Exhibitions - Ditte Lauridsen

Andreas Emenius

Heavenly Numb

15 April - 6 May 2026

In Heavenly Numb, Andreas Emenius presents a new group of paintings in which figures, symbols and painterly gestures emerge and dissolve across layered surfaces. Moving between figuration and abstraction, the works unfold through shifting relationships between colour, form and space, creating images that remain open rather than fixed.
Throughout the exhibition, recurring motifs appear only to be interrupted, fragmented or absorbed into broader pictorial structures. Silhouettes, limbs and symbolic forms surface momentarily before receding again, allowing the paintings to oscillate between recognition and ambiguity. Rather than describing specific narratives, Emenius constructs visual environments in which meaning develops gradually through rhythm, repetition and sustained looking.
Colour functions as both structure and atmosphere. Transparent passages coexist with dense accumulations of paint, creating a movement between clarity and obscurity, immediacy and distance. Across the exhibition, each painting remains in a state of transformation, where perception itself becomes part of the work.
The title Heavenly Numb suggests a condition of heightened stillness rather than withdrawal. Within this space, sensation precedes interpretation and the paintings invite viewers to linger in states that resist easy resolution.

Evelina Hägglund

Exit From Within

11 March - 1 April 2026

In Exit From Within, Evelina Hägglund examines pressure as a material and embodied condition.
The exhibition centres on large-scale graphite drawings on hessian. The coarse weave resists the hand; graphite is pressed repeatedly into the surface, building density through friction and insistence. Rather than producing images in a conventional sense, the works accumulate weight. What emerges is not illustration, but trace.
Across the drawings, lines gather and thicken, often concentrating toward the centre of the compositions. The surfaces appear worked from within, as if internal force had gradually insisted on form. Tension is sustained rather than resolved. Balance is present, but never secure.
The physicality of the process remains visible. Repetition leaves residue. Pressure leaves marks. The surface carries evidence of duration — of time spent negotiating resistance.
Sculptures in plaster, metal and hessian extend this inquiry into three dimensions. Leaning structures, suspended gestures and precarious alignments echo the instability present in the drawings. Across media, the body functions as both reference and measure: a site where weight is borne, adjusted and redistributed.
Across the exhibition, internal states are translated into material form. Tension is not resolved but sustained, becoming a condition to inhabit rather than overcome.
Within accumulation and strain, movement persists.
This exhibition marks Evelina Hägglund's first solo exhibition in Stockholm and her first solo presentation at Ditte Lauridsen.

Ilja Karilampi

Meister Master Mäster

February – March 2026

Meister Master Mäster is a play on language. German, English and Swedish fold into one another, repeating without fully settling into meaning. The phrase appears within the exhibition itself, functioning less as a title than as a recurring rhythm — something encountered rather than explained.
The exhibition consists of fourteen mirror works arranged in a continuous line along the gallery wall. Made from dark glass and sandblasted with translucent symbols, the works shift in relation to movement and light. As viewers pass through the space, their reflections enter the surfaces, merging with the imagery and the surrounding architecture. The works are activated through encounter, positioning the viewer as both observer and participant.
Formally precise and restrained, the installation draws on seriality, repetition and reflection. While minimalist structures provide a point of departure, the works are equally shaped by Karilampi's long relationship with Stockholm — not through direct representation, but through memory, movement and accumulated experience. Symbols recur, reflections overlap and meaning remains in motion.
Throughout the exhibition, repetition functions less as sameness than as variation. No reflection is identical to the next, just as no encounter with the work remains fixed. Meister Master Mäster unfolds through alignment, displacement and return, inviting viewers to consider their own position within a constantly shifting field of images.

Luciana Ame

Alta marea

11 December 2025 - 29 January 2026

It begins as a movement at the edge of vision. A line that is almost not there, yet carries a body, a face, a direction. In Alta marea, Luciana Amé lets her figures emerge as if lifted from a rising tide line; hybrids of human and water, of presence and memory.
Amé's black-and-white universe has always lived between simplicity and complexity. Here, that meeting deepens. The lines are clearer, yet the emotions expand. The faces remain open yet inward. Each figure seems caught within a moment of transformation, as if the tide has just reached them and something essential has shifted.
The musicality that has long echoed quietly through Amé's practice is still present; now more distant, like a rhythm below the surface. These new works move in a soft legato, where each curve and contour becomes both motion and stillness. A point of balance. A breath.
Alta marea is also a story of relationships. Between body and sea. Between gaze and memory. Between the lives we live and the ones that pull at us from elsewhere. Luciana's figures stand alone, yet never isolated. They belong to a shared flow, to a time that moves in more than one direction.
There is a sense of purity here, though not the kind that seeks perfection. Rather the kind that appears when the excess falls away.
Like tidewater.

