Seminarium by Jesper Just - at Gl. Holtegaard

This spring Gl. Holtegaard presents a solo exhibition by internationally acclaimed Danish artist Jesper Just (b. 1974). Just is best known for his ambitious enigmatic films, borne by a perfected, aesthetic materiality. His film works are often shown in complex installations that involve the viewer physically – and emotionally. Just’s works share an intense interest in the complex realm that exists between the staged and controlled versus the uncontrollable and chance. 

Just’s total installation at Gl. Holtegaard encompasses both the manor house and its garden. His exhibition is inspired by the history of the building, which can be traced back to the Danish Baroque and the design of Gl. Holtegaard by Court Architect Lauritz de Thurah. The Baroque gardens were landscaped as a Danish mini Versailles, complete with symmetrical axes and exotic fauna and flora.

The exhibition touches on the historical need of humankind to control and tame nature, whilst simultaneously exploring the consequences of this drive using contemporary technology. 

The exhibition is the first in which Just works so explicitly and extensively with nature and the Anthropocene –  a theme of significant contemporary interest and particular relevance in the context of an art institution like Gl. Holtegaard.



Tuesday, Wednesday, Friday-Sunday 12-5 pm
Thursday 12-8 pm
Closed Monday


The exhibition entrance is free of charge for everyone with a CPF-pass!

On This Day - at Galleri Format (SE)

On This Day consists of a meeting between the Chinese archive Beijing Silvermine and the Anglo-American database Using a historiographic perspective, photographers Klara Källström, Thobias Fäldt and Thomas Sauvin ask themselves the question; why do we know so little about one, and so much about the other?

The photographers place their work at the intersection of aesthetics and critical, archival    practice. With their investigation, they want to shed light on possible scenarios where the      hegemonic order - who will write the story in the future - is under renegotiation.



Wed / Thurs 14-18

Fri 11-16

Sat / Sun 12-15


The Pink and Blue Project by JeongMee Yoon - at Landskrona Foto (SE)

JeongMee Yoon began a series in 2005 that shows how astonishingly successful global marketing has been in promoting this stark color dichotomy, which dominates children’s playrooms from New York City to Seoul. Initially, the photographer merely wanted to document her five-year-old daughter’s fixation on the color pink, and so she arranged all of the pink-colored possessions around her in her realm. This picture was the starting point for The Pink and Blue Project, which Yoon has carried on to this day. Ever since, Yoon has been visiting families with toddlers, mainly in New York City and Seoul, and photographed the children in their bedrooms, surrounded by countless monochromatic objects. The girls and boys almost seem to be swallowed up by the sheer mass of the same old stuff: one princess after the next, with the jarring Hello Kitty and Barbie worlds showing up in girls’ rooms as often as blue action figures and sports items appear in the boys’ rooms. With their arrangements and uniformity, the photographs look more like they are displaying the wares from a toy store rather than the domestic surroundings of a toddler. In addition, the photos show how the symbolic use of color schemes from the earliest age onward leads to the creation of gender identity. By employing a medium format camera and placing the smaller objects in the foreground—the lower half of the photo—the photographer heightens the impression of overflowing rooms. In some of the pictures viewers even need a few seconds before they can clearly identify each child amid all of the things. 

 “When I’m photographing, I ask the children to give me the most neutral expression possible. Among the five to eight rolls of film I shoot during each session, I’m looking for the subtle gestures that point out the character of each child,” says Yoon, summarizing her work method.  

Born in Seoul, South Korea in 1969, JeongMee Yoon majored in painting at Seoul National University, Seoul, photography design at Hongik University, Seoul, and studied at the School of Visual Arts, New York, USA.  As a winner of the Daum Prize in 2006, she held a successful solo exhibition at Kumho Museum of Art in South Korea, and ‘The Pink and Blue Project‘ book was published by the Parkgeonhi Foundation (Seoul, South Korea) in 2007and by by Hatje Cantz publisher in Germany in 2018., and ‘Animal Companions’ book was published by IANN publisher (Seoul, South Korea) in 2015. 

Also, In 2011, She won the first Prize at The Sovereign Asian Art Prize, Hong Kong with ‘The Pink & Blue Project II’, and the Ilwoo Photography Award in Seoul, South Korea, in 2018. ‘The Pink & Blue Project’ book was published by Hatje Cantz publisher in Germany in 2018. 



This is an outdoor exhibition and will therefore be open 24/7

Sort Sol - at Galleri Rocks

Galleri Rocks presents Sort Sol- an exhibition with photographs by Gorm Valentin, Morten Rygaard, Ole Christiansen & Søren Solkær.

