Theodor Nymark

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	<title>Theodor Nymark</title>
	<link>https://theodornymark.com</link>
	<description>Theodor Nymark</description>
	<pubDate>Sun, 15 Mar 2026 16:01:01 +0000</pubDate>
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		<pubDate>Sun, 11 Nov 2018 00:55:47 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

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	Theodor Nymark


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		<pubDate>Fri, 18 Apr 2025 11:36:19 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

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		<description>Upcoming

Group show, Spring Exhibition, Kunsthal Charlottenborg - Copenhagen, Denmark - April 2026

Group show, HOBO International, Basel Social Club, Basel, Switzerland - June 2026Group show, Nakal Dompipou - Brussels, Belgium - May 2026Solo show, AAAA Nordhavn - Copenhagen, Denmark - TBA 2027
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		<title>Selected Works site copy simple</title>
				
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		<pubDate>Mon, 30 Dec 2024 22:07:00 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

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		<description>
	Solo exhibitions
DiversioneThe Danish Institute in Rome
Milieu
Impressionisms

Ètudes De Paysage 
Domaine d’Ètude&#38;nbsp;
Bigag &#38;amp; The Bando
Drafts of Ecology: Dear Landscape, &#38;nbsp;
Drafts of Ecology/Thought &#38;amp; Memory: Interior &#38;amp; Exterior 
Drafts of Ecology: SIRENIA
Drafts of Ecology/Psyche Interior
BFA Degree Show 
Dream Structures
Drafts of Ecology/Beastial Fantasy
CRITS
Roaming Away On 
The Pillars Of Consensus

	Selected group exhibitions
Formula 1
Swab Art Fair
Hectare GalleryECK Museum of ArtLand &#38;amp; HistorySpiritual World
Mælkeveje
 The Cave and the Cloud MFA Graduation Show
A Little Bit of Solidarity 
Goes a Long Way
Radical Technology
Basecamp

Sweet To Tongue — Sound To Eye

Christmas SalonMake Friend Not Art
SEVEN SAGES LAIDITS FOUNDATIONS

	
The Legend of the Larynx Metamorphosis
Staff OnlyZoom With Your Feet (Make Friends)&#38;nbsp;
Homesick Gallery:
Fantastic Sunny Apartment And 
10 Min To Manhatten&#38;nbsp;
Learning From (Learning) Albertslund&#38;nbsp;
Vibevej Præsenterer: 
Rentemestervej 69BKunstnernes Efterårsudstilling
Calculation 
Spring Exhibition


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	<item>
		<title>Diversione</title>
				
		<link>https://theodornymark.com/Diversione</link>

		<pubDate>Sun, 15 Mar 2026 16:01:01 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

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		<description>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&#38;nbsp;will&#38;nbsp;begin with an anecdote.&#38;nbsp;Some&#38;nbsp;months before accepting to write this&#38;nbsp;piece,&#38;nbsp;I found myself&#38;nbsp;in Venice, trying to navigate my way through the city to get to a meeting,&#38;nbsp;as&#38;nbsp;the heat suddenly intensified.&#38;nbsp;The city’s&#38;nbsp;thick&#38;nbsp;stonewall skeleton&#38;nbsp;seemed to&#38;nbsp;amplify&#38;nbsp;the twenty-something degrees, making it feel like thirty&#38;nbsp;or more.&#38;nbsp;It was hot, I was tired and my legs were heavy, yet&#38;nbsp;I had to keep going.&#38;nbsp;But,&#38;nbsp;the&#38;nbsp;problem was&#38;nbsp;that almost every turn I took seemed wrong,&#38;nbsp;each corner leading to yet another dead&#38;nbsp;end, yet another face-to-face encounter with&#38;nbsp;a&#38;nbsp;canal.&#38;nbsp;First,&#38;nbsp;I turned right, then I took a left, but somehow&#38;nbsp;it brought me back to where I was before,&#38;nbsp;staring at the waters&#38;nbsp;as&#38;nbsp;I&#38;nbsp;had done&#38;nbsp;minutes earlier.&#38;nbsp;
Yes, I was lost in this mythic stone maze –&#38;nbsp;but&#38;nbsp;I was so in&#38;nbsp;different&#38;nbsp;way than&#38;nbsp;before.&#38;nbsp;Why?&#38;nbsp;Well, because&#38;nbsp;whilst&#38;nbsp;standing there,&#38;nbsp;catching my breath&#38;nbsp;and gazing at the water in the canal, I could not help but&#38;nbsp;feel&#38;nbsp;that&#38;nbsp;it&#38;nbsp;somehow&#38;nbsp;reflected&#38;nbsp;me differently than&#38;nbsp;it had&#38;nbsp;the last time I was there, years earlier.&#38;nbsp;Today, I&#38;nbsp;pondered, you see yourself mirrored&#38;nbsp;in this famous&#38;nbsp;lagoon&#38;nbsp;not because the waters are clear,&#38;nbsp;but because they are dirty, and because they are rising,&#38;nbsp;due to your own being, being there.&#38;nbsp;A&#38;nbsp;human, a tourist among thousands, perhaps arriving on a CO2 emitting airplane, polluting the lagoon, and slowly making&#38;nbsp;an ecologically&#38;nbsp;threatened Venice sink…