Joakim Kocjancic

SOLVARV

19 November - 10 December 2025

Solvarv refers both to the solar cycle and to the place where the photographs were made. A house without electricity or running water, where days are structured by light itself and time seems to expand. It is a point on the map, but also a circle of return; a place where each day resembles the last, yet never repeats it entirely.
In the images, we move through forests, lakes, gardens and paths. Children run through sun-drenched fields. Someone bends into tall grass as if listening to the ground. A body stands at the edge of the lake, back turned, hair lifted by wind. A dirt road is patterned with light through pine branches. Nothing is staged. The camera follows what is already happening, close enough for presence to remain intact.
Joakim Kocjancic works exclusively with analogue black-and-white photography. Grain, contrast and blur arise from time spent in the world rather than stylistic intention. The photographs form slowly, through attention, stillness and duration. They carry the memory of touch.
Made over two summers, Solvarv reflects a rhythm shaped by light rather than schedules. Like the poem taped to the outhouse door — Edith Södergran's Landet som icke är — the work points toward a place sensed more than spoken.
This exhibition does not ask the viewer to decode a narrative. It invites a slowing. A remembering of how light once felt, on a similar day, somewhere else.
Joakim Kocjancic (b. 1975, Milan) lives and works in Stockholm. His photobook Europa received the Swedish Photo Book Prize in 2021. In 2024 he was awarded first prize in the Gomma Black & White Award. His work is represented in the collection of Moderna Museet.

Bill Billekvist

2:01:58,96

22 October - 12 November 2025

In 2:01:58,96, Bill Billekvist presents a new group of paintings shaped by rhythm, duration and material responsiveness. Created during the spring, the works move between stillness and motion, structure and openness, reflecting a practice grounded in attention rather than control.
Working with transparent textiles such as ripstop and voile, Billekvist approaches painting as both image and object. Colour moves between front and back through the thin material, while light becomes an active component of the work itself. In some paintings, the stretcher frame remains visible beneath the surface; in others, spatial boundaries dissolve, allowing the image to extend beyond its apparent limits.
The exhibition's title refers to a precise measurement of time, yet functions less as a record than as a framework. Billekvist often works within defined intervals, allowing concentration, movement and material conditions to determine the course of the painting. Rather than pursuing a fixed image, the works emerge through adjustment, repetition and sustained observation.
Across the exhibition, painting becomes a space where precision and uncertainty coexist. Gesture remains visible, but never dominant. Structure is present, yet continuously negotiated. The resulting works feel both deliberate and provisional, holding traces of time, movement and transformation.
There is a quiet attentiveness throughout 2:01:58,96. Rather than seeking resolution, the paintings remain open, allowing rhythm, light and material to guide the experience of looking.
Bill Billekvist (b. 1992, Stockholm) lives and works in Oslo. He graduated from the Oslo Academy of Fine Arts in 2022 and has exhibited at Podium, Kösk, Hos Arne and Coulisse Gallery.

Florine Imo

She Ate

17 September – 9 October 2025

In She Ate, Florine Imo presents a new body of work drawn from her ongoing Pegaslut universe — a world populated by mythological figures, hybrid beings and symbolic narratives that move between fantasy and contemporary experience.
The exhibition centres on female protagonists who occupy spaces of power, transformation and self-invention. Drawing on classical mythology while embracing the visual language of the present, Imo reimagines familiar stories through painting and sculpture, allowing ancient archetypes to collide with contemporary ideas of identity, desire and agency.
Throughout the exhibition, figures emerge as active participants within richly constructed environments. Rather than illustrating specific narratives, the works create symbolic worlds where humour, seduction and unease coexist. Mythology becomes less a historical reference than a living structure through which contemporary questions can be explored.
The title She Ate borrows a phrase from contemporary internet culture used to describe someone who exceeds expectations with confidence and force. Here, the expression becomes a gesture of reclamation. Across the exhibition, power shifts, narratives are rewritten and new mythologies take shape.

