- Bianca D'Alessandro

B I A N C A D ‘ A L E S S A N D R O

Tyra Tingleff
Your Silence Awakens the Madness in Me

01 March – 06 April

Your Silence Awakens the Madness in Me, 2024. Installation view

Home is my body, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

I offer you a peace your war doesn’t want, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

Space brain, period pain, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

You spent your time wasting mine, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

Thorned, stuck, cramped up, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

Desperate shout for communication, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

You’re not part of my story, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

Relentless craving, 2023. Oil on raw linen. 210 x 130 cm

Your Silence Awakens the Madness in Me, 2024. Installation view

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Post Magic Hands
Anna Zacharoff

17 November – 22 december 2023

Post Magic Hands, 2023. Installation view

Double Date, 2023. Installation view

Double Date, 2023. Oil paint and pigments on linen canvas. 118 x 186 cm

Post Magic Hands, 2023. Installation view

Tennis, 2023. Oil paint and pigments on linen canvas. 190 x 140 cm

Tennis, 2023. Installation view

The Drama, 2023. Oil paint and pigments on linen canvas. 118 x 186 cm

The Drama, 2023. Installation view

The One, 2023. Installation view

The One, 2023. Oil paint and pigments on linen canvas. 190 x 290 cm

The One, 2023. Installation view

Post Magic Hands, 2023. Installation view

Spice Girls, 2023. Oil paint and pigments on linen canvas. 50 x 90 cm

Spice Girls, 2023. Installation view

Post Magic Hands, 2023. Installation view

All Pawns On Board, 2023. Oil paint and pigments on linen canvas . 60 x 50 cm

All Pawns On Board, 2023. Installation view

Lucky You, 2023. Oil paint and pigments on linen canvas. 50 x 60 cm

Lucky You, 2023. Installation view

After Eight, 2023. Oil paint and pigments on linen canvas. 50 x 60 cm

After Eight, 2023. Installation view

Six Pack, 2023. Oil paint and pigments on linen canvas. 60 x 50 cm

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Paris Internationale 2023

Zoe Barcza
Louis Scherfig

17 – 22 October
17 rue du Faubourg Poissonière, Paris

join our mailing list
info@biancadalessandro.com

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Hidden Song
Delia Gonzalez

2 June – 8 July

Roulette, 2023. Installation view

Horse Follows Darkness, 2023. Installation view

Tub

I’m consumed by the idea that things could have been otherwise. In everything I see its possibility. Even a fractal shift in
meaning reminds me that I am arbitrary, and I seek it, sit with it, an erotics of the ahistorical.

On the gallery floor four balconies lie prone, civic objects in the leaky horror of things misplaced. Something’s not right. A
horror evidenced by the material that loses its meaning. Is there a word for that feeling? Architecture is born into an order,
and whatever shifts by which it becomes disorganized are the work of time or violence. In its aftermath, the subject is a
private detective, a medical doctor, Mister Magoo, thinking of reasons, working out cause and effect.

I’m not sure where the fixation comes from, or what I want from it. The desire can’t explain itself. It’s greedy, and it takes in
much of what I see. I feed it. It grows robust with anachronisms, which I suddenly find poetic, in the way
that people use the word â€œpoeticâ€ to mean a kind of beauty they don’t yet understand.

How do we move into another time? Can we design ourselves? What if class were a flat plane? Can I move apart from, next to my style?

Under the pavement, pavement. Hoaxes, failures, porches, archaeological strata spread out on a continuous thin plane;
softness and speed, echoes, spores, tropes, fonts; not identity but incident and the accumulation of air miles; unmarked solitude absorbing time, bloating to become an environment, indexical euphorias, the unraveling of laughter; a brief history of
escalators; memory manifest, brindled, loosening; a crumpling of automotive glass… (Lisa Robertson,”Soft Architecture: A Manifesto”)

Tess Edmonson

Willy Ørskov
Works on Paper

9 January – 14 February 2015

Works on Paper, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view. Photo: Jan Sondergaard

Lone Haugaard Madsen
Rum #325 – Mehr

26 September – 8 November 2014

The exhibition is sponsored by

the Danish Arts Foundation

Lone Haugaard Madsen’s work questions the status of permanence. In her exhibition making practice multiple temporalities conflate – installing becomes part of the production of the work, while the production of work can take place during installation. Works travel from the studio in different states of completion and are finished on site, tying together private and public art making spaces. Works dwell on the floors, in front of windows, leaned against walls. Objects are stacked and piled. Accumulation, like measures of time and labor give shape to the works that in their defiant presentation create a type of bond through difference.

The spaces in which Haugaard Madsen places her work are numbered. The single space at Bianca D’Alessandro is #325. This numeric system creates a flow of past and present shows, delineating the exhibition as a finite space, while creating an alternate temporality. Haugaard Madsen repeats and alters gestures, playing with the the status of the unique or singular work of art. In #325 the idea of a practice asymptoting towards qualitative perfection through repetition seems particularly ironic, as the space once belonged to the Royal Academy of Art in Copenhagen.

The exhibition beckons the question – where does a sculpture, a painting, a drawing begin? In relations, some of the work suggests. Rejected and gifted objects have taken place within #325 that erase the hierarchy between objects’ origins and use, creating a space in which objects can come together on their own.

Milan Ther, 2014

Lone Haugaard Madsen (b. 1974 in Silkeborg, lives and works in Vienna) studied at The Jutland Art Academy, Aarhus, and Akademie der Bildenden Künste Wien. Exhibitions include ‘Raum #323 – Ulm’, Galerie Nagel Draxler, Berlin, 2014 (solo); ‘Raum #318’, Neuer Aachener Kunstverein, Aachen, 2013 (solo); ‘abstrakt’, Sammlung Haubrok, Berlin, 2013; ‘Raum #310 – Bauta’, Overgaden Institut for Samtidskunst, Copenhagen, 2011 (solo); ‘Lone Haugaard Madsen’, Sammlung Haubrok, Berlin, 2011 (solo); ‘Raum #26 – Retrofleksive’, Grafisches Kabinett, Secession, Wien, 2006 (solo).

The exhibition marks the inauguration of a new gallery at Frederiksholms Kanal 28A.

Anna Zacharoff

Quelle Odeur

14 November – 20 December 2014

Rum #325 – Mehr 1, 2014. Oil on canvas, wood from previous studio floor, plastic cast, marble, plaster, balloon, string. 200 x 181 x 31 cm

Rum #325 – Mehr, 2014. Installation view

Rum #325 – Mehr, 2014. Installation view

Rum #325 – Mehr 3, 2014. Concrete. 7,5 x 24 cm

Rum #325 – Mehr 4, 2014. Carpet, string. Ca. 40 x 45 x 29 cm

Rum #325 – Mehr 5, 2014. Painted chipboard, painted textile. 7 x 150 x 75,5 cm

Rum #325 – Mehr, 2014. Installation view

Rum #325 – Mehr 2, 2014. Wood, iron, flagline, textile, glass, bronze, paper, leather, Plexiglas, rubber foam, stone. Ca. 350 x 470 x 330 cm

Rum #325 – Mehr 10, 2014. Concrete wood. 40 x 109,5 x 4 cm. Photo: Jan Søndergaard

Rum #325 – Mehr 11, 2014. Wiping cloth, paint, Plexiglas. 40 x 65,6 cm

Rum #325 – Mehr 9, 2014. Towel from the bronzecasters workshop, cast in bronze and patinated. Ca. 24 x 44 x 35 cm

Rum #325 – Mehr, 2014. Installation view

Time after Tide

Tide was making the anemones dance a radical dance. It slapped the clamorous corrals, without result, and whipped the kelp to get attention. Glaring clownfish tried to keep up in the tango, occasionally getting thrown out in yet another quick turn.

Further down the reef, Tide’s harassment was less effective. Sharks silently patrolled the rocks in search of no good deeds, sniffing right to left, left to right, in a never ending work-shift. All the bloody donuts trying to hide, best they could.

Hopefully out of sight of whatever was out there, a school of shrimps was filtering water among stones even further down in the blue. Occasionally making conversation.

“How many shrimps long is that dark and singing cloud?” Asked one of the shorter shrimps.

“You mean the whale clouds?” A longer one wondered. “I would think that the biggest turtle cloud is around 50 shrimps stretched long, and a whale cloud must then be around 750 stretched shrimps long, thus calculating that the whale cloud is at least as long as 15 big turtle clouds?” He answered very accurately for being a shrimp.

“But the normal turtle clouds are only 30 stretched shrimps long?” The shorter shrimp had answered his own question.

“Can’t you focus on what the other shrimps are doing, instead of always looking up at the clouds?” A model-sized shrimp grumpily clicked into the conversation.

There the chattering stopped. The shorter shrimp turned his antennae away in disappointment. Silently searching for more whale cloud songs in the distance.

There were a lot of clouds reflecting on the shy. Swimming around, the shrimp wondered about the new world he had been hatched into. From the corner of the dark stones at the bottom, most of the clouds were pale white, and almost as blinding as the end of water. Only closer to the rush-hour of Tide did they all dress in different colors.