Walking away, trying again to find my way, it seemed&#38;nbsp;pretty clear&#38;nbsp;to me that the old saying&#38;nbsp;“There are no ends to Venice” really depends on what sort of ends you are looking for.&#38;nbsp;In fact, as far as I could see, there was nothing but&#38;nbsp;ends&#38;nbsp;there.&#38;nbsp;One&#38;nbsp;realisation&#38;nbsp;is that&#38;nbsp;Venice literally is sinking&#38;nbsp;under the pressure of climate change and mass tourism. Another&#38;nbsp;is that by&#38;nbsp;being a person visiting&#38;nbsp;this&#38;nbsp;about-to-be-washed-away&#38;nbsp;place, I was a participant in such&#38;nbsp;endings. And hence, I also had to confront myself with&#38;nbsp;one idea of my ‘subjectivity’ washing away, as Foucault had it coming, whilst another was one coming&#38;nbsp;onto shore. “I&#38;nbsp;am&#38;nbsp;other”, said Rimbaud –&#38;nbsp;“Venice is other”&#38;nbsp;responded Sartre.&#38;nbsp;But held up against the waters, the lesson was rather that&#38;nbsp;I am other, because Venice is other –&#38;nbsp;and because its new&#38;nbsp;and partly destroyed&#38;nbsp;form takes shape after me and my actions.

The point here is&#38;nbsp;not&#38;nbsp;only how&#38;nbsp;“ecological problems”&#38;nbsp;follow us all in our footsteps,&#38;nbsp;whenever we are,&#38;nbsp;wherever we go or whatever we do. What&#38;nbsp;I hope is clear&#38;nbsp;by now, is how it&#38;nbsp;also illustrates&#38;nbsp;howthe&#38;nbsp;very condition of&#38;nbsp;the human being has transformed into another&#38;nbsp;sort of being&#38;nbsp;and&#38;nbsp;another sort of&#38;nbsp;existence&#38;nbsp;than we thought it was.&#38;nbsp;It has turned into a figure&#38;nbsp;that drags&#38;nbsp;a set of destructive traces&#38;nbsp;behind it, traces that&#38;nbsp;it is constantly reminded of. Or, put differently:&#38;nbsp;the human – that&#38;nbsp;subject&#38;nbsp;we thought was somehow beyond its&#38;nbsp;object-Heimat, or planet&#38;nbsp;–&#38;nbsp;now&#38;nbsp;seems to cast another set of shadows. Shadows&#38;nbsp;that unfortunately&#38;nbsp;remain, no matter how much we look&#38;nbsp;the&#38;nbsp;other direction, destabilising the very life conditions of its own species-Being. 

Yes, it’s a&#38;nbsp;double mutation, a&#38;nbsp;double metamorphosis,&#38;nbsp;that&#38;nbsp;we are facing today – one&#38;nbsp;in which&#38;nbsp;both&#38;nbsp;“the world”&#38;nbsp;that we thought we knew, and&#38;nbsp;“the human”&#38;nbsp;itself,&#38;nbsp;are&#38;nbsp;transforming&#38;nbsp;in&#38;nbsp;a&#38;nbsp;strange,&#38;nbsp;confusing&#38;nbsp;and alarming&#38;nbsp;manner. Why&#38;nbsp;“the world”? Because we are realising that&#38;nbsp;the&#38;nbsp;planet we&#38;nbsp;live on – and that&#38;nbsp;we&#38;nbsp;thought of&#38;nbsp;as stable until very recently – is reacting to our collective human actions, to a level&#38;nbsp;that threatens its habitability.&#38;nbsp;Why&#38;nbsp;“the human”?&#38;nbsp;Because by being the very&#38;nbsp;reason&#38;nbsp;or&#38;nbsp;cause&#38;nbsp;behind this planetary metamorphosis, the shape or silhouette of&#38;nbsp;“the&#38;nbsp;human”&#38;nbsp;itself has turned into a different sort&#38;nbsp;of being. Again, as mentioned above, it’s not a choice between “I am other” or “the&#38;nbsp;world is other”. It’s rather&#38;nbsp;“I&#38;nbsp;am other&#38;nbsp;because the&#38;nbsp;world is&#38;nbsp;other”&#38;nbsp;– and because I am making it so, on a planetary level.

