︎

Theodor Nymark
Mark
Upcoming

Group show, Spring Exhibition, Kunsthal Charlottenborg - Copenhagen, Denmark - April 2026
Group show, HOBO International, Basel Social Club, Basel, Switzerland - June 2026
Group show, Nakal Dompipou - Brussels, Belgium - May 2026
Solo show, AAAA Nordhavn - Copenhagen, Denmark - TBA 2027





Diversione
6 March–4 April 2026
Grønlandsleiret 47C, 0190 Oslo.

“Of the vivid natural environment, today only a distant, fleeting memory remains — a melancholic semblance glimpsed within symbolic frames, like paintings or phone screens, or in physical ones, strolling through the domesticated nature of elegant city gardens, private or aristocratic.”¹

Diversione takes its point of departure in a residency at the Danish Institute in Rome. Emerging from research into landscape painting, urban theory and the historical layering of cultivated space, the exhibition considers diversion as detour and displacement, between image and site, memory and intervention.

The exhibition is accompanied by texts by Nikolaj Schultz, Assistant Professor of Social Theory and Ecological Thought at Aarhus School of Architecture, and writer Matteo Giovanelli.

Another Human Reflection

Even if I promised to keep this text short, I will begin with an anecdote. Some months before accepting to write this piece, I found myself in Venice, trying to navigate my way through the city to get to a meeting, as the heat suddenly intensified. The city’s thick stonewall skeleton seemed to amplify the twenty-something degrees, making it feel like thirty or more. It was hot, I was tired and my legs were heavy, yet I had to keep going. But, the problem was that almost every turn I took seemed wrong, each corner leading to yet another dead end, yet another face-to-face encounter with a canal. First, I turned right, then I took a left, but somehow it brought me back to where I was before, staring at the waters as I had done minutes earlier. 

Yes, I was lost in this mythic stone maze – but I was so in different way than before. Why? Well, because whilst standing there, catching my breath and gazing at the water in the canal, I could not help but feel that it somehow reflected me differently than it had the last time I was there, years earlier. Today, I pondered, you see yourself mirrored in this famous lagoon not because the waters are clear, but because they are dirty, and because they are rising, due to your own being, being there. A human, a tourist among thousands, perhaps arriving on a CO2 emitting airplane, polluting the lagoon, and slowly making an ecologically threatened Venice sink…

Walking away, trying again to find my way, it seemed pretty clear to me that the old saying “There are no ends to Venice” really depends on what sort of ends you are looking for. In fact, as far as I could see, there was nothing but ends there. One realisation is that Venice literally is sinking under the pressure of climate change and mass tourism. Another is that by being a person visiting this about-to-be-washed-away place, I was a participant in such endings. And hence, I also had to confront myself with one idea of my ‘subjectivity’ washing away, as Foucault had it coming, whilst another was one coming onto shore. “I am other”, said Rimbaud – “Venice is other” responded Sartre. But held up against the waters, the lesson was rather that I am other, because Venice is other – and because its new and partly destroyed form takes shape after me and my actions.

The point here is not only how “ecological problems” follow us all in our footsteps, whenever we are, wherever we go or whatever we do. What I hope is clear by now, is how it also illustrates howthe very condition of the human being has transformed into another sort of being and another sort of existence than we thought it was. It has turned into a figure that drags a set of destructive traces behind it, traces that it is constantly reminded of. Or, put differently: the human – that subject we thought was somehow beyond its object-Heimat, or planet – now seems to cast another set of shadows. Shadows that unfortunately remain, no matter how much we look the other direction, destabilising the very life conditions of its own species-Being.

Yes, it’s a double mutation, a double metamorphosis, that we are facing today – one in which both “the world” that we thought we knew, and “the human” itself, are transforming in a strange, confusing and alarming manner. Why “the world”? Because we are realising that the planet we live on – and that we thought of as stable until very recently – is reacting to our collective human actions, to a level that threatens its habitability. Why “the human”? Because by being the very reason or cause behind this planetary metamorphosis, the shape or silhouette of “the human” itself has turned into a different sort of being. Again, as mentioned above, it’s not a choice between “I am other” or “the world is other”. It’s rather “I am other because the world is other” – and because I am making it so, on a planetary level.

