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Lea Porsager
Lea Porsager’s (b. 1981, Denmark) work draws on the intersections of science, politics, feminism, and esotericism, often translating complex physics into tactile thought-forms. With a distinct interest in energy – both physical and metaphysical – Porsager creates narratives that challenge binary thinking and linear conceptions of time, inviting viewers into fields of entangled meanings and relations.
Porsager's ICUnT (mEssEnger ll, lll, lV, V) and ICUnT (potEntial wEll ll, lll, lV) 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.
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DARÍO ESCOBAR
Darío Escobar (b. 1971, Guatemala) engages in a formal and conceptual investigation of commonplace objects, recontextualizing them within the histories of art and visual culture. Since the early 1990s, he has employed ready-mades – from McDonald’s cups to vulcanized tires and sports equipment – to examine our entanglement with mass culture, identity-based consumption, and the blurred lines between high and low culture. His work prompts viewers to reflect on the social, political, and economic systems that shape everyday life.
The works in the Crash series consist of car bumpers that were damaged in accidents and later collected by the artist from junkyards in Guatemala. After removing the bumpers, which had been distorted by the collisions, Escobar had them chromed while preserving the visible traces and deformations caused by the impact. Large car bumpers are often associated with SUVs fitted with tinted, bulletproof windows – vehicles typically linked to a small and highly privileged segment of society. In this context, the cars and their oversized bumpers become symbols of power, reflecting the social inequalities that shape the environments in which the artist lives and works. -
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Violeta Maya
Violeta Maya (b. 1993, Spain) works across painting, interaction, and moving image, developing a practice grounded in time, process, and transformation. Her approach combines sequential thinking with intuitive responsiveness, allowing each work to unfold in relation to the next and forming a continuous visual field rather than a series of discrete compositions. Painting, in this sense, becomes a durational act in which rhythm, accumulation, and change function not only as formal devices but as structures through which the work emerges. Her paintings evoke shifting atmospheres in which colour and gesture register states of emergence, tension, and flux.
This focus extends into her handling of materials, where the balance between control and contingency becomes central. Working primarily with wet-on-wet techniques on unprimed canvas, Maya allows pigments to spread, absorb, and interact beyond complete control, treating material behaviour as an integral part of the work’s formation. The resulting surfaces hold a dynamic tension between intention and unpredictability, foregrounding process and material responsiveness as central to meaning. -
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Eduardo Terrazas
Eduardo Terrazas (b. 1936, Mexico) draws from a geometric language and a method inspired by the tablas of the Huichol, an Indigenous Mexican tribe. Using symmetrical structures as matrices for countless variations, Terrazas explores cosmic concepts, placing the earth at the center and the celestial dome at the periphery, while essential forces – gravitational, electromagnetic, and nuclear – compete for the space in between.The technique involves affixing colored wool onto wooden panels coated with Melipona bee wax, acting as an adhesive. The thread moves along, reproducing the lines, curves, meanders, and changes of direction required by the motif. This process entails tirelessly repeating back and forth movement, during which each strand is tightly glued along the previous one, leaving no gaps or openings between them. -
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RUNO LAGOMARSINO
Runo Lagomarsino (b. 1977, Sweden) develops works that present a critical vision on the construction of history-based connection, themes or analysis in current geopolitics. His work presents a well-defined political position; they possess an unfinished and fragmented aspect and acts as provocative reflections on themes of territory and exclusion. His family tree spans the globe, born in Scandinavia to Argentinian parents descended from Italian 'émigrés' who fled Europe during the First World War. His work effortlessly shifts between installation, collage, drawing, performance, and video, but always keeps in line with his heritage and political vision, charting colonial histories and opposing modes of oppression.
Lagomarsino’s Kill All Lies, All Lies Kill, Lies Kill All (2024) draws on a provocative moment in art history. In 1974, Tony Shafrazi, then an aspiring gallery owner, vandalized Picasso’s Guernica at MoMA by spray-painting a phrase intended as LIES ALL KILL – a quote from James Joyce’s Finnegans Wake. Shafrazi’s act was both a protest against the Vietnam War and a bid for recognition within the art world. Miscalculating the letter size, he added KILL before the other words to fit the space. Though the text was quickly removed, the incident remains a powerful symbol of dissent.
Lagomarsino’s drawing reconfigures this phrase, layering the words "Kill All Lies, All Lies Kill, Lies Kill All" to explore the unstable relationship between truth and deception. The overlapping text invites viewers to reflect on language’s power, the politics of protest, and the fraught intersections of art, history, and activism. -
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Tove STorch
Tove Storch’s (b. 1981, Denmark) artistic practice has for many years centered around textile structures – especially transparent silk organza stretched across wooden or metal frames. At times the silk is pulled so tightly that the frames bend under the tension, while at others it is loosened, allowing the material to fall in soft, slumping arches. Through these investigations of tension, gravity, and transparency, Storch explores how fragile materials can produce both spatial and bodily associations, balancing formal abstraction with something intimate and tactile.
