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We are very pleased to present a new exhibition by Danish artists Randi & Katrine. Randi & Katrine explore the kiosk as a concept and its function as a social and architectural space in the city.

KIOSK is the former, now defunct, kiosk building in the grounds of Frederiksberg Hospital. The KIOSK building still has the outward appearance and inner furniture of glass shelves and a counter of its former life, with, but decay is lurking. For the exhibition, the Frisko ice-cream signs have been re-painted on the windows of the kiosk, and the building is filled with colourful goods. The kiosk in KIOSK is reborn as an installation.

On stacks of beer crates, canned cola, and cardboard packaging, one finds small, actually existing kiosks from all over the world, recreated in miniature. The kiosk’s colourful world of images is reborn, along with the expectation of every-day small breaks of ice cream, newspapers, magazines, and cigarettes, which used to fill the small buildings to the brim, and the personal relationship between customers and kiosk owners. The artists explore the nostalgia for the personal, excentric and local that is rapidly disappearing from the cityscape and outer areas.

In the past, this kiosk primarily served the hospital’s patients. They and their visitors could find everything their hearts desired, flowers, magazines, chocolate, cigarettes, and toiletries. The exhibition by Randi & Katrine recreates the small shop of desire in a world of sickness and medical treatment.

Are we killing the city’s small kiosks?
The kiosk as an architectural type and social space in the city can be dated back to the 14th century Ottoman Empire. The open or half-open pavilion structures facilitated the intimate exchange of goods and small remarks about every-day matters. In the late 19th century, the number of small pavilion structures exploded, partly to sell freshly printed newspapers. Since then, small kiosks all over the world have served local areas with sought-after goods and the exchange of local knowledge, and with an architectural surplus of carved wooden details and improvised sheds.
Kiosks are now disappearing rapidly from the cityscape, not only in Denmark, but around the world, from Greece and Sweden to the United States – a trip to the kiosk may soon be a thing of the past.

In a few years, the hospital will also be completely removed from the old hospital area, which is being converted into a new attractive city district. Is there room for the small local kiosk in this new urban space? Room for the curious, colourful, personal, and local? KIOSK is still standing, but the building is threatened with demolition…

In their exhibition “Kiosks in KIOSK”, Randi & Katrine cast a loving look at the kiosk as a building type, social function, and element of urban space.

––––––––– GUIDED TOUR (in Danish) –––––––––

Kom til kiosk-hop med Randi&Katrine og Kristoffer Ørum 9. December fra 13.00 – 15.30. Har du lyst til at høre mere om udstillingerne Kiosker i kiosker og frihed, lighed og hip-hop? Så kom 9. December kl 13 på kiosk, 45 minutters snak om udstillingen af Randi og Katrine, herefter cykler/hiphopper vi til udstillingsstedet Sydhavn Station hvor vi 30 minutter senere vil mødes og snakke om Kristoffers udstilling der. Tag gerne gode spørgsmål og undren med, så skal vi nok gøre det bedste vi kan for at svare.

Vi er stolte af at præsentere en ny udstilling af den danske kunstner Claus Egemose.

Udstillingen ”Spanning” viser en variation af værker der søger at konfrontere blikket. Ved at omslutte beskuer og rum med enten rumlige objekter, lyssatte plexiglasobjekter, decentrering i billedfladen eller farvesammensætninger tilbyder de nye perspektiver på det materiale, de er skabt af og det rum, de befinder sig i. Det normale blik kan kastes bort til fordel for nye, anderledes måder at anskue rummene på. De forskellige værker foreslår hver deres specifikke måde at gå til udstillingsrummet på, men pointerer også, hvordan et enkelt værk kan anskues i kraft af et andet på en fysisk og konkret facon.

Værkerne tilbyder dem selv som periskoper, hvorigennem både udstillingsrum og omgivende værker kan udforskes og opleves. De evner at stå autonome med hver deres individuelle fortælling, og er også i stand til at skifte udtryk alt efter, hvilken vinkel de opleves fra.

