Activities now
ON VIEW 26 Focus on Iceland
Exhibition period: 20 August – 10 October 2026
In ON VIEW 27, STALKE focuses on Iceland in the large Cube Room, presenting a selection of works by Icelandic artists who have all been exhibited at STALKE since 1991.
The exhibition brings together different generations and artistic expressions, while looking back at STALKE’s longstanding connection with the Icelandic art scene.
The large Cube Room presents works by Kristleifur Björnsson, Hulda Vilhjálmsdóttir, Olafur Eliasson, Guðmundur Ingólfsson, Gunnar Örn, Elías Hjörleifsson, Helgi Thorgils Friðjónsson, Sigurgeir Sigurjónsson and Einar Thorsteinn.
In the other rooms and the Front Gallery, ON VIEW 26 continues with works from STALKE’s collection and exhibition history. Works are presented by Lars Bent Petersen, Hans Peterson, Torben Ebbesen, Klaus Jorn, Frans Jacobi, Anne Bennike, Jean-François Octave, Kaj Nyborg, Dove Bradshaw, William Anastasi, Nils Erik Gjerdevik, Jørgen C. Lundgreen and Marianne Hesselbjerg.
The ON VIEW format provides an opportunity to continuously create new constellations of works and artists, while bringing forward works and connections from STALKE’s long exhibition history.
Opening days will be announced regularly on STALKE’s website – and/or by appointment.
ON VIEW 27 – FOCUS ON ICELAND
We look forward to welcoming you to Stalke Galleri
Kristleifur Björnsson, Stalke Cube Space
GeoMag2025/26
Thorbjørn Lausten
GeoMag is an interactive website, www.geomag.dk, an artistic project that makes visual scientific geomagnetic data from two monitoring stations in Greenland: NAQ: Narsarsuaq (south), and THL: Qaanaaq (north).
The visualized data represent four parameters: D: Declination, the angular difference between the geographical and the magnetic North; I: Inclination, the angular difference between the horizontal level and the magnetic field lines, F: F is the total magnetic field strength, and H: H is the magnitude of the horizontal component of the geomagnetic field vector.
Data are transmitted and received continually, with a few minutes’ delay. However, in order to show the geomagnetic activity, somewhat older data are visualized as well.
Geomagnetism is primarily formed in the Earth’s outer, fluid core; since the magnetic field of the Earth has a North and a South pole, a large magnetic field is formed that reaches far into space. This magnetic field, together with the area of space that surrounds the Earth, form the magnetosphere, protecting the Earth against radiation from outer space, against the solar wind and cosmic radiation, and without the magnetic field there would be no life on Earth.
We, as human beings, are not able to sense magnetism, but several animal species are capable of navigating by the Earth’s magnetic field. Our knowledge of magnetism is thus mainly from instruments; this goes to show that our perception of reality is not least based on the way in which various instruments function.
The numeric data visualized by GeoMagare produced by instruments, but the data, not even so-called raw data, can be understood unless they are given form/meaning, and in the three visualizations in GeoMag it is shown that identical data may display very different forms that affect their meaning.
Thank you to DTU Space, Anna Willer, for guidance and assistance.
Programming:Halfdan H. Jensen.
W I L L I A M A N A S T A S I 1 9 3 3 – 2 0 2 3
exhaling, then inhaling
Curator: Dove Bradshaw
Jocelyn Wolff Gallery is honored to present a memorial exhibition of William Anastasi, one of the founders of Minimal/Conceptual Art in the 1960s. He died at ninety in November 2023. Introducing the gallery’s fifth exhibition is his 1962self-portrait where Marina Mahler had insightfully remarked that one eye looks inward while the other looks outward. That inward/outward gaze towards awareness of the ever present and to his groundbreaking explorations that claimed the space in which it appears, not just in a gallery, museum or collector’s home, but wherever it may be, for instance a bill board, a bus shelter, or simply a page in a book, celebrating “the here and the now” as Anastasi would say to discover “acres of diamonds in our own backyard”, the very place where we are at this present moment.
Beginning with the Wall Removals, 1965-1967,Anastasi transformed the wall into a sculpture. You’re Through,1965consists of a nine-foot oval cut down to the studs and wood lathe, the debris piled on a shelf spanning the cavity. Originally done in a Madison Avenue advertisingagency,thisisthefirsttimeithas been recreated in six decades. Mid-sixties clients seeingsomething never done before either thoughttheagencyhadlost its mind or had unlimited imagination. Issue,1966,in which four and a half inches of the whitecoat of plaster is removed from ceilingtofloor, thedebris piled perpendicularly at its base, additionally initiated wall to floor engagement. Anastasi’s objet trouvé was the wall itself.
Next, Six Sites,1966, that Anastasi originated at the Dwan Gallery, New York, 1967where an image ofthe wall is photo-silkscreenedontocanvasin a ten-percent reduction and hungonthewall that is its subject. He declared “The wall is the sacred burial ground of painting” and that it was“bomb art” asthefearofnuclearannihilationwasfrontofmind. In1968in yet another medium, 8videocamerasandmonitorstrained on each corner in any given roomwas conceived yetneverrealizedthoughasinglesculpturehadbeenshownatDwan. Fourpair will be broadcastlive on two corners in anotherexistential focusdefiningthe space.The four Earth Artists of Dwan wherethe movementhadoriginated,DeMaria,Heizer, Ross and Smithsonweredrivenout to the great American West as Anastasi had thoroughly exhausted the gallery space in sculpture, photography and video.
A fourth room briefly surveys this philosopher artist beginning with his 1967– READING A LINE ON A WALL orREADING A LINE ON A PAGEin the most reductive of Duchamp’s remark that the viewer completes the work and in Label Label, where humorously the piece enacts itself. Plastic Coincident, 1966,an iconic piece crystalizes this exhibition where a black and white photograph istakenofasmallsheetofplexiglasscatchingafaint reflection of the camera with the artist’s hand ontheshutter and more prominently the gallery light, then silkscreened back onto it and rehung whereithadbeentaken. A record of what wasbecomes what iswhen the viewer aligns that real-life reflection with the recorded one as the two-dimensional piece suddenly flips into color, its light flooding with a yellow glow suddenly becomes three dimensional. The normally unnoticed light and the reflections tuned out both become its subject. Throughout the exhibition the viewer is confronted here and there with the possibility of discovering “The Here and the Now.”
Celebrated art historian Thomas McEvilley in Setting the Record Straight: William Anastasi and the History of Conceptual Art, 2001, assigns William Anastasi a prominent place among the protagonists ofConceptual Art, a deserved position that art history in its selective narrative has long failed toacknowledge. Though in the decades since an ever-growing cognoscente recognizes that his ideas and works in sculpture, painting, photography, video, performance, theater and film not only wereprescient but areever present.
Opening July 4- August28, 2026, 1 Rue de Penthièvre, Paris
STALKE GALLERI - ENGLERUPVEJ 62 - 4060 - KIRKE SAABY - DENMARK - PHONE: +45 2926 - 7433
CONTACT: STALKE@STALKE.DK
OPEN BY APPOINTMENT