Activities now
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
Albert Mertz and Thorbjørn Lausten
At Stalke Galleri’s spring exhibition, two artists with a significant history at the gallery are presented. The exhibition is composed exclusively of works from the Stalke Collection and presents works from different periods of their practice.
More than 25 works by Albert Mertz are on view, spanning from the 1950s and onwards. Mertz was a central figure in Danish art and worked consistently with the autonomy of the image, where colour and form exist as independent elements without symbolic meaning. His characteristic use of red and blue developed into a precise and reduced visual language, where the motif recedes in favour of the image as object and experience.
Thorbjørn Lausten presents a light work alongside a larger selection of paintings from the 1970s and onwards. Lausten works at the intersection of art, technology, and science, where light, systems, and data are key elements. His works explore perception, time, and space, evolving from early light experiments into complex visual structures based on measurement and information.
Stalke Galleri has exhibited both artists since 1988, when they were first presented at the gallery. Both have since had significant solo exhibitions at Stalke and have contributed to shaping the gallery’s direction. Today, they stand as pioneers within their respective fields and as central figures in Danish minimal and conceptual art. Their work has influenced subsequent generations, including artists such as Michael Kvium, Olafur Eliasson, Tal R, and many others.
The exhibition is on view from April 18 to the end of May.
Open by appointment
Kind Regards
Stalke Galleri/Sam Jedig
Press Release
ICELAND – IN DIALOG presents two different yet interconnected chapters – from the quiet processes of nature to the active interventions of humanity – in an artistic dialogue between three artists in Iceland.
Dove Bradshaw – Aske Sigurd Kraul – Sam Jedig
Three artists meet in Iceland in a joint project where nature, materiality, and landscape are brought into play in dialogue with one another.
Dove Bradshaw – Material/Immaterial
Since the 1970s, American artist Dove Bradshaw has worked with materials in transformation, where time, environment, and chemical processes alter the work’s expression.
At Kambur she presents the iconic salt installation Negative Ions (1996), in which a slow drip of water changes salt as material over time. She also presents works in Tufa Stone in combination with lava, as well as a piece from the series Material/Immaterial (2000).
At The Corridor Gallery in Reykjavik, the exhibition is supplemented with her early work 2√0 (1971) – a piece that challenges the notion that time and space can be measured precisely. Also on view are her Angle Paintings, which can be hung in twelve different rotations determined by chance, thereby emphasizing Bradshaw’s interest in changeability and indeterminacy.
Aske Sigurd Kraul
Aske Sigurd Kraul works with an investigative approach to the materiality of painting. In the project Iceland – in dialogue he creates a site-specific work at Kambur that interacts with nature and changes over time.
At The Corridor Gallery he also presents a series of paintings on canvas, where materials and pigments unfold in layers reflecting both geological structures and the rhythms of the landscape. The works balance between the painterly and the material, maintaining a dialogue between the physical reality of nature and the abstract plane of the image.
Sam Jedig
At Kambur, Sam Jedig presents works that directly challenge the landscape, including Brasse Cube – a serial progression of cubes placed in continuation, cutting through the terrain in combination with the landscape. He also presents a Smoke Cube performance.
At The Corridor Gallery in Reykjavik, Jedig shows his new Smoke Paintings together with works from the series Stamp Side by Side – Silenced, where he removes all superfluous information, leaving only the material – the stamp and the paper – as a quiet yet insistent image of repetition and absence.
The project is realized in collaboration with Stalke Out of Space.
Practical information
Opening 1
The Corridor Gallery
Brautarholt 8, 105 Reykjavik, Iceland
5 September 2025, 4:00 – 7:00 PM
Contact: Helgifridjonsson@gmail.com
Opening 2 (Pop Up Project)
Kambur
851 Hella, Iceland
7 September 2025, 12:00 – 3:00 PM
Contact: Kambur851@gmail.com/ +354 8231596
STALKE GALLERI - ENGLERUPVEJ 62 - 4060 - KIRKE SAABY - DENMARK - PHONE: +45 2926 - 7433
CONTACT: STALKE@STALKE.DK
OPEN BY APPOINTMENT