TITLED

Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – the entire body or just the head – after death, with the hope that advanced future medical technologies will be able to revive them. Deja has collaborated with writer Ida Marie Hede to explore the more mundane elements of this futuristic enterprise. The practice of preserving people for a future second life is futuristic, bordering on science fiction – however, the potential practicalities of such a task, when detailed in a farcical job description, are quite brutal, hands-on, and grim. As we explore the contrast of scientific promise with the brutal reality of the work required to realise such a future, we are invited to question who benefits from whose labor, what it means to be qualified for a job, and which bets are worth making about the kind of future we might have. In Stine Deja’s own words: “I look a lot at the technologies that have the power to change us, our habits, interests, our inner beings, our life expectancy, as well as the very biology we share. These technologies are interesting to me, as they can kind of outline a future for us, and they express who we are right now. The tech/tools we develop reveals a lot about what our desires are and what kind of society we are striving towards. With new digital technologies creeping under our skin, it forces us to question what it means to be human?  I’ve looked a lot at Cryonics, IVF, CRISPR and recently I’ve been looking into these new tests in a military site in China, where they infuse tardigrade stem cells into humans, to see if it will make us more resilient beings. Somehow my work becomes one long investigative narrative, driven by society’s inventions and desires.” Supported by Statens Kunstfond, Fake Foundation, and Brødrene Hartmanns Fond @statenskunstfond #fakefoundation #brødrenehartmannsfond

Last days of Stine Deja’s exhibition Tomorrow’s Heads. Open Thursday–Friday, 15:00–18:00 until 8 May Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – the entire body or just the head – after death, with the hope that advanced future medical technologies will be able to revive them. Deja has collaborated with writer Ida Marie Hede to explore the more mundane elements of this futuristic enterprise. The practice of preserving people for a future second life is futuristic, bordering on science fiction. However, the potential practicalities of such a task, when detailed in a farcical job description, are quite brutal, hands-on, and grim. As we explore the contrast of scientific promise with the brutal reality of the work required to realise such a future, we are invited to question who benefits from whose labor, what it means to be qualified for a job, and which bets are worth making about the kind of future we might have. Supported by Statens Kunstfond, Fake Foundation, and Brødrene Hartmanns Fond @statenskunstfond #fakefoundation #brødrenehartmannsfond

Rune Bering: FOOL 27 March – 11 April 2026 In the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatrum Machinarum (Theatre as Machine). In this treatise on Baroque stage design, he describes how the spectator’s gaze and experience of reality can be directed through illusionistic techniques: moving architectural elements, special effects, and constructed perspectives. Within this mechanically orchestrated space, where the ruling order was staged, the fool appeared as a unique figure: an instrumentalised but unpredictable element - free, yet embedded within the machine. Today, the mechanics of power are similarly staged. Tech companies now function as the new lords, who own platforms, clouds, and networks. Within these digital infrastructures, the stage of power has taken on new forms, but they build on principles that reference Baroque theatre. On this stage, narratives take shape through the interplay of architecture, technology, and the body - and the fool still plays an important role in sustaining the structures of power. The exhibition is supported by Statens Kunstfond, Fake Foundation, The Beckett Foundation, Nørrebro Lokaludvalg, and Københavns Kommunes Råd for Visuel Kunst @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond

Last chance to see Rune Bering: FOOL In the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatrum Machinarum (Theatre as Machine). In this treatise on Baroque stage design, he describes how the spectator’s gaze and experience of reality can be directed through illusionistic techniques: moving architectural elements, special effects, and constructed perspectives. Within this mechanically orchestrated space, where the ruling order was staged, the fool appeared as a unique figure: an instrumentalised but unpredictable element - free, yet embedded within the machine. Today, the mechanics of power are similarly staged. Tech companies now function as the new lords, who own platforms, clouds, and networks. Within these digital infrastructures, the stage of power has taken on new forms, but they build on principles that reference Baroque theatre. On this stage, narratives take shape through the interplay of architecture, technology, and the body - and the fool still plays an important role in sustaining the structures of power. The exhibition is supported by Statens Kunstfond, Fake Foundation, The Beckett Foundation, Nørrebro Lokaludvalg, and Københavns Kommunes Råd for Visuel Kunst @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond

Rune Bering: FOOL In the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatrum Machinarum (Theatre as Machine). In this treatise on Baroque stage design, he describes how the spectator’s gaze and experience of reality can be directed through illusionistic techniques: moving architectural elements, special effects, and constructed perspectives. Within this mechanically orchestrated space, where the ruling order was staged, the fool appeared as a unique figure: an instrumentalised but unpredictable element - free, yet embedded within the machine. Today, the mechanics of power are similarly staged. Tech companies now function as the new lords, who own platforms, clouds, and networks. Within these digital infrastructures, the stage of power has taken on new forms, but they build on principles that reference Baroque theatre. On this stage, narratives take shape through the interplay of architecture, technology, and the body - and the fool still plays an important role in sustaining the structures of power. The exhibition is supported by Statens Kunstfond, Fake Foundation, The Beckett Foundation, Nørrebro Lokaludvalg, and Københavns Kommunes Råd for Visuel Kunst @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond

