Modern & Contemporary Art Exhibitions in Copenhagen

installation, broderi og fælles arbejdsprocesser ser på havet, som mere end en geografisk størrelse eller geolgisk vilkår. Det bliver også et forbindende rum mellem mennesker, historier, steder og økologier på tværs af Norden. Med kollektive og individuelle værker undersøger kunstnerne hav og kyst som grundlag for eksistens, erindring, transformation og livsvilkår. Ligesom menneskelig erindring er havet et dynamisk levende arkiv; et rum hvor glemsel og hukommelse flyder sammen. Noget forbliver imens andet forsvinder eller driver bort. Tvaertimod er et selvorganiseret netværk af kunstnere der blev dannet i 2024 ud fra et behov om at skabe fællesskab og resonans på tværs af grænser ”Slowly the tide returns” er anden udstilling i rækken af en serie, hvor gruppen undersøger havet som materiale, hukommelse, arkiv og forbindelsesled med kollektive og individuelle værker. Den første udstilling High Tides and Quiet Pools blev vist i Helsinki, Finland på Gallaria Huuto i juni / juli 2026. Slowly the Tide Returns by Tvaertimod / On the Contrary (Kioshi Yamamoto (N/J), Camilla Vuorenmaa (FIN), Ásthildur Jónsdóttir (IS), Sigga Björg Sigurdardóttir (IS), Mikael Lind (S) & Anne

Solo exhibition by Tarek Lakhrissi Exhibition text by Sif Lindblad I first came across the work of Tarek Lakhrissi in a group show at Maison Populaire in Montreuil, a suburb of Paris, in 2020. I'm from nowhere good, it was called, and considered queer artistic practices as political propositions that might allow for other potential futures. I remember walking through the exhibition with a feeling of having caught a glimpse of what was to come. Like this was the way forward for the world, to become a bit more strange, tender, funny. It offered an invitation to share in some of the tools and practices that have come to be known as queer. Which is to say that there are ways of imagining and inhabiting the world otherwise. This is, in many ways, what I continue to recognize in Tarek Lakhrissi's work. dreamboy is the artist's first show in Denmark, and thereby also a step onto unknown ground. Even more so because it is the first time Lakhrissi is showing a larger series of his drawings. Returning to drawing after giving it up as a teenager-when drawing, for a boy, was associated with something he was then meant to feel ashamed of-means returning to something he loves. His dreamboy drawings hold pride and a love for youth, pleasure and fairy-tale-like happy endings. They are populated by different versions of the dreamboy: men, monsters, lovers, happy devils, characters that seem to evolve from one drawing to the next, like a Pokémon developing through different stages, moving freely between the everyday, images found on Tumblr and references to art history and pop culture. Those in the first room are all portraits, a new dreamboy daydreaming in his own private space. The perspective is slightly off, and the boys all pose in different ways, doing their own thing, as if we were secretly peeking in on them or looking at a still from a movie. They all look gentle, put together, just doing their (weird) thing. In the second room, the drawings, and the dreamboys inhabiting them, become more quirky, dreamy, kinky. I've seen that face before leans towards the almost surreal, a flicker of unconscious scenes that appear in the depths of sleep. A paper cut-out with a hand holding a peach or an apple seems loaded with references: still-life painting, religious temptation, the peach that loses its innocence in Call Me by Your Name. In Orgies and comets, a sphinx-like pose nods to archaic art-historical imagery, alongside