And hence the&#38;nbsp;significance&#38;nbsp;of&#38;nbsp;Theodor&#38;nbsp;Nymark’s exhibition,&#38;nbsp;since it strikes me&#38;nbsp;as&#38;nbsp;engagingprecisely&#38;nbsp;these sorts of&#38;nbsp;curiosities&#38;nbsp;related to the human being’s traces being mirrored in another way, in another world, today.&#38;nbsp;A quick step back, and a&#38;nbsp;reminder: I am neither&#38;nbsp;art scholar nor an art critic,&#38;nbsp;so&#38;nbsp;it isn’t my job to&#38;nbsp;evaluate the aesthetic quality of&#38;nbsp;what is at stake here. However, what I nonetheless do dare to state and qualify is that&#38;nbsp;the exhibition&#38;nbsp;takes up points of inquiry that&#38;nbsp;I today consider&#38;nbsp;be as important to philosophy&#38;nbsp;as&#38;nbsp;they are&#38;nbsp;to the arts. Which&#38;nbsp;questions, again? Questions like:&#38;nbsp;What is perishable and ephemeral and what is not,&#38;nbsp;both&#38;nbsp;regarding the world and when it comes to being human? What is&#38;nbsp;the&#38;nbsp;world, when it is&#38;nbsp;reflects&#38;nbsp;human traces in another manner than before?&#38;nbsp;And:&#38;nbsp;what is a&#38;nbsp;human, when it is&#38;nbsp;realises&#38;nbsp;that it is reflected in the world&#38;nbsp;differently than&#38;nbsp;it used to be? Tough questions, that’s true – but not questions&#38;nbsp;that&#38;nbsp;are going to&#38;nbsp;perish themselves&#38;nbsp;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, 2026iPhone photography, inkjet print on Hahnemühle paper, chrome-plated custom frame with artist-defined passepartout proportions


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


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


Ambient, 2026Mirror vinyl floor, MDF structure, humidifier with cypress essential oil, shipping box for lampshades with integrated light fixture and lampshade.
	
	
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		<title>Formula 1</title>
				
		<link>https://theodornymark.com/Formula-1</link>

		<pubDate>Tue, 11 Nov 2025 15:04:59 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/Formula-1</guid>

		<description>Formula 127.09, 13:00–01.11.2025Woonhuis, Amsterdam, Netherlands
Group show with Theodor Nymark &#38;amp; 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
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	<item>
		<title>swab</title>
				
		<link>https://theodornymark.com/swab</link>

		<pubDate>Tue, 11 Nov 2025 15:04:47 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/swab</guid>

		<description>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), 2025Acetone print and flower impression on birch plywood.600x210 mm

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

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


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


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&#60;img width="5845" height="3897" width_o="5845" height_o="3897" data-src="https://freight.cargo.site/t/original/i/79fea0c394a49558ec271f789d85189e3bb0402b1894af195914adb1ec7d8628/SWABFAIR_04102025-65.jpg" data-mid="240508500" border="0"  src="https://freight.cargo.site/w/1000/i/79fea0c394a49558ec271f789d85189e3bb0402b1894af195914adb1ec7d8628/SWABFAIR_04102025-65.jpg" /&#62;</description>
		
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	<item>
		<title>Hectare</title>
				
		<link>https://theodornymark.com/Hectare</link>

		<pubDate>Sun, 24 Aug 2025 14:28:03 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/Hectare</guid>

		<description>

HECTARE東京都渋谷区神山町40-2 1F
Shibuya, Tokyo. Japanグループ展 「Biome」

HECTARE is pleased to present the group exhibition Biome, featuring works by Majalis Group (August Hugo and Theodor Nymark),&#38;nbsp; Fukuda Shuhei, Oh Hyunseog, and Theodor Nymark. 
This exhibition brings together four artists from Japan and abroad to explore the complex relationship between nature and artificiality through a post-anthropocentric perspective on time and scale.
August Hugo @augusthugo_ 
福田 周平 @shuhei.199431 


Oh Hyunseog @ohhyunseog 

Theodor Nymark @t____n97 


2025. 8.8 (Fri) ー 8.31 (Sun)13:00 - 19:00 ／ Closed on Monday, Tuesday*Opening reception 8.8 (Fri) 18:00 - 21:00The photographic series is a recent continuation of a body of work influenced by the Pictorialist movement of the late 19th century. This movement explored not only photography’s role in art at the time but also the ‘blurry’ or unsharp image and its relationship to themes of ecology, industry, and spirituality. The methodology of blurring the content is an intent to resist direct representation, shifting meaning from the rational toward abstraction.&#38;nbsp; The framed works at Hectare for the Biome exhibition are iPhone photographs with digitally applied Gaussian blur, created during a residency at the Danish Institute in Rome. Most depict Piazza Campo de’ Fiori—literally “Field of Flowers”—which was once a meadow in ancient Rome. Although its name recalls this floral past, the square gradually evolved into a public space known for executions, commerce, and daily life.


The wall text is an excerpt from the poem A Carcass in Les Fleurs du Mal (The Flowers of Evil), Charles Baudelaire’s seminal 1857 collection.&#38;nbsp; In A Carcass (Une Charogne), the speaker recalls walking with his lover when they encounter the decomposing body of an animal. Described in vivid, almost grotesque detail, the carcass becomes a memento mori—a reminder that the lover, too, will decay. Yet her beauty and essence will live on through his poetry. 


