V1 Gallery

V1 Gallery www.v1gallery.com V1 Gallery was founded in 2002 in Copenhagen, Denmark.

The gallery represents a select group of established and emerging artists and is committed to promoting art, in all media, to an international audience. Seeing art as a profound and competent media for social discourse, the gallery aspires to serve as a platform for
contemporary art that interacts with the surrounding society. Today the gallery has two locations, V1 Gallery and Eighteen, in the ce

ntral meatpacking district of Copenhagen. Director, Founder & Owner: Jesper Elg
Director & Owner: Mikkel Grønnebæk
Founder, Curator & Owner: Peter Funch
Director: Josephine Fity
Assistant Director: Astrid Wang
Art Handler: Maximillian Brown

VIII.When Walter Benjamin writes about Paul Klee's Angelus Novus, he describes an angel whose face is turned towards the...
08/09/2026

VIII.
When Walter Benjamin writes about Paul Klee's Angelus Novus, he describes an angel whose face is turned towards the past and whose back is turned towards the future. Where we see a chain of events, Benjamin writes, the angel sees a single catastrophe: wreckage piling up at its feet. The angel longs to remain, to awaken the dead and make whole what has been shattered. But a storm blows from Paradise, catching in its wings with such force that it can no longer fold them. The storm drives the angel into the future, to which its back is turned, while the wreckage before it rises towards the sky. Benjamin writes: "This storm is what we call progress."

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig

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Emma Kohlmann, Polyptych #1, 2026
Acrylic on linen in floating stained oak frame, 133 x 254 cm

Currently on view as a part of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

VII.Once, when I visited my grandmother, she looked at me with kind eyes and asked if we had once gone for walks togethe...
07/09/2026

VII.
Once, when I visited my grandmother, she looked at me with kind eyes and asked if we had once gone for walks together, telling each other about how we hoped our lives would unfold. I said yes, though I wasn't sure whether she thought I was someone else. I had been a child when we took most of those walks, and my own memories of childhood had vanished too, just as my grandmother's had. What I remembered was simply her: her smell, her extraordinary fascination with angels, all her books, the smell of the books, which was like the smell of her, the cold tiles in her kitchen, the tins of smoked fish I always ate when I visited, her bathtub, her thatched roof, the long afternoon naps, the silence, the wood-burning stove.

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig

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Emma Kohlmann, Warm Tablecloth, 2026
Oil on linen in floating stained oak frame, 53.5 x 53.5 cm

Currently on view as a part of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

Installation view of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Galler...
06/09/2026

Installation view of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Gallery through September 26, 2026.

Please direct all inquiries to [email protected]

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig VI .Emma is visited by a bear cub. She sends me a photo...
04/09/2026

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig

VI .
Emma is visited by a bear cub. She sends me a photograph taken from the window of the house she shares with her sister in Massachusetts. The bear leans over a garden table where a large bag of birdseed sits. “Flyer's Choice”, the bag reads. It buries its entire head inside, eating while the bag trembles up and down. The bear is dark brown, its paws enormous, already hinting at the size it will one day grow into. A few days later, Emma writes to me: “I really want the bear to stay. He's so sweet and lonely.” A few days pass. The next time I hear from her, she writes that she finds it difficult to see the point of making art when the world is so full of meaninglessness.

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three works, all oil on linen in embellished wooden frame, 48 x 40.5 cm, Unveiling, 2026; For Emma, 2026; Do What It Takes to Be Hidden, 2026

Currently on view as a part of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig V.In the earliest of the secret texts, angels and devil...
03/09/2026

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig

V.
In the earliest of the secret texts, angels and devils mingle with one another. Only later were good and evil set against each other as opposites; in the beginning, it was impossible to tell one from the other. Lucifer was known as the Morning Star, the Light-Bearer. There was no telling where a given angel's allegiance lay—whether with the saving God or the devouring demon. But why should it matter? Angels were messengers. Their nature lay not in who they were, but in what they did.