A shrimp had to go with the dragging force of Tide to see big things like the clouds that sing. The shapes of clouds felt infinite. None was broader then it was long, but perhaps turtle clouds were pretty much square.

Anna Zacharoff (b. 1987, Stockholm) lives and works in Frankfurt am Main, Germany, studies at the Städelschule – Staatliche Hoschschule für Bildene Künste. Recent exhibitions include “LAST DAYS OF FLOUNDERING” at Standard (Oslo), Oslo, 2014; “Nuit Américaine” at Office Baroque, Brussels, 2014; “Anna Zacharoff Presented by Neue Alte Brücke” at Vilma Gold, London, 2014; “Freak Out” at Greene Naftali Gallery, New York, 2013

The exhibition was awarded honoraria by

the Danish Arts Foundation

Turtle #1 Maggie, 2014. Rayon, foam. 24 x 108 x 95 cm

Quelle Odeur, 2014. Installation view

Turtle #2 Michelle, 2014. Canvas, aluminium, oil, paper. 37 x 108 x 95 cm

Turtle #3 Carla, 2014. 13 x 82 x 87 cm. Linen, styroform, shells

Quelle Odeur, 2014. Installation view

Rose Dismissed, 2014. Oil and pigment on canvas. 152 x 164 cm

Next Time put the Left hand on the right Arm, 2014. Oil and pigment on canvas. 149 x 229 cm

Â¡Silencio!, 2014. Oil and pigment on canvas. 154 x 129 cm

Quelle Odeur, 2014. Installation view

Lionfish #4, 2014. Oil and pigment on canvas. 57 x 62 cm. Photo: Jan SÃ¸ndergaard

Lionfish #2, 2014. Oil and pigment on canvas. 41 x 40 cm

Lionfish #3, 2014. Oil and pigment on canvas. 51 x 56 cm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

Follow Me, 2014. Oil and pigment on canvas. 200 x 150 cm

Lionfish #1, 2014. Oil and pigment on canvas. 26 x 29 cm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

Thank you to Absolut Vodka

Works on Paper, 2015. Installation view

Untitled, 1984. Bronze. 23 x 28 x 28 cm

Works on Paper, 2015. Installation view

Untitled, 1984. Bronze. 11 x 129 x 104 cm. (detail)

Works on Paper, 2015. Installation view

Untitled, 1981 – 82. Black chalk and coal on paper. 130 x 130 cm

Works on Paper, 2015. Installation view

Untitled, 1983. Mixed media on paper. 110 x 110 cm

Works on Paper, 2015. Installation view

Untitled, 1981. Black chalk and coal on paper. 110 x 110 cm

Untitled, 1981. Mixed media on paper. 110 x 110 cm

Untitled, 1984. Mixed media on paper. 110 x 110 cm

Works on Paper, 2015. Installation view. Photo: Jan SÃ¸ndergaard

Untitled, 1982. Painted wood, metal. 140 x 260 cm

Works on Paper, 2015. Installation view

Thea Moeller &
Mads Westrup

20 February – 28 March 2015

Thank you to Absolut Vodka

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller. Untitled / Adria Zement, 2014. Steele, Rubber band, board

Thea Moeller. GerÃ¼stkonstruktion/ Lager, 2014
Galvanized steel pipes, Firewood stacking aid, Furniture material, bord, Spray, Lacker

Mads Westrup. Kommunal Bue #3, 2014. Oil on canvas. 160 x 120 cm

Mads Westrup. Untitled, 2014. Oil on canvas. 40 x 52 cm

Thea Moeller. Camouflage/ TrÃ¤ger, 2014. Steel, wood, floor paint. 16 x 7 x 260

Mads Westrup. Kommunalbue #4, 2014. Oil on canvas. 145 x 175 cm

Mads Westrup. Untitled, 2014. Oil on canvas. 34 x 41,5 cm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

Timothy Furey
“This Days”

10 April – 16 May 2015

Thank you to Absolut Vodka

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon-3 pm

Thank you to Louisiana Museum of Modern Art

This Days. 2015. Installation view

Mr. Ó Cúnasa, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

This Days. 2015. Installation view

Mr. Ridgeway Speaks, 2015. Digital video with sound. 09:18 minutes. 5 + 1AP. vimeo.com/166241033

Mr. Pechorin, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Mr. B. Traven, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions

Mr. Craven, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Mr. Ridolph, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

Editing Y.

(For T. F.)

comment and share to enter community,
enter community to change / edit.
While checking Recent Changes tonight we
noticed a pattern of edits and reverts to this article.
The problem appears to be that someone
(currently editing from 109.76.148.204)
does not want the article to mention Y’s
severe long-term economic decline.

a compromise of wealth
and / or information as it happens

it is very still
in the heart of the descriptive practice

as it ends preparatory work
and begins the act of writing

as it ends preparatory work
and begins the act of painting

blank lines
diluted intentions
as symbols

form adequate systems
to protect the most vulnerable
sufferers, grief is

shaping the abstract,
bending will

*
push

full darkness
down into the objects

images

wake up to
man enchanted

AFAICS there’s no doubt that the town has been blighted
by the effects of globalisation

by a weeping model, contract
in a shared and moderated environment

taking violence
out of certain vocabularies, still forcing

overflowing, grateful

Thanks for engaging here,
Hyde09-
Talk page interaction is always appreciated

from a moment in time-
let’s call it space

and letâ€™s have it calling from all the borders of itself

with words
coming from within the walls,
like visitors from Germany

destruction
poverty
breakthrough

generosity
death!
exhibition

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

This Days. 2015. Installation view

Mr. O. Hasard, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

This Days. 2015. Installation view

Mr. “Cherub” Swinburne, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

This Days. 2015. Installation view

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variabledimensions
Photo: Jan Sondergaard

Press Text

From Regional Educations

2.1. Agriculture and Youth

A. Special funds will be made available through the payment scheme of existing agricultural subsidy channels for young farmers (1) at present in possession of holdings commencing their agricultural activity (2). Beneficiaries are subject to the obligations resulting from the scheme’s contract; funds must be utilised for licensed consulting services in topics set forth in Regulation (Lex) No 1306/213. These include farm certification schemes, compliance with general principles of integrated pest management, and hedging risks of damage caused by natural disasters, adverse climatic events and catastrophic events

B. Young farmers’ oath passed by the executive assembly of the farmers’ association:

I believe in the future of agriculture, with a faith born not of words but of deeds – achievements won by the present and past generations of agriculturists
I believe that to live and work on a good farm or to be engaged in other agricultural pursuits is pleasant as well as challenging.
I believe in leadership from ourselves and respect from others.
I believe in the ability of progressive agriculturists to serve our own and the public interest in producing and marketing the product of our toil. I believe in less dependence on begging and more power in bargaining; in the life abundant and enough honest wealth to help make it so-for others as well as myself.
I believe that agriculture can and will hold true to the best traditions of our life and that I can exert an influence in my home and community which will stand solid for my part in that inspiring task.

– Lorenz, Magnus, Julien, and the FFA

(1) “farmer” means a natural or legal person, or a group of natural or legal persons, regardless of the legal status granted to such group and its members, whose holding is situated within the territorial scope of the laws, as defined in Article 52 AG in conjunction with Articles 349 and 355 FAG, and who exercises an agricultural activity.
(2) “agricultural activity” means production, rearing or growing of agricultural products, including harvesting, milking, breeding animals, and keeping animals for farming purposes. Maintaining an agricultural area in a state, which makes it suitable for grazing or cultivation without preparatory action going beyond usual agricultural methods and machineries.

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

Magnus Andersen
Agrimundo

29 May – 4 July 2015

Thank you to Absolut Vodka

Harvest Boys, 2015. Acrylic, chalk and lime wood. 98 x 149 cm

Agrimundo, 2015. Installation view

Harvest Boys, 2015. Acrylic, chalk and lime wood. 98 x 149 cm

Agrimundo, 2015. Installation view

Fence Piece (Agri), 2015. Acrylic on lime wood. 187,5 x 25 cm
+
Fence Piece (Mundo), 2015. Acrylic on lime wood. 169 x 25 cm

Fence Piece (Agri), 2015. Acrylic on lime wood. 187,5 x 25 cm
+
Fence Piece (Mundo), 2015. Acrylic on lime wood. 169 x 25 cm. (detail)

Agrimundo, 2015. Installation view

Agrimundo, 2015. Installation view
Photo: Jan Sondergaard

Tutorial Map, 2015. Acrylic, chalk and lime wood. 88 x 149 cm

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video: 3.21 min). Variable dimensions

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video: 3.21 min). Variable dimensions. (detail). vimeo.com/130758528

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video). Variable dimensions. (detail)

Crop Converter, 2015. Acrylic, paper mache, wood and canvas. 151 x 268 cm

Crop Converter, 2015. Acrylic, paper mache, wood and canvas. 151 x 268 cm. (detail)

Nick Oberthaler

No Subject No Image No Taste No Matter No Grace No Style

7 August – 12 September 2015

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

Thank you to Bundeskanzleramt Ã–sterreich,
Austrian Embassy Copenhagen and Absolut Vodka

The fact that Oberthaler’s geometric abstraction functions as contemporary art is due to a number of strategies the
artist employs in the realization of his work that keeps it from merely perpetuating a historically established style.
One of these strategies involves designing tables, paravents, curtains, partitions and vitrines in an
approach adopted from the critical context-art of the 90s. His wall painting at Bianca D’Alessandro in Copenhagen,
which takes its colour from the facade of the building housing the gallery, is perhaps the most
overt coupling of painting and context-art in Oberthalerâ€™s work.

