Titled Gallery

Titled Gallery ▶ Anne Haaning - Infinity Scroll · 15 May - 5 Jun
• Open THU–FRI, 15:00–18:00

01/09/2026

We are pleased to share that Anne Haaning’s exhibition Infinity Scroll has received a præmiering from Statens Kunstfond’s Legatudvalg for Billedkunst.

Through sculpture, video, watercolours, and archival material, Infinity Scroll explores pattern recognition, artificial intelligence, and the technologies that shape how we see the world.

In Anne Haaning’s own words:

“Whether we’re scanning the sky for extraterrestrial signals or training a model on human data, the logic is the same: we can only find what we already know how to look for and we seem to think that the hoarding of data will make us find the answers. Is the question really whether there’s something out there or perhaps whether we’d recognise it if there was?
That copy of the Whole Earth Catalog also carried, on its cover, a photograph of the whole Earth – brand new in 1968, one of the first times anyone had seen it. A mirror, finally, large enough to picture everything... or rather the Earth that we know.”

Infinity Scroll remains open until 5 June.

Anne Haaning is a visual artist and postdoctoral fellow at the Department of Art at Goldsmiths, University of London. Working across diverse forms of image production and interdisciplinary collaboration, her practice investigates extractivism, technological acceleration, and the material entanglements of digital infrastructures.

SUPPORTED BY
Statens Kunstfond
Knud Højgaards Fond
Grosserer L. F. Foghts Fond
Fonden Den Grønne Genbrugshal
Fake Foundation
Hartmann Fonden

Infinity Scroll is part of the postdoctoral research project We Are Supernova at Goldsmiths, University of London. Selected by the European Commission for the Marie Skłodowska-Curie Actions (MSCA) programme and funded by the UK Government via the Horizon Europe Guarantee.

ANNE HAANING - Infinity Scroll, 15 May - 5 Jun 2026Through sculpture, video, watercolours, and archival material, Infini...
16/06/2026

ANNE HAANING - Infinity Scroll, 15 May - 5 Jun 2026

Through sculpture, video, watercolours, and archival material, Infinity Scroll explores pattern recognition, artificial intelligence, and the technologies that shape how we see the world.

In Anne Haaning’s own words:

“Whether we’re scanning the sky for extraterrestrial signals or training a model on human data, the logic is the same: we can only find what we already know how to look for and we seem to think that the hoarding of data will make us find the answers. Is the question really whether there’s something out there or perhaps whether we’d recognise it if there was?

That copy of the Whole Earth Catalog also carried, on its cover, a photograph of the whole Earth – brand new in 1968, one of the first times anyone had seen it. A mirror, finally, large enough to picture everything... or rather the Earth that we know.”

Infinity Scroll has recently received a præmiering from Statens Kunstfond’s Legatudvalg for Billedkunst.

Anne Haaning is a visual artist and postdoctoral fellow at the Department of Art at Goldsmiths, University of London. Working across diverse forms of image production and interdisciplinary collaboration, her practice investigates extractivism, technological acceleration, and the material entanglements of digital infrastructures.

SUPPORTED BY
Statens Kunstfond
Knud Højgaards Fond
Grosserer L. F. Foghts Fond
Fonden Den Grønne Genbrugshal
Fake Foundation
Hartmann Fonden

Infinity Scroll is part of the postdoctoral research project We Are Supernova at Goldsmiths, University of London. Selected by the European Commission for the Marie Skłodowska-Curie Actions (MSCA) programme and funded by the UK Government via the Horizon Europe Guarantee.

Statens Kunstfond

We are pleased to share that Anne Haaning’s exhibition Infinity Scroll has received a præmiering from Statens Kunstfond’...
03/06/2026

We are pleased to share that Anne Haaning’s exhibition Infinity Scroll has received a præmiering from Statens Kunstfond’s Legatudvalg for Billedkunst.

Through sculpture, video, watercolours, and archival material, Infinity Scroll explores pattern recognition, artificial intelligence, and the technologies that shape how we see the world.

In Anne Haaning’s own words:

“Whether we’re scanning the sky for extraterrestrial signals or training a model on human data, the logic is the same: we can only find what we already know how to look for and we seem to think that the hoarding of data will make us find the answers. Is the question really whether there’s something out there or perhaps whether we’d recognise it if there was?
That copy of the Whole Earth Catalog also carried, on its cover, a photograph of the whole Earth – brand new in 1968, one of the first times anyone had seen it. A mirror, finally, large enough to picture everything... or rather the Earth that we know.”

Infinity Scroll remains open until 5 June.

Anne Haaning is a visual artist and postdoctoral fellow at the Department of Art at Goldsmiths, University of London. Working across diverse forms of image production and interdisciplinary collaboration, her practice investigates extractivism, technological acceleration, and the material entanglements of digital infrastructures.

SUPPORTED BY
Statens Kunstfond
Knud Højgaards Fond
Grosserer L. F. Foghts Fond
Fonden Den Grønne Genbrugshal
Fake Foundation
Hartmann Fonden

Infinity Scroll is part of the postdoctoral research project We Are Supernova at Goldsmiths, University of London. Selected by the European Commission for the Marie Skłodowska-Curie Actions (MSCA) programme and funded by the UK Government via the Horizon Europe Guarantee.

Stine Deja, Tomorrow’s Heads, TITLED, 17 April - 8 May 2026.Tomorrow’s Heads continues Stine Deja’s art exploring cryopr...
28/05/2026

Stine Deja, Tomorrow’s Heads, TITLED, 17 April - 8 May 2026.

Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – the entire body or just the head – after death, with the hope that advanced future medical technologies will be able to revive them. Deja has collaborated with writer Ida Marie Hede to explore the more mundane elements of this futuristic enterprise.

