Exhibitions & Press

 

 

Heterotopia: The Living Souls of Assistens Cemetery

Photo Exhibition by George Doumani

4 May -1 June 2024

 

George Doumani’s “Heterotopia” offers a compelling exploration of analogue portraiture’s enduring power. His large-format photographs of Assistens Cemetery in Copenhagen transcend documentary, revealing a complex interplay of life and mortality with stunning detail and tonal depth.

For the past two years, Australian photographer George Doumani has explored Assistens Cemetery at all hours, armed with his large-format analogue camera. His captivating portrait series captures the essence of those who find moments of life within this place of rest.

A unique process

Large-format cameras have recently undergone a revival. These cameras use oversized film negatives and a bellows mechanism to focus light. Photographers favour them for their exceptional image detail, precise focus control, and ability to manipulate perspective. Their continued use speaks to the pursuit of exceptional image quality and unique artistic expression.

“I chose a large-format camera for its deliberate process, which creates a unique dynamic with my subjects. The tripod, the focusing cloth…it sparks curiosity and connection. But it’s time-consuming, requiring subjects to remain perfectly still during the long exposure,” says George Doumani.

Where time stands still

The exhibition title, “Heterotopia,” references French philosopher Michel Foucault’s concept of separate spaces that exist within society yet operate under different rules. Cemeteries, with their stark contrast to the living world, embody this idea.

Doumani’s portraits reveal the diverse ways people interact with the cemetery – couples cooling down after a concert, dog walkers, even those on their first date.

“I find the ways people use Assistens Cemetery fascinating,” Doumani explains. “It’s a sanctuary, yet a place where we confront the mortality we all fear. It’s a paradox: people seek life and intimacy within the very walls that surround death.”

The unique atmosphere of George Doumani’s photographs stems from his meticulous technique. The images evoke a sense of timelessness, even though the subjects are clearly straight off the streets of contemporary Copenhagen. His portraits immortalise these ‘living souls,’ echoing how the cemetery’s tombstones preserve the memory of the departed. “The images are haunting, yet masterfully beautiful – timeless and lingering,” observes Kim Wyon of Dark Gallery CPH.

Meet the artist

The photographer will be present in the gallery on selected days during the exhibition where you can learn more about his project and experience his large-format camera and the sizeable negatives from the exhibition.

The artist will be present on 11, 17, 18, and 25 May.

Other opening days between 4 May – 1 June:

Thursdays + Fridays 12:00-16:00

Saturdays: 12:00-15:00

Always check our Google listing for updated opening hours

Gallery opening reception will be on 3 May from 17:00

 

The “Heterotopia” portrait series has not previously been exhibited. All exhibited images are inkjet prints. Contact George Doumani directly at elmegade3@gmail.com for inquiries on purchase of limited-edition prints.

With “Heterotopia,” Dark Gallery CPH returns to Assistens Cemetery for the third time, unearthing the sentiments of this unusual location.

 

 

 

 

Family Photos

Maria Heines

5-27 April 2024

 

Family Photos by Maria Heines inspects place, family dynamics, and the entangled nature of past and present.

Family Photos documents the artist’s time visiting family in America. Where she circled around family histories with her late grandfather’s old analogue camera, picking up pieces of the past found in the present. Searching for how previous constellations of abuse, neglect, and love materialise into current family dynamics. 

During this process, the artist aims to ground herself in family history, but avoid fixing herself to a single narrative to die on a cross for. Visually she walks this fine line with repetition, clutter, empty space, barriers, and frozen moments to evoke both connection and disconnection within and between photographs. When reading these photographs empathy is of utmost importance.

All images in Family Photos are analogue darkroom prints.

Family Photos will be displayed at Dark Gallery CPH from 5-27 April 2024. The exhibition will evolve with revisions from the artist as she works in the gallery on the 5, 12 and 20 April. Visitors are welcome to join her on these days to learn more about her process and photographs.

Maria Heines is an American artist and researcher based in Copenhagen. In her photographic work, she is drawn to subtleties and details that shed light on the softer, more delicate aspects of life. While in her collaborative artistic research practice, she focuses on co-creating healthier and happier realities.

More on her work can be found at mariaheines.com 

 

Exhibition opening days: 5, 6, 11, 12, 13, 18, 19, 20, 25, 26, 27 April

Check our Google Listing and Facebooks event for updated opening hours.

There is always free admission to Dark Gallery CPH.

