the weave "The Four Elements" by Swedish artist and designer Karin Larsson (1859-1928). The elements of the tapestry are taken apart and rewoven in video form and merges with a Morse code loop reciting Narcissus' declaration of love to his own reflection from Ovid's Metamorphoses: ‘I cannot escape’. By forging together an image which in many respects are part of a collective “Swedish” identity, with the myth of Narcissus and his inability to escape his own reflection, Löfström uses the code to examine the collective self-image of our time.

In a kaleidoscope of karaoke screens and colorful text, Ragnhild May and Kristoffer Raasted explore the history and cultural power of karaoke while composing a new song from fragments of existing hits.

Karaoke Collage is an homage to the global pop songs that have become cheesy earworms through their massive popularity. The lyrics are created from fragments of existing karaoke songs in a spolia-like process. By reusing familiar lyrical tropes, the work highlights how repetition and recycling are inherent to pop music itself.

Wohin? (2022) is a musical homage to the German highway, tied to both national identity and cruising culture. Its soundtrack, inspired by Kraftwerk’s Autobahn, features pipe organ improvisation by Berlin Cathedral organist Andreas Sieling and operatic vocals by countertenor Timothy Morgan. The refrain of “autobahn” overlays the dark, ironic performance, adding a strange romanticism. Visually, the film focuses on rearview mirrors, reflecting fleeting backseat scenes: a man staring out, checking his phone, dozing, or kissing another man. Hanging from the mirrors are talismans—Christian and Buddhist rosaries, and the German air freshener Wunderbaum—signaling cultural and spiritual layers.

Field 2025 Single-channel video installation with sound 16 minutes 36 seconds Field explores glass as a luminous, unstable phenomenon. Slow rhythms dissolve the boundaries between material and immaterial, accompanied by a subtly shifting soundscape. The work bends and amplifies light and space toward near-stasis, generating an environment of stretched perception and suspended time.

Commercials is a series of mock advertisements for products and services, such as a fake family pet, self-confidence building tapes, and a dating hotline. As the video progresses, the commercials become more surreal and abstract, often unclear as to what they are selling, so that the products and the life changes they promise become less attainable.

Erica Eyres (b. 1980, Winnipeg) is a Glasgow-based visual artist. Working with an absurd aesthetic between drawing, painting, ceramics, installation and video, Eyres’ practice unpacks the ways in which social categories relating to womanhood, domesticity, heterosexuality, the amateur and ordinariness are constructed and embodied.

Drapped in yards of fabric and a constant flow of action and reaction, The Extra Mile explores the unique energy shared between people who weave time together through courage and trust – not as an ideal, but as a practice. A necessity. A shared language that emerges when you can no longer rely on the predictable, but have to lean into the moment happening now.

Here, the extra mile becomes a way of being in the world. A collective force that creates movement even when past experiences or the surrounding world pull the body back towards stillness.

Performers: Erika Cucumazzo, Giovanni Fumarola, Margherita Pascariello & Yuri Fortini.

Photo by Daniel Urhøj

In this early work, an electronic homage to Magritte, the Vasulkas demonstrate fundamental imaging techniques. Inspired by Magritte's painting The Golden Legend, this exercise employs a three-camera set-up, with images layered through a multikeyer, to create the illusion of objects moving through spatial planes. Loaves of French bread embark on a surreal video journey through electronic landscapes, finally arriving in an abstract space. The animated loaves add sense of playfulness to this early articulation of illusory space and three-dimensionality in video.

Carola Grahn is a Sámi artist whose multidisciplinary practice engages with questions of identity, colonial history, and the relationship between land, culture, and power. Working across sculpture, installation, text, and sound, her work draws on Sámi knowledge systems and personal experience. Grahn’s practice addresses the enduring impact of colonial structures, examining how histories of displacement, resistance, and cultural memory continue to shape contemporary social and political realities.

For CHART 2026, we are delighted to present a conversation between Carola Grahn and Maria Svonni, Founder and Artistic Director of Verdde and Director of Luleåbiennalen. Svonni’s work is organised around collaborations, utilising site-specific methods and activities to promote dialogue and long term change.

Photo of Carola Grahn by Erika Svensson
Photo of Maria Svonni by LKP

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

The starting point for the video is an image of the artist's sculpture, Anxiety (2017) that has been turned into a stock photo for licensing on the Getty Images website, without her prior knowledge or permission. Getty Images is the largest stock photo agency in the world. Getty took the photograph at Frieze Art Fair in London in October 2017. Mariam Jafri Vs. Maryam Jafri (2019) reflects upon the role of originality, artist labor and copyright in our culture of sampling and remixing. The video’s title references the caption accompanying the photograph which misspells the artist's name.

Inventively composed and compellingly narrated, Copenhagen-based Chinese artist Jiawei Zheng's work "One Thousand Reasons to Cry" reflects her multifaceted exploration of an experience that feels both personal and at the same time is shared by so many young Chinese people. Lived through the eyes of a solitary karaoke singer, in a story where language serves as a portal, Zheng invites the viewers to embark on a journey of re-imagination, where the boundaries between past and present, reality and fiction, seamlessly intertwine and dissolve. The work has been recently exhibited at Inside-Out Art Museum (Beijing, 2025) and NEVVEN (Gothenburg, 2025).

The video series Anachronism is composed of collages of found footage of Inuit life at the cusp of modernization in the early 20th century. Toggling between historical moments, Storch surfaces the abiding potency of self-imaging in the face of narratives forged from outside perspectives.

Emma Sarpaniemi (b. 1993) explores womanhood and femininity through playful and performative photographs. Sarpaniemi is a Finnish artist whose practice engages with themes of joy, empowerment, and the construction of gender roles and the gaze. She holds a BA in Photography from the Royal Academy of Art, The Hague (KABK), and has exhibited widely across Europe in galleries, museums, and festivals, including Les Rencontres d’Arles and a solo exhibition at the Finnish Museum of Photography K1.