The practice of preserving people for a future second life is futuristic, bordering on science fiction – however, the potential practicalities of such a task, when detailed in a farcical job description, are quite brutal, hands-on, and grim. As we explore the contrast of scientific promise with the brutal reality of the work required to realise such a future, we are invited to question who benefits from whose labor, what it means to be qualified for a job, and which bets are worth making about the kind of future we might have.

In Stine Deja’s own words: “I look a lot at the technologies that have the power to change us, our habits, interests, our inner beings, our life expectancy, as well as the very biology we share. These technologies are interesting to me, as they can kind of outline a future for us, and they express who we are right now. The tech/tools we develop reveals a lot about what our desires are and what kind of society we are striving towards. With new digital technologies creeping under our skin, it forces us to question what it means to be human?

I’ve looked a lot at Cryonics, IVF, CRISPR and recently I’ve been looking into these new tests in a military site in China, where they infuse tardigrade stem cells into humans, to see if it will make us more resilient beings. Somehow my work becomes one long investigative narrative, driven by society’s inventions and desires.”

Supported by Statens Kunstfond, Fake Foundation, and Brødrene Hartmanns Fond

Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – ...
14/05/2026

Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – the entire body or just the head – after death, with the hope that advanced future medical technologies will be able to revive them. Deja has collaborated with writer Ida Marie Hede to explore the more mundane elements of this futuristic enterprise. The practice of preserving people for a future second life is futuristic, bordering on science fiction – however, the potential practicalities of such a task, when detailed in a farcical job description, are quite brutal, hands-on, and grim. As we explore the contrast of scientific promise with the brutal reality of the work required to realise such a future, we are invited to question who benefits from whose labor, what it means to be qualified for a job, and which bets are worth making about the kind of future we might have.

In Stine Deja’s own words: “I look a lot at the technologies that have the power to change us, our habits, interests, our inner beings, our life expectancy, as well as the very biology we share. These technologies are interesting to me, as they can kind of outline a future for us, and they express who we are right now. The tech/tools we develop reveals a lot about what our desires are and what kind of society we are striving towards. With new digital technologies creeping under our skin, it forces us to question what it means to be human? 

I’ve looked a lot at Cryonics, IVF, CRISPR and recently I’ve been looking into these new tests in a military site in China, where they infuse tardigrade stem cells into humans, to see if it will make us more resilient beings. Somehow my work becomes one long investigative narrative, driven by society’s inventions and desires.”

Supported by Statens Kunstfond, Fake Foundation, and Brødrene Hartmanns Fond



07/05/2026

Last days of Stine Deja’s exhibition Tomorrow’s Heads. Open Thursday–Friday, 15:00–18:00 until 8 May

Tomorrow’s Heads continues Stine Deja’s art exploring cryopreservation, which is the business of deep-freezing humans – the entire body or just the head – after death, with the hope that advanced future medical technologies will be able to revive them. Deja has collaborated with writer Ida Marie Hede to explore the more mundane elements of this futuristic enterprise.

The practice of preserving people for a future second life is futuristic, bordering on science fiction. However, the potential practicalities of such a task, when detailed in a farcical job description, are quite brutal, hands-on, and grim. As we explore the contrast of scientific promise with the brutal reality of the work required to realise such a future, we are invited to question who benefits from whose labor, what it means to be qualified for a job, and which bets are worth making about the kind of future we might have.

Supported by Statens Kunstfond, Fake Foundation, and Brødrene Hartmanns Fond



Rune Bering: FOOL27 March – 11 April 2026In the mid-17th century, the German architect and engineer Joseph Furttenbach p...
17/04/2026

Rune Bering: FOOL
27 March – 11 April 2026

In the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatrum Machinarum (Theatre as Machine). In this treatise on Baroque stage design, he describes how the spectator’s gaze and experience of reality can be directed through illusionistic techniques: moving architectural elements, special effects, and constructed perspectives. Within this mechanically orchestrated space, where the ruling order was staged, the fool appeared as a unique figure: an instrumentalised but unpredictable element - free, yet embedded within the machine.

Today, the mechanics of power are similarly staged. Tech companies now function as the new lords, who own platforms, clouds, and networks. Within these digital infrastructures, the stage of power has taken on new forms, but they build on principles that reference Baroque theatre. On this stage, narratives take shape through the interplay of architecture, technology, and the body - and the fool still plays an important role in sustaining the structures of power.

The exhibition is supported by Statens Kunstfond, Fake Foundation, The Beckett Foundation, Nørrebro Lokaludvalg, and Københavns Kommunes Råd for Visuel Kunst





Rune Bering: FOOLIn the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatr...
10/04/2026

Rune Bering: FOOL

In the mid-17th century, the German architect and engineer Joseph Furttenbach published the book Theatrum Machinarum (Theatre as Machine). In this treatise on Baroque stage design, he describes how the spectator’s gaze and experience of reality can be directed through illusionistic techniques: moving architectural elements, special effects, and constructed perspectives. Within this mechanically orchestrated space, where the ruling order was staged, the fool appeared as a unique figure: an instrumentalised but unpredictable element - free, yet embedded within the machine.

Today, the mechanics of power are similarly staged. Tech companies now function as the new lords, who own platforms, clouds, and networks. Within these digital infrastructures, the stage of power has taken on new forms, but they build on principles that reference Baroque theatre. On this stage, narratives take shape through the interplay of architecture, technology, and the body - and the fool still plays an important role in sustaining the structures of power.

The exhibition is supported by Statens Kunstfond, Fake Foundation, The Beckett Foundation, Nørrebro Lokaludvalg, and Københavns Kommunes Råd for Visuel Kunst





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