In our windows today:

OvalALL, Rebecca Lajboschitz, March 2025 - July 2025

For the exhibition OvalALL Rebecca Lajboschitz (b. 1988, Copenhagen) presents new sculptural works, exploring the materiality of textiles alongside other mixed media. Through an installation the materials and the objects they become are infused with new purpose and personal, hidden poetry.   

At the center of the exhibition is the egg - the beginning of life or merely a universal shape? Not a full circle but an elongated form - an oval, overall - serving as a container for the unknown - resilient yet fragile - we wait for its content to reveal itself.     

Interpreting traditional crafts through self-invented techniques, Lajboschitz detours from historical conventions, describing her approach as painting with textiles. By juxtaposing familiar materials and objects, she constructs abstract compositions where memory, material and imagination intertwine - a process that shapes narrative-driven works, blurring traditional perceptions of the materials she engages with while suggesting alternative narratives of form and function.  

Some works made from recycled materials, carry traces of their past lives - a before that reflects on the present, inviting contemplation. Past lives take shape in the formation of new circuits. 

Random patterns weave through countless eggs, unfolding organically into textile landscapes. Some emerge as small sculptures, perfectly sheltered within their glistening cast shells - precious objects, intuitively crafted. Others, enlarged beyond their expected scale, stand as massive eggs, both fragile and monumental.

Previously in our windows: 

IN REVERSE, Simon Sebastian Laumann, November 2024 - February 2025

Following the path, or going off-road? There are creators who follow the process, and then there are those who work in reverse. The outcome? A series of monoprints, each a distinct, one-of-a-kind work.

LOOK LOOK is pleased to present In Reverse, a solo exhibition by artist Simon Sebastian Laumann, featuring new artworks that redefine traditional printmaking. Laumann has developed a unique technique involving the engraving of unconventional surfaces, layering paint, and transferring images onto other mediums - resulting in singular, unrepeatable pieces, each standing alone.

As a collector, Laumann scours city streets, gathering posters, fragments of advertisements, and discarded materials. These finds form the foundation of his compositions, where they are reimagined and recontextualized into new visual narratives. They also serve as a trace of his movements, capturing moments and memories from the cities and places he inhabits.

In Reverse, the motif of the horse subtly emerges - visible only in fragments, as if in motion, slipping between layers of material and time. The horse appears and disappears, never fully captured, much like Laumann’s untamed approach to his creations. His process remains raw and free, drawing inspiration from the urban landscapes and environments he interacts with.

- Text by Efrat Edelsten. 

Prosthesis: In addition, Emilie Alstrup, July - October 2024 

The exhibition “Prosthesis: In addition” presents the works of Copenhagen-based artist Emilie Alstrup (1988), showcasing her ongoing examination of the intersection between biology, technology, and the human body. Alstrup is interested in the fusion of organic and artificial elements, with a particular focus on prosthetics and exoskeletons. Through her sculptural constellations, Alstrup plays with the concept of the ideal human body, presenting it as a dynamic, ever-evolving entity transformed by technology.

A foreign object, adapting…
…Slowly over time, it's supposed to become an essential part of the body.
Some would say:
A substitution

Defined as an extension?

An artificial replacement, or a necessity?

…Crafted by human innovation.

Designed to restore functionality and, often, appearance.

Life-supporting or purely aesthetic?

- Text by Efrat Edelsten. 

Spiritus, Josefine Struckmann, March - August 2024 

´SPIRITUS´ by danish artist Josefine Struckmann (1988) presents works that blend pre-historic imagery with Struckmanns own ideas, dreams, and interests, in an intersection between the ancient and a mysterious present. Struckmann is interested in the transformative element that the bottle and the spirits contain. The bottles are collected, and chosen in different styles, sizes, and colors, some are applied with clay. Within them lies a mystical, almost magical quality that Struckmann tries to sense.

As we consume the spirits our perception tends to change… Enhancing sociability, escaping problems or getting closer to the divine? A getaway into another dimension? Or are we just surrounded by the leftovers from yesterday's ride? A heyday turned into a hazy daze…

Spiritus derives from a Latin noun meaning "spirit," or "breathing”. In the video work “Spirit is Shadow and Breath” a spirit appears as Struckmann’s shadow while she exhales. Rising from the ground the shadow bears resemblance to “Elongated Longhead” a big sculpture made out of papier mâché. Standing tall, like a father figure, fragile but dominant it watches over us. Accompanied by the sculpture “Sphinx With Pyramid In Her Heart” who is an interdimensional guardian and protector of the sacred, she is posing riddles for those who dare to tread unknown waters.

Embodying the spirit in spectacular artworks Struckmann presents small “Elongated figures” shaped out of clay. Sculptures that resemble Egyptian figures having raised heads. Elegant and enchanting. Their heads look like perfume stoppers, Eau de vie, or Eau De Toilette?

Activating all our senses, a soundtrack is made for the exhibition with the title “Enter The Gate”. A music piece composed by Struckmann’s alter ego Nurse, which is also the name of her solo music project, which she defines as Art Pop, Future R&B, Dream Pop. To listen to the music piece please activate the QR code in the window. The music will also be performed by Struckmann at the finissage of the exhibition.

In good times, in bad times.
In sickness and health.
SPIRITUS is liquor in a bottle.
SPIRITUS is the holy spirit.
SPIRITUS is breath.

- Text by Efrat Edelsten. 

Stroke, Karim Boumjimar, October - 2023

One stroke overlaps another in a rhythm we follow a flow. Layers of papers, intertwined strokes and ceramic works consume the window display from the ceiling to the floor, when LOOK LOOK presents the exhibition ‘Stroke’ by artist Karim Boumjimar.

The exhibition ‘Stroke’ consists of drawings and sculptural works presented in two installations. The drawings consist of a variety of materials, including pencil, charcoal, cardboard and paint. Side by side, the ceramics and drawings react to each other. They interact with each other, creating a seductive space which contains a rawness but also a sensibility, where chaos and intimacy coexists.

In ‘Stroke’, vivid forms are turned into bodies in motion. Queer anxiety becomes desire. Boumjimar is pushing the limits, almost out of line, serving narratives in strokes, beats, touch. Boumjimar’s work is often based on personal experiences and observations, but is also connected to their research into queer history and theory. Nature and culture often appear as intertwined categories. Working with a variety of media and performance acts as a parallel track to their visual works, they explore subjects like identity, social behavior and relationships.

Scenes From a Window Display, Alberte Skronski, May-October 2023

A blast of color draws attention away from the street towards a surreal take on reality. Behind glass, something is constructed. Carcasses on a rack. A soft pig on the ground and two fragile telephones awaiting calls. Everything seems prepared, ready for a simulated version of an act.

The exhibition ‘Scenes From a Window Display’ by Danish artist Alberte Skronski (1995) presents the works: Telephone, 2021 & No Slaughter Without Laughter, 2022. The sculptural installations are made of recycled materials, old cardboard, paper - mâché, wood and textiles. The installations perform an interaction between a character, an object and a physical space, authored and embodied by Skronski herself. Fictional characters exist, fulfilling their roles while using the sculptural objects as props.

Working with a concept she calls “Radical Happiness” Skronski uses humor and laughter as activistic tools to combat the harsh reality we live in. By making herself and hopefully others laugh, she challenges one of the major diseases in our society; stress!