Alice Martucci’s performance responds to the changing arrangement of works in Contours of a Fractured Horizon. Across five iterations, After Hours develops alongside the exhibition. The gallery’s glass façade places the encounter between performer and viewer across the boundary of the interior and the street.
Raison d’être opens Contours of a Fractured Horizon, a chain exhibition in five chapters. As new works enter the space, the exhibition examines how perception, experience and relationships change when familiar structures begin to dissolve.
Ernst Skoog brings street mirrors into contact with surveillance infrastructure. Sif Hedegård intervenes in the gallery sign and contributes a text drawn from bodily memories. Bjarke Hvass Kure and Ny Von reconstruct Arne Jacobsen’s Nationalbank as a speculative ruin. Alice Martucci’s performance responds to these changing constellations.
White Rabbit is an exhibition platform that moves between places in transition, working in the intervals where established rules and hierarchies loosen. Its first exhibition takes place at TITLED.
The Introduction brings together Anne Sofie Djernis, Amalie Gammicchia, Stine Victoria (Hyun) Pedersen, Erik Hjorth and Laura Kreutzfeldt Kristensen.
Anne Haaning examines how technology shapes what we can see, and how its instruments change our understanding of ourselves.
A life-size wax astronaut bends beneath the task of looking through an Infinity Scroll towards a sky interrupted by a selfie ring. Video and archival material connect different systems of pattern recognition, from the search for extraterrestrial intelligence to artificial intelligence.
Stine Deja continues her investigation of cryopreservation: freezing human bodies or heads after death in anticipation of future technologies that might revive them. Working with writer Ida Marie Hede, she considers the labour behind this promise.
A fictional job description brings speculative medicine into contact with the physical tasks required to preserve a body. The work asks who benefits from this labour, what qualifies someone to perform it, and how expectations about the future shape decisions in the present.
Supported by
Statens Kunstfond, Fake Foundation and Brødrene Hartmanns Fond.
Rune Bering connects the machinery of Baroque theatre with the structures of power behind digital platforms. Joseph Furttenbach’s seventeenth-century Theatrum Machinarum describes how moving architecture, constructed perspectives and effects can direct a spectator’s experience.
Within this organised illusion, the fool appears unpredictable yet remains part of the machinery. Bering brings this figure into a present in which technology companies control platforms, networks and cloud infrastructure. The stage has changed, but bodies, architecture and technology continue to organise what can be seen and said.
Lukas Danys brings sculpture, video and photographic material into an investigation of perception and altered states of consciousness. The works consider how mediated environments and technological frameworks shape experience.
PIT edits together film sequences that attempt to depict entheogenic experiences. Moments of transition and disorientation expose the limits of visual representation. Nearby sculptures place forms under material and spatial pressure, shifting the relation between body, image and environment.
Sophie Hjerl combines augmented reality with physical objects, extending the installation from the gallery into the street. The works examine the boundary between what we perceive, imagine and accept as fact.
Eyes introduces a virtual wall of ice into the former travel agency, imagining a future shaped by changes in ocean circulation. SIFON, in the rear room, takes its title from the breathing tube of a mollusc. Outside, ICE SEA transforms a scan of broken asphalt into a composition recalling Caspar David Friedrich’s The Sea of Ice. AVE reworks the figure of Eve, holding the snake rather than taking the apple, to consider care, vulnerability and the relationship between bodies and environments.
Supported by
Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond and Københavns Kommune, Rådet for Visuel Kunst.
Lea Anić examines construction sites as evidence of decisions about land, resources and public space. The work addresses the distance between those decisions and the people who live with their consequences.
Displays recalling museum collections and archaeological finds unsettle the time of the images. Scenes recorded on colour reversal film appear suspended between an anticipated future and an excavated past. The exhibition forms part of Construction Time, Anić’s ongoing investigation of building, industry and land use.
ARNEN examines extraction through Sulitjelma, a former copper-mining town in northern Norway. Alongside proposals to reopen its mines, inexpensive hydroelectric power has attracted a server farm to the former industrial buildings. Mineral extraction and data mining occupy the same landscape.
Copper image-weavings connect sites marked by extraction and destruction. A spatial sound work brings recordings of the server farm together with local waterfalls, linking energy production to consumption. Video and a digital model trace the conversion of a landscape into an operational resource.
ARNEN brings together Honey Biba Beckerlee, Nanna Elvin Hansen and Runa Johannessen. Their research connects the material demands of digital infrastructure with the political and environmental conditions of resource extraction.
