Under a Perpetual Starry Night

In a versatile practice spanning sculpture, video, photography, and installation, Benedikte Bjerre works conceptually with sociological phenomena and observations drawn from everyday life. Central to her work is an interest in how individual works relate to one another and to architecture. Bjerre examines sculptural qualities in relation to site, using familiar forms and materials to shift how surroundings are experienced.

Marie Lund’s practice is rooted in an investigation of the interdependencies between architecture, space, objects, and bodies. Working with materials that carry traces of previous use, she releases them from their original function and transforms them through tensile processes into abstract sculptural structures. Her works resist sculpture as an autonomous object. Instead, they activate their surroundings and propose forms of openness where space is offered rather than occupied.

Simon Dybbroe Møller’s work engages with the relationship between the material presence of sculpture and its photographic mediation. Moving between film, photography, found objects, sculpture, writing, and curating, his practice explores what sculpture can be in a world increasingly shaped by images. His work foregrounds relational thinking and reflects on how attention has shifted away from objects toward their representations.

Operating in the intersection between producing and preserving, Tora Schultz works with methods that include shaping, bending, and burning. Her affinity for existing objects is central to her sculptural language, as is her careful attention to hard materials. Schultz exposes internal qualities and functional limits through a restrained insistence on the handmade, allowing material processes to carry meaning without narration.

Taken together, these practices are articulated through the presentation itself. The presentation is embraced by a perpetual Starry Night in the shape of bronze breads by Benedikte Bjerre. Tension between material and form emerges through the contrasting properties of the works and the ways in which they are manipulated. Wall-mounted Slips by Marie Lund introduce a restrained physical presence, their tensile qualities underscored in dialogue with Retinal Rift by Simon Dybbroe Møller. The photographic series shows the mechanics of an organic eye recorded by a machine eye, staging an encounter between the mechanical and the human.

These works offer glimpses into an abyss. A shared threshold. An uncanny intelligence. The eyes appear both familiar and wrong, registering things that usually slip by. Blood appears in the image. The body is caught in flow. These reflections surface again in the red neon glow of Algorithms – Remains of a Language by Ann Lislegaard, alluding to algorithms or remains of a language. The Pinocchios by Tora Schultz are bent, shaped, and installed with faces turned inward, elongated noses hidden within the walls. The works evoke the transformation of Carlo Collodi’s brutal nineteenth-century tale into Disney’s sanitised version, reflecting the interplay between physical creation and structural constraint.

Rather than offering resolution, the presentation allows these elements to remain in tension, holding meaning open through proximity and encounter.