Is it possible to eradicate or at least renegotiate art’s dichotomous understanding and use of the ‘signifier’ and the ‘signified’ in a sculptural or painterly plane? Since the 60s, this has been an on-going debate in art theory. The decrypting of such codes, created as a system of direct and straightforward causality for a hegemonic worldview, quickly falls short in today’s increasingly networked and cross-referencing condition of culture. However, such insufficiency in our critical vocabulary opens up a space of autonomous abstraction – where objects exist and become vessels for both simpler and more complex messages, and sometimes (to leave the logic of Western linguistics), none at all. In that sense, we are not at all done with abstraction, and not at all with abstract objects: we have only just begun. Art, despite its curbed institutional definition, can still prove as an access point to unexplored fields of perception and being.


Kristian Kragelund (1987) concerns himself with the objecthood of painting and the historical resonance of sculptural materiality. Through a weave of formalist and conceptual painting, the utilization of oxidization techniques and by appropriation of new and recycled industrial materials, he poses critical questions regarding the social and discursive histories of Western modernity. Working reductively, his meditate wall-based works possesses a striking synergy of traces of personal pasts and projections into collective futures, reminiscent, inversely, of early Minimalist art. Yet from this ambivalent glare between socioeconomic industrialism and personal spirituality, Kragelund's work perpetually attempts to re-negotiate the value of the physical object and to engage the established systems and structures defining art and contemporary culture..


- Jeppe Ugelvig, 2016




June 2017


April 2017


Jan. 2017


Oct. 2016


May 2016


April 2016


Dec. 2015 / Jan. 2016


October/November 2015


July 2015


June 2015


March/April 2015


August/September 2014


March 2014


July 2013


June 2013


May/June 2013


April 2013


April 2013


April 2013


March 2013


Jan. 2013


Sept. 2012


June/July 2012


May/June 2012


Feb. 2012


April 2012






Dec. 2014 - March 2015





Artist Rooms, Encounter, London, UK


KP17, Kunsthal Aarhus, Aarhus, DK


You were high when I was doomed, IMT Gallery, London, UK


VOID (Two person show /w Wayne Warren), Edge Projects, London, UK


PARASCHEMATIC (solo), 27 Holborn Viaduct, London, UK


Reactive Painting (solo), Finale Art FIle, Manila, PH


The Wrong (Digital Art Biannual, Arebyte Gallery, London, UK


KONTROL (solo), Galleri Tom Christoffersen, Copenhagen, DK


A Sequence of Nows, Display Gallery, London, UK


When Words Collide II, Galleri Tom Christoffersen, Copenhagen, DK


GROUP(15), Galleri Tom Christoffersen, Copenhagen, DK


The Hix Award 2014, London, UK


May Occur, The Rag Factory, London, UK


Art at Treberfydd - Treberfydd House, Wales, UK


S.A.D.G.F., Alys Beach, Florida, USA


PUNK-SALON, Schwartz Gallery, London, UK


Untitled Exhibition /w Jennifer Farrow, PRATT Institute Fine Art Gallery, New York, USA


Moving Image Arts Festival, Hong Kong, China


The Space, Hong Kong, China


Plum Blossoms Art Gallery, Hong Kong, China


Gallery 27, London, UK


Hidden.Exposed - Mile End Art Pavilion, London, UK


Neo:Artprize 2012 - Neo Studios, Bolton, UK


Accidental Festival 2012 - Roundhouse, London, UK


One Place is Another - Trinity Buoy Wharf, London, UK


Modern Art Oxford - An Unfinished World (Artists' Shorts) - Modern Art Oxford, Oxford, UK






Artist in residency program, ALTO Red, Sao Paulo, Brazil