Matthew Ronay: The Crack, the Swell, an Earth, an Ode

Matthew Ronay's solo exhibition "The Crack, the Swell, an Earth, an Ode" opens today at Nasher Sculpture Center. 

Titled The Crack, the Swell, an Earth, an Ode, the nearly 24-foot-long sculpture offers a comprehensive introduction to Ronay’s surreal worlds and the various creatures inhabiting them. Representing that tension between abstraction and representation, the various connected elements in The Crack achieve what Ronay describes as “the razor’s edge of familiar and unfamiliar; you think you’re seeing something, but you’re not quite sure.”


The exhibition is open until 15.01.2023.



Darío Escobar, "Words are Silver, Silence is Golden" at MUNAL

Darío Escobar's solo exhibition "Words are Silver, Silence is Golden" at MUNAL is now open. The exhibition runs until 25.09.22.

To read the full exhibition text, written by José Luis Falconi, please click here. And for more information on the exhibition, click here.




Runo Lagomarsino 'A Cloud of Smoke' at Galleri Format

Runo Lagomarsino's solo exhibition A Cloud of Smoke, is now open at Galleri Format, Malmø

The show runs until 27.02.2022⁠

To read the full exhibition text, written by Avram Alpert, please click here. Text courtesy of Galleri Format, Malmø.



SUPERFLEX 'Sometimes As A Fog, Sometimes As A Tsunami' at Kunsthaus Graz

Sometimes As A Fog, Sometimes As A Tsunami is now open to the public at Kunsthaus Graz

The exhibition will run until 13.03.2022.


In 2017, SUPERFLEX began a five-year project at Kunsthaus Graz. During this period, one work has been installed in the space each year, all addressing the fetishization of money, the collapse of value, and the economic conditions that constrain cultural institutions.
The cycle concludes with a substantial solo exhibition entitled Sometimes As A Fog, Sometimes As A Tsunami, focusing on the power of economy to dissolve social relations. In this context, capitalism appears as a fluid force that seeps into every crack and corner of the world. The exhibition includes works engaging with the dizzying nature of the economy, works that expand notions of community and aim to open new forms of coexistence between species, and a new film that imagines a post-human future.
Sometimes As A Fog, Sometimes As A Tsunami will be accompanied by a publication that reflects SUPERFLEX's interest in value systems. Buyers of the book will be involved in the process of value generation: the exact same book will be sold at three different prices, so it’s up the buyer to decide how it’s valued. The content of the book provides insight into the exhibition and places the works on display in a larger discursive context. Designed by Rasmus Koch Studio.

Sometimes As A Fog, Sometimes As A Tsunami
Curated by: Barbara Steiner


Photo by Jakob Fenger. Courtesy of SUPERFLEX.






FOS 'Skin Carpet' at Le Bicolore, Maison du Danemark

22.10.2021 - 19.12.2021

Opening 22.10.2021 at 7 pm

Curator: Diana Baldon

For more information, please click here.

Skin Carpet is the first solo exhibition in France by Danish artist FOS (Thomas Poulsen; b. 1971, lives and works in Copenhagen and Venice). His artistic practice moves across genres, encompassing sculpture, installation, architectural, design and music. Since the beginning of the 2000s, his works have been exploring how the aesthetic language of objects and spaces can define us as social beings.
The exhibition title is an invented word that encodes a dual meaning referring to a double space. On the one hand, it references the haptic experience of human touch on dissonant but smooth surfaces, such as skins and carpets. On the other, it relates to materials whose predominant task is to wrap and frame something else.

The exhibition is staged as a large-scale environment shaped by 240-meter long hand-coloured canvas that sketches out an outsized pair of human lungs. By inhaling and exhaling, the biological process of this organ mechanically moves air through the body while metabolizing oxygen. In FOS ́ sculptural setting, this organic chamber is scaled up to become a soft architectural interior where penetrable barriers enclose our bodies as well as the volume of air that circulates in and out of them.

Few sculptural objects are sparsely arranged within the organ-shaped stage. Among these, a glass tube sculpture expels vapour like a connecting artery. The biomorphic shapes of the gentle fog manifest through the scrutinizing eye of a thermic camera, whose very image is projected on a large screen at the entrance.
Like a radar, the thermographic picture draws continually sinuous forms of glowing light that reveal the otherwise undetectable movements of hot air and substance. While in constant exhalation, the steam morphs into the surrounding environment to flow and transform into new life cycles. Heat is the artistic material, invisible matter dissolving into the viewer ́s body, pervading it front and back in a space fashioned as that body part upon which rests on the human breath.


Olaf Breuning ‘Plans for the Planet’ at the National Gallery of Victoria,

Olaf Breuning presents ‘Plans for the Planet’ at the National Gallery of Victoria, Melbourne, Australia.