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data-src="https://freight.cargo.site/t/original/i/fa4a14612d8a83daae9094bdc4b03f5112aaca880b521003ca86c52253ec3bd4/DSC_1031.jpg" data-mid="237406912" border="0"  src="https://freight.cargo.site/w/1000/i/fa4a14612d8a83daae9094bdc4b03f5112aaca880b521003ca86c52253ec3bd4/DSC_1031.jpg" /&#62;</description>
		
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	<item>
		<title>ECK</title>
				
		<link>https://theodornymark.com/ECK</link>

		<pubDate>Tue, 08 Jul 2025 09:13:13 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/ECK</guid>

		<description>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:&#38;nbsp;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 &#38;amp; Theodor NymarkUntitled (director’s oﬃce), 2025Lip gloss, chewing gum, maneki-neko figure, wooden commode, acrylic display box.Various dimensions

Raphael Pohl &#38;amp; Theodor Nymarkuntitled (archive), 2025wooden commode, camera from the archive donated to Stadtmuseum Bruneck,peppercorns, vape box, acrylic display box.Various dimensions

Raphael Pohl &#38;amp; Theodor NymarkUntitled (daylight), 2025open door, daylight.Various dimensions
	

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	</item>
		
		
	<item>
		<title>ACDAN</title>
				
		<link>https://theodornymark.com/ACDAN</link>

		<pubDate>Wed, 18 Jun 2025 21:38:38 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/ACDAN</guid>

		<description>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.   

&#60;img width="2803" height="4220" width_o="2803" height_o="4220" data-src="https://freight.cargo.site/t/original/i/c68263f7317ece7268c9073817877f1020d511186702fd6617e327fcdca448e4/DSC_0721.jpg" data-mid="234742831" border="0"  src="https://freight.cargo.site/w/1000/i/c68263f7317ece7268c9073817877f1020d511186702fd6617e327fcdca448e4/DSC_0721.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/2e595be97745d76933734b95ceed97dac31920361556a037d3ebafeaddb1df46/DSC_0732.jpg" data-mid="234742832" border="0"  src="https://freight.cargo.site/w/1000/i/2e595be97745d76933734b95ceed97dac31920361556a037d3ebafeaddb1df46/DSC_0732.jpg" /&#62;&#60;img width="4185" height="2780" width_o="4185" height_o="2780" data-src="https://freight.cargo.site/t/original/i/551be1a2288cf3504930d421ca498bdc0e7ab2260188d15d4338ecfd58aa7816/DSC_0735.jpg" data-mid="234742833" border="0"  src="https://freight.cargo.site/w/1000/i/551be1a2288cf3504930d421ca498bdc0e7ab2260188d15d4338ecfd58aa7816/DSC_0735.jpg" /&#62;&#60;img width="2626" height="3954" width_o="2626" height_o="3954" data-src="https://freight.cargo.site/t/original/i/e42fef6aceb8c15fc493967df365085bc4122b612954d55a6b5aad1acc125b7b/DSC_0736.jpg" data-mid="234742834" border="0"  src="https://freight.cargo.site/w/1000/i/e42fef6aceb8c15fc493967df365085bc4122b612954d55a6b5aad1acc125b7b/DSC_0736.jpg" /&#62;&#60;img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/254a04dd53aecfdbe1f7765fccd199ab849521664caa37bc926e2016cb391d66/DSC_0737.jpg" data-mid="234742835" border="0"  src="https://freight.cargo.site/w/1000/i/254a04dd53aecfdbe1f7765fccd199ab849521664caa37bc926e2016cb391d66/DSC_0737.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/c3b457c06206e447b8c773c8984b990af4e0eaf97e63d2efbbf4ab5f579b6ab7/DSC_0751.jpg" data-mid="234742836" border="0"  src="https://freight.cargo.site/w/1000/i/c3b457c06206e447b8c773c8984b990af4e0eaf97e63d2efbbf4ab5f579b6ab7/DSC_0751.jpg" /&#62;Chapel (after Calzolari) 2025
Foam board, reflective vinyl, textured vinyl, lemon-scented mosquito-repellent candles.
 Location: The living room

&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/1a64eba2d9f3c8197110a7c22b97546aa8e470a94c13000634727e4c37ae9c39/dragonfly_arklab_acdan_1.jpg" data-mid="234742874" border="0"  src="https://freight.cargo.site/w/1000/i/1a64eba2d9f3c8197110a7c22b97546aa8e470a94c13000634727e4c37ae9c39/dragonfly_arklab_acdan_1.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/9196e55262f1d2a1c7fc65cd33c725ec989a84d488fa2005419256ec9c42ee2b/dragonfly_arklab_acdan_2.jpg" data-mid="234742875" border="0"  src="https://freight.cargo.site/w/1000/i/9196e55262f1d2a1c7fc65cd33c725ec989a84d488fa2005419256ec9c42ee2b/dragonfly_arklab_acdan_2.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/82fe7ce9b9e13d3f87d24d58be00324eab0c6bf285bd379873064752ca7e0579/dragonfly_arklab_acdan_3.jpg" data-mid="234742876" border="0"  src="https://freight.cargo.site/w/1000/i/82fe7ce9b9e13d3f87d24d58be00324eab0c6bf285bd379873064752ca7e0579/dragonfly_arklab_acdan_3.jpg" /&#62;“lucciola” 20251-channel Iphone video of a firefly on the terrace, inverted. 
r/t 01:12 no soundLocation: The Archeological laboratory
&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/49b33bae715f543a369a24f519256f216ae48510d2aa7731153a2970e250c269/DSC_0734.jpg" data-mid="234742887" border="0"  src="https://freight.cargo.site/w/1000/i/49b33bae715f543a369a24f519256f216ae48510d2aa7731153a2970e250c269/DSC_0734.jpg" /&#62;
&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/a3182cd7b87b05a2b20aeef6a780f0213640154f0c259c85bb6836100c836a72/DSC_0654.jpg" data-mid="234742883" border="0"  src="https://freight.cargo.site/w/1000/i/a3182cd7b87b05a2b20aeef6a780f0213640154f0c259c85bb6836100c836a72/DSC_0654.jpg" /&#62;&#60;img width="3997" height="2655" width_o="3997" height_o="2655" data-src="https://freight.cargo.site/t/original/i/d59e9db2b6534d361d10ef3d57e5dba9fd01c5b114db7490da2affe8111bb007/DSC_0720.jpg" data-mid="234742884" border="0"  src="https://freight.cargo.site/w/1000/i/d59e9db2b6534d361d10ef3d57e5dba9fd01c5b114db7490da2affe8111bb007/DSC_0720.jpg" /&#62;