Mirrors resurface time and again among the materials, stemming from an interest in contextual concerns – mirrors not
only reflect but also, in certain cases, distort. A further strategy for contextualising abstraction is the artist’s use
of representational images. Oberthaler uses borrowed images primarily from magazines and/or online sources, and prints
them in grid format on aluminium panels. The arrangements are reminiscent of the work of Andy Warhol and Peter Roehr. Roehr,
who died in 1968 aged only 23, assembled collages of advertising material in grid format, sizing the selections so that the images
remained intact, and did not assume an abstracted pattern. Oberthaler’s figurative elements are selected not only by
proportion, but also for their high light/shade contrast, rendering them capable of achieving a much more abstract quality.

In terms of surface, Oberthaler’s painted and printed works are almost indistinguishable. The aluminium is painted with a very smooth, polished primer, with inevitable traces from processes such as masking resulting in sharply delineated shapes. Oberthaler not only references representational images as the dominant visual form of today (and using a concreteness very specific to the time of his artistic beginnings),
even his paintings, which often look printed, always stay at least in clear sight/reach of contemporary printing techniques. Thus some
works call to mind pixelated computer graphics or the raster lines of vacuum tube monitors, which are now relegated to the technological past.

For his exhibition at Bianca D’Alessandro he borrows John Cage’s declaration of independence
at the occasion of a Robert Rauschenberg exhibition in 1953, “No Subject, No image, No taste…” referring to all transcendentalism, and much more than just an exhibition title. The assertion of a reality external to the image, Oberthaler seems to be saying, can no longer be a discursive category in post-modernism.

Christoph Bruckner

Nick Oberthaler (Bad Ischl/Austria, 1981) lives and works in Vienna. Recent solo shows include Pièce Dérivée, Galerie Thaddaeus Ropac, Paris (2015); Calculated Reserve (Cur. Pier Paolo Pancotto), Museo Hendrik C. Andersen/Galleria nazionale d’arte moderna, Roma (2014); The blackbird must be flying (together with Thomas Julier), Centre dâ€™art bastille/CAB, Grenoble (2015); Eventuality of an attempt,
KIOSK, Gent (2013); Galerie Emanuel Layr, Vienna (2012) and
Galerie Martin van Zomeren, Amsterdam (2012). Group shows (selection): Rideaux/BLINDS (Cur. Marie de Brugerolle), Institut d’Art Contemporain/FRAC Rhône-Alpes, Villeurbanne/Lyon (2015); Ã–konomie der Aufmerksamkeit, Kunsthalle Vienna (2014); Vers une hypothèse (Cur. Andrea Rodriguez Novoa), Francheville, CAC Fort du Bruissin/Programme RÃ©sonance – XII Biennale de Lyon, Lyon (2013); Die Sammlung # 4, 21er-Haus / Belvedere Vienna (2013); De leur temps 4: Nantes, Centre d’art contemporain Le Hangar, Nantes (2013); Minimal Myth (Cur. Francesco Stocchi), Museum Boijmans van Beuningen, Rotterdam (2012).

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

Untitled (Propositions), 2015. Offset-print on blueback paper, 59,4 x 42 cm. Edition of 250 / not numbered

Untitled (Grid), 2015. Protection foil, ink and matte varnish on aluminium, 180 x 100 cm

Untitled (Grid), 2015. Protection foil, ink and matte varnish on aluminium, 180 x 100 cm (detail)

Untitled (Thorvaldsen/The disquieting muses), 2015. Primer, gesso and acrylic on aluminium. 180 x 100 cm

Untitled (Thorvaldsen/The disquieting muses), 2015. Primer, gesso and acrylic on aluminium. 180 x 100 cm (detail)

Untitled (Blind/The Decay), 2015. UV-print on aluminium,180 x 100 cm

Untitled (Blind/The Decay), 2015. UV-print on aluminium,180 x 100 cm (detail)

Untitled (NoNoNoNoNoNo), 2015. Primer, gesso, acrylic and offset-print on aluminium, h180 x 100 cm

Untitled (NoNoNoNoNoNo), 2015. Primer, gesso, acrylic and offset-print on aluminium, h180 x 100 cm (detail)

Untitled (for R.R. / I). Aludibond mirrors with protection foil, 1k-glue and dust on black MDF, 2015. 131 x 79 cm

Untitled (for R.R. / I). Aludibond mirrors with protection foil, 1k-glue and dust on black MDF, 2015. 131 x 79 cm (detail)

Untitled I- VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)
Photo: Jan Sondergaaard

Tiril Hasselknippe

Tub

18 September – 31 October 2015

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon- 3 pm

Thank you to

Danish Art Workshops and Absolut Vodka

join our mailing list
info@biancadalessandro.com

Tub, 2015. Installation view

Balcony (residency), 2015. Concrete, steel, water, and food colouring. 98 x 125 x 68 cm

Balcony (residency), 2015. Concrete, steel, water, and food colouring. 98 x 125 x 68 cm (detail)

Tub, 2015. Installation view

Balcony (supplies), 2015. Concrete, steel, water, and food colouring. 90 x 90 x 52 cm

Tub, 2015. Installation view

Balcony (survival), 2015. Concrete, steel, water, and food colouring. 95 x 99 x 89 cm

Tub, 2015. Installation view

Balcony (survival), 2015. Concrete, steel, water, and food colouring. 95 x 99 x 89 cm

Balcony (intersectionality), 2015. Concrete, steel, water, and food colouring. 86 x 150 x 64 cm

Balcony
(intersectionality), 2015. Concrete, steel, water, and food
colouring. 86 x 150 x 64 cm (detail). Photo Jan Sondergaard

The exhibition period has been extended to

Sat 7 November

Amitai Romm, Jean Marc Routhier, Rikard Thambert, Fredrik Tydén

Tongue

22 January – 27 February 2016

Thank you to Absolut Vodka

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Tongue, 2016. Installation view.

Amitai Romm. Primer, 2016. Embroidery, polyester and UV print on jesmonite, aluminum fitting. 45 x 48 x 21 cm

Lea von Wintzingerode

Lodge

4 March – 16 April 2016

Amitai Romm. Primer, 2016. Embroidery, polyester and UV print on jesmonite, aluminum fitting. 45 x 48 x 21 cm

Tongue, 2016. Installation view.

Rikard Thambert. Trekking Trance, 2016 . Gypsum, granite. 172 x 38 x 66 cm

Fredrik Tydén. Fragment_9, 2016. White concrete. 30 x 50 x 44 cm

Fredrik Tydén. Palma, 2016. Tie-dyed cotton, polyester. 67 x 31 x 9 cm

Tongue, 2016. Installation view.

Amitai Romm. Exfoliation, 2015 (detail). Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016. Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals. Dimensions variable

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016 (detail). Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals.

Rikard Thambert. Swedish Simon’s Tear of Wonder At The Doorstep Of A Light, 2015. Pigmented gypsum

Jean Marc Routhier. It is me, I am it (happy poems/algorithms), 2016 (detail). Laserprint. 7 sheets each 41,1 x 28,7 cm

Amitai Romm. Exfoliation, 2015. Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Jean Marc Routhier. As you like it, 2016. Crystal, silk, plastic, 6,5 x 66 x 10 cm

Tongue, 2016. Installation view

Amitai Romm. Exfoliation, 2015 (detail). Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Tongue, 2016. Installation view.

Tongue, 2016. Installation view.

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016 (detail). Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals.

Tongue, 2016. Installation view. Photo Jan Sondergaard

The exhibtion will be lit only by natural daylight in the hours from noon till sunset.

At the opening it will be possible to view the exhibition during the whole evening.

Thank you to Kvadrat

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – sunset Saturday 12 noon â€“ 3 pm

join our mailing list

info@biancadalessandro.com

Thank you to Absolut Vodka

Lodge, 2016. Installation view. Photo Jan Sondergaard

Lodge, 2016. Installation view

source (nake), 2014. Oil on canvas. 70 x 95 cm

source (thirst), 2015. Oil on canvas. 75 x 90 cm

dancers I, 2014. Diptych. 2 x 70 x 65 cm

dancers II, 2014. Diptych. 2 x 70 x 65 cm

johannes paul at my age, 2015. Oil on canvas. 90 x 65 cm

martina, 2014. Oil on canvas. 75 x 57 cm

johannes paul at my age, 2015. Oil on canvas. 90 x 65 cm

martina, 2014. Oil on canvas. 75 x 57 cm

Sacramento

follow the leaf

and let go of the literal

floating arms in blue mirrors

backwater currents

here solo dancer

blushing face and turquoise gaze

orange grounds neon green

lateral branches trunks

stretching up and down

grey molding Martina

palm of hand

pressed against glass

and signals fired vertically

with green antennas

monitoring liquid cypresses

white light

blinding the herd

scale matters here

black leaves and clumps

of purple lichen

sessile figures

messengers in the margin

encircling

holding hands

red grounds this season

someone crawling naked

along the trunk

traveling root tips

in underground mazes

searching for moisture

rest is a precondition for looking

carry this vision

Sara Lindeborg

Dreamfair New York

Tiril Hasselknippe and Lea von Wintzingerode

3 – 8 May 2016

Dream is a series of online international art fairs. Dream fairs exist only on the internet

and are scheduled concurrent with existing art fairs.

