7th November - 28th November
Magnus Andersen, Swan Lee, Sara Sjölin, Eugene Sundelius von Rosen, Lydia Ericsson Wärn, David Skoog & Richard Vogel
Curated by coyote.
The exhibition Janey has taken its title from the main character in Kathy Acker’s novel “Blood and Guts in High School” released in 1984. The fictional character of Janey Smith is used as a main point of entry to the exhibited works; as a coming of age trip and as an allegorical mirror of the surveilled playground on the opposite side from the gallery.
In conjunction with the exhibition coyote invites to the epilogue exhibition Smith at Arcway, using Janey’s surname as a title and point of entry. FB-Event: https://bit.ly/3mCAO1r
Due to the Covid-19 restrictions, we can only admit a limited number of people at a time. Please act responsibly and safely according to the current health recommendations. Masks and sanitizers are available.
Dead Space 55.714285 12.528986
31.01. - 29.02. 2020
Kristine Kemp's exhibitions are often found in the divide between exhibition spaces and the surrounding climate, understood as the conditions in which a gallery is...
NADA Miami 2019
Kasper Hesselbjerg, Per Lunde Jørgensen
Rikke Benborg, Hans Holten, Pernille With Madsen, Troels Sandegård
8th November - 7th December 2019
Crosshatched as a title refers to hatched road markings used to separate traffic for safety reasons. It indicates areas in public space that drivers are not allowed to enter or stop except in case of an emergency, and then only one at a time. Visually, a crosshatched area resembles a deletion, a striking out of space, making it a kind of non-space. But crosshatchings also make another space emerge, similar to how they are often used in graphics to outline or convey depth in a figure.
Machine sans nom
Thomas Bang, INOX (Benedikte Bjerre and Asta Lynge), Torgny Wilcke and Kristoffer Ørum
30th August - 28th September 2019
The exhibition is named after one of Francis Picabia's machine paintings, examines the idea of the art object as a machine. The works in the show are presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Instead of being representations in a conventional sense they function as productions of effects. Consequently the exhibition is not so much a stage of expressions, but more....
18/5 – 15/6 2019
Lone Haugaard Madsen, Søren Andreasen, Wolfgang Paalen
DYN: a periodical published in Mexico City (and distributed in New York) between 1942 and 1944 by the Austrian ex-Surrealist Wolfgang Paalen. The periodical ran through five editions of just 50 copies eachbut it has since gained a reputation as one of the most important publication of the 40s and was of vital importance for the New York School and beyond..
January 24 - february 23 2019 Albedo
Klaus Thejll Jakobsen
Jens Fog Jensen
Veo Friis Jespersen
"Visible at night from orbit as the biggest galaxy of light on the globe, more populous overall than the United States, the super giant megalopolis Europe sets out from Milan... and ends up in Dublin after St. George's Channel. It's a social unit comparable to the Great Lakes or the Greenland icecap in size, in the ......
November 2 - december 1, 2018 Reassembling th Social
Per Lunde Jørgensen
Balls, waves, masses of snow, a collective, these are all examples of what Bruno Latour calls quasi- objects. They are characterised by sending out turbulence, connecting subjects and other objects and setting them in motion. Quasi-objects are active and contributory, never just passively inert. They have an ability of assembling the social anew and of catalysing it in new directions.
This is an exhibition of works by three artists - N55, Pablo Llambías and Per Lunde Jørgensen - that in ways similar to Latours quasi-objects are connected to action....
September 8 - October 6, 2018 So you, too, like fruitcake?
Anders Bonnesen, Eva Steen Christensen, Lise Harlev, Kasper Hesselbjerg
Peter Kruse Larsen, Truls Melin, Lise Nørholm
This iconic quote by the Swiss author Robert Walser was allegedly the only thing he had to say when he met Lenin in Zürich during the First World War. Maybe Walser's offhand remark is still remembered today because it strikingly encapsulates the tone in many of his prose texts and Microscripts: a blend of seeming innocence and eccentric insignificance combined with speculative depths...