 

Korean Babel

An interactive, mobile-enabled photo exhibition and AI laboratory on the poetry, madness and dynamic autonomy of translations of Korean street signage generated by artificial intelligence.

Exhibition period: 1 Feb – 24 March 2024

 

What happens when you use mobile-enabled translation to read Korean street signage? Photographer Kim Wyon spent a week in September 2023 exploring the street signage in the print shop district of Seoul and the markets of Busan in South Korea armed with his analogue Hasselblad camera, a pile of Kodak film rolls – and his mobile phone.

“If you’ve ever tried using your mobile phone to translate Asian street signs, you’ve probably wondered how reliable the results are. The translation is often erratic madness – but also pure poetry. This exhibition showcases black-and-white collages of Korean street signage, representing a form of stream-of-conscious poetry born from a dynamic dialogue with artificial intelligence,” explains photographer Kim Wyon.

AI laboratory

As part of the Korean Babel exhibition, an AI laboratory will be installed in the gallery’s Dark Spaces where visitors use mobile phone apps to study how visual interference can impact AI-generated translation. The AI-laboratory will highlight how artificial intelligence processes information – and why it sometimes misinterprets the signage and context entirely. Before entering the Dark Spaces, visitors will be handed a headlamp, which will be their only light source apart from the glare of their mobile phone. The AI laboratory has been developed by AI architect Jon Hindsgaul Hansen in association with photographer Kim Wyon. Graphic design is by Raffaele Cavaiolo.

“Why does ChatGPT hallucinate and offer erratic translations? And how does artificial intelligence recognise Korean text among shadows and other visual obstructions? These are some of the phenomena that visitors can explore in the AI lab using their mobile phone,” explains AI architect Jon Hindsgaul Hansen.

The exhibition is open from 1 February to 24 March 2024.

See current opening hours on our Facebook event post and on Google.

Any changes to opening hours will be listed on Google.

The exhibition is also open by appointment. Contact the gallery.

Vernissage: Saturday 3 February at 13:00-16:00.

 

You read the photo-poems by Kim Wyon using translation apps on your mobile phone.

 

Previous exhibitions:

SUPERPOWER

Ghosts of the Atomic Age

Exhibition period: 29 Sep – 25 Nov 2023

Is our advanced technology beyond our control? A photo-documentary exhibition of Europe’s decommissioned Nuclear Power Stations by Ukraine photographer Oleksandr Martemianov.

A trained photographer and engineer, Oleksandr Martemianov has travelled across Europe over the past 4 years to capture images of decommissioned nuclear power plants. With his large-format analogue camera, he has documented 23 nuclear power plants in Europe. Having grown up near Chornobyl in Ukraine, and later relocated close to the Barsebäck Nuclear Power Plant in Sweden, his inquest is fuelled by his personal story. At a time when new nuclear power plants are being planned in Europe and the pros and cons of advanced technologies, such as artificial intelligence, are hot topics, Oleksandr Martemianov poses the question: Can we, as a society, handle the complex nature of the technology we create?

SUPERPOWER invites gallery visitors to study imagery from decommissioned nuclear power plants across Europe. They will also be able to explore Soviet-era military maps of Europe’s nuclear power plants – in the flickering flashlight of their own mobile phone. On selected days, visitors can meet Oleksandr Martemianov in person. On 5 Nov from 15:00-17:30, a public talk will additionally be held at the gallery where the photographer will engage in dialogue with physicist Jon Hindshaul Hansen.

 

About the exhibition

SUPERPOWER marks the first public showing of Oleksandr Martemianov’s photo-documentary project, which includes imagery from visits to 23 decommissioned nuclear power plants in Europe, many of which are off-limits to the press and public. On occasion, Oleksandr Martemianov had to deliberately point his camera in the opposite direction of the power plants so not to arouse local suspicion.

Oleksandr Martemianov’s project has included desktop research. He has also met with some of the surprisingly few people tasked with guarding Europe’s disused nuclear power plants. The premise of his investigation has been to maintain an open mind regarding the pros and cons of nuclear power, while mapping the fluid political landscapes and public perceptions that have shaped the nuclear power industry.