Join us at dreamfair.org

Daniel Dewar & Grégory Gicquel, Jill Mulleady, Lin May Saeed, Min Yoon
Trumpets

3 June – 6 July 2016

Thank you to Absolut Vodka

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

join our mailing list

info@biancadalessandro.com

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view. Photography Jan Sondergaard

Daniel Dewar & Grégory Gicquel. Stoneware Vessel n°1, 2016. High-fired stoneware. 37 x 36 x 16 cm

Lin May Saeed. The Liberation of Animals from their Cages, 2007. Relief covered and painted styrofoam. 100 x 150 x 18 cm

Lin May Saeed. Ape in the Reeds, 2006. Steel, covered and painted styrofoam, jute. 57 x 45 x 60cm

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view

Lin May Saeed. The Liberation of Animals from their Cages, 2007. Relief covered and painted styrofoam. 100 x 150 x 18 cm

Lin May Saeed. Ape in the Reeds, 2006. Steel, covered and painted styrofoam, jute. 57 x 45 x 60cm

Trumpets, 2016. Installation view

Min Yoon. Untitled, 2015. Pigskin. 47 x 168 cm

Min Yoon. Untitled, 2015. Pigskin. 53 x 166 cm

Min Yoon. Untitled, 2015. Pigskin. 43 x 140 cm

Amitai Romm
How shall the sea be referred to

19 August – 24 September 2016

Daniel Dewar & Grégory Gicquel. Stoneware Vessel n°2, 2016. High-fired stoneware. 37 x 36 x 16 cm

Trumpets, 2016. Installation view

Thank you to Absolut Vodka

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Jill Mulleady. Untitled, 2016. Oil on canvas. 151 x 92 cm

The earliest compass was invented by the Han Dynasty in 206 BC. It was a piece of naturally-magnetic
lodestone floating on wood. For the first millennia since its invention it was used solely to determine
geographical direction in divination practices. Knowing geographical direction is crucial for geomancy, a
method of divination that interprets patterns formed by tossed handfuls of soil, stones, or sand according
to markings on the ground. Geomancy practices aim to harmonize the directions of buildings, their interior
and spirits of people according to divine geographical ideals. The rituals seek to inspire inner direction by
aligning falling patterns to be interpreted according to greater surrounding geographies.

Named as “foresight by earth” in Greek and “science of the san” in Arabic, geomancy has developed a
world-wide use of compasses. Not until the 1100s was the compass used by the Song dynasty for
geographical navigation to travel over distances. During the 1300s the compass was passed on to Persia
and Europe. The same tool that was used to measure the falling patterns of soil, sand, and rocks, has since
been used as a component in travelling and mapping out the entire planet. The compass added the
certainty of embodied geographical direction as a compound force to human sight.

Every morning the stagemaker bowerbird of the Australian rain forests cuts leaves1. The bird makes them
fall to the ground, and turns them over so that the paler insides contrast with the earth below.
In this way the bird constructs a stage for itself. Directly above, on a creeper or branch, while fluffing its
feathers, it sings a complex song made up from its own notes and, at intervals, imitations of other birds. It
is a complete artist.

Aslak Aamot KjÃ¦rulff

______________________

1 Benjamin Bratton, The Stack

Lin May Saeed. Dach der Welt / The Liberation of Animals from their Cages X, 2010
Sculpture, styrofoam, acrylic paint, polyester wool. 100 x 140 x 38 cm

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View. Photography Jan Sondergaard

How shall the sea be referred to, 2016. Installation View

O. 2016 Photogravure. 34 x 24cm

Untitled. 2016. Photogravure . 50 x 34cm

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 355 x 200cm (detail)

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 355 x 200cm

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 300 x 200cm

Skin. 2016. Photogravure . 34 x 24 cm. Ed. 1 + 1AP

Parable. 2016. Steel. 150 x 150 x 30cm

Jankel Alter
Princess

30 September – 12 November 2016

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Princess, 2016. Installation View

Naked Lunch. 2014-2016. Oil on canvas. 186,7 x 135,3 cm

Princess, 2016. Installation View

Die Maskierte. 2016. Oil on canvas. 105,4 x 66 cm

Princess, 2016. Installation View

Tom, 2016. Oil on canvas. 121 x 89 cm

Princess, 2016. Installation View

Outsider. 2014-2015. Oil on canvas. 135,9 x 71,8 cm

Princess, 2016. Installation View

Galut. 2016. Oil on canvas. 238,8 x 133,4 cm

Princess, 2016. Installation View

Safar, 2016. Oil on canvas .127 x 52 cm

Blaue Pille. 2015-2016. Oil on canvas. 134,6 x 88,9 cm

Princess, 2016. Installation View. Photography Jan Sondergaard

Rikard Thambert
Rebirth

16 December 2016 – 28 January 2017

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Rebirth, 2016/17. Installation View. Photo Jan Sondergaard

Planet Sunday, 2016. Plaster, steel, granit. 191 x 63 x 59 cm

Rebirth 2016/17. Installation View

Girl, 2016. Plaster. 50 x 50 x 12 cm

Squirrel Moon, 2016. Plaster. 21 x 6 x 24 cm

Forest Friend, 2016. Plaster, steel, wood, fabric. 181 x 105 x 133 cm

Rebirth 2016/17. Installation View

Rebirth, 2016. Plaster, steel, wood, acrylic paint. 139 x 62 x 41 cm

Forest Friend, 2016. Plaster, steel, wood, fabric. 181 x 105 x 133 cm (detail)

Dana Lok, Laure Prouvost, Mia Goyette

2 June – 9 September 2017

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list info@biancadalessandro.com

Amitai Romm

LISTE – Art Fair Basel
Burgweg 15, 4058 Basel, Switzerland

13 – 18 June, 2017
Preview Monday 12 June, 2017
By personal invitation only

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View

Dana Lok, Conjurors II, 2016. Oil on canvas. 177 x 171 cm

Dana Lok, Conjurors I, 2016. Oil on canvas. 177 x 171 cm

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View

Mia Goyette. The prospect of an end [*DVGW-GW541/DV-7301AT2558 **…], 2016
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Mia Goyette. The prospect of an end [*DVGW-GW541/DV-7301AT2558 **…], 2016 (detail)
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Mia Goyette. The prospect of an end [** WO* (SYSTEM:DVGW W543*DW-8501B…], 2016
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Mia Goyette. The prospect of an end [** WO* (SYSTEM:DVGW W543*DW-8501B…], 2016 (detail)
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Mia Goyette. The prospect of an end [*TP3161/W.1.4404/TP316/W1.440…], 2016
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Mia Goyette. The prospect of an end [*TP3161/W.1.4404/TP316/W1.440…], 2016 (detail)
Concrete, cast ceramic, tinted epoxy resin, various debris, PVC-coated aluminum pipes, aluminum hardware, Dimensions variable

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View

Laure Prouvost. Deeper, 2010. Video on monitor, adjustable leg levelers 1.25 min. Edition of 3 plus 2 artist’s proofs

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View. Photo: Jan Sondergaard

Laure Prouvost. Exhaust Branch, 2015. 200 Ã— 110 Ã— 75 cm

Laure Prouvost. Exhaust Branch, 2015 (detail)

Dana Lok, Laure Prouvost, Mia Goyette 2017. Installation View

Dana Lok. Cue, 2016. Oil on canvas. 38 x 45 cm

Mia Goyette. Drain #3 (pink), 2016 . Cast plaster, pigment, chained drainvalve, various debris, epoxy resin. Unique. Dimensions variable

Timothy Furey
A New Body of Work

10 November 2017 – 3 February 2018

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

A New Body of Work, 2017. Installation View

A New Body of Work, 2017. Installation View
Photography Jan Sondergaard

Untitled I, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled II, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled III, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled IV, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled V, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled VI, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled VII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled IX, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled VIII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XXIV, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XXIII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XXII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XXI, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XX, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XIX, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XVIII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XVII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XVI, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XV, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XIV, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XIII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XII, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled XI, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Untitled X, 2017. Work on paper, watercolour & silk screen print. 53 x 41 cm

Juicy Lucy, 2017. Silicone, pigment. Dimensions variable

Juicy Lucy, 2017. Silicone, pigment. Dimensions variable (detail)