Marotte (2026) Brussel sprouts in bronze💅🏻

Lukas Danys, Safety Layer, 2026, plastic stage ballast weights, steel hub, steel cables. PIT, 2026, HD video projection, duration 1:00. Includes footage from Blueberry, 2004. On view until 13 March 2026 @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond #blueberry #opencall @pocket_tricks

Open Call 2027 We are shaping the 2027 programme around TITLED as a site. The space carries traces of previous exhibitions, so each project enters into dialogue with what has been and what follows. We invite artists to respond to the room, its rawness, and its history Send us an email with material that outlines your project, whether that is a proposal, visuals, or a portfolio, to [email protected] by 18 March Projects from this open call will form part of the 2027 programme. Final budgets and fees depend on funding. Please contact us for a blueprint and 3D model of the gallery Image: Lukas Danys, Setting, installation view, TITLED, 2026. @pocket_tricks #opencall #opencallforartists

SETTING is a solo exhibition by Lukas Danys bringing together a sculptural work, a video installation and photographic material that explore perception and altered states within mediated environments. The video work PIT draws on edited sequences from films produced over the past decades, isolating and recomposing cinematic attempts to render entheogenic and altered states of consciousness. Focusing on moments of transition and disorientation where subjectivity begins to slip, the work tests the limits of visual representation and the instability of perception. Installed in dialogue with the video, a sculptural work engages material and spatial conditions in which perception is under pressure and form is continually adjusted and reconfigured. SETTING frames perception as something unstable, emerging through language, image systems, technological mediation and the body’s own limits. Extracts in PIT include: Blueberry, 2004 Everyman: The Beyond Within – The Fall of LSD, 1986 DMT: The Spirit Molecule, 2010 Enter the Void, 2009 TITLED, Ægirsgade 4C, Nørrebro On view 21 February–13 March 2026 Open Thursday–Friday 15:00–18:00 Supported by Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond, and Københavns Kommune – Rådet for Visuel Kunst. @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond #alteredstates

Yesterday we opened SETTING, a solo exhibition by Lukas Danys bringing together a sculptural work, a video installation and photographic material that explore perception and altered states within mediated environments. The video work PIT draws on edited sequences from films produced over the past decades, isolating cinematic attempts to render entheogenic and altered states of consciousness, focusing on moments of transition and disorientation where subjectivity begins to slip. Installed in dialogue with the video, a sculptural work engages material and spatial conditions in which perception is under pressure and form is continually adjusted and reconfigured. SETTING frames perception as something unstable, emerging through language, image systems, technological mediation and the body’s own limits. TITLED, Ægirsgade 4C, Nørrebro On view 21 February–13 March 2026 Open Thursday–Friday 15:00–18:00 Supported by Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond, and Københavns Kommune – Rådet for Visuel Kunst. @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond

EYES SEA ICE by Sophie Hjerl, until 15 Feb 2026 Eyes Sea Ice spans physical and virtual reality, moving between ice and water. Inside the gallery and on the street, AR installations interact with objects and urban space, probing the membrane between reality, imagination, fiction, and fact. In the front room, the virtual work Eyes turns the former travel agency into a wall of ICE, addressing the potential collapse of the North Atlantic current, which could trigger a new ice age in Northern Europe as meltwater disrupts a climate thermostat. Outside, two virtual sculptures enter the city: ICE SEA and AVE. ICE SEA, based on 3D-scanned broken asphalt, recalls Caspar David Friedrich’s Das Eismeer, foregrounding humans as subject to the forces of nature as a point of no return approaches. AVE reimagines the woman who holds the snake instead of eating the apple. Referring to the Danish expression “at tage sig i ave” (to recover), her body echoes fertility figures yet may also read as marked by tumours. Denmark has one of the highest breast cancer rates, linked in part to agricultural toxins in groundwater. Supported by the Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond, and Københavns Kommune – Rådet for Visuel Kunst. AR development with Jesper Fleng / MooveUs @jesperfleng @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond

EYES SEA ICE by Sophie Hjerl, until 15 Feb 2026 Eyes Sea Ice spans physical and virtual reality, moving between ice and water. Inside the gallery and on the street, AR installations interact with objects and urban space, exploring the membrane between reality, imagination, fiction, and fact. In the front room, the virtual work Eyes transforms the former travel agency into a wall of ICE. It addresses the potential collapse of the North Atlantic current, which could trigger a new ice age in Northern Europe as meltwater disrupts a system that has functioned as a climate thermostat. Outside, two virtual sculptures enter into dialogue with the city: ICE SEA and AVE. ICE SEA, based on 3D-scanned broken asphalt, recalls Caspar David Friedrich’s Das Eismeer, foregrounding humans as subject to the forces of nature as a point of no return approaches. AVE reimagines the woman who holds the snake instead of eating the apple. Referencing the Danish expression “at tage sig i ave” (to recover), her body echoes fertility figures yet may also be read as tumours. Denmark has one of the highest incidences of breast cancer, linked in part to agricultural toxins in groundwater. Supported by the Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond, and Københavns Kommune – Rådet for Visuel Kunst. AR development with Jesper Fleng / MooveUs @jesperfleng @statenskunstfond @koebenhavnskommune #fakefoundation #brødrenehartmannsfond