June and September 2026 at SVFK - The Danish Art Workshops in Copenhagen.

Very grateful for having been given a residency stay at Statens Værkseteder For Kunst www.svfk.dk.

Working on a project about Women's stories, lives and minds (mental health). Collecting material, researching, and immersing into the history of psychiatric treatment of women through time, wandering the footsteps of the Norwegian/Danish author Amalie Skram and also the Inner Darkroom, autofictional works.

More to come...

Images from Rotvoll psychiatric hospital, Trondheim, October 2025 (research trip supported by Nordic Culture Point).

Opening: 10 June 2026

Time: 4:00 – 21:00 PM

Exhibition period: 11–14 June 2026

Place: ODP3, Onkel Dannys Plads 3, 1711 København V

You are warmly invited to Maid, Mother, Monster, a group exhibition curated by DÍSIR, taking place at ODP3 as part of Copenhagen Photo Festival.

The exhibition examines enduring female archetypes that have shaped art history and cultural narratives for centuries: the maiden (Leda, Europa, Ophelia), the mother (the Virgin Mary / Madonna), and the monstrous (Lilith, Medusa, the witch). Through diverse photographic practices, the artists investigate how these archetypes persist within collective consciousness and visual culture – while simultaneously being challenged and reinterpreted in contemporary contexts.

"Solo Exhibition at Gallery 154

Is this flickering of wings only a shoal
of light particles, a quirk of perception?
Is it the dreamed summer hour of my childhood
shattered as by lightning lost in time?"*
- Inger Christensen -

In dialogue with Inger Christensen’s 1991 poetry collection ”Butterfly Valley—a requiem," visual artist Nina Worren explores photography as craft and storytelling. For Worren, photography is never merely a record of the world; it is an exploration, a sensory experience, and a conversation.

We humans see ourselves reflected in nature—in the fragile sprouting of plants, in the movements of animals, in the butterfly’s brief life. Suddenly, we stand face-to-face with the realization that we ourselves are nature; that our bodies, our breath, and our senses are woven into the same cycles of birth, change, and transience.

In her work, Worren explores the conditions of human existence. Time, memory, and nature are recurring themes that unfold through concrete materials, light, surfaces, and rhythms. Her practice can be described as a form of poetic research. It consists of reflection but also of sensory and experimental investigations in which she allows the material to speak for itself. Photography becomes a laboratory where light, shadow, and materiality are examined with curiosity and precision.

In the exhibition, the linear narrative dissolves. Photography functions both as a window to the outside world and as a mirror reflecting a subjective inner world. In this dual function, a tension arises between the external and the internal, between the seen and the felt.

Christensen writes about color dust and light pigments. In the exhibition, Worren plays with colors, and light plays a decisive role. It is light that makes photography possible, but it is also light that can deceive. For the artist, light is active both in the artistic creative process from capturing the image, production in the darkroom—and in the encounter with the viewer.

The sonnet cycle serves as an overarching structure. This poetic form is woven together in a circular motion, where the last line of one sonnet becomes the first line of the next. The circle is never fully closed. In the exhibition, the sonnet cycle becomes a structural and spatial figure. It suggests eternal motion, a circling around the same motif, which is, however, never identical to itself. Every repetition contains a difference.

The form of the sonnet - its harmony, symmetry, and rigorous composition - encounters nature’s beauty and wildness. Nature contains both order and chaos, both system and chance. Nature’s eternal change stands in contrast to photography’s attempt to capture a moment. Art can, for a moment, stop time - but only to remind us that it continues.
Tactility, fragility, intimacy, and silence are strongly present in Worren’s works. In this slowness, a special space emerges where the viewer is invited to linger. Maybe a moment arises where one recognizes something of oneself—a mood, a memory, a bodily sensation.

In dialogue with Inger Christensen’s poetic universe, a shared space emerges, a moment of intense presence where we perhaps dare to see ourselves reflected in nature - and recognise ourselves.

* Translated by Susanna Nied

Solo Exhibition at NW Gallery in Copenhagen

SAD PINK, BLURRED BEAUTY
(NEW BEGINNINGS & OTHER STORIES)

01.11. – 23.11.25

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The exhibition is kindly supported by Visuelt Råd, København Kommune

Galleri Résistance x Planket

August 30th 2025 from 12-17 at Domkyrka

(Paternostergatan 10) in Gothenburg 

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Photography placed in destabilizing binary ideas in nature: wild/tame, nature/human, organic/constructed.

Hybrid spaces where "wilderness" isn’t fixed or neutral

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Participating Artists:

Stian A. Rasmussen, Hannah Bjurhult, Malin Griffiths, Nina Worren, Oskar Söderman, Clio Pavlidis Andersson, Rasmus Holm, Charlotta Hammar