Overordnet er der en visuel spredning. Ikke blot gentager nogle af værkernes former og motiver sig i hinanden, de spejler sig også i tidligere værker. Flere af udstillingens værker vil drage paralleller til offentlige udsmykninger, som Egemose har gennemført, ligesom farveholdningerne er en del af en større proces, der har fundet sted over flere år. Arbejdet med det gentagelige og serielle står frem som en væsentlig del af det kunstneriske fokus.

Fragmenteringerne og de indbyrdes visuelle spredninger, gentageligheden, de forskellige anvendelser af farve og transparens og materialernes kvaliteter er alle medvirkende til at skabe nye tilgange.

We are pleased to present a new exhibition by Danish artist Torben Ribe.

Torben Ribe often makes quasi-abstract paintings to act as props in large installations, but for his show at KIOSK he presents a series of almost classical landscape paintings, all modest in size. Like the title of the show, Vinterbilleder (Winter Images), all the individual works borrow their titles from renowned Danish painter Per Kirkeby. The paintings doesn’t exactly resemble Kirkeby’s grandiose works though, being that most of them aren’t much bigger than cakes able to fit the oven and the painterly surfaces only partially hides personal imagery, bills and over-the-counter medicines. Maybe the works looks more like a kindergarten’s take on Turner, without the necessary adult supervision to avoid one big mess as an end result or a sloppy unfinished monochrome (if such thing exist).

The exhibited works do though share a common altmodische feel with Kirkeby, a trait that’s often associated with Scandinavian landscape painting and the special Nordic melancholia that goes along with it. Spring never comes and even the summer nights feels cold. The bills and images of modern medicine that functions as a background, doesn’t exactly make it any more cheerful. Take some pain killers and lay down, this landscape is not going to get better any time soon.

Green Spring, 2023
Acrylic, bills, pen and ink jet on canvas, frame
81 x 61 cm

Towards Evening / Shoulder Pain, 2023
Acrylic, bills, straw, medicine package and ink jet on canvas
50 x 40 cm

Dry Summer, 2023
Acrylic, bills, pen, dead fly and ink jet on canvas
60 x 50 cm

Judgement Day, 2023
Acrylic, bills, pen and ink jet on canvas
50 x 40 cm

Darkness, 2023
Acrylic, bills, pen, oat meal and ink jet on canvas
80 x 60 cm

Towards Evening, 2023
Acrylic, bills, pen, straw, medicine package and ink jet on canvas
50 x 40 cm

Evening Mood, 2023
Acrylic, bills, pen, oat meal and ink jet on canvas
60 x 50 cm

Low Moon, 2023
Acrylic, bills, pen and ink jet on canvas
60 x 50 cm

The installation HOARDERS HUM explores the concept of hoarding. Could this human disorder, it speculates, potentially be a digital phenomenon too? Cleaning out a deceased hoarder’s house, Anne Haaning discovered layers of systematic accumulation that eventually became chaotic. This inspired her to question whether a similar process could happen in the digital world as AI-generated images and text flood the online landscape.

The exhibition draws a parallel between the extreme data collection required to build a data set and human hoarding, itself a kind of archive that, while it represents immense potential, eventually becomes useless due to loss of control. HOARDERS HUM asks what the purpose of these “creative hoarding technologies” is and how phenomena like purpose and ideas can survive in a world increasingly filled with expressions that exist solely for the sake of creating something new.

HOARDERS HUM has transformed KIOSK into the “lair” of an AI hoarder, where an endless stream of drawings is produced by DALL-E and a “pen-plotter” robot. The title of the exhibition refers to the sound of this production, which – like the drawings – flows out into the room in a manic stream. The exhibition suggests that even an AI’s endless data collection and production can be a sign of a disorder, and that chaos and unchecked accumulation can have consequences even for a machine.