For CHART 2026, we are delighted to present a conversation between Emma Sarpaniemi and Nadine Wietlisbach, curator, author, and former Director of Fotomuseum Winterthur (2018–2026). Wietlisbach is currently Head of Cultural Promotion at Migros Engagement Group, where she continues to write, think, and work across cultural fields as a consultant and curator.

Photo of Emma Sarpaniemi
Photo of Nadine Wietlisbach

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

For CHART 2026 The Icelandic Love Corporation performs “Gratuation”, a post-menopausal, empowering performance staged as a graduation ceremony, subverting milestones and celebrating womanhood.

Most women experience having their period. From adolescence to over fifty, this monthly task is looming, varyingly burdensome. Women learn to live with it, they move on, and pretend like it's nothing. So as this somewhat unwanted very gender-specific education comes to an end, with a year of no bleeding, it's time to honour the journey. The Icelandic Love Corporation will sign an official Menopause Diploma during the performance, for those who have graduated and will graduate in the future.

The Icelandic Love Corporation (founded in Reykjavík in 1996) is an Icelandic art collective currently consisting of Jóní Jónsdóttir and Eirún Sigurðardóttir.

In Central China orchards of Fuji apples are undergoing a full metamorphosis. Applefarmers are climbing into the trees repeatedly to wrap and unwrap each apple separately in and out of paper bags. This enormously labour-intensive work is done with an incredible amount of concentration, meditative.

In "I am not a blonde" (2022), the artist asked 12 young women to recreate the iconic look of Marilyn Monroe. The camera took the place of a mirror and the invisible observer. The women could not see themselves while applying make-up. In this intimate moment, they consciously or unconsciously explore how classic signs of femininity - painted lips, long eyelashes - can be a mask behind which to hide or through which to gain power. It shows the discrepancy between icons / role models and oneself. During the movie the original voice of Marilyn Monroe talks about style and being blonde.

TBD

The video work "Vagus Symphony" is a multidisciplinary collaboration between The Icelandic Love Corporation and the Iceland Symphony Orchestra, combining visual art, music, and film. The work explores the Vagus nerve as a metaphor for connection, empathy, and sensory experience in an increasingly polarized world. Inspired in part by a psychic reading of the orchestra’s oldest instruments, it moves between dream and reality, tracing a journey from primordial creation to revelation through the “seven continents of the body.” Developed with composers, filmmakers, dancers, actors, and gymnasts, the project creates an immersive sensory experience across disciplines.

TBD

Koilwood makes alternative pop with feelings of hovering above and simple, direct sounds: circular drum patterns, organ melodies, and the mesmerising voice of Koilwood. Koilwood is Alexxis Glory Princess Steadham, originally from Las Vegas, now based on Norway's west coast. Featuring on A good year.

Photo of Alexxis Glory Princess Steadham

This conversation explores cross-disciplinary collaboration between artists and architects working on this year’s total installation CHART Public. It examines how shared practices can generate experimental spaces at the intersection of art, architecture and urban development, and how collective processes shape new forms of public engagement. The discussion is framed by this year’s CHART Public open call and the resulting project Pantomime.

For CHART 2026, we are delighted to present a conversation moderated by Jamiee Ma Touveneau Williams, Head of Programme at The OBEL Foundation, in dialogue with Peter Bur Andersen, Founder and Creative Director of BRIQ and member of the CHART Public open call jury, and two representatives from the winning team of Pantomime: Mads Vagn Jacobsen, architect and co-founder of Antenna Works and artist Oliver Sundqvist.

Photo of Jamiee Ma Touveneau Williams by Kasper Kristoffersen
Photo of Peter Bur Andersen by Heidi Lerkenfeldt
Photo of Mads Vagn Jacobsen
Photo of Oliver Sundqvist

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

David Risley makes paintings, writes, curates, teaches and occasionally plays music. He co-founded CHART and ran David Risley Gallery for 20 years. The gallery also housed a record store, ‘The Gutter’, selling records by artists. The gallery also hosted concerts, festivals and performances including Lee Scratch Perry, Iceage, TS Hoegh among others.

For CHART 2026, Risley will play tunes spanning a range of genres.

Nicknamed ‘Yangze’ since his teens, producer, writer, and musician Jakob Littauer has spent the past decade moving between solo work and collaborations. Sparsely releasing only an EP and a handful of singles under his own name, while also producing and writing with a big palette from avant-garde group TLF Trio to pop music with Tobias Rahim.

His work dances between synthesis and real sound, and in a similar dualistic way the Yangze voice lives in both digital and acoustic timbres, indistinguishable and alive / not alive. Bubbly glitches, detuned guitars, and yearning melodies while lyrics croon about life between cities, media, food, and love. Equally ballady and clubby, Yangze is a rich stew to nourish your ears.

Den Stenede Rille consists of the two young diggers and DJs Mads and Asbjørn — known for keeping the city’s dance floors on a tight leash with rhythmic extravaganza from across the globe. With more than a hundred gigs in Copenhagen and a recent club debut in Paris, the duo has, over the past few years, carved out deep roots in the nightlife of Copenhagen.

DJ set by artist Yangze, also known for his work as a producer and member of TLF Trio, and 15 love Founder Agnete Hannibal.

A Good Year is the Copenhagen-based project of Tobias Laust Hansen and Albert Hildebrand. Through collaboration, experimentation, and an intuitive process, the duo creates music that blends the electronic and programmed with the real and played.

Their work moves between sound, image, and connection, shaped by friends, new encounters, and ideas shared across the internet. Their new album, Play, brings together voices and contributions from Horse Vision, Tiffi M, Helena Gao, MØ, Late Verlane, Quiet Light, Koilwood og Suisse Air.