Office Work I, 2017. Digital print on exhibition banner. 210 x 80 cm

Office Work II, 2017. Digital print on exhibition banner. 210 x 80 cm

Lydia Hauge Sølvberg
15 March – 28 April 2018

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Lydia Hauge Sølvberg 2018. Installation View

Lydia Hauge Sølvberg 2018. Installation View
Photography Jan Sondergaard

MÃ¥nen spejler sig og indser, 2017. Concrete, black pigment. 180 x 93 cm

MÃ¥nen spejler sig og indser, 2017. Fiber concrete, black pigment. 180 x 93 cm (detail)

Kartoffelmandens biceps, 2017. Bronze, sulfur. 17.5 x 8 x 3.5 cm

Lydia Hauge Sølvberg 2018. Installation View

Flad stol, 2017. Concrete, black pigment. 93 x 180 x 18 cm

Flad stol, 2017. Concrete, black pigment. 93 x 180 x 18 cm (detail)

Kartoffelmandens musling, 2017. Bronze, patinated. 16 x 10 x 3.5 cm

Lydia Hauge Sølvberg 2018. Installation View

Untitled, 2014. Ceramics. 110 x 80 x 20 cm

Kartoffelmandens biceps, 2017. Bronze, sulfur. 23.3 x 13 x 4.2 cm

Lydia Hauge Sølvberg 2018. Installation View

Kartoffelmandens biceps, 2017. Bronze, sulfur. 17.5 x 8 x 3.5 cm

Lydia Hauge Sølvberg 2018. Installation View

Zoe Barcza
Rikard Thambert

LISTE – Art Fair Basel
Burgweg 15, 4058 Basel, Switzerland

11 – 17 June, 2018
Preview Monday 11 June, 2018
By personal invitation only

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Will Benedict and Steffen Jø¸rgensen
The Restaurant

Screening: Tuesday 10 July 3 – 5pm and Wednesday 11 July
12noon – 5pm. Duration 45 min

Screening begins at 8 pm sharp on Thursday 5th and will be shown from Friday 6th till Saturday 7th during regular gallery hours
Thank you to Louisiana Museum of Modern Art

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Zoe Barcza
Big Boy Pants

17 August – 22 September 2018

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing listinfo@biancadalessandro.com

Discipline Equals Freedom, 2018. Acrylic and vinyl paint on canvas. 200 x 170 cm

Discipline Equals Freedom, 2018. Acrylic and vinyl paint on canvas. 200 x 170 cm (detail)

Discipline Equals Freedom, 2018. Acrylic and vinyl paint on canvas. 200 x 170 cm

Big Boy Pants, 2018. Installation View

Big Boy Pants, 2018. Installation View
Photography Jan Sondergard

You Get What You Incentivise, 2018. Acrylic, vinyl paint and collage on canvas. 200 x 170 cm (detail)

You Get What You Incentivise, 2018. Acrylic, vinyl paint and collage on canvas. 200 x 170 cm

Losers Have Goals Winners Have Systems, 2018. Acrylic, vinyl paint and collage on canvas. 200 x 170 cm (detail)

Losers Have Goals Winners Have Systems, 2018. Acrylic, vinyl paint and collage on canvas. 200 x 170 cm

They Say Cancer Causing Chemicals Could Build Up In The Prostate, 2018. Acrylic and vinyl paint on cardboard. 44 x 34 cm (framed)

If Men Do Not Ejaculate Regularly , 2018. Acrylic and vinyl paint on cardboard. 44 x 34 cm (framed)

Dana Lok
Mind’s Mouth

28 September – 10 November

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com
Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Continuum Deli, 2018. Oil on canvas. 197 x 175.5 cm

Mind’s Eye, Magicians Fingers, 2018. Oil on canvas. 46 x 40.5 cm

Fingers at the Tip of My Words, 2018. Oil on canvas. 46 x 40.5 cm

Walk Cycle, 2018. Oil on canvas. 106 x 111 cm

Crudité, 2018. Oil on canvas. 106 x 111 cm

Homunculus I, 2018. Oil on canvas. 197 x 177 cm

Homunculus II, 2018. Oil on canvas. 197 x 177 cm

Rabbit Part, 2018. Oil on canvas. 46 x 40.5 cm

Piece of Coffee, 2018. Oil on canvas. 46 x 40.5 cm

Continuum Deli, 2018. Oil on canvas. 197 x 175.5 cm

Mindâ€™s mouth, 2018. Installation View

Mind’s mouth, 2018. Installation View

Mindâ€™s mouth, 2018. Installation View

Minds mouth, 2018. Installation View

Mind’s mouth, 2018. Installation View

Photography Jan Sondergard

Amitai Romm, Louis Scherfig, Frederik Worm
New Qualia Hotel
23 November – 22 December

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

New Qualia Hotel, 2018. Installation View

Louis Scherfig. New Qualia Hotel 3, 2018. Light reflector, styrofoam, paint, acrylic, print, epoxy, lights, cable, wire. 71 cm x 57 cm x 43 cm

New Qualia Hotel, 2018. Installation View

New Qualia Hotel, 2018. Installation View

New Qualia Hotel, 2018. Installation View

Frederik Worm. Cinema of the Interface (Copenhill), 2018. Porcelain, glaze, mixed materials. 135 cm x 40 x 40 cm

Frederik Worm . Recreational Gaming, 2018. Steel pitchers, pachinko balls, epoxy, oysters, road paint, co2 cartridges, model trees. 244 cm x 122 cm x 70cm

New Qualia Hotel, 2018. Installation View

New Qualia Hotel, 2018. Installation View

Amitai Romm. Untitled, 2018. Pencil and ink on paper. 35,5 x 29 cm

New Qualia Hotel, 2018. Installation View

Amitai Romm. Human Security System, 2018. Photogravure. 27 x 33 cm. Ed.1 + 1AP

Louis Scherfig . New Qualia Hotel 1, 2018. Light reflector, table legs, acrylic, styrofoam, print, plastic cast, epoxy, lights, cable.
92 cm x 76 cm x 121 cm

New Qualia Hotel, 2018. Installation View

New Qualia Hotel, 2018. Installation View

Frederik Worm. Cinema of the Interface (Copenhill), 2018. Porcelain, glaze, mixed materials. 135 cm x 40 x 40 (detail)

New Qualia Hotel, 2018. Installation View
Photography Jan Sondergaard

New Qualia Hotel, 2018. Installation View

Louis Scherfig. Re-cognize, 2018. Vacuum formed plastic, styrofoam, print, acrylic, epoxy, lights, cable. 75cm x 55cm

Louis Scherfig. Re-cognize (twin), 2018. Vacuum formed plastic, styrofoam, print, acrylic, epoxy, lights, cable. 75cm x 55cm

Louis Scherfig. Re-cognize (twin), 2018. Vacuum formed plastic, styrofoam, print, acrylic, epoxy, lights, cable. 75cm x 55cm (detail)

New Qualia Hotel, 2018. Installation View

Amitai Romm. Passenger, 2018. Photogravure. 15 x 22 cm. Ed.1 + 1AP

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

join our mailing list
info@biancadalessandro.com

Jean Marc Routhier

“To whom it may concern, Jeg vil ønske sommer varede hele året”

18 January – 23 February

New Qualia Hotel, 2018. Installation View

Frederik Worm . Recreational Gaming, 2018. Steel pitcher, model trees. 20 x 10 x 20 cm

Frederik Worm . Recreational Gaming, 2018. Steel pitcher, oysters. 20 x 10 x 20 cm

Frederik Worm . Recreational Gaming, 2018. Steel pitcher, pebbles. 20 x 10 x 20 cm

Frederik Worm . Recreational Gaming, 2018. Steel pitcher, model trees. 20 x 10 x 20 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

“To whom it may concern, Jeg vil ønske sommer varede hele året” 2019. Installation View

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

“To whom it may concern, Jeg vil ønske sommer varede hele året” 2019 Installation View

Alter, 2019. Epoxy, mixed media. 29 x 35,5 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Right Of, 2019. Epoxy, mixed media. 72 x 113 cm

Right Of, 2019. Epoxy, mixed media. 72 x 113 cm (deail)

The, 2019. Epoxy, mixed media. 50 x 30 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

People to alter, 2019. Epoxy, mixed media. 95 x 84 cm

People to alter, 2019. Epoxy, mixed media. 95 x 84 cm (detail)

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

“To whom it may concern, Jeg vil ønske sommer varede hele året” 2019. Installation View

Or, 2019. Epoxy, mixed media. 27 x 27 cm

To, 2019. Epoxy, mixed media. 27 x 27 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

â€To whom it may concern, Jeg vil Ã¸nske sommer varede hele Ã¥retâ€, 2019. Installation View

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Mampfi, 2019. Eatable Euro bills (sugar). 75cm x 55cm

Mampfi, 2019. Eatable Euro bills (sugar). 75cm x 55cm (detail)

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Abolish it, 2019. Epoxy, mixed media. 58 x 83 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Hail The New Triad Uprising, 2019. Laserprint. 41,1 x 28,7 cm. Ed.2 + 1AP