&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/d3b1d272417947c1856e7af26d03ee90c43471a9c94821a42991e67bc0c9d106/DSC_0730.jpg" data-mid="234742885" border="0"  src="https://freight.cargo.site/w/1000/i/d3b1d272417947c1856e7af26d03ee90c43471a9c94821a42991e67bc0c9d106/DSC_0730.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/64069838ce53f30d2d1dde55eff516c5db5c9001a8f905bc974eb94d0961eab2/DSC_0732.jpg" data-mid="234742886" border="0"  src="https://freight.cargo.site/w/1000/i/64069838ce53f30d2d1dde55eff516c5db5c9001a8f905bc974eb94d0961eab2/DSC_0732.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/1c42d8031df5595e7f8b6b0e970d538519601e3a7cb9a4d6e9bc62ced6c9553e/DSC_0627.jpg" data-mid="234742882" border="0"  src="https://freight.cargo.site/w/1000/i/1c42d8031df5595e7f8b6b0e970d538519601e3a7cb9a4d6e9bc62ced6c9553e/DSC_0627.jpg" /&#62;Satyrus Bar, Villa Borghese (2025)Inkjet on coloured paperAcademia 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
&#60;img width="4181" height="2777" width_o="4181" height_o="2777" data-src="https://freight.cargo.site/t/original/i/a833f216783c5d9fae794e5fbbd8cf8199a3e23e09f6e0fca2df72e33bcac42a/DSC_0657.jpg" data-mid="234742939" border="0"  src="https://freight.cargo.site/w/1000/i/a833f216783c5d9fae794e5fbbd8cf8199a3e23e09f6e0fca2df72e33bcac42a/DSC_0657.jpg" /&#62;&#60;img width="4119" height="2753" width_o="4119" height_o="2753" data-src="https://freight.cargo.site/t/original/i/6ff1b983da8fba4e5d5f047f8247520f87c0a41b8c5a21bbe91faa8cd3795453/DSC_0660.jpg" data-mid="234742940" border="0"  src="https://freight.cargo.site/w/1000/i/6ff1b983da8fba4e5d5f047f8247520f87c0a41b8c5a21bbe91faa8cd3795453/DSC_0660.jpg" /&#62;&#60;img width="4070" height="2705" width_o="4070" height_o="2705" data-src="https://freight.cargo.site/t/original/i/f3bae8f14f20fddd0bb4e0fcf701ed44c8b9da1d5a5b120632ef4d424ce15fed/DSC_0661.jpg" data-mid="234742941" border="0"  src="https://freight.cargo.site/w/1000/i/f3bae8f14f20fddd0bb4e0fcf701ed44c8b9da1d5a5b120632ef4d424ce15fed/DSC_0661.jpg" /&#62;&#60;img width="4188" height="2782" width_o="4188" height_o="2782" data-src="https://freight.cargo.site/t/original/i/5e205ecf1a2f206a2866196e54c78a70c6f57f638f3df1df2228dfe9249e0d2c/DSC_0662.jpg" data-mid="234742942" border="0"  src="https://freight.cargo.site/w/1000/i/5e205ecf1a2f206a2866196e54c78a70c6f57f638f3df1df2228dfe9249e0d2c/DSC_0662.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/2d05131663bacafd1685f67762c23a5421b59a8285c9a7ba3105de44c7cc3b92/DSC_0666.jpg" data-mid="234742943" border="0"  src="https://freight.cargo.site/w/1000/i/2d05131663bacafd1685f67762c23a5421b59a8285c9a7ba3105de44c7cc3b92/DSC_0666.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/d338bdf3578a2d93d85a3ef454124f33d6a0dd0da0187211e50d374d270a7572/DSC_0669.jpg" data-mid="234742944" border="0"  src="https://freight.cargo.site/w/1000/i/d338bdf3578a2d93d85a3ef454124f33d6a0dd0da0187211e50d374d270a7572/DSC_0669.jpg" /&#62;&#60;img width="4002" height="2658" width_o="4002" height_o="2658" data-src="https://freight.cargo.site/t/original/i/764b56bc3b6007cfe038dd639ec5e37c5c2ddca263859a01f21d18fea8191a68/DSC_0670.jpg" data-mid="234742956" border="0"  src="https://freight.cargo.site/w/1000/i/764b56bc3b6007cfe038dd639ec5e37c5c2ddca263859a01f21d18fea8191a68/DSC_0670.jpg" /&#62;&#60;img width="4208" height="2795" width_o="4208" height_o="2795" data-src="https://freight.cargo.site/t/original/i/0bdb263bbab881b8d83aad1a8046841c5120e50b0d361fe1ac90f0af5f7f52d2/DSC_0674.jpg" data-mid="234742964" border="0"  src="https://freight.cargo.site/w/1000/i/0bdb263bbab881b8d83aad1a8046841c5120e50b0d361fe1ac90f0af5f7f52d2/DSC_0674.