Photo by Johanna Hvidtved

h2o slutclub is a music and performance collective that fuses club culture, theatre, and feminist satire. Working at the intersection of electronic house music and performance art, h2o slutclub - dressed in borrowed corporate feathers - transforms performance pressure into community, competition into care, and capital into love.

Live, h2o slutclub creates a theatrical, satirical performance concert with scenography borrowed directly from the office landscape! On stage, a team of agile, suit-clad humans and creatures unfold choreographed dance routines, song, and gesture inspired by the tired bodily and linguistic codes of the business world.

h2o slutclub doesn’t just deliver a show - we invite the audience to step into an alternative business meeting where KPIs are measured in love, laughter, and sky-high BPM. Performers: Frederikke Maria Krebs Bahn, Johanne Lundgreen Frandsen, Marie Flarup Kristensen & Olivia Lamhauge Barrett.

Photo by Mathilde Søes Rasmussen

With 12 years of active DJ'ing, HARRISON HEAT's roots as a DJ stem from the jacking, bouncy style of house music most prominent in Chicago house. Over the years he has added layers upon layers on his style as a DJ. It doesn't make sense to define him in just one genre, rather he delivers moods and sounds that are deeply rooted in house, techno, Italo-disco and progressive sounds etc, it all depends on the energy of the dancefloor.

Kasper Bjørke has been a shape-shifting force in electronic music for the past two decades, weaving a distinct thread through his vast body of work. From club anthems to radio-friendly affairs and introspective ambient meditations, the DNA is unmistakably Bjørke’s - and though the musical scenery may change over time, his sound and vision remain clearly evident throughout. As a DJ, Panorama Bar in Berlin is an all-time personal favorite, with five gigs under his belt in the sacred room so far. Fabric, Rex Club, and Robert Johnson along with legendary festivals such as Sónar Barcelona, Roskilde and Montreux Jazz Festival are other standout experiences. For Chart Art Fair Kasper is playing B2B with local hero Harrison Heat.

Photo of Harrison Heat by Anton SQ
Photo of Kasper Bjørke by Kenneth Møller

Téa is a Copenhagen based DJ, who explores a wide range of genres within electronic music. Groovy, deep, versatile and danceable sets of tech house, deep house and dubbed out techno with subtle changes of pace and mood in her sets, leading you securely through hypnotising labyrinths of rhythms and soundscapes.

At CHART 2026 Miriam Kongstad will present the performance Hard Play (2024), which explores how children’s games shape power dynamics, identities and social behaviour. The piece is conceived as a duet, blending the performer's physical movements with a dynamic live soundscape created by musician Heva Vaupel.

A 1,5-meter braid is attached to the performer's hair, symbolically morphing into various objects commonly associated with children’s games, such as a princess's hair, a dog leash, a lasso, a skipping rope, and a whip. Each transformation invites the audience to journey through a spectrum of emotions and scenarios—ranging from joy and fantasy to endurance and horror.

Miriam Kongstad (DK, 1991) is an artist and choreographer based in Berlin and Copenhagen. Anchored in explorations of embodiment, identity, and social codes, her work spans from painting, sculpture and text, to performance, sound and scent. Through themes such as health, sexuality, pain and desire, Kongstad depicts cultural and political structures and analyses the constant interplay between bodies and society.

Photo by Andrej Lamut

For CHART 2026, Aapo Nikkanen and Raudie McLeod perform Subvocal. The audience is hypnotised and their relationship with technology briefly suspended, while attention is reoriented through suggestion, metaphorical storytelling, and audiovisual stimuli.

Artist, researcher, and trained hypnotherapist, Aapo Nikkanen uses hypnosis to examine the cognitive effects of new technologies, asking how they inconspicuously shape the ways we interpret, trust, and respond to the world.

Subvocal (2026), directed and performed by Nikkanen, with music and sound design by Raudie McLeod, treats the unconscious not as a neutral inner space, but as contested territory – one shaped by extraction and influence, but still open to self-determination. Performed in the movie theatre of Charlottenborg, the piece combines hypnotic suggestion, music, and projected light to construct a "cognitive cinema."

Subvocal is not recommended for individuals with photosensitive epilepsy. Age limit: 16. No admission after the performance begins. Performers: Aapo Nikkanen and Raudie McLeod

Photo by Dino Bossini

This talk explores Iceland’s art scene as a small but highly networked ecosystem, examining how collaboration, mobility, and institutional infrastructure enable strong international connections. It considers how artists, curators, and organisations work across borders to strengthen visibility and create sustainable pathways for Icelandic contemporary art within a global context.

For CHART 2026, we are delighted to present a conversation moderated by Brynja Sveinsdóttir, curator and Director of Gerðarsafn – Kópavogur Art Museum, in dialogue with Kristjana Rós Gudjohnsen, Head of Culture and Creative Industries at Business Iceland, Cecilie Ragnheiðardóttir Gaihede, Director of the Icelandic Art Center (Myndlistarmiðstöð), and Börkur Arnarson, owner and director of i8 Gallery, Reykjavík.

Photo of Brynja Sveinsdóttir
Photo of Kristjana Rós Gudjohnsen
Photo of Cecilie Ragnheiðardóttir Gaihede
Photo of Börkur Arnarson

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

For CHART 2026, Alberte Skronski will perform “Link Pimousine (Pink Limousine)”; a pink limousine moving through the crowds and around the courtyard of the fair.

The humor of the grotesque runs like a common thread through Alberte Skronski's works. Across video, installation and performance, she explores the activist potential of humor, dresses up, plays and makes children's TV for adults. A duality is always present in Skronski's works as she builds absurd and colorful parallel universes of cardboard and recycled materials. They are characterised by a happy and playful aesthetic, but also contain a kind of grotesque horror. Like at a children's birthday party, where the clown is supposed to be funny, but is it really?