Rosalie Cullen, 2019. Laserprint. 41,1 x 28,7 cm. Ed.2 + 1AP

Lamborghini, 2019. Laserprint. 41,1 x 28,7 cm. Ed.2 + 1AP

I do not enjoy, 2019. Laserprint. 41,1 x 28,7 cm. Ed.2 + 1AP

Brennan Graber is the biggest p****, 2019. Laserprint. 41,1 x 28,7 cm. Ed.2 + 1AP

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Tinget, 2019. Cobber, patinated. 700 x 140 cm (detail)

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

Tinget, 2019. Cobber, patinated. 700 x 140 cm (detail)

“To whom it may concern, Jeg vil ønske sommer varede hele året”, 2019. Installation View

As you like it, 2019. Crystal, silk, plastic. 8 x 60 x 12 cm

“To whom it may concern, Jeg vil ønske sommer varede hele året” 2019. Installation View
Photography Jan Sondergaard

Kirsten Lockenwitz

9 March – 25 May

Thank you to

Beckett-Fonden, Grosserer L. F. Foghts Fond, Statens Kunstfond

The show ends 13 April 2019
Gallery hours Wednesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

The exhibition was awarded honoria by the Danish Arts Foundation

Kirsten Lockenwitz, 2019. Installation view. Photography Jan Sondergaard

PUKKA, 1986. Iron, Blue Rønne Granite, Neon. 100 x 86 x 94 cm

PUKKA, 1986. Iron, Blue Rø¸nne Granite, Neon. 100 x 86 x 94 cm

Kirsten Lockenwitz. Installation view

STOR TOTEM, 2018. Concrete, Argon. 130,5 x 188 x 37,5 cm

GARBHA 1999. Diabase . 33 x 89 x 80,5 cm

CHANDRA HVID, 2018. Gypsum, Argon. 60 x 115 x 25 cm (excl. base)

YALI, 2017. Diabase, Steel. 92 x 215 x 59 cm (foreground)

Kirsten Lockenwitz. Installation view

AEGIS V, 2013. Civic Marble, Diabase. 188 x 86 x 40,5 cm

AEGIS V, 2013. Civic Marble, Diabase. 188 x 86 x 40,5 cm

Zoe Barcza
Louis Scherfig

LISTE – Art Fair Basel
Burgweg 15, 4058 Basel
11 – 16 June 2019

Preview
Monday 10 June by personal invitation only

General opening hours
Tuesday 11 – Saturday 15 June 1 – 9 pm
Sunday 16 June 1 – 6 pm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

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Oliver Bak, Lydia Hauge SÃ¸lvberg, Rikard Thambert
Little Soul
31 August – 26 October

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

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info@biancadalessandro.com

Little Soul, 2019. Installation View

Oliver Bak. Blue Corn, 2019. Ceramic plate. Diameter 37 cm

Little Soul, 2019. Installation View

Lydia Hauge SÃ¸lvberg. Barok Appelsin, 2017. Bronze. 23 x 12 x 10 cm

Oliver Bak. For Freddie, 2019. Ceramic plate. 33 x 48 cm

Little Soul, 2019. Installation View

Oliver Bak. Little Moth, 2019. Ceramic plate. 33 x 48 cm

Little Soul, 2019. Installation View

Rikard Thambert. Untitled, 2019. Painted plaster. 105 x 39,5 x 39,5 cm

Rikard Thambert. Untitled, 2019. Painted plaster. 105 x 39,5 x 39,5 cm (detail)

Little Soul, 2019. Installation View

Lydia Hauge Sø¸lvberg. Tegnet Øre, 2017. Plaster. 48 x 25 x 3,5 cm

Little Soul, 2019. Installation View

Oliver Bak. Ghost Lemur, 2019. Ceramic plate. 33 x 48 cm

Little Soul, 2019. Installation View

Lydia Hauge Sø¸lvberg. Blomst, 2016. Sand cast aluminium. 24 x 27 x 25 cm

Little Soul, 2019. Installation View

Oliver Bak. Head, 2019. Ceramic plate. 48 x 33 cm

Little Soul, 2019. Installation View

Tegnet Ã˜re, 2017. Plaster. 43,5 x 28 x 3,5 cm

Little Soul, 2019. Installation View

Oliver Bak. Untitled, 2019. Ceramic plate. 33 x 48 cm

Little Soul, 2019. Installation View

Oliver Bak. Ghost Lemur 2, 2019. Ceramic plate. Diameter 37 cm

Little Soul, 2019. Installation View

Lydia Hauge SÃ¸lvberg. Untitled, 2018. Plaster . 39 x 48 x 6 cm

Little Soul, 2019. Installation View

Little Soul, 2019. Installation View
Photography Jan Sondergaard

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com
Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

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info@biancadalessandro.com

Phoebe Nesgos, Oliver Bak, Sean Mullins
Phantom Folly
30 January – 28 March

Phantom Folly, 2020. Installation View

Phantom Folly, 2020. Installation View
Photography Jan Sondergaard

Sean Mullins. I am Abraham, with each step forward the horizon recedes back, 2019. Oil on canvas. 76 x 102 cm

Oliver Bak. Skeletal Path, 2020. Oil on canvas. 116,5 x 120,5 cm

Oliver Bak. Slumber Walk, 2019. Oil on canvas. 96,5 x 68,2 cm

Phoebe Nesgos. Skullkeeper, 2020. Oil on canvas. 76 x 101 cm (incl. frame 80,5 x 106 cm)

Phoebe Nesgos. Banishing, 2016 – 2019. Oil on canvas . 172 x 166.5 cm

Phoebe Nesgos. Alice, 2019 . Oil on canvas . 61 x 60,5 cm

Sean Mullins. St. Francis and the Leper, 2019 . Oil on canvas . 43 x 61 cm

Oliver Bak. Circe, 2020. Oil on canvas, 131 x 81,4 cm

Sean Mullins. Every movement towards death is life, 2019. Oil on canvas. 41 x 30,5 cm

Grosserer L. F. Foghts Fond

Thank you to

AÄ“sop

Thank you to Aēsop

LISTE ART FAIR BASEL

“Rewriting Our Imaginations”
2 – 15 September

Poster project “Rewriting Our Imaginations” now on view in public spaces in Basel 2 – 15 September as part of Liste Showtime. Currently displayed on public billboards in over 50 locations in Basel, 72 posters created by 72 artists explore the question of what new imaginations and new futures might look like when something fictional suddenly becomes reality. The posters will be shown and sold online as well as on view in public space in Basel.

Phoebe Nesgos
Nature Morte, 2020. Digital collage. 895 x 1280 mm

Phoebe Nesgos

LISTE Showtime

VIP Preview
11 September 10 am CEST – 13 September 2020

Public Launch
14 September 10 am CEST – 20 September 2020

at
liste.ch

Lone Haugaard Madsen
Rum#367-Commute

19 September – 31 October 2020

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

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Untitled, 1981. Mixed media on paper. 110 x 110 cm

Rum#367-Commute, 2020. Installation view.

Photo, Jan Sondergaard

Rum#367-Commute, 2020. Installation view.

Rum#367-Commute, 2020. Installation view.

Rum#367-Commute, 2020. Installation view.

Rum#367-Commute, 2020. Installation view.

Steffen Jø¸rgensen
Dirty Hands
22 October – 7 November

Works shown at Paris Internationale Online Viewing Room
now on display at our gallery in Copenhagen

Opening hours
Wednesday – Friday 12 noon – 5 pm & Saturday 12 noon – 3 pm

STEFFEN JÃ˜RGENSEN

PARIS INTERNATIONALE

SuperSalon
Curated by Claire Le Restif
12 rue Montyon, Paris, 75009

Public viewing
22 – 29 October, 2020
12 noon – 8 pm

and

Online Viewing Room
20 – 29 October, 2020

Thank you to the Danish Arts Foundation for making the project possible

Rum#367-Commute, 2020. Installation view.

Louis Scherfig

Noob Renaissance

7 November – 19 December 2020

Covid-19 safety measures

Please note that a limited number of visitors may enter the gallery at one time.

We ask that you wear a face mask upon entering and throughout the duration of your visit.

Noob Rainassance, 2020. Installation view

Photo, Jan Sondergaard

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301 info@biancadalessandro.com

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

join our mailing list

info@biancadalessandro.com

Rum#367-Commute, 2020. Installation view.