HOARDERS HUM raises critical questions about our relationship with technology and the potential consequences of our digital hoarding habits.

The drawings will be for sale on a live pricing model that runs throughout the exhibition period from the 28th of April to the 26th of May.

This text was generated using ChatGPT.

When water is scarce, thirsty animals regroup into mega herds
seeking to quench their thirst.
But predators are waiting around the waterholes
looking for easy prey. Soon, the weak and injured are weeded out.
The power over the waterhole is an eternal game
of survival where one drop of water marks the difference
between life and death. Despite the risk of hidden predators,
the instinctive urge to drink water leads the thirsty ones
into a deadly trap every time.

In their latest collaborative project the Danish-Swedish artist duo Hedvig Schroeder & Ida Brockmann sheds light on the vessel as an iconic artifact illuminating the different values we add to water. On the journey of water containers’ cultural history we meet a marble fountain, a video collage, and plastic amphoras stored in a refrigerator, all reflecting on water’s relation to market forces, basic survival, and wishing wells.

Today, water is one of the major challenges of civilization. First we drank out of our hands from natural water sources. Then we filled ceramic vessels from wells and fountains. Today, we can find a bottle of water on any street corner. For many, bottled water has become synonymous with water itself due to the modern desire to drink “on the go”. The kiosk is a new type of waterhole where the water we buy is no longer just water, it is Aqua D’or, Evian, Ramlösa, Fiji and Voss.

We are very pleased to present a new exhibition by Danish artist Jens Axel Beck.

The Circular is a recurring element in the exhibition’s works, and the circle as an allegory for the flow of time has led to the exhibition title “Circle in the Sand”. The title is taken from Belinda Carlisle’s long-outdated 1987 pop hit.

The exhibition is a series of reflections on time that are forever seeping, in a world where we have to settle for having our own expiry date in sight. Within this horizon, the works also deals with the individual as a singularity that is hung up on the systems of society. Structures which you often simply have to rotate along with, as they are difficult to influence, all the while one seeks to give his or hers rotation a certain spiritual substance.

The pop song “Circle in the Sand” is yet another in the line of pop culture’s eternally simple love songs, perhaps as banal as our pursuit of everyday necessities, like over-the-counter drugs and Matador Mix. The song is about a moment in time, when two individuals meet in the experience of endless love, which, however, has been brought to an end, and now only lives in the memory of it. The story of something that once was and is no more is embodied in the New Shelter Plan KIOSK exhibition space. The place is no longer a kiosk but an exhibition venue, which exudes the function of the past, traces that will slide into the exhibition and play tricks on the exhibited works and vice versa.

By showing Kaj Nyborg’s solo exhibition GHOST in my house (ISOPLANT) New Shelter Plan launches its series of autumn exhibitions that are based on a new curatorial approach. A division of the 185m2 large exhibition space into an accessible and an inaccessible part now constitutes the central premise of the coming exhibitions. The participating artists are all dealing with the themes availability / restrictions as part of their practice and they are invited to challenge and expand the concept.

Kaj Nyborg

Kaj Nyborg’s installations pinpoint the unknown in the familiar, based as they are on everyday recognizable phenomena and objects. An atmosphere of uncanniness and impermeability often emerges. Elements of surveillance and disorientation are present as the well-known objects do not contain the information or the functions that we associate them with. In this way they deny us the common knowledge that we thought we were presented to.

GHOST in my house (ISOPLANT)

Two windows with closed blinds are inserted in the wall that divides the exhibition space. Plant parts are trying to work their way through the blinds which moves slightly but not enough to reveal what is on the other side.

Impermeability is a recurring theme in Nyborg’s works, and the exhibition GHOST in my house (ISOPLANT) poses a number of related questions; to whom belongs the “home” that we are looking at and for what purpose are we looking? Does the work of art create a room of possibilities to the viewer or do we have to read the room as a locked position from which action is impossible?

The exhibition is supported by the Danish Arts Foundation.

Video documentation of the installation