Originally called Sods and inspired by the English punk wave, the first punk band in Denmark was formed in 1977. Later, in 1983, they became Sort Sol and have over time manifested themselves as part of the absolute top of Danish rock bands on the music scene live as well as with their critically acclaimed and award-winning releases. The group has received 10 Danish Grammy awards.

The exhibition of Sort Sol photographs in Gallery Rocks covers a wide range of the visual Sort Sol universe over 40 years. From Gorm Valentin's first photos of the group's concert in a tightly packed Musikcafe from 1979 and later photos in Idrætsparken at the Rock For Afrika concert, over photographs for record covers and portraits photographed by Ole Christiansen and Søren Solkær to more contemporary concert photos by Morten Rygaard.

Sort Sol has made a big impression in Danish rock and culture, the exhibition in Galleri Rocks with pictures by the photographers Gorm Valentin, Morten Rygaard, Ole Christiansen and Søren Solkær illustrates this in an exemplary way.



Tuesday-Sunday 13-18

All days 10-18 except Saturday 13-17



3rd of June

Ansigt til ansigt by Jørgen Schytte - at Banja Rathnov Galleri og Clausens Kunsthandel

Ansigt til Ansigt

In battle and love - a retrospective exhibition by photographer Jørgen Schytte

The human is at the center of Jørgen Schytte's works and therefore he is one of the last great humanistic photographers in Denmark from the time of the darkroom.

Together with Jesper Høm, Gregers Nielsen, Lilian Bolvinkel and Ole Brask, he was a key member of the photo group Delta, which was pioneering the Danish photo scene in the 1960s. The group was a Danish counterpart to, and inspired by, the French photo agency Magnum, which Henri Cartier-Bresson started in Paris. During the time around Delta, Jørgen Schytte made a number of strong portraits of Danish industrial workers and reports from the hippie culture of the time, youth uprisings and protest demonstrations.

As a reportage photographer and documentary filmmaker, Jørgen Schytte depicts the changes in society. Among other things, he has collaborated with several significant artists to document some of the most important and formative happenings of the time. It was Jørgen Schytte who took the now iconic photographs of Bjørn Nørgaard and Lene Adler Petersen's famous and infamous horse slaughter in 1970. During the epoch-making period, he was one of the first to publish a large number of photographic children's books, which today stand as testament to a time when children came to the center of attention and were respected in a way they had never been before. Part of the exhibition also shows his large production of educational, photographic children's books.

His interest in the transformative forces of popular movements is also rooted in his acclaimed book, Revolution is Love, from 80s Nicaragua, which testifies to the revolutionary ideas of the time. Thoughts that are today again emerging among a new generation of young people make Jørgen Schytte's descriptions relevant again.



Wednesday-Friday 12-17

Saturday 11-15

The Inner Room II Love songs, Dual exhibition by Uffe Raupach - at Galleri Krebsen

"Every head is a world" Cuban saying

Raupach examines presence in two coherent exhibitions. In the Inner Rooms series, Raupach philosophizes through photography on the questions: What does the world look like through the perspective of different people? If we can become aware of the possibility of changing the perspective of our own world, then which inner world will one choose to live in?

Raupach experienced that the prism he saw the world through changed through conscious presence. He has then consciously worked with photographic forms and shifts, in a quest to make the hidden inner rooms visible.Rooms that arise when an experience goes through our various filters.

This search led him on to the series Love Songs which is about the nature within people. “During walks along the North Sea, I saw nature with this new gaze. I felt a deep connection with an all-embracing nature that unfolded around me - being an intertwined part of something larger with unconditional acceptance. Does nature basically provide what we seek in life and love? ”

Through poetic visual journeys in the Nordic countries, Raupach examines whether the specific surrounding nature influences our perception of and presence in the world. Does nature define some basic human longings differently, depending on whether you grew up in Danish, Icelandic, Swedish or Norwegian nature - by the sea, in the forests, or in the mountains? 

What kind of nature has a place in us and how is it expressed in us?



Monday 12-18

Tuesday 12-15

Wednesday-Friday 12-18 

Saturday 11-17

Sunday, d. 6/6 12-16



5th of June 15-19

Autopsie by Bruno Mouron and Pascal Roustain - at Yellow Korner

In 1988, Bruno Mouron and Pascal Rostain, photographers at Paris Match, discovered the study of a sociologist who demonstrated that waste reflects people’s lives and their social behavior. This inspired the photographers to portrait the profiles of different personalities through their trash by displaying it in an artistic way. Thus, the exhibition shows Madonna, Kate Moss, Mick Jagger and others in an unconventional way.  In particular, the photographers are still “welcomed” in the US by the secret service for having studied the trash of Ronald Reagan while he was president - including official letters. Additionally, given nowadays context, the exhibition brings awareness about our supra consumption and how it reflects on us.



