Copenhagen Contemporary presents its 2025 exhibition program
The First Art Newspaper on the Net    Established in 1996 Sunday, December 22, 2024


Copenhagen Contemporary presents its 2025 exhibition program
Emma Talbot, In the End, the Beginning, 2023. Installation view, Kesselhaus, KINDL, Berlin. © Emma Talbot. Photo: Jens Ziehe.



COPENHAGEN.- Opening the spring season, CC presents the first Scandinavian solo exhibition by British artist Emma Talbot (f. 1969). Exploring themes of rebirth, transformation, sustainability and human resilience amid systemic ecological collapse the exhibition reflects on life’s cyclical nature by posing the question: “Are we a living thing that is dying, or a dying thing that is living?”

Talbot’s work bridges the personal and the universal. By combining autobiography, memory, psychological projections, feminist theory, ecopolitics and storytelling with introspective explorations of the artist’s personal thoughts and self-narratives, Talbot engages in asking pertinent questions about our ever-changing world – not least about humanity’s relationship with nature and the environment.

CC Create x Monster Chetwynd
April 13, 2025–August 16, 2026


In 2025, CC is launching a brand new education concept, CC Create. Unfolding in an 800 m2 open studio setting the world-renowned British performance artist Monster Chetwynd (b. 1973) is the first artist in the program. Chetwynd will turn the studio into a spectacular universe, where visitors can express their creativity and engage in collective learning through play and artistic exploration inspired by Chetwynd’s own methods.

Monster Chetwynd’s art practice spans a variety of media, including installation, performance, film and painting. The artist’s work is famously playful and effervescent, mixing the glamorous, grotesque and nightmarish. Chetwynd invites visitors to take part in collaborative projects bursting the conventional boundaries between artists, artwork and audience.

Cecilia Fiona: Ghost Flower Ritual
April 10–19, 2025


In an era of accelerating biodiversity loss, countless plant and flower species are vanishing at an alarming rate. How might we retell their stories and honor their significance? If these lost species could return as embodied beings, what messages would they carry for the future?

Throughout Easter, CC will present Ghost Flower Ritual, a new cross-disciplinary performance project conceived by Danish visual artist Cecilia Fiona (b. 1997) in collaboration with composer Sophie Søs Meyer (b. 1991) and Athelas Sinfonietta classical music ensemble. The project unfolds as an immersive sensory installation that combines painting, sculpture, costumes, music, and dance, and is brought to life through a series of live concert performances.

Soft Robots
June 20–December 31, 2025


Why does new technology give rise to so much hope and fear? The relationship between humans and technology is one of the great dramas of the modern age, often featuring the machine as either a saviour overcoming human limitations or a monster threatening our existence. Artists today are developing new and more complex visions showing humans, technology, animals and plants operating in symbiotic constellations.

The exhibition will feature Danish and international artists each presenting different visions for new synthetic biologies and its potential connections to spirituality. Examining the idea of life-like technology as a human replica, Soft Robots paints a poetic picture of the implications of technology in our life, nature and across existences.

Alia Farid
October 2, 2025–March 23, 2026


Slated for fall 2025, Glyptotek and CC presents the first solo exhibition in Denmark by the Kuwaiti/Puerto Rican artist Alia Farid. The exhibition is the third and final component of an ambitious series of exhibitions titled Hosting Histories - Revisiting Cultural Heritage of the Middle East and Beyond (2023-2025) developed in conjunction between Glyptotek and CC.

Alia Farid explores the relationship of industrial practices and hand-made objects as a method of critical inquiry into the experience of being and belonging in the midst of global precarity. Whether sculptures of drinking fountains in the shape of water vessels, enlarged amulets combining ancient and modern materials, or films witnessing the ecological consequences of extractive industries in the Global South, her work pushes against colonial narratives and explores how materials and forms transmute across time and space.










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