Tove Storch · SAMMENBRUD

Tove Storch’s work “Untitled” (2024) is part of the exhibition “SAMMENBRUD” at Ved Skoven, on view until September 1, 2024.⁠ ⁠

A long row of rusted iron rods rests like heavy wet ropes over two transverse bars. The hard individual parts fuse together like threads in a huge piece of textile that is hung to dry. The threads resemble a drawing, a transparent sculpture, simply made up of lines.⁠ ⁠

Photo: Malle Madsen⁠


Tove Storch · Hearland Festival

For Heartland Festival 2024, Tove Storch created a site-specific installation for people to interact with while washing their hands at the festival site.⁠ ⁠

With this work, Storch set the stage for a grand communal ritual performance, where the audience could rub their wet hands up and down soft, smooth sculptural forms. Storch emphasized the sensory experience, highlighting the intense interaction between the body, hands, and imagination with the object.⁠ ⁠

Photo: Anne Mie Bak 


Lea Porsager · After the Sun — Forecasts from the North

Lea Porsager’s work “OFFSHORE G.O.D. [Generator. Organizer. Destroyer.], Remains.” (2024⁠) is part of the exhibition ”After the Sun — Forecasts from the North” at the Buffalo AKG.⁠ ⁠

The exhibition is curated by Helga Christoffersen, and is on view through August 19, 202⁠4.⁠ ⁠

Photo: Brenda Bieger⁠ ⁠


Ed Templeton · Turning the Page

Ed Templeton's 'Wires Crossed' is part of the group exhibition ‘Turning the Page’ at Pier 24 Photo Museum, San Francisco, CA, US. ⁠

In 'Wires Crossed' Templeton shares all aspects of his life and the lives of his friends and colleagues. On their tours, they explore their own boundaries, both physical and mental. The photos show the twilight zone between adolescence and adult life: jokes, broken bones, boredom, arguments and sex.⁠

The exhibition is on view through December 31, 2024⁠

Photo: Josef Jacques


Lea Porsager & FOS · Naboplanter

Lea Porsager and FOS are part of the group exhibition "Naboplanter" at Den Frie Udstillingsbygning⁠. ⁠

The exhibition is on view from 13.04.24 — 26.05.24. 

For more information, please find a link here.

⁠Photo: Malle Madsen. 


Runo Lagomarsino · Platsens ljus – Spaces of Light

Runo Lagomarsino's permanent commission "Platsens ljus – Spaces of Light", 2024, is now completed in the entrance hall of the new Skåne University Hospital building in Malmö, Sweden. The work illuminates the foyer with 164 glass globes suspended at different heights from the ceiling. 

Each lamp corresponds to one of the hospital's employees, sharing the light of the place they come from. When the day dawns in Santiago de Chile, dusk falls in Örnsköldsvik, Sweden; one lamp starts shining, another falls dark. The lights in the lamps are in constant movement following the different cities placement in relation to the sun. With its warm, shimmering light, the work links people and places, from Malmö and across the globe. 

The dynamic aspect of the work, where the lamps change light depending on the time in different parts of the world, serves as a constant reminder of the global interconnection This not only provides a visual experience but also a temporal and geographical one, reinforcing the feeling that Malmö's hospital is a place where the world converges.

Photos: Helena Toresdotter and Daniel Persson



24.05.24, 4:30–5pm⁠

Please join us on Friday, May 24, 4:30 pm at Glentevej 49, Copenhagen, for an Artist Talk with Matthew Ronay and Simon Starling. Ronay will be introducing his solo exhibition, Fruitbody, in conversation with the Turner Prize-winning artist Simon Starling, whose practice spans a wide variety of media, including film, installation, and photography.

Read about the exhibition


Matthew Ronay’s (b. 1976) sculptures are rooted in automatic drawings, allowing the subconscious mind to guide the hand without preconceived notions. By relinquishing control, the artist taps into deeper layers of consciousness, unveiling hidden aspects of the psyche. The works are generally abstract and non-representational, but they resonate strongly with nature’s vocabulary: tubes, bumps, warts, eggs, and orifices. The sculptures also embrace nature’s themes of reproduction and degradation and depend on the space between their parts, implying the intimacy of touch, which viewers often perceive in a haptic way. Working primarily in basswood, Ronay creates all of his works unassisted, investing the sculptures with rhythmic textures and shapes that seem to have “grown” autonomously.

Simon Starling was born in Epsom, England, in 1967. He graduated from the Glasgow School of Art, and was professor of fine arts at the Städelschule in Frankfurt from 2003 to 2013. His practice spans a wide variety of media, including film, installation and photography. Starling won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. He represented Scotland at the Venice Biennale in 2003 and has had solo exhibitions at Frac Ile-de-France, Le Plateau in Paris (2019), Musée regional d’art contemporain in Sérignan (2017), Japan Society in New York (2016), Museo Experimental El Eco in Mexico City (2015), Museum of Contemporary Art in Chicago (2014), Monash University Museum of Art in Melbourne (2013), Staatsgalerie Stuttgart in Germany (2013), Hiroshima City Museum of Contemporary Art in Japan (2011), Massachusetts Museum of Contemporary Art in North Adams (2008), Power Plant in Toronto (2008), Musée d’art contemporain du Val-de-Marne in Vitry-sur-Seine (2009), Tate Britain in London (2013, 2009) and Temporäre Kunsthalle Berlin (2009).



Eduardo Terrazas' work "1.1.91" (1970/1972) is part of the 60th edition of The International Art Exhibition of La Biennale di Venezia "Stranieri Ovunque - Foreigners Everywhere", curated by Adriano Pedrosa.⁠ ⁠

Eduardo Terrazas is an architect, designer, and visual artist known for his vast experience as a painter. From the beginning of his career, 1.1.91 (1970–1972) exemplifies his experimentation with materials and his early work interested in recoding craft traditions. Working with the square and its contrast with the curvilinear aspect of the circle, Terrazas proposes strong chromatic contrasts that appeal to the eyes and to the physicality of the human body. The artist refers not only to modernist and European discussions regarding the place of abstraction in art history but also to Indigenous traditions and those associated with the working class in Latin America and elsewhere.⁠ ⁠

This is the first time the work of Eduardo Terrazas is presented at Biennale Arte.⁠ ⁠

- Raphael Fonseca⁠ ⁠