Art Herning 2026

Encased in acrylic glass displays, Charlotte Brüel’s Invisible Sculptures are meticulously screened within synthetic plastic cases resembling indestructible greenhouses, foregrounding the tension between nature and human influence. Her minimalist, symbol-laden showcases recall diminished theatrical scenes and evoke elements of absurdism associated with post-1945 theatre. A comparative gaze is activated when studying these works, where meaning arises not through narration but through the viewer’s nonverbal, sensual experience, ensuring their simple yet precise complexity.

Brüel’s sculptures seem never quite to stop; they unfold like tableaux materialising before the viewer’s eyes. At once open, exacting, and narratively unfinished, the works reflect a practice in which life and art are inseparable and continuously give rise to one another. This evolving life’s work invites the audience to slow down, observe closely, and enter into an ongoing dialogue.

FOS' artistic practice is diverse and moves through many genres and materials. It encompasses, in the broadest sense, sculpture, installation, music, architecture, and design. FOS' works explore how the language of objects and space define us as social beings.

FOS is generally interested in how art can function as an alternative to the systems that normally regulate our behaviour in our civil societies. His art often resides in social spaces, which enables new possibilities of sociality to arise – FOS hereby connects art, design and architecture in a hybridform, which he calls ’Social Design’.

Mads Gamdrup works with the potential of monochromatic photography and its strength as artistic statement in relation to a number of phenomena, such as distance, transparency, spirituality and materiality. Gamdrup explores the boundaries and possibilities of photography using Newton’s and Goethe's color theories.

Using a special technique called Monochrome Color Noise each color's exceptional resonance is manipulated by creating degrees of transparency within the individual color unit - from pure color to pure light. Gamdrup uses a colour palette assembled over the years from the pixelated noise, which has come into being in the transfer of his own analogous photos to digital ones. In the darkroom he has defined the colours on paper via different wavelengths of light, visualized as gradings of stripes, drips or bubbles.

Nils Erik Gjerdevik (1962–2016) explored the boundaries of form, color, and space across painting, works on paper, and ceramic sculpture. His artistic practice was driven by curiosity and experimentation, combining playful intuition with a deep understanding of art and architectural history.

Gjerdevik’s stoneware sculptures, including this work from 2004, create immersive spatial experiences that navigate the space between utopia and dystopia. The works suggest architectural landscapes or floating cities, where forms collapse, hover, or open toward imagined new worlds. Balancing spontaneity and precision, they resist fixed interpretation, inviting viewers to move around, study, and imagine, while renewing the sculptural language of ceramics in a way that continues to resonate with contemporary life.

Michael Kvium has persistently portrayed the follies of humanity for over four decades across various mediums, including painting, drawing, sculpture, film, and performance. His artistic exploration delves deep into all facets of life, particularly those aspects humanity tends to suppress. While the concealed reality remains acknowledged, Kvium's distinct portrayals have left a profound mark in art history and in the minds of viewers.

Kvium's narrative paintings, resonant with a theatrical performance, unfold on a stage from the rise of the theater curtain to its fall, mirroring the trajectory of life from birth to death. This theatrical quality is deeply rooted in his early engagement with performance art in the 1980s, seamlessly connecting his visual works to the realm of performance. As Kvium poses critical questions about the rise and fall of Western civilization, the theatricality in his oeuvre mirrors the course of life, inviting viewers to engage in profound introspection.

In her new body of work, Rebecca Lindsmyr continues to probe the tensions between gesture, language, and the construction of the self. Drawing from psychoanalytic and post-structuralist thought, she uses the painterly surface as both a site of projection and resistance – a field where subjectivity is formed, layered, blocked, and reassembled. The artist returns to her own handwritten signatures, repurposing them as painterly gestures. These once-functional signifiers are reframed through mechanical processes such as screen printing and repetition. While bending a tradition of reading the gesture as a trace of inner life or authorship, Lindsmyr exhausts the mark of the self, turning it into something simultaneously intimate and estranged.

The surfaces of her paintings unfold like palimpsests, built through gestures of concealment and revelation. Areas of the canvas are masked or overwritten, leaving behind traces, glitches, and interruptions. Some marks feel fluid and direct, others are obscured or fragmented, like half-formed thoughts. This rhythm of layering could be suggested to mirror the psychological processes we all move through: absorbing, editing, repressing, and resurfacing.

Operating at the intersection of painterly discourse and critical theory, Lindsmyr's practice positions painting not as image, but as body – a layered, intertextual, psychological construction. What may at first appear as formal experimentation unfolds into a dense meditation on identity, symbolic systems, and the continuous negotiations of becoming.