And hence the significance of Theodor Nymark’s exhibition, since it strikes me as engagingprecisely these sorts of curiosities related to the human being’s traces being mirrored in another way, in another world, today. A quick step back, and a reminder: I am neither art scholar nor an art critic, so it isn’t my job to evaluate the aesthetic quality of what is at stake here. However, what I nonetheless do dare to state and qualify is that the exhibition takes up points of inquiry that I today consider be as important to philosophy as they are to the arts. Which questions, again? Questions like: What is perishable and ephemeral and what is not, both regarding the world and when it comes to being human? What is the world, when it is reflects human traces in another manner than before? And: what is a human, when it is realises that it is reflected in the world differently than it used to be? Tough questions, that’s true – but not questions that are going to perish themselves any time soon.


Nikolaj Schultz, Assistant Professor of Social Theory and Ecological Thought, Aarhus School of Architecture.


Landscape has always been a victim of physical, theoretical and visual circumscription For centuries it has endured terminological constraints, definitions, yet it has remained one of the privileged subjects of art history, through its mimetic capacity to render it as an image. Art has a longstanding familiarity with this genre: from imaginative landscapes that framed classical scenes, to the eighteenth century capricci, from the realistic views, such as Canaletto’s meticulously detailed grand vistas, to the Romantic sublime and the atmospheric picturesque.

Of the vivid natural environment, today only a distant, fleeting memory remains — a melancholic semblance glimpsed within symbolic frames, like paintings or phone screens, or in physical ones, strolling through the domesticated nature of elegant city gardens, private or aristocratic. It is precisely these places — spatial realms defined by human intervention — that are emblematic examples of historical and cultural layering, true hortus conclusus that preserves the last gentle trace of a nature that has become suspended, tamed and hybrid: flourishing where it can, spontaneous only when induced. Here accumulate shelves of dusty natural memories, ecosystems woven from stories and casual encounters, ruins and artistic forms: a pile of traces and meanings that loom over the contemporary individual.

In Theodor Nymark’s work, however, faded recollections of a primordial and triumphant nature flow, now degraded at a symbolic state, deprived of authenticity, like decoration or a trinket. During his stay in Rome at the Danish Academy, the artist immersed himself in the courtly gardens of villas and palaces, succumbing to their romantic and enchanted allure. Walking within them retracing the steps of Golden Age Danish artists — such as Christoffer Wilhelm Eckersberg or Thorald Læssøe — he observed the garden and its archival overlays for what they truly are, without being overwhelmed by its palimpsestic impressiveness.

Confronted with the weight of history in Villa Borghese, the artist chooses to intervene in this suspended place, furtively marking its main elements — the trees, the statue of Pushkin and the fountain, also known from Læssøe’s Fontana Oscura — with luminous, reflective spray paint, which he photographs and displays in the exhibition within polished and chrome-plated aluminium frames, creating a double play of light and reflection. In the garden, he follows the melancholic luminous trajectory of the last natural inhabitant of the darkness. It is a firefly, alone, in a Roman spring night, flying amid the blinding artificial lights that filter between branch and branch, in a confusion that is exaggerated and saturated in a concealed iPhone video.

Nymark plays with this small framed landscape, observing it as a result of human intervention. Thus it becomes a conceptual device and it is transposed into the exhibition spaces of Pachinko. Here, a mirrored floor not only attempts a parallel with the ponds so dear to art history but also reflects awareness of its own staging and packaging. The individual stands naked in front of their own subjugation; yet they are also made responsible and conscious of their own actions. The chaos of lights and reflections generates an atmospheric tension between nature and artifice, from which emerges a hybrid cardboard figure: a Dachshund, a domesticated German hunting dog, turned into an ornament among many, an ironic witness to bourgeois knick-knackery.