Two people dressed as a pink stretch limousine drive (walk) around the courtyard of Charlottenborg. Turning corners and going up stairs, the limousine moves as if in a cartoon going where no limousine has ever gone before.

Loji Höskuldsson is an Icelandic artist whose practice centres on embroidery, creating intricate works that emerge slowly through a meticulous stitch-by-stitch process. Rooted in craft traditions, his narrative-driven compositions draw together references to local landscapes, flora and fauna, everyday objects, and cultural symbols from Iceland, Denmark, and Sweden. Balancing intimacy and scale, Höskuldsson’s works offer thoughtful reflections on shared human experience, often conveying a quiet sense of hope amid uncertainty.

For CHART 2026, we are delighted to present a conversation between Loji Höskuldsson and Markús Þór Andrésson, Director of Reykjavík Art Museum. Appointed in 2025 after serving eight years as the museum’s Chief Curator, Andrésson has worked extensively as a writer, curator, and filmmaker, with a particular focus on Icelandic artists and art history. He currently leads the museum’s three venues and oversees Reykjavík’s public art programme.

Photo of Loji Höskuldsson by Spessi Hallbjornson
Photo of Markús Þór Andrésson

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

“The Elements” is a deconstruction and visual remix inspired by the weave "The Four Elements" by Swedish artist and designer Karin Larsson (1859-1928). The elements of the tapestry are taken apart and rewoven in video form and merges with a Morse code loop reciting Narcissus' declaration of love to his own reflection from Ovid's Metamorphoses: ‘I cannot escape’. By forging together an image which in many respects are part of a collective “Swedish” identity, with the myth of Narcissus and his inability to escape his own reflection, Löfström uses the code to examine the collective self-image of our time.

In a kaleidoscope of karaoke screens and colorful text, Ragnhild May and Kristoffer Raasted explore the history and cultural power of karaoke while composing a new song from fragments of existing hits.

Karaoke Collage is an homage to the global pop songs that have become cheesy earworms through their massive popularity. The lyrics are created from fragments of existing karaoke songs in a spolia-like process. By reusing familiar lyrical tropes, the work highlights how repetition and recycling are inherent to pop music itself.

Wohin? (2022) is a musical homage to the German highway, tied to both national identity and cruising culture. Its soundtrack, inspired by Kraftwerk’s Autobahn, features pipe organ improvisation by Berlin Cathedral organist Andreas Sieling and operatic vocals by countertenor Timothy Morgan. The refrain of “autobahn” overlays the dark, ironic performance, adding a strange romanticism. Visually, the film focuses on rearview mirrors, reflecting fleeting backseat scenes: a man staring out, checking his phone, dozing, or kissing another man. Hanging from the mirrors are talismans—Christian and Buddhist rosaries, and the German air freshener Wunderbaum—signaling cultural and spiritual layers.

Field 2025 Single-channel video installation with sound 16 minutes 36 seconds Field explores glass as a luminous, unstable phenomenon. Slow rhythms dissolve the boundaries between material and immaterial, accompanied by a subtly shifting soundscape. The work bends and amplifies light and space toward near-stasis, generating an environment of stretched perception and suspended time.

Commercials is a series of mock advertisements for products and services, such as a fake family pet, self-confidence building tapes, and a dating hotline. As the video progresses, the commercials become more surreal and abstract, often unclear as to what they are selling, so that the products and the life changes they promise become less attainable.

Erica Eyres (b. 1980, Winnipeg) is a Glasgow-based visual artist. Working with an absurd aesthetic between drawing, painting, ceramics, installation and video, Eyres’ practice unpacks the ways in which social categories relating to womanhood, domesticity, heterosexuality, the amateur and ordinariness are constructed and embodied.

Drapped in yards of fabric and a constant flow of action and reaction, The Extra Mile explores the unique energy shared between people who weave time together through courage and trust – not as an ideal, but as a practice. A necessity. A shared language that emerges when you can no longer rely on the predictable, but have to lean into the moment happening now.

Here, the extra mile becomes a way of being in the world. A collective force that creates movement even when past experiences or the surrounding world pull the body back towards stillness.

Performers: Erika Cucumazzo, Giovanni Fumarola, Margherita Pascariello & Yuri Fortini

Photo by Daniel Urhøj

In this early work, an electronic homage to Magritte, the Vasulkas demonstrate fundamental imaging techniques. Inspired by Magritte's painting The Golden Legend, this exercise employs a three-camera set-up, with images layered through a multikeyer, to create the illusion of objects moving through spatial planes. Loaves of French bread embark on a surreal video journey through electronic landscapes, finally arriving in an abstract space. The animated loaves add sense of playfulness to this early articulation of illusory space and three-dimensionality in video.

This talk explores the inseparable relationship between Børsen and art, examining how one of Denmark’s most significant historic buildings has shaped cultural identity and artistic narratives for centuries. Reflecting on the fire of 16 April 2024 and the ongoing reconstruction, the conversation considers the role of art in preserving heritage, the symbolism of the rescue of Børsen’s artworks, and how new commissions will contribute to the building’s next chapter.

For CHART 2026, we are delighted to present a conversation moderated by Karen Bro, journalist, author and art collector, in dialogue with Tanya Lindkvist, Director of Kunst På Arbejde, Henrik Plenge Jakobsen, artist, and Lars Daugaard Jepsen is Deputy Director of the Danish Chamber of Commerce (Dansk Erhverv) and heads the team of advisers and craftspeople responsible for reconstructing Børsen. All participants are members of the steering committee overseeing the integrated art programme for the reconstruction of Børsen following the 2024 fire. Børsen is expected to reopen in 2029.

