Upcoming

Trapez Raum, Zurich , CH - April 2025
Danish Institute in Rome, IT  - May 2025
ECK Museum of Art, Brunico, IT - June 2025
Hectare Gallery, Tokyo, JP - August 2025
Temple Gallery,  New York - August 2025
Woonhuis, De Ateliers, Amsterdam, NL - September 2025
SWAB Art fair with Nikhil Vettukattil for Pachinko, Barcelona, Spain - October 2025
Solo exhibition, Pachinko - Oslo, Norway - 2026 TBA
Who’s in charge here? Art of a New Generation
ECK Museum of Art. Brunico, IT
curated by Gino Alberti
13.06.25 - 20.08.25

On the first floor and in the basement of the Eck Museum of Art (formerly known as Stadtmuseum Bruneck), artists Theodor Nymark (b. 1997, DK) and Raphael Pohl (b.1998, IT) present a joint exhibition shaped by an ongoing dialogue between two friends and colleagues. Their practices unfold and intertwine through gestural reassemblies of archival material, personal belongings, and repurposed objects found within the museum and beyond. Both artists show new individual works as well as collaborative pieces, spanning various intersecting interests and media. These include urban development, landscape, spirituality, authorship, video, sound, objects, light, sensors, behavioural movement, art history, and site specificity.

Photo credits: Raphael Pohl


Theodor Nymark
Grand Hotel Salerno, 2025
Inverted iPhone video, r/t 00:49. Sound
Various dimensions

Theodor Nymark
Untitled (scryer), 2025
IKEA Fado lamps, wildflowers and plants from the surrounding area of the museum, hygrometer.
Various dimensions

Theodor Nymark
Terra Nova P. 1926, 2025
Archival photograph in custom frame, thermometer.
297 x 420

Raphael Pohl & Theodor Nymark
Untitled (director’s office), 2025
Lip gloss, chewing gum, maneki-neko figure, wooden commode, acrylic display box.
Various dimensions

Raphael Pohl & Theodor Nymark
untitled (archive), 2025
wooden commode, camera from the archive donated to Stadtmuseum Bruneck,
peppercorns, vape box, acrylic display box.
Various dimensions

Raphael Pohl & Theodor Nymark
Untitled (daylight), 2025
open door, daylight.
Various dimensions




Danish Institute in Rome
2025

During my month-long residency in May 2025 at the Danish Institute in Rome, I have been interested in investigating, through writing, photography, video, sculpture and gestural arrangements installed in and around the institute by Kay Fisker, how Arte Povera meets ecological and post-human theory, and how questions of ephemerality, authorship, economic instability and cultural precarity thread through both. I read the city itself as a living archive: a palimpsest where myth, ruin, and behavioural patterns overlap. Following Aldo Rossi’s idea of urban artefacts, façades, arcades, and demolition scars become active agents that keep identity in motion, mediating between innovation and authenticity.

Through the prism of Pier Paolo Calzolari’s work La Casa Ideale (1968), I seek to develop the notion of an “ecological object”: a sort of materialised spherical mirror that reflects the spiritual, cultural, political, and environmental strata of its surroundings. Field trips to industrial zones and heritage sites—along with conversations with important figures such as curator and L’Attico founder Fabio Sargentini—test this concept against Arte Povera’s material poetics and current debates on agency, materiality, and place. Whether I point the focus towards the ornamental flourish of a façade or the blunt violence of demolition, I am interested in showcasing how both infrastructure and narrative might script the conditions of life in the city. 







Chapel (after Calzolari) 2025
Foam board, reflective vinyl, textured vinyl, lemon-scented mosquito-repellent candles.

Location: The living room



“lucciola” 2025
1-channel Iphone video of a firefly on the terrace, inverted.
r/t 01:12 no sound
Location: The Archeological laboratory






Satyrus Bar, Villa Borghese (2025)
Inkjet on coloured paper

Academia di Dinamarca (2025)
Inkjet on coloured paper

Untitled (2025)
Algae pigment on cotton paper and transparent colour foil

Colosseu (2025)
Photograph edited with artificial intelligence, inkjet on coloured paper

Untitled (Survivor) (2025)
Plastic bag, wildflowers, LED light

Location: The Archeological Labratory



Untitled (after Aldo Rossi) (2025)
Wooden architectural model of the Danish Academy in Rome by Kay Fisker, ancient Roman archaeological fragments, LED light chain
Location: The Archeological Labratory




Untitled (resurrectionaries) 1–5 (2025)
Biodegradable bag, wildflowers, LED light
Location: The Basement
Milieu
Transit Art space
Elisnore, Denmark
28.02.25 — 04.04.25

My exhibition, Milieu, at Transit Art Space, located in the historic Customs House in Helsingør, continues my
interest in recording and responding to environmental conditions. The works build upon and redevelop the
methodology I have employed in former works, focusing on the integration of environmental and spatial
registrations and signifiers. Inspired by Pier Paolo Calzolari’s La Casa Ideale — a text and installation from
1968 that reimagines the house as a dynamic sensory and intellectual experience, where space is shaped not
by walls but by atmosphere, perception, and poetic engagement — Milieu explores similar connections, both
physical and metaphorical, between architecture, mythology, and the mental landscape.