Noob Rainassance, 2020. Installation view

I Smoke Eyes, 2020. Acrylic glass, light reflector, permanent marker, print on foil, UV spray, acrylic coating. 100 x 75 cm

I Smoke Eyes, 2020. Acrylic glass, light reflector, permanent marker, print on foil, UV spray, acrylic coating. 100 x 75 cm (detail)

Enjoy Your Gravity, 2020. Acrylic glass, light reflector, permanent marker, print on foil, UV spray, acrylic coating. 100 x 75 cm

Enjoy Your Gravity, 2020. Acrylic glass, light reflector, permanent marker, print on foil, UV spray, acrylic coating. 100 x 75 cm (detail)

Zodiac Prototype 1, 2020. Acrylic glass, light reflector, permanent marker, model figures, print on foil, UV spray, epoxy, acrylic coating. 79 x 38 cm

Zodiac Prototype 4, 2020. Acrylic glass, light reflector, permanent marker, model figures, print on foil, UV spray, epoxy, acrylic coating. 85 x 47 cm

Safe Guards, 2020. Foam cardboard, bees, wood, metal, spray paint, acrylic, PVC, model figures. 32 x 43 cm

Oxygen, 2020. Foam cardboard, bees, wood, metal, spray paint, acrylic, PVC, model figures. 32 x 44 cm

Oxygen, 2020. Foam cardboard, bees, wood, metal, spray paint, acrylic, PVC, model figures. 32 x 44 cm (detail)

Lovesick Data, 2020. Acrylic glass, light reflector, permanent marker, print on foil, UV spray, acrylic coating. 50 x 75 cm

Broke Pluto, Crashed. Styrofoam, paint, acrylic,, epoxy, metal, lights, cables. Ã˜ 30 cm

Story Pools , 2020. Styrofoam, paint, acrylic varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 40 cm

Story Pools , 2020. Styrofoam, paint, acrylic varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 40 cm ( detail)

World of Extremely Bad Eureka, 2020. Styrofoam, paint, varnish, model figures, epoxy, metal, lights, cables. âŒ€ 50 cm

Narrator, 2020. Acrylic glass, print on foil, UV spray, varnish, cardboard. 25 x 24 cm

Welcome to the Noob Renaissance, 2020. Styrofoam, paint, varnish, PVC, print on foil, epoxy, metal, lights, cables. âŒ€ 30 cm

Lemurian Time Pools, 2020. Styrofoam, paint, varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 40 cm

Dyson Homesphere, 2020. Styrofoam, paint, acrylic varnish, model figures, PVC, emergency blanket, epoxy, metal, lights, cables. âŒ€ 30 cm

Lyfeform (pulsing), 2020. Styrofoam, paint, varnish, model figures, PVC, print on foil, light reflector, epoxy, metal, lights, cables. âŒ€ 50 cm

World of Extremely Bad Eureka, 2020. Styrofoam, paint, varnish, model figures, epoxy, metal, lights, cables. âŒ€ 50 cm (detail)

Story Pools, 2020. Styrofoam, paint, varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 30 cm (detail)

Story Pools, 2020. Styrofoam, paint, varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 30 cm

Story Pools, 2020. Styrofoam, paint, varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 30 cm (detail)

Battery World, 2020. Styrofoam, paint, varnish, toy figure, batteries, epoxy, metal, lights, cables. âŒ€ 50 cm

Welcome to the Noob Renaissance, 2020. Styrofoam, paint, varnish, PVC, print on foil, epoxy, metal, lights, cables. âŒ€ 30 cm (detail)

Lemurian Time Pools, 2020. Styrofoam, paint, varnish, model figures, glass, print on foil, epoxy, metal, lights, cables. âŒ€ 40 cm (detail)

Lyfeform (pulsing), 2020. Styrofoam, paint, varnish, model figures, PVC, print on foil, light reflector, epoxy, metal, lights, cables. âŒ€ 50 cm (detail)

Dyson Homesphere, 2020. Styrofoam, paint, acrylic varnish, model figures, PVC, emergency blanket, epoxy, metal, lights, cables. âŒ€ 30 cm (detail)

Broke Pluto, Crashed. Styrofoam, paint, acrylic,, epoxy, metal, lights, cables. Ã˜ 30 cm (detail)

Willy Ørskov

Open Archive

Friday 11 – 19 December, 2020

Gallery hours

Wednesday – Friday 12 noon – 5 pm, Saturday 12 noon – 3 pm

Willy Ã˜rskov: Open Archive

In 2020 the artist Willy Ørskov would have turned 100 years old. On this occasion, Bianca D’Alessandro is pleased to present the project Willy Ørskov: Open Archive.

The project presents the large photographic archive that Ørskov’s partner Grethe Grathwol left behind at her death. The archive documents Ørskov’s work and exhibition activities from the late 50s and onwards. It contains a large amount of previously unpublished material.

The archive will be reviewed and cataloged for the duration of the project, which hasnâ€™t been done before. The audience is invited into this process, where there will be a presentation of selected material. It will be possible for visitors to contribute to the archive with material in the form of photographs, letters, printed matter, etc.

The project not only celebrates the centenary of Ã˜rskov’s birth but is also the initiation of a larger initiative to disseminate Ã˜rskov’s work in all its aspects: sculpture, theory, and teaching. The mapping of the large archive is the first phase in a more comprehensive dissemination project and will serve as a basis for future projects, which include an anthology of Ørskov’s work and an online archive of Ã˜rskov’s works and exhibitions.

Thank you to Thomas Bagge for making the material available for the project.

The dissemination project about Ørskov was initiated by Bianca D’Alessandro and art historian Philip Pihl. A future anthology about Ørskov is prepared in collaboration with the publisher Strandberg Publishing. The project is expected to be completed in 2022.

Willy Ørskov, 1963. Foto: Gregers Nielsen

Covid-19 safety measures

Please note that a limited number of visitors may enter the gallery at one time.

We ask that you wear a face mask upon entering and throughout the duration of your visit.

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Rikard Thambert

Lactic Acid

3 March – 10 April 2021

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

—

Covid-19 safety measures

Please note that a limited number of visitors may enter the gallery at one time.

We ask that you wear a face mask upon entering and throughout the duration of your visit.

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

join our mailing list

info@biancadalessandro.com

Lactic Acid, 2021. Installation View

Stray Cat, 2021. Bronze, diabase. 188 x 37 x 46 cm (detail)

Stray Cat, 2021. Bronze, diabase. 188 x 37 x 46 cm

Stray Cat, 2021. Bronze, diabase. 188 x 37 x 46 cm (detail)

Lactic Acid, 2021. Installation view

The Shadow, 2021 Bronze, diabase 103 x 92 x 55 cm Ed. 1/2 + 1AP

Lactic Acid, 2021. Installation view

The Shadow, 2021 Bronze, diabase 103 x 92 x 55 cm Ed. 1/2 + 1AP (detail)

Lactic Acid, 2021. Installation view

Canal, 2021 Bronze, diabase 160 x 33 x 56 cm (detail)

Canal, 2021 Bronze, diabase 160 x 33 x 56 cm

Canal, 2021 Bronze, diabase 160 x 33 x 56 cm (detail)

Lactic Acid, 2021. Installation view

Spike, 2021 Bronze, diabase 178 x 32 x 39 cm (detail)

Spike, 2021 Bronze, diabase 178 x 32 x 39 cm

Spike, 2021 Bronze, diabase 178 x 32 x 39 cm (detail)

Lactic Acid, 2021. Installation view

Photography Jan Sondergaard

Zoe Barcza

Birth Refusal

27 May – 3 July 2021

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

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Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

Birth Refusal, 2021. Installation view

Subculture Beyotch, 2021. Acrylic, vinyl paint, enamel and collage on canvas. 200 x 170 cm

Birth Refusal, 2021. Installation view

A Satire, 2021. Acrylic, vinyl paint, and collage on canvas. 160 x 130 cm

A Neurotic Obsession For Rigor, 2021. Acrylic, vinyl paint and collage on canvas, artist’s frame. 160 x 90 cm

Open-ended (Superstition Is the Fruit of United Idiots and the Hope for Strange Powers), 2021.

Acrylic, vinyl paint and collage on canvas, artist’s frame. 90 x 160 cm

Birth Refusal, 2021. Installation view

Photo: Jan Sondergaard

Birth Refusal, 2021. Installation view

Subculture Beyotch, 2021. Acrylic, vinyl paint, enamel and collage on canvas. 200 x 170 cm (detail)

Birth Refusal, 2021. Installation view

Polycule Cringe, 2021. Acrylic, vinyl paint and collage on canvas, artist’s frame. 121 x 101 cm

Polycule Cringe, 2021. Acrylic, vinyl paint and collage on canvas, artist’s frame. 121 x 101 cm (detail)

Birth Refusal, 2021. Installation view

A Neurotic Obsession For Rigor, 2021. Acrylic, vinyl paint and collage on canvas, artist’s frame. 160 x 90 cm (detail)

Birth Refusal, 2021. Installation view

Open-ended (Superstition Is the Fruit of United Idiots and the Hope for Strange Powers), 2021.
Acrylic, vinyl paint and collage on canvas, artist’s frame (detail). 90 x 160 cm

Subculture Beyotch, 2021. Acrylic, vinyl paint, enamel and collage on canvas. 200 x 170 cm (detail)

A Satire, 2021. Acrylic, vinyl paint, and collage on canvas. 160 x 130 cm (detil)

Open-ended (Superstition Is the Fruit of United Idiots and the Hope for Strange Powers), 2021.
Acrylic, vinyl paint and collage on canvas, artist’s frame (detail). 90 x 160 cm

Nosebleed Velvet Vegan 8, 2021. Lilâ€™ Daddy Roth metal flake, collage, and acrylic on plexiglass. 50 x 70 cm