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/c5197ef167dd6490cf6f03c691c6a83b9e088a31e0b46c36322b48037c6feba7/DSC_0678.jpg" data-mid="234742977" border="0"  src="https://freight.cargo.site/w/1000/i/c5197ef167dd6490cf6f03c691c6a83b9e088a31e0b46c36322b48037c6feba7/DSC_0678.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/5a311dfefb514a6e5c4367ac528164b64ccc8bcc3cd62e257af04ba930cb5f22/DSC_0681.jpg" data-mid="234742978" border="0"  src="https://freight.cargo.site/w/1000/i/5a311dfefb514a6e5c4367ac528164b64ccc8bcc3cd62e257af04ba930cb5f22/DSC_0681.jpg" /&#62;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&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/c0aae99edeb36c56e6d8b43194648c216780326a8773187e96bf0a25e4073600/DSC_0788.jpg" data-mid="234743019" border="0"  src="https://freight.cargo.site/w/1000/i/c0aae99edeb36c56e6d8b43194648c216780326a8773187e96bf0a25e4073600/DSC_0788.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/fcc5788061eb64f29c7f00f8815aa514789b6f2f3d4f02d3ca264256401d1af0/DSC_0772.jpg" data-mid="234743013" border="0"  src="https://freight.cargo.site/w/1000/i/fcc5788061eb64f29c7f00f8815aa514789b6f2f3d4f02d3ca264256401d1af0/DSC_0772.jpg" /&#62;&#60;img width="4041" height="2684" width_o="4041" height_o="2684" data-src="https://freight.cargo.site/t/original/i/b7f8ea9e51f61cbd55f16fa79a9d8e2585d82dfc045c29576510ddd6a5c19115/DSC_0775.jpg" data-mid="234743014" border="0"  src="https://freight.cargo.site/w/1000/i/b7f8ea9e51f61cbd55f16fa79a9d8e2585d82dfc045c29576510ddd6a5c19115/DSC_0775.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/d442ecfb152ef240b2f60eed6ad4ae70a47fc1efd1a4e7754eee8605abf2f25e/DSC_0778.jpg" data-mid="234743015" border="0"  src="https://freight.cargo.site/w/1000/i/d442ecfb152ef240b2f60eed6ad4ae70a47fc1efd1a4e7754eee8605abf2f25e/DSC_0778.jpg" /&#62;&#60;img width="4100" height="2723" width_o="4100" height_o="2723" data-src="https://freight.cargo.site/t/original/i/caa67baa114b1c5c5de65e87655cd80f8c8e15e67cb4a909bf11e85f797f11d3/DSC_0784.jpg" data-mid="234743016" border="0"  src="https://freight.cargo.site/w/1000/i/caa67baa114b1c5c5de65e87655cd80f8c8e15e67cb4a909bf11e85f797f11d3/DSC_0784.jpg" /&#62;&#60;img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/6b284972388fa41cb0c3fe0c96cf4b6f00806bcec08a639ff451f2e25f1da5bc/DSC_0789.jpg" data-mid="234743021" border="0"  src="https://freight.cargo.site/w/1000/i/6b284972388fa41cb0c3fe0c96cf4b6f00806bcec08a639ff451f2e25f1da5bc/DSC_0789.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/873213ff6c31ac86dc55501767c14df4bc4055ef84149b679f1b6948e2ad3dee/DSC_0798.jpg" data-mid="234743023" border="0"  src="https://freight.cargo.site/w/1000/i/873213ff6c31ac86dc55501767c14df4bc4055ef84149b679f1b6948e2ad3dee/DSC_0798.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/2cbd01e275ce33b6c1486c55d45dd0214c526bc3b7a89d4cb16392a87140de6b/DSC_0833.jpg" data-mid="234743031" border="0"  src="https://freight.cargo.site/w/1000/i/2cbd01e275ce33b6c1486c55d45dd0214c526bc3b7a89d4cb16392a87140de6b/DSC_0833.jpg" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/c294c7595457d067e7ceede091bec67522638e17ea77820f3296a009841f9eed/DSC_0795.jpg" data-mid="234743022" border="0"  src="https://freight.cargo.site/w/1000/i/c294c7595457d067e7ceede091bec67522638e17ea77820f3296a009841f9eed/DSC_0795.jpg" /&#62;
Untitled (resurrectionaries) 1–5 (2025)Biodegradable bag, wildflowers, LED lightLocation: The Basement</description>
		