SUPERPOWER is presented in all three gallery spaces, two of which are Dark Spaces, where the lighting is intended to be a performative part of the exhibition concepts. In the last Dark Space, visitors will be invited to explore Soviet-era maps of Europe’s nuclear power plants – in the flickering flash light of their own mobile phones. This section of the exhibition will focus on the connection between the civilian and military use of nuclear power in both Western and Eastern Europe. The examples include the Krümmel Nuclear Power Plant in Schleswig-Holstein, Germany, where an increase in cases of leukaemia was detected in the vicinity before the plant was closed in 2011, and the Zaporizhzhia Nuclear Power Plant in Ukraine, which has recently suffered military attack by Russian occupation forces.

 

Nuclear power plants that Oleksandr Martemianov has visited and photographed:

  1. Brokdorf (KBR). Schleswig-Holstein, Germany
  2. Ågesta (R3/Adam). Stockholms län, Sweden
  3. Krümmel (KKK). Schleswig-Holstein, Germany
  4. Stade (KKS). Lower Saxony, Germany
  5. Unterweser (KKU). Lower Saxony, Germany
  6. Barsebäck. Skåne län, Sweden
  7. Brunsbüttel (KKB). Schleswig-Holstein, Germany
  8. Oskarshamn. Kalmar län, Sweden
  9. Greifswald (KKW). Mecklenburg-Vorpommern, Germany
  10. Philippsburg (KKP). Baden-Württemberg, Germany
  11. Obrigheim (KWO). Baden-Württemberg, Germany
  12. Mühleberg (KKM). Canton of Bern, Switzerland
  13. Lucens (VAKL). Canton of Vaud, Switzerland
  14. Fessenheim. Grand Est, France
  15. Superphénix (SPX). Auvergne-Rhône-Alpes, France
  16. Phénix. Occitania, France
  17. Biblis (KWB). Hesse, Germany
  18. Würgassen (KWW). North Rhine-Westphalia, Germany
  19. Kahl (VAK). Bavaria, Germany
  20. THTR-300. North Rhine-Westphalia, Germany
  21. Mülheim-Kärlich (KMK). Rhineland-Palatinate, Germany
  22. Grohnde (KWG). Lower Saxony, Germany
  23. Helmholtz-Zentrum Hereon (former GKSS). Schleswig-Holstein, Germany

 

About the photographer

Oleksandr Martemianov grew up 200 km from the Chernobyl Nuclear Power Plant in Ukraine. He was born in 1990, four years after the catastrophic reactor meltdown at the plant, which caused extensive radiation contamination. In 2016, Oleksandr moved to Sweden and settled only 15 km from the now closed Barsebäck Nuclear Power Plant. Oleksandr Martemianov is a trained photographer and mechanical engineer.

www.martemianov.com

Quote

“On my first visit to the Barsebäck Nuclear Power Plant, two fighter jets blasted across the sky as I approached, as if warning me off. I could almost see the pilots in action. Although I knew this was a coincidence, this experience came to foreshadow just how difficult it often is to engage with the custodians of these phantoms of the atomic age – and get them to talk. Much of my investigation into nuclear power has simply been driven by an urge to learn more. Although I grew up close to Chornobyl during a time when nuclear power was increasingly seen as a threat, I’ve sought to keep an open mind about both the pros and cons of the technology. As an engineer, I am perhaps less afraid of technology in general. However, I find the politics and vested interests that surround this field of technology the most disturbing aspect of all. You need to ask yourself if we, as a society, indeed can handle such complex technologies.”

 

Opening hours:

Opening hours: Thu-Fri 12:00-17:30

Saturday 11:00-15:30

Meet-the-artist days: 20 + 21 October during opening hours.

Talk: 5 Nov. 15:00-17:30

Admission to Dark Gallery CPH is free.

 

 

WASTELAND

Wasteland is an analogue photography exhibition that explores the borderland between our urban and rural realms – and nature’s revenge. We asked 5 photographers to capture the useless, wasted and divinely forsaken.

Wasteland is part of the Golden Days Festival – Golden Days på Landet @golden.days

 

Opening days: 2-11 September 2023 from 12:00-16:00

Vernisage: 2 September at 12:00 noon

Contributing photographers:

Kristina Aurora Simonsen

@kristina.aurora.photography

Maria Heines

Carl Magnus Lindström

@carlmagnuslinstrom

Jón Bjarni Hjartarson

@jon_bjarni

Kim Wyon

@dark_gallery_cph

The exhibition also includes Dias film projections in the gallery Dark Spaces by @andreas_olesen

 

1 June – 19 August 2023

SKIN

Intimacy in an age of alienation

The SKIN exhibition at Dark Gallery CPH combines analogue print photography and slide projections contributed by two artists and one activist artist collective. Each contributor has explored the concept of intimacy against the backlight of our times of alienation.

