-
LEA PORSAGER
focus26
JUNE 12 – JuLY 10, 2026
Glentevej, Copenhagen, DK
-
-
-
Porsager’s ICUnT (sans solEil I, II, III, IV, V) and ICUnT (potEntial wEll I) rework elements of the religious icon through a libidinal pun, transforming a historical pictorial system for opening the soul and making the divine appear. Borrowing from the icon’s traditional role as a mediator or window between the visible and the invisible, the series explores the relationship between matter and spirit, engaging contemporary notions of spirituality through a dialogue between the seen and the unseen. Suggesting that the spiritual is not separate from the material world, the works invite viewers to consider spirituality as a form of attunement – an openness to the deep material dimensions, forces, and relations that shape our experience of the world.
-
FEMI HORN [MORE AND MORE GHOSTS CUM INTO THE VACUUM] – a three-metre stainless-steel horn – takes its name from fermions, the class of particles that constitute matter, including neutrinos – the elusive “ghost particles” that pass almost undetected through the world around us – named after the physicist Enrico Fermi. The missing “r”, initially a typo, was retained, lending the work a playful and suggestive charge. First presented in a restroom at Den Frie, Copenhagen, the sculpture emerged from Porsager’s self-described “horny phase”, where scientific terminology merges with erotic undertones. Acting as both transmitter and echo, the horn channels ghost particles through a convergence of humour, desire, and high-energy physics. The work brings together scientific inquiry and bodily desire, blurring the boundaries between fact, fiction, and speculation.
-
Beds recur throughout Porsager’s practice as spaces of transformation, intimacy, and inquiry. Rather than places of rest, they become sites where different states of consciousness unfold and intersect. Z wan Hotbed and #MasturbatoryPowertool Daybed function as both sculptural objects and conceptual frameworks, bringing together references to sexuality, dreaming, spirituality, and scientific inquiry. Familiar and bodily, these works position the bed as a threshold between different states of experience.
-
Five Kundabuffer appear resting on, beneath, and emerging from the beds. Borrowed from G.I. Gurdjieff’s speculative cosmology, the Kundabuffer was an organ implanted at the base of the spine to prevent humanity from recognizing its place within a larger cosmic order. Occupying the beds as strange corporeal presences, Porsager reimagines the Kundabuffer as a series of biomorphic organs bearing the names of Solita Solano, Olgivanna Lloyd Wright, Jane Heap, Kathryn Hulme, and Karen Blixen – women associated with the literary, artistic, and spiritual circles surrounding Gurdjieff’s thought.
-
The presentation is on view in parallel with Lea Porsager's solo exhibition, …AND SNEEZE, at Simian, Copenhagen, June 20–September 13, 2026.
-
-
Photo: Petra Kleis -
![Lea Porsager FEMI HORN [MORE AND MORE GHOSTS CUM INTO THE VACUUM], 2020 Stainless steel](https://static-assets.artlogic.net/w_600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/nilsstaerk/images/view/d399fa3062c5312df294662eab22e636j/nilsst-rk-lea-porsager-femi-horn-more-and-more-ghosts-cum-into-the-vacuum-2020.jpg)
