A practice where anatomy is not metaphor but material, and mortality is neither abstracted nor softened for comfort—Morten Viskum arrives with work that refuses the decorative instincts of contemporary culture.
At the exhibition, where concept too often floats free of consequence, his work anchors itself in the uneasy weight of what remains: bodies, memory, and the ethics of looking. Neither provocation for spectacle nor irony for distance, it is a sustained confrontation with presence itself—what it means to see, to remember, and to accept the material reality of life once it is no longer lived.
SOHO REZANEJAD: WHEN COPENHAGEN STOPS PLAYING NICE
Scandinavia has mastered polished pop. Soho Rezanejad has little interest in behaving.
Born to Iranian parents in a refugee camp outside Copenhagen, the musician has become one of the Nordic underground’s most compelling voices, blending industrial electronica, cinematic soundscapes and haunting vocals into music that refuses easy definition.
In this exclusive feature, Rezanejad reflects on identity, artistic freedom, exile, collaboration, and the creative communities quietly reshaping Copenhagen’s cultural landscape. Through intimate conversation and striking photography, the feature explores the city beyond its postcard perfection—where independent venues, artists and experimental musicians continue to redefine what Scandinavian music can sound like.
Part cultural portrait, part music profile and part visual essay, this is Copenhagen through the eyes of one of its most fearless artists.
THE VILLAGE EFFECT
What happens when two young creatives arrive in New York with one suitcase, a camera, and no intention of behaving like tourists?
Everyone tells you to visit New York. Almost nobody tells you how to read it.
Over one unforgettable summer, a young photographer and creative producer wander between the East Village and West Village, discovering a city where every block feels like a film set, every stranger has a story, and fashion becomes the language of survival.
This isn’t another New York guide. It’s a stylish portrait of downtown through photography, fashion and cultural curiosity—where artists, musicians, hidden bars and legendary vintage stores collide with the effortless glamour of Manhattan.
Sharp, witty and visually driven, The Village Effect explores why New York remains the world’s greatest muse—and why the best thing you’ll ever bring home isn’t a souvenir, but a new way of seeing.
Fashion. Photography. New York. One unforgettable summer.
Mick Szal is part of New York’s new modelling ecology—not as a breakout story, but as a working presence shaped by repetition, rejection, and creative adaptation. Based in the Lower East Side, she moves through the fashion system with a rare clarity about its mechanics, where silence often replaces feedback and visibility is never guaranteed. Rather than mythologising her career, she describes modelling as process: unstable, physically demanding, and intermittently creative. What emerges is not a traditional success narrative, but a portrait of a model who understands the system from within it—and continues to navigate it without illusion..
This exhibition stages photography as a contested theological instrument—one that claims to reveal unity within religious difference through the logic of optical refraction. Drawing on the idea of the Axial Age, it proposes a shared spiritual architecture beneath the surface diversity of global faith traditions. Yet what emerges is less a harmonious synthesis than a carefully constructed curatorial proposition: unity reframed as visual theory, belief translated into image-system, and difference managed through the aesthetics of light. In a contemporary moment defined by fragmentation, the show asks whether photography can still function as a medium of coherence—or whether it merely performs the illusion of it.
James Lazar Braathen represents a rare position in contemporary Nordic fashion: emotionally maximal, structurally controlled, and deliberately unbothered by Scandinavian branding expectations.
In conversation, he rejects fixed identity in favour of “daydreamed” construction, framing fashion as obsession-driven authorship rather than product design. His silhouettes combine disciplined sensuality with historical romanticism, while his references move between Oslo’s architectural fragments and cinematic European nostalgia.
The result is a designer operating in tension—between elegance and excess, feminism and fantasy, control and creative possession. Not Scandinavian minimalism. Something sharper, stranger, and far less obedient
Benedicte Aubert Ringnes’ “ARNOLD” positions the body as both icon and image-system—where bodybuilding, classical sculpture, and digital collage collapse into a single visual language of control and distortion. Presented at Gallery A, Oslo, the exhibition reworks Arnold Schwarzenegger not as celebrity, but as cultural framework: a figure through which masculinity, symmetry, and spectacle are continuously reframed under post-digital conditions. Drawing on pop art lineage, experimental film, and Photoshop-based construction, Ringnes produces works that resist resolution in favour of layered instability. The result is a sharply contemporary inquiry into how images construct power, and how power is sustained through repetition, editing, and visual myth.
THE FIVE HUNDRED FACED – DJ MAI SCHAARUP IN VIBRANT COPENHAGEN
NEON NIGHTS WITH DJ MAI SCHAARUP IN COPENHAGEN DANMARK, THE START OF DOCU SERIES NAMED WITH THE PILOT NAME ” THE HERO WITH FIVE HUNDRED FACES ” WACHT NOW
THERAPEUTIC DENIM NYC
HE ESTABLISHED WWW.CACHOFALCON.COM AS A WAY TO SHOW HIS WORK AND MEANS TO CONTINUE GATHERING STORIES FROM OTHERS. FALCON DISCOVERED IT WAS MUCH EASIER FOR PEOPLE TO SHARE THEIR DARK EXPERIENCES WITH A STRANGER. HE RECEIVED MANY ANONYMOUS EMAILS FROM PEOPLE TELLING THEIR STORIES OF LOSS, HOPE, REGRET, AND LOVE, WHICH IN COMBINATION WITH HIS OWN PERSONAL STORIES, BECAME THE BASIS FOR A MASSIVE COLLECTION OF DRAWINGS AND PAINTINGS.