 

Erika Matsunami

Berlin-based Japanese visual artist Erika Matsunami (photography, video, installation and performance) invites us into a world of close-up photography where the body is remapped and reshaped by the ontological preconceptions and expectations of the viewer. Inspired by post-war phenomenology, her alienated motifs depict undisclosed skin and body parts that beckon our sensual and emotional interpretation. Erika Matsunami’s micro-lens inspired exploration of human skin is conveyed as slide projections into the gallery’s Dark Space 1, which is a fully functional bathroom. The front gallery exhibits 3 B&W silver gelatine prints and 4 coloured C-prints by the artist – images that are part of her investigative project B.O.D.Y. the second skin. The context of her photography and artistic oeuvre is communicated via a poem that is also available in braille, 4 dialogue postcards, and a QR code to her website. The imagery by Erika Matsunami will be on display at Dark Gallery CPH until September 2023.

 

Read more about Erika Matsunami here.

 

Andreas Olesen

Danish-American artist photographer Andreas Olesen has created a mechanical projection installation with a complex motion drive for a diapositive film loop. Designed using 3D printed spools, a modified vintage slide projector and ball bearings from skateboards, his prototype projection installation invites visitors to explore several generations worth of images, all compiled in random order. The images are both personal and anonymous, vernacular and specific, historical and contemporary, and are picked from the archives of three generations of two lines of his family as well as his own collection of found images. Among them, images of his gun-slinging (Danish) grandmother and his dope-smoking teenage years alongside colonialist images from Greenland. The projection installation materialises the social media exposure of the digital age to create a kind of “mechanical Instagram.” Qualified by a true-to-life sense of immediacy and intimacy, the projection installation and its unfiltered imagery offers both conceptual and emotional respite from our alienated world of online pretence. Much to the artist’s surprise, the film loop is flipped mirror-opposite with each rotation. A mathematical formula for this inversion is yet to be explored. Technical production by Sean Mitchel and Luke Boshoff. Andreas Olesen’s projection prototype will be on display in Dark Space 2 at Dark Gallery CPH until October 2023.

 

Read more about Andreas Olesen here.

 

The Missing Alliance

A pop-up exhibition by the activist feminist group the Missing Alliance offers a sneak-peek of their joint exhibition to be featured at Dark Gallery CPH in October 2023. The Missing Alliance explores how the female body remains estranged from the public space, which in a roundabout way renders unwarranted intimacy to what rightfully should be a normalised sphere of commonality. The activists pose incisive questions, such as why women do not have the same freedom as men to walk bare-chested in public, why they are expected to shave their body hair and wear makeup, and why women’s menstrual fluid is considered an embarrassment. Seeking to explore the female body liberated from the sexualised male gaze, the activists engage in street happenings and feminist activism in the public space, which is documented in the pop-up exhibition in the form of 4 kaleidoscopic B&W photo collages.

 

Images by the Missing Alliance

 

Because A Mother Never Stops Bleeding”

Dark Gallery CPH is excited to invite to the opening of photographer Carolina Echeverri’s art show and publication release, entitled:

Because A Mother Never Stops Bleeding”

 

The show centers around Echeverri’s delicate yet radical publication, which explores the biological and psychological changes brought about by motherhood. The diary-turned-activism piece aims to shed light on the lack of research and awareness around the invisible cost of motherhood. It is a collection of personal reflections, intimate photography, mother’s testimonies, women’s brains, and neuroscience woven together to give greater meaning to the maternal struggle.

Through the publication and art show, Carolina seeks to confront the lack of understanding and awareness around the mental changes brought about by motherhood. The show features a collection of images that blend maternal life with the beauty of biology. The luscious brain landscapes serve as a background to her maternal candid yet anxious view, and are based on scientific brain images created from MRI projections, brain slices, and histology imagery from different human, mostly female, subjects.

According to Carolina, this project was born out of a personal realisation of the biological and psychological changes brought about by motherhood. In the absence of sufficient research and education, she turned to personal research to understand these changes better, which led to the creation of this publication.

“This is not a science book or exhibition,” Carolina emphasizes, “it’s a personal diary which mutated into printed activism through research and passion.” The publication is a manifestation of her heart-breaking rebellion against ongoing structural systems that fail families with their most basic humanity all around the globe.