“Artist Olaf Breuning presents Plans for the Planet, an adventure playground for kids to explore, be creative and share their points of view. Throughout the exhibition, children can view animated drawings by the artist, help save a forest, make a portrait and type up plans for the planet for everyone to see.” - National Gallery of Victoria

Plans for the Planet is generously supported by The Truby and Florence Williams Charitable Trust managed by Equity Trustees, the Packer Family and Crown Resorts Foundations, the Neilson Foundation and Spencer Ko and can be experienced until 03.10.2021

"After a couple of years preparing "Plans For The Planet" at NGV in Melbourne finally opened its doors. We planned to open one year ago, but Corona made it impossible, which was maybe a good thing for the show since the very ambitious team lead by Kate Ryan had more time to work on all the details. The show is based on my work and designed by the fantastic NGV team and me. It is a show for kids to make them think playfully about our current relationship with nature and our plans for the future. Most of the show is interactive; kids can draw on pads, activate small animations by tapping on cutout flowers attached to the wall, putting their drawings on a large wall screen, and many more fun things. They can even walk on printed wooden planks over an imaginary hot lava stream - Jurassic Park meets "Saving The Planet". The show hopefully makes our future generation in charge more sensitive about our behavior towards nature." - Olaf Breuning 

For more information please click here


Lea Porsager 'STRIPPED' at Kunsthal Charlottenborg

Lea Porsager 'STRIPPED' at Kunsthal Charlottenborg. ⁠

The exhibition is on view until 08.08.2021 ⁠

For more information please click here

In the exhibition, Porsager mixes science and esoteric knowledge, including tantric meditation and quantum physics. In her works, energy, matter and body meet and clash up against each other in unseen ways as she lets new forms emerge in encounters with phenomena that we cannot perceive with our senses alone.

The exhibition opens with three cut-up wind turbine blades lying like fallen giants on the floor of Kunsthal Charlottenborg’s grand space. The emptiness of the hall and the spaces between the individual pieces are permeated by an immense, invisible force. Where the blades have been cut, openings appear: wormholes to another dimension, or female openings in the otherwise phallic shape of the blades? Porsager plays with the wind mill as a historic image of the power of the imagination – and as a present-day symbol of sustainable energy, offering assurances that our lives can continue as before as long as our energy is clean.

The works in the exhibition point beyond themselves as art: they could be machines and strange measuring instruments, or cultic objects used for obscure rituals. When Porsager’s works open themselves up to other, alternative or even alien meanings, our imagination is pushed to enter new dimensions. In that sense, the title of the exhibition – STRIPPED – can be understood as a way of kicking old habits, or of unlearning what one previously knew, thereby becoming open to what lies hidden on the other side of humanity’s understanding of ourselves as the centre of the world.

Lea Porsager (b. 1981) is a graduate from the Royal Danish Academy of Fine Arts in Copenhagen and from the Städelschule in Frankfurt am Main in 2010. She has had solo shows at venues such as the Henie Onstad Art Center in Oslo, Kunstverein Göttingen, The Emily Harvey Foundation in New York and The Museum of Contemporary Art in Roskilde. Porsager took part in documenta 13 and the 14th Istanbul Biennale. She is currently working on public art commissions in Denmark, Norway and Sweden. Her land art piece Gravitational Ripples was inaugurated in June 2018 at Djurgården in Stockholm, commemorating the Swedish victims of the tsunami disaster in Southeast Asia in 2004. Porsager holds a PhD from the Malmö Art Academy. She lives and works in Copenhagen.

STRIPPED is curated by Lars Bang Larsen and organised in collaboration with the Moderna Museet in Stockholm. The exhibition is supported by the Augustinus Foundation, the Beckett Foundation, the Knud Højgaard Foundation, the Obel Family Foundation, the Danish Arts Foundation and the William Demant Foundation.

The exhibition is accompanied by a new publication edited by Milena Høgsberg as well as by a series of events, including a talk by American feminist and physicist Karen Barad, who is a great source of inspiration for Porsager’s practice.

Text by: Kunsthal Charlottenborg ⁠


Carlos Amorales showroom exhibition

In the occasion of Carlos Amorales current exhibition 'THE AMORALES BROTHERS' in the online exhibition space MELLEMRUMMET, a presentation of new collages and paintings can be experienced in the gallery showroom. ⁠⁠
We look forward to welcome you.⁠⁠


In recent years, Carlos Amorales has investigated the possibilities of color. His latest series, Jungla de estrellas (Star Jungle), uses fragmented abstraction as a visual language. Each canvas begins with collage, a part of the artists’ practice for years, which is itself a repetitive act with cycles of cutting, placing, and pasting. The compositions are highly intuitively guided by aesthetics to formulate indecipherable typography defined by fragmentation. 

Bubble Mask is another variation, yet they operate in a different color plane of gradients. Placed in the foreground of the painting, a mask seems to be the most acute part. Yet, a mask conceals something from view to cover up a similar linguistic pattern in the background. The mask also appears in the artist's latest video work as a connector image between two worlds, the digital and physical, articulating current shifts in representation.

In both painting series, Amorales draws from past series like El esplendor geométrico (2015) and La Orgía de Narciso (2020), continuing the explorations of color, space and repetition.

Working on these painting series during the height of the pandemic provided an outlet giving consistency and certainty in the most uncertain time. The practice provided a concentrated emotional and energetic outlet, a routine to get lost and find relaxation by literally bringing order to chaos. The centrality of color allowed Amorales to react to the different stimuli of the various hues while detaching from anxiety-ridden reality.