Nemanja Askov transfers machine-generated images into paint and plastic, testing whether fragments of digital and material waste can carry sentiment. A face set apart from the others becomes the point around which the installation gathers.
The work approaches artificial intelligence as a system the artist enters and reproduces in material form. Fragments of its image world acquire physical weight, surface and expression.
Supported by
Statens Kunstfond and Københavns Kommune, Rådet for Visuel Kunst.
Rolf Nowotny considers the body as a porous boundary through which language, technology and external forces pass. The exhibition links bodily contamination to the ways computers and networks carry images, influence and belief.
The presentation includes photographs by L PC, an anonymous online creator whose reviews of scented candles appear alongside arrangements of obsolete electronics and collected objects. These displays suggest protective structures while leaving their purpose uncertain.
Three lengths of magnetic tape run through the room, suspended from the walls and ceiling. Their repeated passages produce small shifts in a sound field of electronic drones. The installation proposes a circular experience of time without a fixed beginning or ending.
Speakers clad in scagliola, a material that imitates marble, make the sound’s physical support visible. Their placement follows their register: treble above, midrange through the room, bass at floor level. Anna Samsøe designed the speakers.
Supported by
Københavns Kommune, Rådet for Visuel Kunst.
LM Salling turns TITLED’s green wall into a hedge drawn in charcoal. Forms emerge from the shadows, following traces left by the room’s earlier uses. Framed photographs interrupt the drawing like windows, shifting the boundary between the familiar and the imagined.
The final contribution to The Public Interior treats repetition as both enclosure and passage. Across the series, the body appears as something fragmented and changeable, moving between glass, projected imagery, makeup and drawn space.
Elina Bergmark Wiberg examines makeup as a material and the daily gestures through which people construct an appearance. Reflections and layers connect private rituals with public identity. The installation contributes to The Public Interior.
Anna Skov Hassing paints images of artists who pressed their faces or bodies against glass and camera lenses in earlier works. The body approaches the image surface as though it could enter or merge with it. The work forms part of The Public Interior.
Kirke Hundevad Meng follows the transformation of a rat through abstract forms and changing constellations. The work traces bodily change and dissolution from birth to death, opening the sequence The Public Interior.
Uffe Isolotto introduces a taxidermy hare with an artificial limb that extends into a fluid, flower-like form. High-pressure sodium lamps cast yellow light through the gallery, recalling a roadkill scene and the intrusion of machinery into nature.
As the final contribution to Needy, Nerdy, Artificial, the work changes how the preceding installations appear. Light connects the rabbit, virtual tortoise and painted flags within a shared field of bodies, technologies and transformations.
Ivan Grubanov works on national flags, soaking and stiffening the fabric into surfaces that hold painted, distorted faces. The flag becomes a material structure through which collective identity bears down on the individual.
Within Needy, Nerdy, Artificial, the installation enters a dialogue with Nemanja Askov’s artificial rabbit and Rebecca Krasnik’s virtual tortoise. The works connect manufactured nature, imposed memory and the ways images organise belonging.
Rebecca Krasnik uses hydrographic prints on glass and augmented reality to investigate the screen as both image surface and physical object. Her contribution responds to Nemanja Askov’s opening installation and continues the chain of Needy, Nerdy, Artificial.
Moving between photography and computer-generated imagery, Krasnik examines how changing image technologies reshape experiences of time and identity.
Supported by
Statens Kunstfond, Københavns Kommune, Rådet for Visuel Kunst, Nørrebro Lokaludvalg, Knud Højgaards Fond, and Lizzi og Mogens Staal Fonden.
Nemanja Askov opens Needy, Nerdy, Artificial with a human-sized rabbit assembled from articulated, 3D-printed parts. The figure looks through a peephole; a second opening invites visitors to take up the same position.
Nature scenes inside the viewing devices contrast with the rabbit’s manufactured body. By imitating its posture, the visitor becomes part of a work concerned with synthetic perception, empathy and the possibility of a non-human viewpoint.
Maria Koshenkova suspends coloured ropes from the ceiling to form a dense passage through the gallery. A glass sculpture sits within this structure, gradually revealing itself as visitors move.
The ropes suggest the body’s internal networks, while the glass introduces a tension between fragility and resistance. Chalk drawings continue the suspended forms across the walls, connecting the installation’s physical and drawn spaces.
Supported by
Nørrebro Lokaludvalg.
Planned programme