Titled Gallery

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

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





Lukas Danys, Safety Layer, 2026, plastic stage ballast weights, steel hub, steel cables. PIT, 2026, HD video projection,...
09/03/2026

Lukas Danys, Safety Layer, 2026, plastic stage ballast weights, steel hub, steel cables. PIT, 2026, HD video projection, duration 1:00. Includes footage from Blueberry, 2004. On view until 13 March 2026







Open Call 2027We are shaping the 2027 programme around TITLED as a site. The space carries traces of previous exhibition...
04/03/2026

Open Call 2027

We are shaping the 2027 programme around TITLED as a site. The space carries traces of previous exhibitions, so each project enters into dialogue with what has been and what follows. We invite artists to respond to the room, its rawness, and its history

Send us an email with material that outlines your project, whether that is a proposal, visuals, or a portfolio, to [email protected] by 18 March 2027

Projects from this open call will form part of the 2027 programme. Final budgets and fees depend on funding. Please contact us for a blueprint and 3D model of the gallery

Image credit: Lukas Danys, Setting, installation view, TITLED, 2026.

26/02/2026

SETTING is a solo exhibition by Lukas Danys bringing together a sculptural work, a video installation and photographic material that explore perception and altered states within mediated environments. The video work PIT draws on edited sequences from films produced over the past decades, isolating and recomposing cinematic attempts to render entheogenic and altered states of consciousness. Focusing on moments of transition and disorientation where subjectivity begins to slip, the work tests the limits of visual representation and the instability of perception. Installed in dialogue with the video, a sculptural work engages material and spatial conditions in which perception is under pressure and form is continually adjusted and reconfigured. SETTING frames perception as something unstable, emerging through language, image systems, technological mediation and the body’s own limits.

Extracts in PIT include:
Blueberry, 2004
Everyman: The Beyond Within – The Fall of L*D, 1986
DMT: The Spirit Molecule, 2010
Enter the Void, 2009

TITLED, Ægirsgade 4C, Nørrebro
On view 21 February–13 March 2026
Open Thursday–Friday 15:00–18:00

Supported by Statens Kunstfond, Fake Foundation, Brødrene Hartmanns Fond, and Københavns Kommune – Rådet for Visuel Kunst.





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