Photo of Karen Bro by Fryd Frydendahl.
Photo of Tanya Lindkvist by Sisse Langfeldt.
Photo of Henrik Plenge Jakobsen by Anders Sune Berg.
Photo of Lars Daugaard Jepsen by Marcus Stoltze.

*The talk is held in Festsalen, located near the Kongens Nytorv entrance

The starting point for the video is an image of the artist's sculpture, Anxiety (2017) that has been turned into a stock photo for licensing on the Getty Images website, without her prior knowledge or permission. Getty Images is the largest stock photo agency in the world. Getty took the photograph at Frieze Art Fair in London in October 2017. Mariam Jafri Vs. Maryam Jafri (2019) reflects upon the role of originality, artist labor and copyright in our culture of sampling and remixing. The video’s title references the caption accompanying the photograph which misspells the artist's name.

Inventively composed and compellingly narrated, Copenhagen-based Chinese artist Jiawei Zheng's work "One Thousand Reasons to Cry" reflects her multifaceted exploration of an experience that feels both personal and at the same time is shared by so many young Chinese people. Lived through the eyes of a solitary karaoke singer, in a story where language serves as a portal, Zheng invites the viewers to embark on a journey of re-imagination, where the boundaries between past and present, reality and fiction, seamlessly intertwine and dissolve. The work has been recently exhibited at Inside-Out Art Museum (Beijing, 2025) and NEVVEN (Gothenburg, 2025).

The video series Anachronism is composed of collages of found footage of Inuit life at the cusp of modernization in the early 20th century. Toggling between historical moments, Storch surfaces the abiding potency of self-imaging in the face of narratives forged from outside perspectives.

For CHART 2026 The Icelandic Love Corporation performs Gratuation, a post-menopausal, empowering performance staged as a graduation ceremony, subverting milestones and celebrating womanhood.

Most women experience having their period. From adolescence to over fifty, this monthly task is looming, varyingly burdensome. Women learn to live with it, they move on, and pretend like it's nothing. So as this somewhat unwanted very gender-specific education comes to an end, with a year of no bleeding, it's time to honour the journey. The Icelandic Love Corporation will sign an official Menopause Diploma during the performance, for those who have graduated and will graduate in the future.

The Icelandic Love Corporation (founded in Reykjavík in 1996) is an Icelandic art collective currently consisting of Jóní Jónsdóttir and Eirún Sigurðardóttir.

German-Brazilian artist Janaina Tschäpe works across painting, drawing, photography, video, sculpture, performance, murals, and installation. Throughout her multidisciplinary practice, she has explored the fluid relationship between aquatic, vegetal, and human life, creating a poetic visual language that moves seamlessly between figuration and abstraction. Inspired by the natural world, memory, and mythology, her works evoke imagined landscapes where organic forms continuously emerge, dissolve, and transform.

For CHART 2026, we are delighted to present a talk between Janaina Tschäpe and Johan Holten, Director of ARKEN Museum of Contemporary Art, Denmark. Prior to his current role, Holten served as Director of the museum Kunsthalle Mannheim in Germany, where he led the institution’s programme with a strong focus on contemporary art in a global context, exhibition-making, and institutional development.

Photo of Janaina Tschäpe
Photo of Johan Holten by Kavian Borhani

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

In Central China orchards of Fuji apples are undergoing a full metamorphosis. Applefarmers are climbing into the trees repeatedly to wrap and unwrap each apple separately in and out of paper bags. This enormously labour-intensive work is done with an incredible amount of concentration, meditative.

In "I am not a blonde" (2022), the artist asked 12 young women to recreate the iconic look of Marilyn Monroe. The camera took the place of a mirror and the invisible observer. The women could not see themselves while applying make-up. In this intimate moment, they consciously or unconsciously explore how classic signs of femininity - painted lips, long eyelashes - can be a mask behind which to hide or through which to gain power. It shows the discrepancy between icons / role models and oneself. During the movie the original voice of Marilyn Monroe talks about style and being blonde.

TBD

The video work "Vagus Symphony" is a multidisciplinary collaboration between The Icelandic Love Corporation and the Iceland Symphony Orchestra, combining visual art, music, and film. The work explores the Vagus nerve as a metaphor for connection, empathy, and sensory experience in an increasingly polarized world. Inspired in part by a psychic reading of the orchestra’s oldest instruments, it moves between dream and reality, tracing a journey from primordial creation to revelation through the “seven continents of the body.” Developed with composers, filmmakers, dancers, actors, and gymnasts, the project creates an immersive sensory experience across disciplines.

TBD

Simon Dybbroe Møller’s work engages with the relationship between the weighty materiality of sculpture and its photographic representation and mediation. Rather than settling into one medium or style, he moves between film, photography, found objects, sculpture, writing, curating and teaching. He studied at Kunstakademie Düsseldorf and Städelschule in Frankfurt am Main, and is Professor at the Royal Danish Academy of Fine Arts School of Sculpture in Copenhagen, where he curates the performance series Why Words Now.

For CHART 2026, we are delighted to present a conversation between Simon Dybbroe Møller and Cédric Fauq, Chief Curator and Head of Programme and Collections at CAPC Musée d’Art Contemporain de Bordeaux. Fauq is a curator and writer whose recent projects include Rammellzee: Alphabeta Sigma (Side B), Garden of the Nine Suns, and L’Académie des Mutantes. He has previously worked at Palais de Tokyo and Nottingham Contemporary, and also teaches at HEAD – Geneva and Paris 1 Panthéon-Sorbonne University.

Photo of Simon Dybbroe Møller
Photo of Cédric Fauq by Arthur Péquin

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

Sofie Birch is a sound artist working with live ambient electro-acoustic music, using textures, frequencies, field recordings, synthesis, voice, and trance-based instruments to shape immersive sonic environments. Her practice approaches sound as both material and medium—capable of subtly shifting perception, attention, and states of presence.