Monday-Friday 10-18

Saturday  10-17

Sunday     11-16

Talk (1): “Havana Bright Shadows” & “Love songs” by Uffe Raupach - at Galleri Krebsen

“Havana Bright Shadows” & “Love songs”

The Photobook universe versus the exhibitions - Uffe Raupach.

With introduction to the 2 upcoming photobook projects 

and sneak peek of test books.

It is recommended to come earlier and see the exhibitions first.


Limited to 15 participants - registration

No corona pass needed - Gloves will be supplied.


For information about Uffe Raupachs dual exhibition “The Inner room II Love songs”, check the program!

Among Other Things - at Galleri Format (SE)

Andrén's photographs depict small things that are difficult to name, together with pieces of plants, fruits and ordinary small objects from everyday life. The objects are arranged so as to play with colour and form rather than staging a story, and in some of the images the photographic act seems to have been distracted. The work revolves around the things we surround ourselves with in our daily lives, but attempts a new gaze at them: a gaze without symbolism and narrative.

The manner in which the images are installed - onto shop windows in the city centre of Malmö - also positions the work straight into consumer culture. In this way Andrén imitates commercial imagery and displays that constantly urge us to buy more things, but he simultaneously provides a counterbalance to this by only presenting seemingly meaningless things and avoiding utilising them as symbols. 

There may be something liberating in not ascribing the things anything other than what can be seen in them, both for the things themselves and for the spectator. "To see is to forget the name of the thing one sees", but maybe also the absence of a name can make us see.



this is a window exhibition and can therefore be visited 24/7


Cemre Yeşil Gönenli: Hayal & Hakikat (Dream & Fact)—A Handbook of Forgiveness and A Handbook of Punishment (2020)

Copenhagen Photo Festival 2021 presents one of its solo exhibitions as part of the FRAMING IDENTITY focal points: Hayal & Hakikat: A Handbook of forgiveness & a Handbook of punishment by the artist Cemre Yesil Gönenli.

Hayal & Hakikat (translated as Dream & Fact) is an installation inspired by the publication titled A Handbook of Forgiveness and A Handbook of Punishment by Cemre Yeşil Gönenli.

The book takes the form of two booklets of archival photographs which can be viewed side by side. They depict the hands of prisoners from the early 20th century, drawn from the photograph albums of Abdul Hamid II, the 34th Sultan of the Ottoman Empire.

Obsessed with crime fiction, the Sultan was moved by pseudo-scientific information he read in a novel that “any criminal with a thumb joint longer than the index finger joint, is inclined to murder.” In the 25th year of his reign he ordered all murder convicts to be photographed with their hands visible, in preparation for a planned amnesty.

The images have been categorized; those chained with iron bracelets and those without. The brutal gesture of cropping; as if the prisoner's heads are cut with a guillotine, is actually a gesture to save them; not to re-record their identities as criminals; discarding their crimes whatever they were; to give them a second chance in life or perhaps to give them back their freedom. The ‘Dream’ of the title refers to the inmates’ desire for release and the ‘Fact’, their actual circumstances. The fate of the individual prisoners, awaiting the judgement or forgiveness, remains unknown as no record of the Sultan’s verdict exists.

The work becomes both; a bridge in between two different periods in history that share the absurdity of coincidental freedom and a silent protest against a political climate that killed the dreams of a younger generation.

Hayal & Hakikat is dedicated to those who are arbitrarily detained in today’s Turkey.

Cemre Yeşil Gönenli is a photographer, artist and visual storyteller who lives in Istanbul, Turkey. Her works will be exhibited on the ground floor in Frame at the exhibition park at Refshaleøen, and take the form of a jail cell. The cell consists of two rows with inmates – all with their hands visible. On one side, you have the inmates who await penalty, and on the other, the ones who await acquittal. Hence Punishment & Forgiveness. In the middle of it all, there will be two cells that you can enter. Frem there, you can experience the exhibition from the prisoners’ point of view.

Cemre Yeşil Gönenli’s exhibition is supported by Statens Kunstfond. 

The festival centre and CPF has generously been supported by Københavns Kommune, Det Obelske Familiefond og Aage og Johanne Louis-Hansens Fond.


Opening Day: 3.6: 17:00-22:00

4-6.6: 10:00-20:00

7-9.6: 12:00-20:00

10-13.6: 10:00-20:00