Nosebleed Velvet Vegan 9, 2021. Lilâ€™ Daddy Roth metal flake, collage, and acrylic on plexiglass. 50 x 70 cm

Birth Refusal, 2021. Installation view

Nosebleed Velvet Vegan 10, 2021. Lilâ€™ Daddy Roth metal flake, collage, and acrylic on plexiglass. 50 x 70 cm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

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Gallery hours Wednesday – Friday 12 noon – 6 pm Saturday 12 noon â€“ 3 pm

Steffen JÃ¸rgensen

Rikard Thambert

Steffen Jø¸rgensen
Booth 34

Liste Showtime – Online Viewing Room

Rikard Thambert
Sculpture Piazza IX

LISTE – Art Fair Basel

Messe Basel Halle 1.1

Maulbeerstrasse / Ecke Riehenring 113

4058 Basel

20 – 26 September 2021

Preview

Monday 20 September 10 am – 6 pm

by personal invitation only

General opening hours

20 September 6 – 20 pm

21 – 25 September 11 am – 8 pm

26 September 11 – 6 pm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

info@biancadalessandro.com

Arc Eye 2021. Installation view

Angel, 2018. Inkjet print and pencil on paper. 20 x 15 cm

Arc Eye 2021. Installation view

Angel, 2017-2021. Various media on paper. 20 x 15 cm

Arc Eye 2021. Installation view

Underdefined, 2018-2020. Ink and ballpoint pen on paper. 45 x 37 cm

Arc Eye 2021. Installation view

Emitter, 2021. Copper-plated steel, metal-halide lamp, cables, and fittings. Dimensions variable

Arc Eye 2021. Installation view

Analyst, 2018. Photogravure on paper. 32 x 27 cm

Analyst, 2018-2021. Inkjet print and various media on paper. 30 x 43 cm

Analyst, 2021. Inkjet print and UV print on dibond. 20 x 30 cm

Arc Eye 2021. Installation view

Photo Malle Madsen

Amitai Romm

Arc Eye

8 October – 18 December 2021

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

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Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon â€“ 3 pm

Godspeed

Kamil Dossar, Freja Sofie Kirk, Absalon Kirkeby

05 March – 09 April 2022

Godspeed 2022. Installation view

Absalon Kirkeby. Untitled, 2018. Inkjet print on Enhanced Matt Paper, aluminum mounted, custom framed. 172,3 x 117 cm. Edition 1/2 + 1 AP

Godspeed 2022. Installation view

Absalon Kirkeby. Kommune, 2020. Inkjet print on Canson Baryta Prestige, dibond mounted, custom framed. 168,2 x 113 cm. Edition 1/2 + 1 AP

Godspeed 2022. Installation view

Photo Jan Sondergaard

Kamil Dossar. Iconography, 2022. Oil on canvas. 60 x 60 cm

Kamil Dossar. Index, 2022. Oil on canvas. 183 x 152 cm

Absalon Kirkeby. Edderkop, 2021. Inkjet print on Canson Baryta Prestige, dibond mounted, custom framed. 151 x 114 cm. Edition 1/2 + 1 AP

Godspeed 2022. Installation view

Freja Sofie Kirk. Killing Kidding Colliding, 2022 . HD video, sound, smartglass. 07:30 min. Dimensions variable. Edition 1/3 + 1 AP

Godspeed 2022. Installation view

Art Athina 2022

Zoe Barcza

Preview

Friday 16 September 12 noon – 8 pm

by personal invitation only

General opening hours

17 – 19 September 12 noon – 9 pm

Art Athina

Zappeion Mansion, Anthens

16 – 19 September 2022

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

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Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

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Rachel Rossin

Lydia Hauge SÃ¸lvberg

13 – 19 June 2022

LISTE â€“ Art Fair Basel

Messe Basel Halle 1.1

Maulbeerstrasse / Ecke Riehenring 113

4058 Basel

20 – 26 September 2021

13 – 26 June 2022

Rachel Rossin

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

info@biancadalessandro.com

https://showtime.liste.ch

Lydia Hauge SÃ¸lvberg

Rachel Rossin

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon â€“ 3 pm

Descent

Olga Pedan, Charlie Froud

30 September – 5 November, 2022

Descent 2022. Installation view

Photography Jan Sondergaard

Descent 2022. Installation view

Charlie Froud. Untitled, 2022. Walnut frame, beech, ochre gesso. 90 x 80 cm (detail)

Charlie Froud. Untitled, 2022. Walnut frame, beech, ochre gesso. 90 x 80 cm

Descent 2022. Installation view

Descent 2022. Installation view

Olga Pedan. Wilting, 2022. Distemper on Aluminum. 50 x 40 cm

Olga Pedan. Cockerel, 2022. Distemper on Aluminum. 50 x 40 cm

Olga Pedan. Head, 2022. Distemper on Aluminum. 50 x 40 cm

Charlie Froud. Mars, 2022. Walnut frame, beech panel, red gesso. 40 x 45 cm

Descent 2022. Installation view

Descent 2022. Installation view

Descent 2022. Installation view

Charlie Froud. Forest Scene, 2022. Walnut frame, beech panel, green gesso. 50 x 40 cm

Descent 2022. Installation view

Descent 2022. Installation view

Olga Pedan. Rabbit Cosmology II, 2022 Distemper on Aluminum 100 x 60 cm

Olga Pedan. Tree, 2022 Distemper on Aluminum 100 x 80 cm

Olga Pedan. Rabbit Cosmology I, 2022 Distemper on Aluminum 100 x 60 cm

Descent 2022. Installation view

Charlie Froud. Untitled, 2022. Cherry frame, beech panel. 45 x 40 cm

Descent 2022. Installation view

Descent 2022. Installation view

Charlie Froud. Untitled, 2022. Black Walnut. 70 x 75 x 50 cm

Charlie Froud. Untitled, 2022. Black Walnut. 70 x 75 x 50 cm (detail)

Charlie Froud. Untitled, 2022. Black Walnut. 70 x 75 x 50 cm

Descent 2022. Installation view

Charlie Froud. Untitled, 2022. Black Walnut. 80 x 60 x 40 cm

Charlie Froud. Untitled, 2022. Black Walnut. 80 x 60 x 40 cm (detail)

Descent 2022. Installation view

Charlie Froud. Untitled, 2022. Black Walnut. 80 x 60 x 40 cm

Charlie Froud. Untitled, 2022. Black Walnut. 80 x 60 x 40 cm (detail)

Charlie Froud. Untitled, 2022. Black Walnut. 80 x 60 x 40 cm

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon â€“ 3 pm

Reflection

Kirsten Lockenwitz

26.January- 25 February 2023

Reflection 2023. Installation view

Shower, 1977. Tempera, oil on canvas. 116,5 x 165,5 cm (incl. frame)

Cousteau, 1977. Acrylic on canvas. 123 x 165,5 cm (incl. frame)

Force, ca 1976 – 1977 Acrylic on canvas 81,5 x 65,5 cm

Himalaya Rose II, 1976. Tempera, oil on canvas. 165,5 x 133,5 cm (incl. frame)

Ommaggio Di Francesco, 1977 Acrylic on canvas 247 x 199 cm (incl. artist frame)

Roulette, 2023. Installation view

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon – 3 pm

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info@biancadalessandro.com

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

Original Sins
Louis Scherfig

14 April – May 20

Frederiksholms Kanal 28A 1220 Copenhagen K +45 22994301

join our mailing list

info@biancadalessandro.com

Gallery hours Tuesday – Friday 12 noon – 5 pm Saturday 12 noon â€“ 3 pm

Original Sins, 2023. Installation view

Sightseer 8, 2023. Chainmail, acrylic glass, print on foil, paint, PVC, lights, cable .Dimensions variable

Sightseer 3 (Renaissance Noob), 2023. Chainmail, styrofoam, paint, varnish, PVC, lights, cable. Dimensions variable

Sightseer 9, 2023. Chainmail, PVC, print on foil, paint, lights, cable. Dimensions variable

Sightseer 7, 2023. Chainmail, acrylic glass, bubble wrap, paint, varnish, PVC, lights, cable. Dimensions variable

Original Sins, 2023. Installation view

Original Sins, 2023. PVC, print on foil, lights, cable, wood. 200 x 240 cm

Blue Marble Hotel, 2023, Acrylic glass, paint, print on foil, lights, cable, 200 x 170 cm

Blue Marble Hotel, 2023, Acrylic glass, paint, print on foil, lights, cable, 200 x 170 cm (detail)

Dissociation Hotel, 2023. Acrylic glass, print on foil, metal, lights, cable. 140 x 40 x 30 cm

esc, 2023, Acrylic glass, paint, print on foil, lights, cable, 103 x 205 x 15 cm

Original Sins, 2023. Installation view

Reader, 2023, Print on foil, varnish, acrylic glass, 27.8 x 30 cm

Theme Song, 2023, Print on foil, varnish, acrylic glass, wood, paint, 91.5 x 51.4 x 24.8 cm

Theme Song, 2023, Print on foil, varnish, acrylic glass, wood, paint, 91.5 x 51.4 x 24.8 cm (detail)