Ambient Abracadabra is her evolving sound practice, unfolding between radio, live performance, and immersive environments. It treats listening as a space in itself—where sound, atmosphere, and attention gently reshape experience. Each month, she hosts Ambient Abracadabra on NTS, a collage of listeners’ adventurous sound works interwoven with excerpts from conversations on natural medicine, spiritual inquiry, and the unknown.

With more than ten years of experience, Sofie has composed and produced sound for theatre, film, and art installations. Her work has received recognition including the Carl Nielsen Talent Prize, as well as critical attention from platforms such as Pitchfork.

Photo by Chloe Sassi

Behind the improvisation-based music and performance project Small White Man is the visual artist FOS. The system comprises a “traffic light” system of lightbulbs installed in front of each player. The light bulbs, which in this case are controlled by the artist FOS, have three rules attached: A red light is a signal to play free and lead, a blue light to follow, lights off to stop playing. FOS creates structures, creating a visual frame for each musician in order to co-compose and conduct an improvisation.

For each concert FOS and producer and musician Nis Bysted assemble a wide range of musicians with experience in many different genres, making the soundscape on this recording a varied and unclassical improvisation.

Photo by IDOART agency

h2o slutclub is a music and performance collective that fuses club culture, theatre, and feminist satire. Working at the intersection of electronic house music and performance art, h2o slutclub - dressed in borrowed corporate feathers - transforms performance pressure into community, competition into care, and capital into love.

Live, h2o slutclub creates a theatrical, satirical performance concert with scenography borrowed directly from the office landscape! On stage, a team of agile, suit-clad humans and creatures unfold choreographed dance routines, song, and gesture inspired by the tired bodily and linguistic codes of the business world.

h2o slutclub doesn’t just deliver a show - we invite the audience to step into an alternative business meeting where KPIs are measured in love, laughter, and sky-high BPM.

Performers: Frederikke Maria Krebs Bahn, Johanne Lundgreen Frandsen, Marie Flarup Kristensen & Olivia Lamhauge Barrett.

Photo by Mathilde Søes Rasmussen

Drawing on his background as a musician, songwriter and producer, Vinnie Who curates a DJ set that moves between electronic productions, organic textures and rhythmic depth. The set features his own productions, sketches and previews of forthcoming releases, woven together with carefully selected music. The expression is shaped in the moment and evolves in dialogue with the space, the art and the audience – with a focus on atmosphere, presence and curiosity.

Photo by Dennis Morton

At CHART 2026 Miriam Kongstad will present the performance Hard Play (2024), which explores how children’s games shape power dynamics, identities and social behaviour. The piece is conceived as a duet, blending the performer's physical movements with a dynamic live soundscape created by musician Heva Vaupel.

A 1,5-meter braid is attached to the performer's hair, symbolically morphing into various objects commonly associated with children’s games, such as a princess's hair, a dog leash, a lasso, a skipping rope, and a whip. Each transformation invites the audience to journey through a spectrum of emotions and scenarios—ranging from joy and fantasy to endurance and horror.

Miriam Kongstad (DK, 1991) is an artist and choreographer based in Berlin and Copenhagen. Anchored in explorations of embodiment, identity, and social codes, her work spans from painting, sculpture and text, to performance, sound and scent. Through themes such as health, sexuality, pain and desire, Kongstad depicts cultural and political structures and analyses the constant interplay between bodies and society.

Photo by Andrej Lamut

Bathed in distortions and echo, Gal Go Grey is an electronica duo formed of Argentine saxophonist Ignacio Salvadores and London-born experimental musician Tom Grey. They’ve performed together sporadically since 2020, explosive sets that trace the edges of dub, dance and noise, impulsively carving out new shapes in old clay. Their debut self-titled release landed in 2021 and they have since been working on new material, material that has met the stage for the first time this year.

Photo by Andriana Oborocean

Unearth is a DJ set featuring Sgabe and dj srirachas. dj srirachas brings music from his recent soundcloud discoveries - a genre-ambiguous selection from pop to experimentation. He pairs high-energy drums and bass-warped melodies with familiar pop vocals and steady ambience. Sgabe is a London-based DJ and co-founder of Unearth, the Copenhagen music and art platform recognised by Dazed, Sabukaru and i-D for helping shape a new generation of music culture in Denmark. His sets draw from across contemporary club music, rap and internet-born electronic sounds, reflecting the same genre-fluid approach that defines Unearth.

Isaiah Hull is a poet from Old Trafford, Manchester, who works across performance, music, and writing.

His debut release with Young Recordings, POCOMONIA (2025), traces a lineage of diasporic sound and resistance, using mantra, drum, and voice to explore mania, rage, and redemption.

Whether opening for Skepta at Radio 1's Big Weekend, supporting poets such as Kae Tempest and Saul Williams, or via collaborative releases as part of London-based collective life is beautiful (most recently t he d esir e d efec t with aloisius and Mortal Oil of the Spoiled Spirit with THE NARRATOR), Hull's vocal performances channel militant clarity, magnetic chaos and visceral storytelling.

Isaiah Hull runs the workshop and publishing house Pigeon Publishing with THE NARRATOR.

Tania Just is a Copenhagen-based DJ part of the local collective essence, and co-founder of Berlin’s Fandango. She’s known for her sultry blends of sleazy basslines, dreamy vocals, and cheeky dance floor twists.

Rooted in the queer DIY underground, her sound draws heavily from ‘90s house, early tech house, and progressive cuts wrapped up in a signature bounce that’s both dynamic and sassy. Whether she’s working a peak-time floor session or taking her time in a slow-burn opening set, Tania always finds the balance between patience and boldness. Expect gated vocal waves, tribal grooves, and unexpected turns that’s bound to keep the hips moving. As a resident on Refuge Worldwide and co-runner of some of the most open-hearted dance floors in Copenhagen and Berlin, Tania champions genre-fluid spaces where community comes first.

