Contemporary art in Tivoli Gardens

Encounter Jenny Brockmann’s interactive sculpture Seat #12 (2021) in the heart of Tivoli Gardens. The work comprises twelve seats mounted on a circular structure balanced on a single pivot point. Every movement affects the entire system, requiring participants to cooperate in order to maintain balance. The sculpture engages the senses and explores the theme of mutual dependence.

Jenny Brockmann (b. 1976) is a German artist and sculptor based in Berlin and New York. Her practice merges art, architecture, and technology in works that examine social and spatial dynamics. Installed in Tivoli Gardens, the piece playfully explores the intersection of technology, human interaction, and social experimentation.

Supported by the Fraunhofer Institute for Large Structures in Production Engineering IGP

For CHART in Tivoli, Frederik Næblerød presents four new ceramic sculptures. These expressive, spontaneous, and grotesquely humorous works are crafted from glazed stoneware with glossy surfaces and organic forms. His sensuous style blends raw energy with immediacy.

Despite his young age, Næblerød has exhibited widely at venues including ARKEN, Trapholt, Gl. Holtegaard, Skovgaard Museum, and Kunsthalle E-Werk.
In Tivoli Gardens, he creates a space of freedom where play and chaos merge with the amusement park’s dreamlike universe—a physical interpretation of life’s unpredictability, inspired by the site’s unique atmosphere.

For CHART in Tivoli, Swedish artist Harry Anderson (b. 1986) presents four new ceramic works. Positioned between the archetypal and the personal, the monumental and the fragile, the sculptures capture moments of transformation, radiating a sense of meditative calm and presence.

Anderson explores the materiality of nature and the craftsmanship of the human hand, with a particular emphasis on imperfection and transience. Working in ceramics—a medium imbued with its own history and weight—he allows the slow, deliberate movements of the hand to remain visible in the finished pieces, making the process an integral part of the expression.

With equal measures of humour and seriousness, Bjørn Nørgaard (b. 1947) revisits the curious children’s book character Spørge-Jørgen (Jørgen the Questioner), whose name he borrows and adapts in the title Spørger Jørgen Stadig? (Is Jørgen Still Asking?). In a world saturated with news and information, where both children and adults are surrounded by answers, this sculpture prompts reflection on the value of asking questions—and the fundamental right to wonder and be curious.

Bjørn Nørgaard is a prominent Danish contemporary artist known for his political engagement, historical references, and playful use of materials and narratives. For more than six decades, his work has challenged conventions through a blend of mythology, satire, and social commentary.

Ivy Fence is an intervention in Tivoli Gardens: a pentagonal glass pavilion near The Alley’s entrance, veiled in aluminium ivy. The work stems from Frederik Nystrup-Larsen’s engagement with "plant blindness"—our tendency to overlook, ignore, or undervalue plant life.

Here, nature—as image and reminder, though not alive—climbs back over the human-made. The ivy symbolises the organic insisting on breaking through the grid of civilisation. It’s a piece poised between decoration and reclamation, where nature, even in constructed form, reasserts its presence.

Kirsten Ortwed (b. 1948) is a leading Danish artist in the fields of post-minimalism and conceptual sculpture. Since the 1970s, she has consistently challenged traditional approaches to material, form, and space. For CHART in Tivoli, she presents Still Apple (2012).

Drawing on the still life tradition, she depicts not the perfect apple, but its remains—the apple core. In this bronze core, humour, art history, and material sensitivity come together to challenge our expectations. Through its monumental scale and heavy material, the core is granted new dignity. The work contemplates impermanence, transformation, and the passage of time—inviting thoughtful reflection.

With Kindred (2024), Danish artist Sif Itona Westerberg (b. 1985) explores relationships between bodies, forms, and species. The sculpture teeters between the recognisable and the alien, as creatures shift and transform. It exudes both strength and vulnerability, suggesting evolutionary and emotional connections.

Westerberg works at the intersection of the organic and the human-made, with a focus on transformation, materiality, and identity. A graduate of the Royal Danish Academy of Fine Arts, she has made her mark with tactile, existential works that challenge perceptions of form and presence.