Jeannette Ehlers
A rotating sphere three metres across, covered in synthetic afro hair, in a room lined floor to ceiling with gold. The walls are rescue blankets, the kind handed out at sea. The sphere hums.
Sandra Mujinga
A darkened room with a bench, and three windows onto a Norwegian fjord filmed in real time for eight hours. Only the water moves. In the same room, Storm P's painting of anxiety from 1906 hangs in a wash of acid green light.
Miriam Kongstad
A giant foetus in grey cement lies on the floor, tethered by a steel cord to a cage-like frame. A light blinks when someone moves. Outside, in the grass, glass speakers on stems carry the sound.
Xavier Cha
Professional actors run through a register of big emotions in a hyper-lit, sterile space, one face after another. Shown on a wide screen in the brick hall under the museum's roof trusses.
Niels Pugholm
Painted pots with portraits of anxiety and grief from the pandemic years, set on a round plinth in the water tower with the marsh all around.
Between the rooms
The passages between the five spaces were darkened, and works from the collection were lit so that they stood as silhouettes in the doorways: a bronze by Sonja Ferlov Mancoba in front of Agnes Slott-Møller's triptych, another in the arch of a door.
SIGNA
A total installation built from thousands of discarded objects: a windowless hall with rusted white bunk beds in three tiers along the walls, veiled figures in soiled wedding dresses on the beds and on the floor, and at the centre a wooden shed with a single bulb. An evacuation centre, a borderland, a place of transit. The largest of the five spaces, and the one that needed the most building.