Matteo Giovanelli

Fontana Oscura, Villa Borghese, 2025
Reflective powder intervention; iPhone photography, inkjet print on Hahnemühle paper, chrome-plated custom frame with artist-defined passepartout proportions

Alexander Pushkin Monument, Villa Borghese, 2025
Reflective powder intervention; iPhone photography, inkjet print on Hahnemühle paper, chrome-plated custom frame with artist-defined passepartout proportions

Roman Arch of Septimius Sever, Villa Borghese, 2025
Reflective powder intervention; iPhone photography, inkjet print on Hahnemühle paper, chrome-plated custom frame with artist-defined passepartout proportions
Huitfeldts gate, Oslo, 2026
iPhone photography, inkjet print on Hahnemühle paper, chrome-plated custom frame with artist-defined passepartout proportions

Dachshund (Kids Shelf), 2025
Mirror foil on laser-cut MDF

lucciola, 2025
Single-channel iPhone video (inverted), sound, 00:54

Ambient, 2026
Mirror vinyl floor, MDF structure, humidifier with cypress essential oil, shipping box for lampshades with integrated light fixture and lampshade.
Formula 1
27.09, 13:00–01.11.2025
Woonhuis, Amsterdam, Netherlands

Group show with Theodor Nymark & Frej Volander, Maia Liu, Luca Mosbech Fedele and Farhad Farzali.
Curated by Aiganym Mukhamejan, Iiris Riihimäki, Oscar Morel, Tobias Grann, Tosca Monteyne and Yingfei Lyu.

Things look different at high speed. This morning, I read an article stating that today will be the shortest day ever measured. The earth, it turns out, is rotating faster than it should be. Things are spinning out of control –but then, of course, ‘things’ were never really ‘in control’ to begin with. Are we approaching a tipping point? Will we feel it the moment our organs are rearranging, or will we simply find ourselves wondering, one morning, at what point did we start needing our coffee to taste like antifreeze? Will we tell ourselves that maybe it’s just the roast? Will we, here, is will I, is will you. Same, same, but different, like the slipping of the afternoon sun into evening, calm –a full circle that doesn’t come full circle, but starts to spiral instead.

For Formula 1, the participants of De Ateliers have invited five artists to collaborate on an evolving group show. The exhibition is composed in two acts, with an interlude separating the two. In a week of public programming, Woonhuis will undergo various shifts and transitions as the artists are invited to revisit their work, or the exhibition as a whole. Visitors, too, are welcome to revisit and stick around during the interlude –to witness or take part as the artists add, erase, alter, hijack, soil and polish.

https://woonhuis.de-ateliers.nl/programme/formula-1
Impressionisms (2024 - )

For the SWAB Art Fair 2025 in Barcelona with Pachinko, the artist presents a continuation of his Impressionisms series with seven new works made from flower imprints on birch plywood and acetone transfer. The earlier pieces, created with wildflowers collected in Copenhagen’s urban meadows in the summer of 2024, are here followed by a series that uses bouquets purchased from CPH Markets, a wholesale centre for agriculture and floriculture. Each bouquet is documented with its trade name and country of origin, inscribing into the works the otherwise hidden trajectories of cut-flower circulation. Before the imprinting process, the birch plywood is treated with alum, a mordant that prepares the surface to better absorb pigments. Onto these prepared panels, flowers from Ecuador, Kenya, the Netherlands, and Germany are pressed, releasing their colours directly into the wood. The surfaces are further layered with acetone transfers of grid-like structures, evoking the speculative logic of maps, borders, and the territorialisation of land. What remains is not a representation of flowers but the flowers themselves consumed: their pigments absorbed, their forms dissolved, their presence lingering only as stain and absence.