BØSE BUBEN drops into Berlin’s queer nightlife where documentary photography stops behaving and starts participating. Between sweat, bass, and half-lit bodies, Andreas Rød’s lens and Arthur Sopin’s framing capture intimacy as instability — desire without explanation, identity without closure. Part Nan Goldin tenderness, part Berlin industrial edge, the work refuses clean narrative in favour of contact, friction, and fleeting exposure. Nothing is staged for comfort. Everything is held long enough to feel real — and slightly out of control.
A razor-sharp portrait of Clayton Patterson and the Lower East Side as a battleground of culture, law, and survival — where art was not a career but evidence of a city in freefall and reinvention. From police surveillance and court battles to the rise of gentrification and curated “authenticity,” Patterson’s archive exposes how urban life is documented, controlled, and ultimately rewritten. A story about New York then — and every major city now — asking a brutal question: who owns reality when the streets are no longer affordable to live in, only to consume?
Arthur Sopin & Andreas Rod’s No, It Is Not; Not Always (DT500mag, London) is a sharp post-conceptual rupture disguised as an exhibition — where portraiture, performance, and moving image collapse into controlled instability. Born from a 150+ artist open call, it reframes eccentricity as structure, not exception, and turns identity into a flickering system rather than a fixed subject. Positioned between Venice Biennale discourse and post-internet fatigue, it doesn’t explain the contemporary condition — it destabilises it, elegantly and without apology.
” IS IT IMPORTANT TO BE A SEER? MAKE ONESELF A SEER? THE ARTIST BECOMES A SEER THROUGH A LONG, BOUNDLESS AND REASONED EXPLOSION OF ALL THE SENSES. ALL SHAPES OF LOVE SUFFERING AND ALL KINDS OF MADNESS. HE SEARCHES HIMSELF, HE EXHAUSTS ALL POISONS IN HIMSELF, TO PURE HIS UNIQUE QUINTESSENCES. A HEAVY TORTURE WHERE HE BECOMES AMONG ALL MEN THE GREAT PATIENT, THE GREAT CRIMINAL, THE GREAT ACCUSED ONE -AND THE SUPREME SCHOLAR! THUS HE REACHES THE UNKNOWN!… -THE ARTIST, A THIEF OF FIRE! “
Shoot Gallery’s new space in Oslo’s Barcode district reframes fine art photography as infrastructure rather than display—where curatorial authorship, branding logic, and market intelligence converge into a single, controlled visual system. At the centre, Helene Gulaker Hansen articulates a distinctly European model of the gallery: less white cube, more editorial machine for producing photographic value, taste, and international legibility.
“A way of life can be shared among individuals of different ages, statuses, and social activities, and it can yield intense relations not resembling institutionalised ones. It seems that a way of life can yield a culture and ethics. To be “gay,” I think, is not to identify with the psychological traits and the visible masks of the homosexual but to try and define and develop a way of life.”
― Michel Foucault, Ethics: Subjectivity and Truth
” My best talent is turning everything into a light game. I approach everything I do with a sense of playfulness. I play games, even in projects that demand a lot of energy and effort. I decided to try to sustain our playful quality when we were kids – to avoid limiting myself and use my imagination freely. We must never forget how to play: So many great things can come out!”
Jo Bentdal’s Common Sensibility treats photography as a pressure system rather than a document—where images refuse resolution, meaning is delayed, and perception itself becomes unstable. Positioned between physics, philosophy, and contemporary image culture, the work dismantles the expectation that photographs should explain the world, insisting instead on a slower, more unsettling form of looking.
CREEPER CREEPER BY DAMEHT
” A NEW VIDEO FOR THEIR SINGLE “CREEPER CREEPER” AND IT’S A CAMPY BLAST. TAKING CULTURAL HINTS FROM THE LIKES OF STEVE STRANGE, SOO THE CAT WOMAN AND NEW ROMANTICISM, THE VIDEO IS A VISUAL TREAT AND AN APPROPRIATE ODE FOR A BAND KNOWN BEST FOR THEIR SECRET SHOWS.” NYLON MAGAZINE
Anthony Lister, the celebrated Australian painter and installation artist known for his provocative blend of high and lowbrow culture, is set to unveil his latest body of work in a highly anticipated exhibition in Sydney. Lister’s artistry transcends conventional boundaries, drawing inspiration from street art, expressionism, and contemporary youth culture. His work has garnered international acclaim, with solo exhibitions across Australia, the United States, Europe, and the UK.
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