Her sets are built for connection; fun, caring, and tuned into the room with a slightly tongue-in-cheek attitude.

Photo by Cáit

For CHART 2026, Aapo Nikkanen and Raudie McLeod perform Subvocal. The audience is hypnotised and their relationship with technology briefly suspended, while attention is reoriented through suggestion, metaphorical storytelling, and audiovisual stimuli.

Artist, researcher, and trained hypnotherapist, Aapo Nikkanen uses hypnosis to examine the cognitive effects of new technologies, asking how they inconspicuously shape the ways we interpret, trust, and respond to the world.

Subvocal (2026), directed and performed by Nikkanen, with music and sound design by Raudie McLeod, treats the unconscious not as a neutral inner space, but as contested territory – one shaped by extraction and influence, but still open to self-determination. Performed in the movie theatre of Charlottenborg, the piece combines hypnotic suggestion, music, and projected light to construct a "cognitive cinema."

Subvocal is not recommended for individuals with photosensitive epilepsy. Age limit: 16. No admission after the performance begins. Performers: Aapo Nikkanen and Raudie McLeod

Photo by Dino Bossini

This talk explores how art supports mental and physical wellbeing, from public spaces and healthcare settings to everyday environments. It considers how aesthetic experiences can contribute to mental health, community building and a stronger sense of connection, and how art is increasingly integrated into institutions and public life.

For CHART 2026, we are delighted to present a conversation moderated by Tyra Dokkedahl, adviser, curator and editor and owner of Empathic Environments, in dialogue with Kasper Levin, PhD, Lecturer at Roskilde University and Senior Researcher at Frederiksbergmuseerne, contemporary artist Alexander Tovborg, and former professional handball player and art collector Mikkel Hansen.

Photo of Alexander Tovborg by Josefine Seifert.
Photo of Tyra Dokkedahl by Frida Gregersen.

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

SUPERFLEX was founded in 1993 by Jakob Fenger, Bjørnstjerne Christiansen, and Rasmus Rosengren Nielsen. As an expanded collective, they work with a wide range of collaborators, from engineers and gardeners to audience members, developing projects that take the form of energy systems, sculptures, infrastructures, contracts and public spaces. Their practice explores alternative models of social and economic organisation, often through participatory and site-specific works, including major public space interventions such as Superkilen.

For CHART 2026, we are delighted to present a conversation between SUPERFLEX and Alice Sharp, Artistic Director of Invisible Dust and curator and art and science advisor for Climate Clock, part of Oulu’s European Capital of Culture 2026 programme. Sharp works at the intersection of art, science and climate action, and has collaborated with SUPERFLEX on their new marine landmark in Haukipudas, Oulu.

Photo of SUPERFLEX
Photo of Alice Sharp by Rosa Ruuskanen.

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

For CHART 2026, Alberte Skronski will perform “Link Pimousine (Pink Limousine)”; a pink limousine moving through the crowds and around the courtyard of the fair.

The humor of the grotesque runs like a common thread through Alberte Skronski's works. Across video, installation and performance, she explores the activist potential of humor, dresses up, plays and makes children's TV for adults. A duality is always present in Skronski's works as she builds absurd and colorful parallel universes of cardboard and recycled materials. They are characterised by a happy and playful aesthetic, but also contain a kind of grotesque horror. Like at a children's birthday party, where the clown is supposed to be funny, but is it really?

Two people dressed as a pink stretch limousine drive (walk) around the courtyard of Charlottenborg. Turning corners and going up stairs, the limousine moves as if in a cartoon going where no limousine has ever gone before.

This discussion explores how future art institutions can evolve to better support artists through new structures, resources and practices. It addresses shifting institutional models, questions of sustainability and care, and how programming, funding and curatorial approaches can be rethought to strengthen artistic production and long-term practice.

For CHART 2026, we are delighted to present a conversation moderated by Fatoş Üstek, curator, writer and co-founder of FRANK Fair Artist Pay, in dialogue with Krist Gruijthuijsen, Director and CEO of EMMA – Espoo Museum of Modern Art and Curator at Large at Kunsthaus Zürich, Marie Laurberg, Artistic Director and CEO of Copenhagen Contemporary and founder of CC Commissions and the Beckett-Prize, and Jakob Kudsk Steensen, artist working with environmental storytelling through virtual world building, video games and large-scale installations.

Photo of Fatoş Üstek by Christa-Holka.
Photo of Krist Gruijthuijsen
Photo of Marie Laurberg by Nicolai Oreskov Westh
Photo of Jakob Kudsk Steensen by Bastian Thiery

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

“The Elements” is a deconstruction and visual remix inspired by the weave "The Four Elements" by Swedish artist and designer Karin Larsson (1859-1928). The elements of the tapestry are taken apart and rewoven in video form and merges with a Morse code loop reciting Narcissus' declaration of love to his own reflection from Ovid's Metamorphoses: ‘I cannot escape’. By forging together an image which in many respects are part of a collective “Swedish” identity, with the myth of Narcissus and his inability to escape his own reflection, Löfström uses the code to examine the collective self-image of our time.

In a kaleidoscope of karaoke screens and colorful text, Ragnhild May and Kristoffer Raasted explore the history and cultural power of karaoke while composing a new song from fragments of existing hits.

Karaoke Collage is an homage to the global pop songs that have become cheesy earworms through their massive popularity. The lyrics are created from fragments of existing karaoke songs in a spolia-like process. By reusing familiar lyrical tropes, the work highlights how repetition and recycling are inherent to pop music itself.