Untitled (2026) originates from the idea of upscaling a piece of textile. Suspended within a transparent plexiglass box, fine threads stretch repeatedly between wooden supports, forming draping curves that yield to their own weight. The dense repetition of lines recalls weaving techniques and enlarged textile fibers. As the threads fall into soft arcs between fixed points, the rigid framework appears unexpectedly fluid and delicate. The work transforms simple linear materials into a luminous, almost immaterial structure, where transparency, gravity, and rhythm create a sculptural drawing in space.
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Ikram Abdulkadir
Ikram Abdulkadir (b. 1995, Kenya) is a Swedish-Somali photographer based in Malmö, working within a documentary photographic tradition. Her photographs emerge from close relationships with the people and environments around her, portraying sisters, friends, and members of her community in everyday urban and domestic settings. Through a quiet and attentive visual language, Abdulkadir explores intimacy, friendship, sisterhood, and belonging, often focusing on subtle gestures and exchanges that shape shared experience.
Working from her own lived experience as a Black Muslim woman in Scandinavia, Abdulkadir reflects on questions of visibility, self-definition, spirituality, and community. Approaching the camera as both participant and observer, she creates images grounded in trust and mutual recognition, considering how personal and collective histories are carried through presence, environment, and emotional connection. -
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MaDS GAMDRUP
Mads Gamdrup's (b. 1967, Denmark) monochrome oil paintings explore the materiality of color through layered, hand-ground pigments. Balancing transparency and density, the surfaces reveal subtle shifts in tone and light. While seemingly minimal, each work contains traces of movement – gestural brushstrokes and the imprint of the hand – inviting slow, attentive looking.
Rooted in a decades-long engagement with photography, these paintings continue Gamdrup’s investigation into light, color, and perception. By reducing the image to a single color, he creates space for reflection and sensory experience, where meaning emerges not from depiction but from the act of seeing.
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Davide hjort di fabio
Davide Hjort Di Fabio’s (b. 1990, Italy) Skincare Routine series translates familiar gestures of self-care into sculptural traces. Working directly in clay, Di Fabio uses the same repetitive movements as those made when applying skincare to the face, allowing the rhythm and pressure of these gestures to leave an imprint in the material. A private and habitual choreography is thus displaced from the surface of the body onto the surface of the sculpture.
The works extend Di Fabio’s ongoing exploration of sculpture as an extension of the human body. Rather than depicting the body, his sculptures register its movements, pressures, and impulses. In Skincare Routine, the acts of applying, smoothing, and rubbing become a process of inscription, transforming an intimate everyday gesture into an abstract, tactile form. Through repetition, the clay records the movement of the hand, creating surfaces that appear both worked and bodily. The sculptures preserve something of the action that produced them while remaining detached from its original purpose, turning a familiar gesture of care into a material trace.
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Rebecca Lindsmyr
Rebecca Lindsmyr (b. 1990, Sweden) explores how subjectivity is formed, fractured, and reshaped over time. Her paintings draw on psychoanalytic and post-structuralist thought while remaining grounded in the material and emotional language of the body.
Central to Lindsmyr's recent works are reproductions of her handwritten signature, transformed through screen printing and repetition. What begins as a personal mark becomes increasingly ambiguous – at once familiar and distant.
skin-deep vowel (2025) continues this exploration through a process-driven approach to painting. Built through repeated layers, with parts of the surface blocked, the work resists becoming a complete image. Instead, it takes shape through repetition and interruption, revealing fragments of what lies beneath.
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Gardar Eide Einarsson
Gardar Eide Einarsson’s (b. 1976, Norway) speech-bubble works draw directly from comic books, isolating fragments of dialogue from the images and narratives they originally belonged to. Removed from their original context, the phrases retain the immediacy and familiarity of the comic-book form while becoming strangely ambiguous. The speech bubble remains a recognisable visual device, yet without the surrounding imagery and narrative, its meaning becomes unstable and open to projection.In this way, Einarsson transforms a popular and immediately legible form into something more ambiguous and psychologically charged. The works point to the mechanisms through which images, language, and cultural conventions shape our understanding of events and identities, while maintaining the understated humour and critical distance characteristic of his practice.
Townships (2012) isolates a fragment of dialogue in which the speaker threatens to “start bombin’ their townships” until “they tak the hint”. Removed from the comic-book narrative, the statement is stripped of the visual cues that might contextualise it, leaving its violence and political undertones exposed. The work creates a tension between the familiarity of its format and the disturbing nature of the language, prompting the viewer to imagine the unseen circumstances surrounding the statement.
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SUPERFLEX
SUPERFLEX’s (est. 1993, Denmark) As Close As We Get is a series of sculptures that function as art for humans and as potential homes for fish. As sea levels continue to rise, human buildings may soon be underwater. For this reason, the group finds it important to consider the needs and desires of marine life in their construction decisions. Fish are the future occupants of our houses.Because ocean biodiversity thrives around structures with an abundance of surface area, the modular building blocks of As Close As We Get are designed to feature many flat, irregularly sized planes. Each sculpture consists of multiple stacked building blocks, forming artworks that can be transformed into underwater infrastructure. Looking beyond human perceptions of time, As Close As We Get utilises materials with vastly different relationships to geological time, from stone to specially made, fish-friendly bricks. Many of these materials have been forged by the earth over the course of millennia, while others are brand new products of human ingenuity.
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Michael Kvium
Michael Kvium (b. 1955, Denmark) 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.
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