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Lars Christensen
b. 1972, Denmark 

Lars Christensen is a Danish visual artist who works in various media and is most known for his innovations in Geometric Abstraction and his explorations into the subjective experience of colour. He is predominantly preoccupied with painting and sculpture, which are often included as part of serial sequences. Christensen expresses himself through simple, but at the same time, complex forms, thereby expanding the possibilities for interpretation. His practice is founded on an interest in the partially connected phenomenological and postmodernist currents in art theory, philosophy, literature, and sociology. Christensen lives and works in Copenhagen, Denmark. He received an MFA from the School of Design in Kolding and studied at the College of Art and Design in Leeds.


Christensen’s work is a study of painting as an artistic tradition. He explores its formal character and pictorial space, its limits and boundaries. Christensen’s works operate on the border between two-dimensional painting and three-dimensional sculpture, thus questioning traditional artistic categories. Christensen challenges the idea of art’s originality and universality. His works are not limited to universal interpretations. Instead, they make possible a diverse range of approaches and attitudes, whereby meaning is created and developed through dialogue and interaction. 


The solidity of his paintings is deliberately deconstructed and their meaning put up for debate through a craft-demanding process. Christensen lacerates his paintings with various cuts and holes from the back, and with force, presses acrylic paint through the canvas. On the front of the canvas, filaments appear organically across the surface. It is the print of the fracture that gives the acrylic paint its final sculptural shape. In this way, Christensen pushes the painting’s traditional picture space into the viewer’s actual space. Christensen thus places emphasis on tangible materials and the work’s outside space. His works are characterized by geometric networks and shapes, often painted in monochrome on a coloured canvas. They are further characterised by the biomorphic displacement of the paint emerging from the surface. Christensen’s works can be regarded as active principles that form their own meanings.


Christensen emphasises the object character of the paintings rather than the pictorial illustration. In their simplicity, the works become complex through their abstract form. The simple structures raise questions about the interplay between the negative and positive spaces and the viewer’s interaction with the works in their immediacy. The viewer is encouraged to interact, and thus, experience the specific nature of the individual works. Christensen’s works, the viewers, and space interact in such a way that the works change appearances, and the experience of them is dramatized. One can relate to the works without a unique artistic eye or a peculiar spectator-behavior. 


Christensen’s phenomenological practice examines the division between subject and object – between the viewer and the work. Attention is drawn to the here-and-now reception of the work’s form and medium; the specific encounter that enables the subject and the object to interact on an equal footing, thereby breaking down the divide. The viewer is encouraged to experience the work as a presentation and an active principle endowed with agency, rather than as a representation that points to abstract notions.

Selected Collections


The National Art Foundation, DK
New Carlsberg Foundation, DK

Espoo Museum of Modern Art, FIN

Nykredit Collection, DK

LEO Pharma Collection DK


Statens Kunstfond DK





College of Art and Design, Leeds



College of Art and Design, Kolding


Selected Solo Exhibitions


“These Colors are for Inside Use Only”



New Objects, 2112, Copenhagen



Solo presentation, Enter Art Fair, Anne Mosseri-Marlio Galerie, 




Curved By Air, Anne Mosseri-Marlio Galerie, Basel



Black/White/White/Black, Anne Mosseri-Marlio Galerie, Basel



Reduce/Extent, Bendixen Contemporary Art, Copenhagen



White vs Monochrome, Anne Mosseri-Marlio Galerie, Zürich



Botanica, Tranen, Copenhagen



Welcome to the Jungle, Gallery Donn Roca, Odense


On Between Ways, Gallery Christoffer Egelund, Copenhagen



Surrogat Radikal, Kunstvereing Buchholz, Nordheide


Selected Group Exhibitions


Group exhibition Rarity Gallery, Greece

“Abstract Sensibility”, 2112, Curted by Lars Christensen Experiments in Concretism, EMMA,

Espoo Museum of Modern Art, FIN


Lars Christensen & Malene Landgren, Enter Art Fair, Copenhagen



All About Paint, Galleri Benoni, Copenhagen



Code Art Fair, Anne-Mosseri-Marlio Galerie, Copenhagen

Blow, Kunstbygningen, Vrå

When the Substance Controls, Galleri Tom Christoffersen, Copenhagen

Born to be Alive, Galleri 2132, Jebjerg



The Brask Collection meets Willumsen, Willumsens Museum, Frederikssund

Unavailable Works, Galleri Benoni



Interplay, Galleri Benoni, Copenhagen

Forårsudstillingen, Den Frie Udstillingsbygning, Copenhagen

EXPO Chicago, Anne Mosseri-Marlio Galerie, Basel



We Hate Christmas, Gallery Tom Christoffersen, Copenhagen

Hello Abstraction, Charlotte Fogh Gallery, Copenhagen

Greay Gifts of Chance, Gallery Tom Christoffersen



Yesteryear Remembered, Anne Mosseri-Marlio Galerie, Basel



ZEIGEN, Nikolaj Kunsthal, Copenhagen


”Why Do These Works Make Me Cry?”, bendixen contemporary art (kurator)



10 jahre-62 Ausstellungen”, Kunstverein Buchholz Nordheide, Germany ”Move”, bendixen contemporary art, Copenhagen

Art Brussels, Anne Mosseri-Marlio Galerie, Zürich, Switzerland


"Happy New Year(s), Bendixen Contemporary Art "Til Vægs", Kunsthal Charlottenborg



“Teaching An Old Dog New Tricks”, Den Frie Udstillingsbygning, Copenhagen.

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