The series also confronts a gap in visibility. In Europe, cut flowers are sold without any obligation to disclose their origin. Unlike food, floriculture is exempt from origin labelling under EU law (Regulation (EU) No 1308/2013). Instead, trade is governed through plant passports for phytosanitary control (Regulation (EU) No 2016/2031), designed to regulate health but not to inform consumer choice. This system renders the origins of cut flowers opaque: when a rose or tulip is purchased, the fact that it has travelled from Kenya, Ecuador, or the Netherlands remains concealed. Within the works, this erasure is inverted—the flowers name themselves through pigment, making the panels into vessels that both carry and are imbued with the landscapes from which they came. The title Impressionism signals not a stylistic reference but the literal act of imprinting, recalling Monet’s poppy fields where painting became a carrier of place and atmosphere. Here, the field is reconfigured: the flowers do not depict but impress themselves, leaving ghostly traces across industrial birch panels. These traces point both to the poetry of vanishing meadows and to the persistence of international trade that continues to displace them.

The works occupy a spectral zone. They echo the ghost of a flower field—half presence, half disappearance—while also laying bare the infrastructures of commerce that shape their circulation. They suggest that the field, whether agricultural, economic, or poetic, is not stable but fugitive, always shifting between memory, material, and trade. Rather than proposing a new kind of flower painting, the series turns painting inside out. It lets the field inscribe itself through pigment and absence, reminding us that even in disappearance, landscapes continue to leave their mark.



R Gr Freedom (Ecuador), 2025
Acetone print and flower impression on birch plywood.
600x210 mm

Rosa Large Diya’s Fire (Kenya), 2025
Acetone print and flower impression on birch plywood.
600x210 mm

Untitled (Water body), 2025
Acetone print and vinyl on birch plywood.
600x210 mm


Callis Mats Pink (Germany), 2025
Acetone print and flower impression on birch plywood.
600x210 mm

Delph En Atlantis (Netherlands), 2025
Acetone print and flower impression on birch plywood.
600x210 mm

Di St Golem (Ecuador), 2025
Acetone print and flower impression on birch plywood.
600x210 mm

Di St Farida (Netherlands), 2025
Acetone print and flower impression on birch plywood.
600x210 mm
Theodor Nymark
Artist & curator (b. 1997) Lives and works in Copenhagen, Denmark.
Founder and curator of Salon 75 

Biography
Selected exhibitions include Stadtmuseum Brüneck (Brunico, Italy), Hectare Gallery (Tokyo, Japan), Nivaagaard’s Malerisamling (Nivaa, Denmark), AAAA Nordhavn (Copenhagen, Denmark), RAINRAIN Gallery (New York, USA), Servando Gallery (Havana, Cuba), Kerka Gallery (St. Petersburg, Russia), Magma Maria (Offenbach, Germany), Deutsche Film Institut (Düsseldorf, Germany), Zirka.Space (Munich, Germany), Kunsthal Charlottenborg (Copenhagen), The International Biennale of Tashkent (Uzbekistan), and Patara Gallery (Tbilisi).

Since 2017, Nymark has founded and curated the exhibition space Salon 75 in Copenhagen. Recent notable curatorial projects include exhibitions at RAINRAIN Gallery (New York, USA), The Balcony (The Hague, Netherlands), Berlinskej Model (Prague, Czech Republic), Fabrika CCI (Moscow, Russia), and Spazio Orr (Brescia, Italy).

As an artist and curator, Nymark systematically examines metaphorical and physical conceptions of the environment, exploring the role of spirituality in a post-industrial world. Through a narrative and research-based approach, he addresses the landscape via themes such as art history, national identity, land politics, collective memory, and local architecture, while exploring their interconnections and impact on ecological thinking and governance.