	</item>
		
		
	<item>
		<title>Milieu</title>
				
		<link>https://theodornymark.com/Milieu</link>

		<pubDate>Fri, 18 Apr 2025 11:24:41 +0000</pubDate>

		<dc:creator>Theodor Nymark</dc:creator>

		<guid isPermaLink="true">https://theodornymark.com/Milieu</guid>

		<description>Milieu
Transit Art space
Elisnore, Denmark28.02.25 — 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 from1968 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 theabandoned 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 thedissolution 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 andshaped 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 inherentlyunstable, 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 andcommunal 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.&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ac95f8e252a11f7edae163af007c10592a7a8ed8ac2743fbe42975c2e097a9cd/theo-milj-helsingr_EDIT-59.jpg" data-mid="230352601" border="0"  src="https://freight.cargo.site/w/1000/i/ac95f8e252a11f7edae163af007c10592a7a8ed8ac2743fbe42975c2e097a9cd/theo-milj-helsingr_EDIT-59.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/9f5cd5069bfc1a54449515d346d62e439140f1ad814a479e4443f757a914fd51/theo-milj-helsingr_EDIT-63.jpg" data-mid="230352602" border="0"  src="https://freight.cargo.site/w/1000/i/9f5cd5069bfc1a54449515d346d62e439140f1ad814a479e4443f757a914fd51/theo-milj-helsingr_EDIT-63.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a5d15288d5cb8384261500903b6baaa5d0c1b20d35b2167fd3ffc8333dda1d38/theo-milj-helsingr_EDIT-64.jpg" data-mid="230352603" border="0"  src="https://freight.cargo.site/w/1000/i/a5d15288d5cb8384261500903b6baaa5d0c1b20d35b2167fd3ffc8333dda1d38/theo-milj-helsingr_EDIT-64.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/8a24f82eb87a01b8a2c4437c51edf69a960ec9bc5bdfb49c2b93a4c511c694a5/theo-milj-helsingr_EDIT-68.jpg" data-mid="230352604" border="0"  src="https://freight.cargo.site/w/1000/i/8a24f82eb87a01b8a2c4437c51edf69a960ec9bc5bdfb49c2b93a4c511c694a5/theo-milj-helsingr_EDIT-68.jpg" /&#62;

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

&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/0cb809012a7c79b5b6fbf607ec12a3903cdc252a01e7d72379b2b397b7f1dd38/theo-milj-helsingr_EDIT-24.jpg" data-mid="230352641" border="0"  src="https://freight.cargo.site/w/1000/i/0cb809012a7c79b5b6fbf607ec12a3903cdc252a01e7d72379b2b397b7f1dd38/theo-milj-helsingr_EDIT-24.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/d989f589accb2b77cb40d3ace4ee4ba97377448e2787ec4ca028d061f3790852/theo-milj-helsingr_EDIT-81.jpg" data-mid="230352642" border="0"  src="https://freight.cargo.site/w/1000/i/d989f589accb2b77cb40d3ace4ee4ba97377448e2787ec4ca028d061f3790852/theo-milj-helsingr_EDIT-81.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/c5e6732068f2a1a2fd27789ab3c230acd116a03117a492b1e6c5fae5e9b8f22c/theo-milj-helsingr_EDIT-88.jpg" data-mid="230352643" border="0"  src="https://freight.cargo.site/w/1000/i/c5e6732068f2a1a2fd27789ab3c230acd116a03117a492b1e6c5fae5e9b8f22c/theo-milj-helsingr_EDIT-88.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/4b32552c57731dcd0ca52475f453d2789ae3af6fdecbac3c662028eaa5466d24/theo-milj-helsingr_EDIT-90.jpg" data-mid="230352645" border="0"  src="https://freight.cargo.site/w/1000/i/4b32552c57731dcd0ca52475f453d2789ae3af6fdecbac3c662028eaa5466d24/theo-milj-helsingr_EDIT-90.jpg" /&#62;
Allegade, 2025Single-channel inverted HD iPhone video, loop 00:29 sec.No sound.
&#60;img width="1467" height="2048" width_o="1467" height_o="2048" data-src="https://freight.cargo.site/t/original/i/8925d0b41d72d27a34817ae87174c2cfd90dad7b9335dd83c23db0da5014a6af/theo-milj-helsingr_EDIT-10.jpg" data-mid="230352536" border="0"  src="https://freight.cargo.site/w/1000/i/8925d0b41d72d27a34817ae87174c2cfd90dad7b9335dd83c23db0da5014a6af/theo-milj-helsingr_EDIT-10.jpg" /&#62;&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/fa3f77890048809f038aa37ebe915c076cac4e5d9bd0877e1817834d941c72f2/theo-milj-helsingr_EDIT-34.jpg" data-mid="230352539" border="0"  src="https://freight.cargo.site/w/1000/i/fa3f77890048809f038aa37ebe915c076cac4e5d9bd0877e1817834d941c72f2/theo-milj-helsingr_EDIT-34.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ef8e07a0a12d661cf67069e3b745d046c5d5d6c3dbda6bf273bc034bb040ec68/theo-milj-helsingr_EDIT-57.jpg" data-mid="230352540" border="0"  src="https://freight.cargo.site/w/1000/i/ef8e07a0a12d661cf67069e3b745d046c5d5d6c3dbda6bf273bc034bb040ec68/theo-milj-helsingr_EDIT-57.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ff9eae30578c16a18b6961a5c3195f95a38efa2a42291d3493cf53506d8336d3/theo-milj-helsingr_EDIT-73.jpg" data-mid="230352541" border="0"  src="https://freight.cargo.site/w/1000/i/ff9eae30578c16a18b6961a5c3195f95a38efa2a42291d3493cf53506d8336d3/theo-milj-helsingr_EDIT-73.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/9788f4cdd0069135f5d87c78dbb551c8fead9f4945f5936a8807169cedb3760d/theo-milj-helsingr_EDIT-76.jpg" data-mid="230352542" border="0"  src="https://freight.cargo.site/w/1000/i/9788f4cdd0069135f5d87c78dbb551c8fead9f4945f5936a8807169cedb3760d/theo-milj-helsingr_EDIT-76.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/1bb28a65b1c26df9dc35b2be900478050f31c2658de20d0617b84d975574d945/theo-milj-helsingr_EDIT-94.jpg" data-mid="230352543" border="0"  src="https://freight.cargo.site/w/1000/i/1bb28a65b1c26df9dc35b2be900478050f31c2658de20d0617b84d975574d945/theo-milj-helsingr_EDIT-94.jpg" /&#62;&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/08b4a754ad2357ad626c8ddb5ea2a70e38f0eb2f3dbcdfe69bebe3b6d1645d7c/theo-milj-helsingr_EDIT-119.jpg" data-mid="230352544" border="0"  src="https://freight.cargo.site/w/1000/i/08b4a754ad2357ad626c8ddb5ea2a70e38f0eb2f3dbcdfe69bebe3b6d1645d7c/theo-milj-helsingr_EDIT-119.jpg" /&#62;Untitled (Ambient), 2025
Infrared bulbs, humidifier with lily-of-the-valley essence,
hygrometers, parasol with solar-powered LED.
Variable dimensions

