Fotografisk Center, Copenhagen (2024)

Exhibition catalogue text interview with the artist Tine Bek.

“Titles are so important because they can play with the resonance of something, making a work seem tragic maybe, or ironic. There are always layers of meaning within a title. Some of the titles I use are actually very sad, though they might seem funny at first. This Ship is Unsinkable is perhaps the most extreme title I’ve used – it is such a statement.“

Galleri Golsa, Oslo (2023)

“Touborg is as precise with materials as he is with light, employing a form of recycled polyester that exudes a white luminosity, much like the backlit screen of a phone. Images are dissolved into the fabric of his paintings by way of intense heat, which invites the resulting vapour to seep into the material—at times leaving a visible image behind and at others merely a textural residue…”

Gas9Gallery, Copenhagen (2023)

“Kongstad views the world through the lens of choreography and her movements in painting are indebted to her training in dance and performance. Having long relied upon the body, Kongstad now explores the effects of a static medium that does not change from one day to the next. Kongstad is lightly dressed as she tackles the metallic surface, but her nakedness is not erotic..”

Alice Folker Gallery, Copenhagen (2023)

“At times, graphic motifs are identifiable and at others they dissolve into the painterly haze. Gjerdevik is fascinated by the results of layering images as they rise above and plummet beneath the painted surface, disguising and revealing one another to enigmatic effect…”

Galleri Susanne Ottesen, Copenhagen (2023)

“Dokoupil’s paintings ascend the heights of spiritual ecstasy and plumb the lows of earthly desire with a distinct sense of sincerity and impish humour. If the Soap Bubble Paintings have the power to transcend time and space, other series are resolutely tied to more temporal and kitsch matters – cars on empty highways and cows grazing in fields…”

Galleri Bo Bjerggaard, Copenhagen (2023)

“Tschäpe reimagines the traditions of landscape painting and self-portraiture to explore the personal and universal experience of nature. With each of her paintings, Tschäpe carves out a space in which the sensations of nature—the first light of dawn, the morning dew, and gathering storms—can resurface…”

Gagosian, London (2022)

This book was published on the occasion of Damien Hirst: Fact Paintings and Fact Sculptures at Gagosian, Britannia Street, London. Marking the first phase of Hirst’s yearlong takeover of the Britannia Street gallery, the exhibition featured rarely seen works by the artist created between 1993 and 2021. It includes an essay which considers both the art historical context of the works as well as the new meaning they take on within contemporary life.