Upcoming
2025 Group exhibition, De Ateliers, Woonhuis, Amsterdam, Netherlands – September
2025 Group exhibition with Pol Taburet, Ju Young Kim, Moreno Schweikle and more, GSL Gallery, Paris, France – September
2025 Duo show with Nikhil Vettukattil, SWAB Art Fair with Pachinko Oslo, Barcelona, Spain – October
2026 Solo show, Pachinko, Oslo, Norway – March

Solo Exhibitions
2026: Milieu @ Transit Art Space. Helsingør, Denmark
2024: Impressionisms @ AAAA. Copenhagen, Denmark
2023: Ètudes De Paysage @ Ping Pong, Copenhagen, Denmark.
2023: Domaine De Ètudes @ Spread Museum, Visual Arts Agency France Residency, Entrevaux, France.
2022: Bigag & The Bando @ aaaa Nordhavn, Copenhagen, Denmark.
2022: Drafts of Ecology: Dear Landscape, @ RainRain Gallery, New York, USA.
2022: Drafts of Ecology/Thought & Memory: Interior & Exterior @ Kerka Gallery, St. Petersburg, Russia.
2021: Drafts of Ecology: SIRENIA, Servando Gallery, Havana, Cuba.
2021: Drafts of Ecology/Psyche Interior, Udstillingsstedet Q, Copenhagen, Denmark.
2020: Dream Structures @ Ta-Da space, Østerbro Copenhagen - Curated by Anne-Louise Knudsen.
2020: Beastial Fantasy/Drafts of Ecology @ Patara Gallery Tbilisi, Georgia - Curated by Gvantsa Jishkariani.
2019: CRITS’ Duo solo-show w/ Sofus Keiding @ Brigade Gallery Vesterbro, Copenhagen - Curated by Michael Bank Christoffersen.
2018: The Legend of the Larynx Metamorphosis @ Garage 9 Bologna, Italy. Made in collaboration with Sofus Keiding Agger.
2018: Roaming Away On The Pillars Of Consensus @ CGK (Carlsbergbyens kunstgalleri & salon), Copenhagen, Denmark.

Selected Group Exhibitions
2025 Biome, Hectare Gallery, Tokyo, Japan
2025 Who’s in charge here? Art of a New Generation, ECK Museum of Art (Stadtmuseum Brüneck), Brunico, Italy – curated by Gino Alberti
2025 Dazzling Wings, Trapez Raum, Zurich, Switzerland – curated by Antoine Felix Bürcher
2024: Land & History @ Magma Maria. Frankfurt, Germany
2024: Spritiual World @ RAINRAIN Gallery. New York, USA
2024: Mælkeveje @ Nivaagaard Malerisamling. Nivaa, Denmark
2024: AFGANG @ Kunsthal Charlottenborg. Copenhagen, Denmark
2024: A Little Bit of Solidarity Goes a Long Way @ Zirka.Space, Munich, Germany. Curated by Kay Yoon.
2023: Radical Technology @ Norrecco ressourcestation, Copenhagen, Denmark. Curated by Platform.dk.
2023: Anthology of the Field @ Basecamp, Locarno Film Festival 2023, Locarno, Switzerland. Curated by Justine Stella Knuchel.
2022: Little shop of extraordinary personal beauty @ Alice Folker, Copenhagen, Denmark. Curated by Anna Stahn.
2021: Sweet To Tongue — Sound To Eye @ Augustiana, Sønderborg, Denmark. Curated by Sophia Luna Portra.
2021: Christmas Salon @ Alice Folker, Copenhagen, Denmark.
2020: Make Friend Not Art: Underbellies @ Bundesallee 213-214, Berlin, Germany. Curated by Caroline Marie Ballegaard.
2019: Sevens Sages Laid Its Foundation @ Kur-Space, Vienna, Austria. Curated by Thor Tao Hansen.
2019: Online live Conference-Performance for students of Paideia — School of Contemporary Art in St. Petersburg. Curated by Valentina Makarova Sekisova.
2018: Zoom With Your Feet (Make Friends) @ Overgaden, Institut for samtidskunst Copenhagen, Denmark. Curated by Louse Lyngh Bjerregaard.