&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/4db5a0a912cfed9880043cd8f4d32250b58ecc163a79d8381bdf288955987bfc/theo-milj-helsingr_EDIT-50.jpg" data-mid="230352549" border="0"  src="https://freight.cargo.site/w/1000/i/4db5a0a912cfed9880043cd8f4d32250b58ecc163a79d8381bdf288955987bfc/theo-milj-helsingr_EDIT-50.jpg" /&#62;
Untitled (after Maeterlinck), 2025
Inkjet on Hahnemühle paper in aluminium frame
with custom passe-partout

&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/85954bc28f9769d3e008ca60bca86302eb13776aa07c624023ffcbae27d6b10e/theo-milj-helsingr_EDIT-95.jpg" data-mid="230352553" border="0"  src="https://freight.cargo.site/w/1000/i/85954bc28f9769d3e008ca60bca86302eb13776aa07c624023ffcbae27d6b10e/theo-milj-helsingr_EDIT-95.jpg" /&#62;&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/df35c38131b7f74ebe2c671afa6203354a9bc0b12ef8a3400367113304e654df/theo-milj-helsingr_EDIT-98.jpg" data-mid="230352554" border="0"  src="https://freight.cargo.site/w/1000/i/df35c38131b7f74ebe2c671afa6203354a9bc0b12ef8a3400367113304e654df/theo-milj-helsingr_EDIT-98.jpg" /&#62;Untitled (Nivagaard), 2025Inkjet on Hahnemühle paper in aluminium framewith custom passe-partout


&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ce43f771e561720712f2bafa0834dce3a9f90f94d2bd290a744af55f804ae77a/theo-milj-helsingr_EDIT-49.jpg" data-mid="230352555" border="0"  src="https://freight.cargo.site/w/1000/i/ce43f771e561720712f2bafa0834dce3a9f90f94d2bd290a744af55f804ae77a/theo-milj-helsingr_EDIT-49.jpg" /&#62;
Sommariva Hotel and Restaurant, 2025
Laser print on colored paper in aluminium frame
with custom passe-partout

&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/4e1cfa5070b676ac83e8afa02e890629b825c4ac9b07e6dd2312f310f3d5d981/theo-milj-helsingr_EDIT-47.jpg" data-mid="230352592" border="0"  src="https://freight.cargo.site/w/1000/i/4e1cfa5070b676ac83e8afa02e890629b825c4ac9b07e6dd2312f310f3d5d981/theo-milj-helsingr_EDIT-47.jpg" /&#62;Untitled (after Maeterlinck), 2025Inkjet on Hahnemühle paper in aluminium frame´with custom passe-partout


&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/63fdb664b0b337df42d37de2b367934baa97f2287897585be27e509df8e993b0/theo-milj-helsingr_EDIT-51.jpg" data-mid="230352597" border="0"  src="https://freight.cargo.site/w/1000/i/63fdb664b0b337df42d37de2b367934baa97f2287897585be27e509df8e993b0/theo-milj-helsingr_EDIT-51.jpg" /&#62;
Customs house, 2025
Laser print on colored paper in aluminium frame


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