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Installation view of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

Emma Kohlmann, three works from the study series ( #9, #3 & #8), 2026Oil on masonite mounted on oiled oak board in sta...
01/09/2026

Emma Kohlmann, three works from the study series ( #9, #3 & #8), 2026
Oil on masonite mounted on oiled oak board in stained walnut frame, 62 x 52 cm

Currently on view as a part of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

IV.My grandmother had begun to forget long before we knew she was ill. At first, she forgot what was closest to her: thi...
31/08/2026

IV.
My grandmother had begun to forget long before we knew she was ill. At first, she forgot what was closest to her: things that had only just happened, people she had known for no more than ten or twenty years. Sitting beside her was like sitting with someone I knew, who was breathing,yet lived in a reality no one else could see. A few years later, she moved into a care home for people with Alzheimer's. Her room was opposite that of an old friend who had also forgotten the world they had once inhabited together. Now they ate lunch together in the dining hall, watched television together in the common room, talked together, never knowing that they had once loved one another.

Excerpt of "Malak", an essay on Emma Kohlmann by Emma Rosenzweig ()
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Emma Kohlmann, Rainbow Thistle, 2026
Acrylic on linen in floating stained oak frame, 125 x 113 cm

Currently on view as a part of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

Installation view of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Galler...
30/08/2026

Installation view of The Messenger, a solo exhibition by Emma Kohlmann. The exhibition is currently on view at V1 Gallery through September 26, 2026. Please direct all inquiries to [email protected]

We would like to extend our gratitude to all attendees of CHARTT 2026 for your interest in "Nu går våren gennem Nyhavn (...
30/08/2026

We would like to extend our gratitude to all attendees of CHARTT 2026 for your interest in "Nu går våren gennem Nyhavn (An Ode to Nyhavn)". We thank all participating artists for embracing the theme of the presentation and creating such great artworks.

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At Kunsthal Charlottenborg, where the city meets the sea, Nu går våren gennem Nyhavn unfolds as a site-specific group exhibition dedicated to Copenhagen’s infamous inner harbour. Positioned at the threshold between land and water, the exhibition celebrates Nyhavn as both a physical place and a mythic departure point — a living stage for sailors, travellers, poets, singers, artists, residents, drifters, and visitors.

This is a visual song to the harbor’s layered histories: to its bars and tattoo parlours, to the sunlit facades and the sin side of the quay, to the promise of the horizon glimpsed between masts. It is a tribute to the restless spirit of transit and the quiet longing of those who remain. The port stands as a borderland — between here and elsewhere, departure and return, dream and reality — where adventure flickers on the other side of the window.

Works by Søren Arildsen, Søren Behncke, Mads Bryld, Richard Colman, John Copeland, Rose Eken, Danny Fox, Anton Funck, Monica Kim Garza, Mads Hilbert, HuskMitNavn, Loji Höskuldsson, Kent Iwemyr, Misaki Kawai, Emma Kohlmann, Wes Lang, Klara Lilja, Frederik Nystrup-Larsen, Oliver Sundqvist and Thomas Øvlisen.

Tableau of works by Søren Behncke, on view as a part of “Nu går våren gennem Nyhavn (An Ode to Nyhavn),” CHART 2026. Sør...
30/08/2026

Tableau of works by Søren Behncke, on view as a part of “Nu går våren gennem Nyhavn (An Ode to Nyhavn),” CHART 2026.

Søren Behncke

Søren Behncke
Vermicelli Bird, 2026
Cardboard, glue, steel and wood
50 x 22 x 6 cm

Søren Behncke
Sømandskongen / The Sailor King, 2026
Acrylics and cardboard on canvas
80 x 55 cm

Søren Behncke
Best Before Bird, 2026
Cardboard, glue, wood and steel
44 x 25.5 x 5 cm

Søren Behncke
Fresh Ginger Bird, 2026
Corrugated plastic cardboard, glue and acrylic
48 x 32 x 5 cm

Søren Behncke
Korean Seaweed Bird, 2026
Cardboard, glue and two stones
44 x 24 x 5 cm

Adresse

Slagtehusgade 44D
Copenhagen
1711

Hvad er åbningstiderne?

Tirsdag 10:00 - 17:00
Onsdag 10:00 - 17:00
Torsdag 10:00 - 17:00
Fredag 10:00 - 17:00
Lørdag 11:00 - 15:00

Telefon

+4533310321

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