Curatorial Work
2024 Dominic Michel @ Salon 75
2024 Quay Quinn Wolf @ Salon 75
2024 Vijay Masharani @ Salon 75
2024 Laurits Honoré Rønne @ Grave Dwellers
2023 Dog, No Leash @ Spazio Orr, Brescia, Italy
2023 Floral & Machine @ Voskhod Gallery, Basel, Switzerland
2022 The Loading @ The Balcony, Den Haag, Netherlands
2022 Curisoity as Helmsmen @ Berlinskej Model, Prague, Czech Republic
2022 Drafts of Ecology/ URD @ CCI Fabrika, Moscow, Russia
2022 Gravedwellers #4 @ Birkehøj Jættestue
2021Gravedwellers #2 @ Møllehøj Jættestue
2021 Paul Barsch @ Salon 75
2021 Juxtapose Art Fair — Warm Little Pond (Performance stage and program)
2020 Gravedwellers #1 @ Øm Jættestue
2020 EVER GROWN by Claus Haxholm @ Salon 75
2020 Im Drunk And I Want To Sleep In The Bog Tonight! @ Salon 75
2020 The Tired Mask of Spring by MARTIN AAGAARD HANSEN @ Salon 7
2019 From Green to Grey by Nushan Rose Roshiani @ Salon 75
2019 State of Affairs by Bob Bicknell-Knight (UK) @ Salon 75
2019 FANTASTIC SUNNY APARTMENT AND 10 MIN TO MANHATTEN @ Homesick Gallery: Brooklyn, New York

Writing & Radio
Exhibition text for Samara Sallam @ Overgaden, Copenhagen. 2025
Exhibition text for Invisible Endings @ Skene, Malmö, Sweden – with Sylvester Vogelius, Carl Mannov, Helene Due and more.
Exhibition text for Antoine Felix Bürher @ Temple Gallery, New York. 2024
Kritikklassen — host and organizer of art critique radioshow for Absalon Radio Copenhagen, Denmark. 2021
Guestwriter and consultant for Et Hul I Markedet art newsletter, Copenhagen, Denmark. 2020
Guestwriter for Passive/Aggressive blog, Copenhagen. 2016-2017

Publications
2025 Ducato Prize Catalogue - Contemporary
2024 Drafts of Ecology, Salon 75 Publishing, 2024
2022 Mesh Magazine, København, 2022
2021 Amulet Magasin — The Picturesque Beast screenplay
2019 A Massive Weight Of Air, Soft Power Press, København
2018 ’Love/Peace: Mountain’, Palmspree, København (music release)
2018 Båndmagasinet no. 2, The Lake Radio, København (music release)
2017 TRTLNCK002, Turtleneck Records, København (music release)
2016 Hanoi Love Affair, København.(music release)
2015 R.E.C, Batch 0000, SM-LL, London (music release)

Films
The Picturesque Beast, CPH DOX Official Selection 2021.
SIRENIA @ Brigade Gallery, Havana Cuba
Bakken, CPH DOX Official Selection 2021, in collaboration with John Skoog, The Danish Film School and The Royal Danish Academy.

Performance
Sun & Sea (extra in art performance) @ Lithuanian Pavillion, Venice Biennale, Italy. 2019
’Salvation of the Beast’ In collaboration w/ Frej Volander @ Honeyland festival, Bornholm. 2018
”Performing the Concept of Dualism in a Modern World” @  Odense Musikbibliotek. 2016 
— Concert & DJ gigs: Kunstforeningen Gammelstrand, Distortion Festival, Cocktail Box,Magasin Du Nord, Kayak Bar, Pumpehuset, Lille Vega, Støberiet: Blågårdsplads & Kapelvej 44, Stengade, KB18, DRONE, Bolsjefabrikken, Flerdagesdrøm Festival, Honeyland Festival, Bakken, Jolene, 48-timers festival, Palmspree, Papirøen. 2010-2018

Teaching
2023 The Royal Danish Architecure School — lecture in land art and passage-graves
2023 BGK (Billedkunsterisk Grundkursus) Helsingør — lecture and prepatory course for art school application
2020 Paideia — School of Contemporary Art in St. Petersburg.
2020 - 2023 Private prepatory courses and consultancy for art school applications and portfolios.