 

 

 

Exhibition period: 6-27 May 2023

Opening: 4 May from 15:00-17:00

 

Opening days:

Tuesdays and Wednesday 14:00-17:00

Thursdays and Fridays 14:00-18:00 (except 18-19 May)

Saturdays 11:00-15:00 (except 20 May)

The gallery is also open by appointment.

 

 

Read more about photographer Carolina Echeverri here: www.carolinaecheverri.com

For further information please contact:

Press: Viktoria Skovhus – T: +4540768492 – vskovhus@gmail.com

 

 

 

2 September 2022 – 1 May 2023

I have a crown, I am a queen

What makes you an everyday queen? We posted an open call on social media looking for co-interpreting female models. Six women approached the gallery to share their life, dreams and ideas with us. Exploring the uncharted borderland between social-media selfie and photographer-guided portraiture, we created individual kaleidoscopic storyboards that reflected on the co-creative process and dialogue.

The exhibition was featured in the gallery dark space in the red glow of darkroom safety lighting. Visitors could experience how the artificial light in the adjacent rooms naturally changed colour after the visit to the dark space – because their eyes had gotten used to the red background light of the dark space. Some suddenly saw the light as green, others yellow or beige – even though the light sources had not changed.

The exhibition was developed in partnership between photographer and artist Kim Wyon from Dark Gallery CPH and artist Mahmoud Alibadi.

The exhibition at DARK GALLERY CPH was part of the Golden Days Festival 2022 and remained open from 2 September until 28 October 2022.

 

 

11 March – 20 May 2022

MAKING THE INVISIBLE VISIBLE – Travel into dreams

Travel into dreams – in the gallery darkroom. War nightmares, romantic fantasies, otherworldly escapes?

Recently graduated as a photographer from Universitè Paris 8, Vincennes Saint-Denis, in Paris, Cléa Castel invites visitors to explore nightly dreams in the gallery dark space. Bring your friends, lie down on the soft matrasses and cushions, close your eyes, listen to stories of dreams – and share your own. Or visit alone and whisper your nightly dreams to complete strangers.

You can book a private dream-sharing session on Tuesdays 15:00-16:00 for you and your friends – or join a group of strangers.

On Monday 14 March, you can join evening dream-sharing from 19:00-21:00.

Cléa Castel’s dream photography series will also be featured on the walls of the dark spaces in DARK GALLERY CPH. Get accustomed to the red safetylight of the darkroom and pick them out.

 

4 September 2021 – 1 February 2022

NARCISSUS – og de syge myter / MYTHS BY MATCH LIGHT

Analogue photography by match light. The exhibition took a
dark look at the ancie

Analogue photography by match light. The exhibition took a dark look at the ancient Greek myths that have given rise to modern-day psychiatric diagnosis. Visitors were handed a box of matches at the entrance with which to explore the analogue kaleidoscopic collages that were featured in the gallery dark space.

Visitors would explore the multi-layered collages by flickering match light, an experience enhanced by the slight wind current of a small fan in the gallery space. During opening days with many visitors, the sulphuric odour of the many match strikes would create an atmosphere reminiscent of the grottos of the Oracle of Delphi.  

The classic Greek myths of Antiquity are the founding narratives of modern-day psychiatric diagnosis. They are tales of phobia, traumas and madness. In the Greek myths, these states of mind were often seen to be induced by the gods. The exhibition sought to mirror these ancient tales of madness in our panicked age of pandemic and power-grabbing narcissism.

During the pandemic lockdown, the exhibition was open by appointment to closed groups, including school classes.

The exhibition was concepted and created by photographer and artist Kim Wyon. The exhibition at DARK GALLERY CPH was part of the Golden Days Festival, ANTIKKEN.

 

MAU MAU – the exhibition has been prolonged until 1 January 2023

MAU MAU is a documentary photo exhibition based on a never-before published war diary and photo album of a British soldier serving in colonial Kenya in 1955.

For decades, coffee-growing European settlers, including Danish storyteller Karen Blixen, had colonised the ancestral lands of the Kikuyu tribespeople in the Kenyan highlands. When MAU MAU insurgents rebelled against the colonists in the 1950s, the Kikuyu suffered the worst British war crime against civilians since the RAF bombing of Dresden in World War II.

More than 1.5 million Kikuyu were deported by the colonists to a system of concentration camps where they suffered starvation, torture, rape, summary execution, forced labour, and rampant epidemics.

The MAU MAU exhibition is a personal journey of discovery by a son of the British soldier – in search of answers to questions never asked.