Wohin? (2022) is a musical homage to the German highway, tied to both national identity and cruising culture. Its soundtrack, inspired by Kraftwerk’s Autobahn, features pipe organ improvisation by Berlin Cathedral organist Andreas Sieling and operatic vocals by countertenor Timothy Morgan. The refrain of “autobahn” overlays the dark, ironic performance, adding a strange romanticism. Visually, the film focuses on rearview mirrors, reflecting fleeting backseat scenes: a man staring out, checking his phone, dozing, or kissing another man. Hanging from the mirrors are talismans—Christian and Buddhist rosaries, and the German air freshener Wunderbaum—signaling cultural and spiritual layers.

Field 2025 Single-channel video installation with sound 16 minutes 36 seconds Field explores glass as a luminous, unstable phenomenon. Slow rhythms dissolve the boundaries between material and immaterial, accompanied by a subtly shifting soundscape. The work bends and amplifies light and space toward near-stasis, generating an environment of stretched perception and suspended time.

Commercials is a series of mock advertisements for products and services, such as a fake family pet, self-confidence building tapes, and a dating hotline. As the video progresses, the commercials become more surreal and abstract, often unclear as to what they are selling, so that the products and the life changes they promise become less attainable.

Erica Eyres (b. 1980, Winnipeg) is a Glasgow-based visual artist. Working with an absurd aesthetic between drawing, painting, ceramics, installation and video, Eyres’ practice unpacks the ways in which social categories relating to womanhood, domesticity, heterosexuality, the amateur and ordinariness are constructed and embodied.

In this early work, an electronic homage to Magritte, the Vasulkas demonstrate fundamental imaging techniques. Inspired by Magritte's painting The Golden Legend, this exercise employs a three-camera set-up, with images layered through a multikeyer, to create the illusion of objects moving through spatial planes. Loaves of French bread embark on a surreal video journey through electronic landscapes, finally arriving in an abstract space. The animated loaves add sense of playfulness to this early articulation of illusory space and three-dimensionality in video.

Benedikte Bjerre is a Danish artist who works conceptually with sociological phenomena in a versatile practice focusing on sculpture and installation, which reflect on the current state of society. Bjerre consistently examines sculptural qualities in relation to the architecture of a given space, all while using observations from her everyday life, engaging in how the beholders experience their surroundings.

For CHART 2025, we are delighted to present a talk between Benedikte Bjerre and Mai Dengsøe, art historian and curator at Gammel Strand. In curating contemporary art, Dengsøe works with intergenerational topics, focusing on art from the 1970s to the present day.

Photo of Miriam Kongstad by Liv Latricia Habel
Photo of Fatoş Üstek by Christa Holka

*The talk is held in Festsalen, located near the Kongens Nytorv entrance.

The starting point for the video is an image of the artist's sculpture, Anxiety (2017) that has been turned into a stock photo for licensing on the Getty Images website, without her prior knowledge or permission. Getty Images is the largest stock photo agency in the world. Getty took the photograph at Frieze Art Fair in London in October 2017. Mariam Jafri Vs. Maryam Jafri (2019) reflects upon the role of originality, artist labor and copyright in our culture of sampling and remixing. The video’s title references the caption accompanying the photograph which misspells the artist's name.

Inventively composed and compellingly narrated, Copenhagen-based Chinese artist Jiawei Zheng's work "One Thousand Reasons to Cry" reflects her multifaceted exploration of an experience that feels both personal and at the same time is shared by so many young Chinese people. Lived through the eyes of a solitary karaoke singer, in a story where language serves as a portal, Zheng invites the viewers to embark on a journey of re-imagination, where the boundaries between past and present, reality and fiction, seamlessly intertwine and dissolve. The work has been recently exhibited at Inside-Out Art Museum (Beijing, 2025) and NEVVEN (Gothenburg, 2025).

The video series Anachronism is composed of collages of found footage of Inuit life at the cusp of modernization in the early 20th century. Toggling between historical moments, Storch surfaces the abiding potency of self-imaging in the face of narratives forged from outside perspectives.

For CHART 2026 The Icelandic Love Corporation performs “Gratuation”, a post-menopausal, empowering performance staged as a graduation ceremony, subverting milestones and celebrating womanhood.

Most women experience having their period. From adolescence to over fifty, this monthly task is looming, varyingly burdensome. Women learn to live with it, they move on, and pretend like it's nothing. So as this somewhat unwanted very gender-specific education comes to an end, with a year of no bleeding, it's time to honour the journey. The Icelandic Love Corporation will sign an official Menopause Diploma during the performance, for those who have graduated and will graduate in the future.

The Icelandic Love Corporation (founded in Reykjavík in 1996) is an Icelandic art collective currently consisting of Jóní Jónsdóttir and Eirún Sigurðardóttir.

In Central China orchards of Fuji apples are undergoing a full metamorphosis. Applefarmers are climbing into the trees repeatedly to wrap and unwrap each apple separately in and out of paper bags. This enormously labour-intensive work is done with an incredible amount of concentration, meditative.

In "I am not a blonde" (2022), the artist asked 12 young women to recreate the iconic look of Marilyn Monroe. The camera took the place of a mirror and the invisible observer. The women could not see themselves while applying make-up. In this intimate moment, they consciously or unconsciously explore how classic signs of femininity - painted lips, long eyelashes - can be a mask behind which to hide or through which to gain power. It shows the discrepancy between icons / role models and oneself. During the movie the original voice of Marilyn Monroe talks about style and being blonde.

TBD

The video work "Vagus Symphony" is a multidisciplinary collaboration between The Icelandic Love Corporation and the Iceland Symphony Orchestra, combining visual art, music, and film. The work explores the Vagus nerve as a metaphor for connection, empathy, and sensory experience in an increasingly polarized world. Inspired in part by a psychic reading of the orchestra’s oldest instruments, it moves between dream and reality, tracing a journey from primordial creation to revelation through the “seven continents of the body.” Developed with composers, filmmakers, dancers, actors, and gymnasts, the project creates an immersive sensory experience across disciplines.

TBD