Assistance
Resarch assistant for artist Tarik Kiswanson 2025 -
Production assistant for artist Tue Greenfort 2022-2023 

Residencies
The Danish Institute in Rome, Italy, 2025
Spread Museum, Entrevaux, France, 2023
Brigade Gallery, Havana, Cuba, 2021

Grants
Danish Arts Council - working grant
Grosser LF Foghts Fond - working grant
Danish Arts Council - production grant

Press
Cult Bytes
Art Spiel
Art Now Shanghai
Imma Giannaira
Kristlig Dagblad
Børsen Pleasure
Tv2 Danish Televison
Radio 4
Politiken
Information

Education
MFA, Sculpture Department (Prof. Simon Dybbroe Møller), Royal Danish Academy of Fine Arts, 2021-2024.
BFA, Royal Danish Academy of Fine Arts (Jakob Kolding, Luca Frei, Hannah Heilmann, Rolf Nowotny, Henriette Heise), 2018-2021.

Contact
Tpnj@icloud.com
0045 40 57 18 04
Instagram

Sound and music
Writings

Curatorial Projects


Founder and curator of Salon 75 
Founder and curator of GraveDwellers
Co-founder and curator of Feld Pavilion 


2025
Quay Quinn Wolf @ Salon 75

2024
Land & History - group show for Salon 75 @ Magma Maria, Frankfurt am Main, Germany
Spiritual World -  group show @ RAINRAIN Gallery, New York, USA.
Vijay Masharani @ Salon 75
Laurits Honoré Rønne @ Grave Dwellers

2023
Dog, No Leash w/ Abbas Akhavan, Nanna Abell, Joe Bun Keo Marie Søndergaard Lolk, Jessica Olausson, Noah Barker @ Spazio Orr, Brescia
Positions w/Jan Domicz, Francesco De Prezzo, Frederica Francesconi @ Salon 75, Copenhagen
Floral & Machine @ Voskhod Gallery, Basel

2022
Curiosity as Helmsmen w/ Martin Brandt Hansen & Rasmus Lyberth @ Berlinskej Model, Prague 
The Loading w/ Lina Viste Grønli, Finn Reinbothe, Runo B, Tom Bachtell and Jia Jia Zhang @ The Balcony, Den Haag, Netherlands
Rundgang 2022 INT. — EXT. @ Sculpture School BILC, Copenhagen, Demar
Drafts of Ecology/ URD @ CCI Fabrika, Moscow, Russia

2021
Paul Barsch @ Salon 75
GraveDwellers #2 Møllehøj Jættestue

2020
Claus Haxholm. @ Salon 75
Im Drunk And I Want To Sleep In The Bog Tonight! @ Salon 75
Martin Aaagard Hansen @ Salon 75
GraveDwellers 1# @ Øm Jættestue

2019
State of Affairs by Bob Bicknell-Knight (UK) @ Salon 75
New, Other, Odd https://newotherodd.com (film festival) @ CGK (Carlsbergbyens kunstgalleri & salon)
Emilie Viktoria KJÆR & SóLEY RAGNARSDóTTIR @ Salon 75
PINE SLEEVES (IL/DK) @ Salon 75
Shape shifting, brow lifting, block kitchen @ CGK (Carlsbergbyens kunstgalleri & salon)

2018
Honeyland festival http://honeyland.dk/ (art & music festival) @ Bornholm
Figures Of Speech @ Salon 75
Nye Rør! @ Salon 75
DON'T FEED THE TROLL @ Salon 75

2017
Compression by OK_Dog Collective (GER) @ Salon 75
IN BETWEEN AND AFTER @ Salon 75
Squinting at what appears to be almost there @ Salon 75
INGEN JURY, INGEN PRÆMIER @ Salon 75
I am responsible for all living beings' happiness @ Salon 75

2016
10 Timer I Aktivt Tomrum (art & music festival) @ Villakultur (Krausesvej 3)