Programme

“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.

Music by Marcus Price, animation by Måns Nyman and Katarina Löfström.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

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.

The video series is consists of 7 select videos, titled 'As We Forget, We Chase The Beginning', 'Either Way That's Where We End', 'The Collection That Divided US', 'The Finder and The Message', "The Ice We Walk Through', 'The Way You Kill Is The Way You Live', 'We Grow Up To Forget Who We Were'.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

While Eight Cards (2011) introduces Ebbe Stub Wittrup's engagement with the Lüscher colour test, it is the video work House of Cards (2013) that develops the philosophical implications of this inquiry. The photographic series presents eight different arrangements of coloured cards, each suggesting a distinct personality structure. The works challenge both existentialist notions that identity is constituted through action and reductionist models that locate personality solely in neurological processes. Instead, the coloured cards function as fundamental units of meaning, proposing a reality built from simple but stable relations.

This idea reaches its clearest expression in House of Cards, which reverses the conventional meaning of the familiar metaphor. Traditionally, a house of cards signifies fragility: an unstable construction destined to collapse under the slightest disturbance. Wittrup transforms this image entirely. Rather than documenting disintegration, the film depicts individual cards gradually assembling into a coherent structure. The house no longer appears as an inherently precarious object but as the inevitable destination toward which the separate cards are drawn.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

Reel life is a collection of material from the United States, recorded in the fall of 2025. Some of it raw, some of it animated. Each piece is built with music and driven by feeling.

"I spent 13 years of my life considering the U.S. as home. So when I hit a wall this past fall, it felt natural to go back. Everything was shot on my iPhone, and much of it while consuming ~WYLD Edibles~. This work helped me feel better, and now it serves as a gateway to my next exhibition." -Fryd Frydendahl

“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.

Music by Marcus Price, animation by Måns Nyman and Katarina Löfström.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

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.

The video series is consists of 7 select videos, titled 'As We Forget, We Chase The Beginning', 'Either Way That's Where We End', 'The Collection That Divided US', 'The Finder and The Message', "The Ice We Walk Through', 'The Way You Kill Is The Way You Live', 'We Grow Up To Forget Who We Were'.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

While Eight Cards (2011) introduces Ebbe Stub Wittrup's engagement with the Lüscher colour test, it is the video work House of Cards (2013) that develops the philosophical implications of this inquiry. The photographic series presents eight different arrangements of coloured cards, each suggesting a distinct personality structure. The works challenge both existentialist notions that identity is constituted through action and reductionist models that locate personality solely in neurological processes. Instead, the coloured cards function as fundamental units of meaning, proposing a reality built from simple but stable relations.

This idea reaches its clearest expression in House of Cards, which reverses the conventional meaning of the familiar metaphor. Traditionally, a house of cards signifies fragility: an unstable construction destined to collapse under the slightest disturbance. Wittrup transforms this image entirely. Rather than documenting disintegration, the film depicts individual cards gradually assembling into a coherent structure. The house no longer appears as an inherently precarious object but as the inevitable destination toward which the separate cards are drawn.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

Reel life is a collection of material from the United States, recorded in the fall of 2025. Some of it raw, some of it animated. Each piece is built with music and driven by feeling.

"I spent 13 years of my life considering the U.S. as home. So when I hit a wall this past fall, it felt natural to go back. Everything was shot on my iPhone, and much of it while consuming ~WYLD Edibles~. This work helped me feel better, and now it serves as a gateway to my next exhibition." -Fryd Frydendahl

“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.

Music by Marcus Price, animation by Måns Nyman and Katarina Löfström.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

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.

The video series is consists of 7 select videos, titled 'As We Forget, We Chase The Beginning', 'Either Way That's Where We End', 'The Collection That Divided US', 'The Finder and The Message', "The Ice We Walk Through', 'The Way You Kill Is The Way You Live', 'We Grow Up To Forget Who We Were'.

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.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

While Eight Cards (2011) introduces Ebbe Stub Wittrup's engagement with the Lüscher colour test, it is the video work House of Cards (2013) that develops the philosophical implications of this inquiry. The photographic series presents eight different arrangements of coloured cards, each suggesting a distinct personality structure. The works challenge both existentialist notions that identity is constituted through action and reductionist models that locate personality solely in neurological processes. Instead, the coloured cards function as fundamental units of meaning, proposing a reality built from simple but stable relations.

This idea reaches its clearest expression in House of Cards, which reverses the conventional meaning of the familiar metaphor. Traditionally, a house of cards signifies fragility: an unstable construction destined to collapse under the slightest disturbance. Wittrup transforms this image entirely. Rather than documenting disintegration, the film depicts individual cards gradually assembling into a coherent structure. The house no longer appears as an inherently precarious object but as the inevitable destination toward which the separate cards are drawn.

This work will also be on view on advertising screens across CPH Metro Stations during CHART.

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.

Reel life is a collection of material from the United States, recorded in the fall of 2025. Some of it raw, some of it animated. Each piece is built with music and driven by feeling.

"I spent 13 years of my life considering the U.S. as home. So when I hit a wall this past fall, it felt natural to go back. Everything was shot on my iPhone, and much of it while consuming ~WYLD Edibles~. This work helped me feel better, and now it serves as a gateway to my next exhibition." -Fryd Frydendahl