Lena Cronqvist, Evelina Hägglund, and Linn Fernström

Out of Body

21 August – 11 September

Bringing together Lena Cronqvist, Evelina Hägglund and Linn Fernström, Out of Body explores the shifting relationship between body, memory and perception. Across painting and drawing, the exhibition presents three distinct artistic practices connected by a shared interest in psychological space and the fragile boundary between inner and outer experience.
Though working across different generations and visual languages, all three artists approach the body as something more than a physical presence. It becomes a vessel for memory, emotion and projection; a threshold through which personal and collective experience is filtered and transformed.
Throughout the exhibition, familiar forms appear altered, suspended or displaced. Dreams intersect with lived experience, and moments of clarity coexist with uncertainty. Rather than presenting fixed narratives, the works create spaces in which perception remains fluid and meaning emerges gradually through encounter.
Out of Body invites viewers into a landscape shaped as much by sensation as by observation — a place where the boundaries between presence and absence, self and image, become increasingly porous.

Johan Barrett

HORSES and DIVORCES

3 July - 12 August

In HORSES and DIVORCES, Johan Barrett presents a new body of paintings and sculptures shaped by personal upheaval, renewal and the possibility of beginning again. The exhibition brings together images of landscapes, leisure, travel and longing alongside sculptural works depicting hands holding cigarettes — small gestures that carry both intimacy and distance.
Throughout the paintings, familiar motifs become vehicles for projection and escape. Palm trees, open horizons and scenes of ease suggest places that exist somewhere between memory and imagination. Rather than describing specific events, the works explore emotional states associated with transition: loss, desire, anticipation and freedom.
The exhibition's title brings together two seemingly incompatible ideas. One suggests movement and liberation, the other endings and separation. Between them lies a space of uncertainty that runs throughout the work. Barrett approaches this territory with both humour and vulnerability, allowing melancholy and optimism to coexist within the same image.
Across painting and sculpture, HORSES and DIVORCES reflects on what happens after a life changes course. Not as a conclusion, but as a movement toward something not yet fully known.

Jarl Ingvarsson

The Pigeon and the Plectrum

June 4 - June 28

In The Pigeon and the Plectrum, Jarl Ingvarsson presents a new group of paintings in which everyday objects, painterly gestures and fragments of memory coexist within the same pictorial space. Flowers, oranges, churches and figures appear alongside passages of colour and line, forming compositions that move freely between observation and invention.
The exhibition's title evokes both rhythm and narrative. Like much of Ingvarsson's work, it balances humour and seriousness, familiarity and uncertainty. Recurring motifs return throughout the paintings, not as symbols to decode but as elements within an evolving visual language shaped by intuition, experience and experimentation.
Created during a period of personal and artistic transition, the works reflect a sustained engagement with painting as a process of discovery. Layers accumulate, images shift direction and unexpected relationships emerge. Rather than seeking resolution, the paintings remain open, allowing contradictions to coexist.
For more than four decades, Ingvarsson has developed one of the most distinctive voices in Swedish painting. The Pigeon and the Plectrum continues this exploration, bringing together works that are at once immediate, playful and deeply reflective.

Axel Versteegh

Tunica Mucosa

May 7 - May 28, 2025

In Tunica Mucosa, Axel Versteegh turns his attention toward the body as a site of transformation, vulnerability and material presence. The paintings do not depict the body directly. Instead, they register traces of it through rhythm, texture and movement, allowing forms to emerge and dissolve across the surface.
Working in layers, Versteegh approaches painting as an open-ended process in which images remain unstable and subject to change. Fragments of recognisable forms appear only to be absorbed back into fields of colour and gesture. What remains is less an image than a sensation: something felt rather than fully defined.
The exhibition takes its title from the mucous membrane — a structure that functions simultaneously as boundary and passage, protection and permeability. This dual condition runs throughout the works. Surfaces appear porous, provisional and alive, holding traces of what has been while remaining open to further transformation.
Across the exhibition, painting becomes a space where certainty gives way to ambiguity and material carries meaning before language. The works invite a form of looking that is attentive, bodily and slow, allowing perception to unfold through the act of encounter itself.