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Mandag 10:00 - 20:00 Tirsdag 10:00 - 20:00 Onsdag 10:00 - 20:00 Torsdag 10:00 - 20:00 Fredag 10:00 - 20:00 Lørdag 10:00 - 17:00

Tranen, Ahlmanns Allé 6, Hellerup (2026)

Name: Tranen
Address: Ahlmanns Allé 6, Hellerup, 2900, DK
Telephone: 39 98 58 43

Kunstinstitutionen Tranen er Gentofte Kommunes udstillingssted for samtidskunst og har til huse på Gentofte Hovedbibliotek. Tranen er en legendarisk udstillingsplatform for kunstneriske nybrud på den eksperimenterende samtidskunst scene. Der præsenteres årligt 6 udstillinger á 2 måneders varighed – både solo- og gruppeudstillinger – af yngre, professionelle kunstnere fra ind- og udland. Tranen har eksisteret som udstillingssted for kunstneriske nybrud siden 1970. Dengang under navnet Tranegården. I 1985 flyttedes den til det nyopførte Gentofte Hovedbibliotek og fik navnet Traneudstillingen. I 2015, 30 år senere ændrede kunstinstitutionen navn til Tranen.

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Tranen Contemporary Art Center is a nonprofit art institution founded in 1970 in Hellerup, Denmark. From the beginning Tranen has been focusing on forming a platform for emerging and experimental contemporary art. The Institution was formerly know as Traneudstillingen, 1985-2015, and earlier on Tranegården, 1970- 1985. The Art institution is funded by the city of Gentofte and housed at Gentofte Central Library – just 5 km. outside central Copenhagen. Tranen strives to provide the opportunity to experience the diversity of new tendensies in contemporary art on a high artistic level. Based on various contemporary international and local, aesthetic, social and political issues Tranen seek to be an open platform for debate and reflection on contemporary art in general. Annually Tranen presents six exhibitions of younger professional contemporary artists. The exhibitions are both solo shows and group shows.

29/08/2026

Hanging on the end wall of the Tranen exhibition space, above Louis Morlæ’s robotic walls, is a spectacular airbag with flashing lights, calling to mind a kill switch that can shut down an AI. The balloon can be inflated inside Tranen’s chamber, thereby minimizing the range of motion of the moving walls. The airbag epitomizes tech developers’ so-called safety measures – and at the same time hot air. In the AI industry, players driving its rapid development defend themselves by claiming they will also regulate AI. Their purported strategy is to both let the genie out of, and back into, the bottle, as if they were simply inflating and deflating a balloon. Morlæ is preoccupied with the paradoxical ambition of developing a form of intelligence that is both superior to humans and controllable by humans.

Supported by Statens Kunstfond and Ny Carlsbergfondet

Photo:

Artist:

28/08/2026

The walls in the exhibition title – Walls at the World’s End – refer to Louis Morlæ’s moving walls at Tranen, which are repositioned into new configurations at regular intervals. The walls’ movement patterns are generated by an ingenious and inscrutable AI system that harvests live data from the internet, based on its own poetic pairs of concepts, such as “the fence – the horizon” and “the furnace – the tide.” In other words, the movement of the walls is dictated by what is happening around the globe. But the underlying logic of Morlæ’s machine is also incomprehensible to Morlæ himself – just as certain kinds of artificial intelligence that shape our lives are now incomprehensible even to the engineers who develop them.

Morlæs’ robotic walls are reminiscent of self-driving cars developed by various manufacturers. The mobile walls are controlled—much like bumper cars in an amusement park—by different settings or modes and can collide with one another. The engineer who built the vehicles which Morlæ has designed is known from the British TV show Robot Wars, where contestants build robots to battle each other.

But Morlæs’s moving walls also constantly create new spaces within the space. During the exhibition period, new passages and barriers therefore emerge, determining how visitors move around Tranen. Morlæs’s moving walls are both cars and road networks. They produce and use infrastructure.

Supported by Statens Kunstfond and Ny Carlsbergfondet

Photo:

Artist:

27/08/2026

Louis Morlæ’s show at Tranen is extended until Saturday 29th of August🫵👀

In his first solo exhibition in the Nordic region, Louis Morlæ transforms the Danish art venue Tranen into a machine that generates visions of the end of the world. He is preoccupied with how the tech industry has shaped the world as we know it, and how the development of artificial intelligence now heralds the demise of that very world. In the horizon we glimpse new forms of society and life, and although many envision and speculate, no one dares make definitive predictions. Dreams of progress have been replaced by ambitions of so-called disruption. The motto “move fast and break things” – once Facebook founder Mark Zuckerberg’s guiding principle – is today an increasingly widespread way of thinking about innovation and society.

Louis Morlæ is an Australian-born British-based artist who works with emerging technologies. Assisted by AI, video generators, 3D printing, robotics, new materials, and a variety of collaborators, he creates sculpture, film, music, machines and more with an aerospace engineer’s attention to detail. Morlæ’s works are, in a sense, also status reports from our civilization’s engine room. His exhibition Walls at the World’s End explores the possibilities and consequences of technological and scientific breakthroughs that shape his practice and the surrounding world.

Photo: _stjernholm

26/05/2026

🗣️This Saturday: Opening of the exhibition Walls at the World’s End with Australian-British artist Louis Morlæ at Tranen💫 Please join us for a drink - it will be kinetic🫯🎮🫯

Graphic design: .alexismark

Supported by and

Adresse

Ahlmanns Allé 6
Hellerup
2900

Åbningstider

Mandag	10:00 - 20:00
Tirsdag	10:00 - 20:00
Onsdag	10:00 - 20:00
Torsdag	10:00 - 20:00
Fredag	10:00 - 20:00
Lørdag	10:00 - 17:00

Telefon

39 98 58 43

Website

http://tranen.nu/

Underretninger

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Tranen