About the gallery

Founded in Copenhagen in 2018, C.C.C. presents conceptual, critical and sociopolitical practices by emerging artists. 

C.C.C. presents practices by both local and international artists, with a focus on artists that explore a variety of media, such as sculpture, painting, video and photography.

Featured artists

Andreas Albrectsen (DK)

Eau Pernice (DK)

Jens Hüls Funder (DK)


Andreas Albrectsen

Andreas Albrectsen's practice revolves around a conceptual approach to drawing. Based on screen captures from operating systems, search engines and social media, his work embodies the solitude connected to the user experience. Questioning forms of authenticity, he continually examines various types of screen scapes. Through a labour-intensive translation process from pixel to pigment powder, he describes a digitalized representation of nature as monoculture. Albrectsen's drawings smoothen the discrepancies between the virtual and the physical surface. It is a play with our perception of the real and the hyperreal.

Albrectsen’s pastel drawing presents a grey-scaled version of a desert landscape used as a desktop background on a computer screen. Conceptually, the works combine elements of the still-life genre with a digital desktop environment, creating a modern-day vanitas. In his works, Albrectsen uses a dry pastel powder, which he grinds into fine pigmented dust and applies to the paper with repetitious brushstrokes. This technique enables the drawings to encapsulate a porous and desiccated expression – a texture similar to the feel of desert sand.

In Untitled (–), 2022, Albrectsen references a classical still life painting: Cornelis Gijsbrecht’s Trompe l´oeil Letter Rack with a Barber-Surgeon’s Instruments, 1668. The folder composition appears as an apparition in the desolate wasteland. On the left side, Albrectsen has implemented a small icon resembling the digital tool of the magnifying glass, indicating the action of zooming out – a common metaphor for a non-present mental state of being. In computer terminology, the folder icon is referred to as a User Interface Metaphor (UIM) and is designed to trigger immediate recognition. Ironically these UIM icons now represent obsolete and historicised objects, far away from the immaterial and contactless reality of the present day.

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Portrait of Andreas Albrectsen. Image courtesy of C.C.C. and the artist.

Andreas Albrectsen. Untitled (-), 2022. Pastel on paper. 141 x 218 cm. Photo by Gabi Carrera

Andreas Albrectsen. Untitled (-), Detail. Photo by Gabi Carrera


Eau Pernice

Eau Pernice works in the intersection of visual arts, music composition and writing. At the center of her production is a strong interest in storytelling and narrative structures. Her work is informed by crime fiction, religious anecdotes and contemporary gossip and thus her works exist within a multi-layered frame of references. Currently she investigates the notion of the backwards - as a time concept, as a metaphor for counterculture and the concrete process of printmaking. Furthermore it materializes in an ongoing series of backwards singing performances.

The piece Turn to the sun, 2020 by Eau Pernice is based on reproduced and modified elements of Shaker boxes. Central to the shaker movement's theology was a belief that God was dwelling in the quality of the Shaker's craftsmanship and thus in the details of their work. The work departs from Eau Pernice's interest in individual agency within a community, religious or societal. The modified elements of the shaker boxes are animated and mimic human gestures and thus leave their function as parts of an entity to individual sculptures.

Haneloså Eat Sundnis is the title of a sound installation, featuring a recording of the psalm, in three voices, Se, nu stiger solen af havets skød (Look, the Sun Is Rising from the Bosom of the Sea), a Danish song with lyrics by a Danish pastor and author, Jakob Knudsen (1890) and melody by Oluf Ring (1915). The title of the work, like the sound image, does not make immediate sense. It is sung backwards, so that phrases like ‘Lysvæld bag ved lysvæld i himlen ind, did, hvorfra den kommer nu, morgnens vind (...)’ become sound words without any real meaning. The work consists of two audio tracks played synchronously.

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Portrait Eau Pernice. Image courtesy of C.C.C. and the artist.

Eau Pernice. Turn to the sun, 2020. Elm wood. Reproductions of traditional Shaker boxes. Variable dimensions. Photo by GRAYSC.

Eau Pernice. Haneloså Eat Sundnis, 2020 - 2022. Two channel sound installation. 08:13 min. Variable dimensions. Photo by Malle Madsen-


Jens Hüls Funder

Popular culture is the globalising backdrop from where Jens Hüls Funder ponders a pursuit of childhood- and adolescent identity. This reflection is induced with narratives of adulthood, class-identity, national identity and institutions. Funders work is the manifestation of stray observations ultimately responding to a darkened center of personal and cultural entanglement. He tries to pass on a sense of misplacement in his work, often explicitly in relation to the context in which it appears.

Untitled (Orange Boards), 2020 by Jens Hüls Funder is a wall-mounted installation consisting of a shelving system displaying a series of identical skateboards. Combining the reminiscence of a minimalist work logic and an in-store consumer situation the work points at a cultural paradox. The paradox being the subcultural striving for individual independence and the reproduction of such a desire.

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Portrait Jens Hüls Funder. Image courtesy of C.C.C. and the artist.

Jens Hüls Funder, 'Untitled (Orange Boards # 1)', (2020). Shelving system, wheels, bearings, trucks, bolts, powder-coated skateboards. 80 × 200 cm. Photo by Brian Kure

Jens Hüls Funder, 'Untitled (Orange Boards # 1)', (2020). Detail. Photo by Brian Kure