Villa Sommariva, located on Nordre Strandvej in Helsingør, Denmark, was built around 1865 for consul and
merchant Schack Sommer. It has functioned as a site of leisure and civic importance and was later acquired
by Helsingør Municipality in 1913. The villa was known for its gardens, which featured exotic trees imported
from Hamburg’s botanical garden. Its history continues to be reflected in local developments, including the
construction of a playground and the ongoing Sommariva Development project by Pension Danmark on the
abandoned stadium field.

Arguably inspired by the Italian coastline—given its name and function as a site of bourgeois leisure—the
villa exemplifies how architecture and monuments construct memory through cultural signifiers. Now
awaiting transformation into a sustainable village, its shifting function reflects the ongoing reconfiguration of
urban space and the memories such places create, erase, and sustain. To highlight this conflict and the
dissolution of historical awareness, I am presenting an archival photograph of the Sommariva Hotel and
Restaurant, altered using Artificial Intelligence, alongside a patinated, eroded, stone-looking plastic chair that
I found at the abandoned stadium on the former Sommariva site. Atop the chair, my grandmother’s old
frosted mini-decor apples are arranged like relics, both chair and apples, loaded with collective memory and
shaped by their immediate environment.

In conjunction with the remaining components of the exhibition, including a video depicting an abandoned
nightclub and blurred, inverted iPhone photographs of flowers inspired by early American Pictorialist
photography, my objective is to investigate environmental registration and ephemerality through a range of
strategies. To further emphasize the different ways of underlining the sensory navigation of the environment,
I am using hygrometers, infrared bulbs, humidifiers, and a solar-powered LED parasol alongside framed
graphic and photographic imagery that I hope alters and decodes the experience of the exhibition space.

At its core, the presentation of works and interventions seeks to establish and examine what I term ecological
objects (inspired by numerous thinkers before me, such as Latour, Morton, Bennett, Harman, and Guattari).
These multi-dimensional objects are ontologically charged, embedded with remnants of their environment,
and function like a spherical mirror—reflecting everything around them. To illustrate this, I draw a parallel to
the FM radio, an essentially hollow device that transmits signals from its immediate surroundings, relaying
local radio stations based on its placement. The content of the radio, therefore, is both urgent and inherently
unstable, demonstrating the unpredictable, malleable nature of environmental influence.

I am particularly interested in how collective memory is shaped through urban artefacts inspired by artist,
architect, and writer Aldo Rossi’s concepts of cities as repositories of cultural identity. This perspective
informs my approach to landscape, where cities become palimpsests of history, mythology, and lived
experiences. I'm curious as to how shifting environments and architectural remnants mediate personal and
communal narratives. The directive of the ecological object offers me a lens through which to examine not only
the city’s ongoing negotiation between innovation and authenticity but also broader questions of historical
and political navigation. It presents a way to consider how narratives and ornaments shape environments just
as much as flooding, demolition, and the construction of new glass high-rises.

The exhibition is kindly supported by Statens Kunsfond.


Untitled (Gl. Hellebækvej), 2025
Stadium plastic seat, decorative frosted apples


Allegade, 2025
Single-channel inverted HD iPhone video, loop 00:29 sec.
No sound.


Untitled (Ambient), 2025
Infrared bulbs, humidifier with lily-of-the-valley essence,
hygrometers, parasol with solar-powered LED.
Variable dimensions



Untitled (after Maeterlinck), 2025
Inkjet on Hahnemühle paper in aluminium frame
with custom passe-partout



Untitled (Nivagaard), 2025
Inkjet on Hahnemühle paper in aluminium frame
with custom passe-partout



Sommariva Hotel and Restaurant, 2025
Laser print on colored paper in aluminium frame
with custom passe-partout



Untitled (after Maeterlinck), 2025
Inkjet on Hahnemühle paper in aluminium frame
´with custom passe-partout



Customs house, 2025
Laser print on colored paper in aluminium frame