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Ida Schyum

@idaschyum

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Head of Exhibitions: @politikens_forhal
Previously: curator @museet_for_samtidskunst + @overgaden_ resident @iscp_nyc
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Jeg har kendt Frida siden vi var børn. Erindrer hende stadig som en lille energibombe spæne rundt med resten af min søsters klassekammerater. Det rørte os alle på skolen, da ulykken skete. Som barn at indse, at ét barn kan slippe fra en ulykke med en hjernerystelse og en anden kommer ud på den anden side uden længere at kunne gå. Velkommen til tilværelsens ulidelige tilfældigheder. Velkommen til tilværelsens chokerende uretfærdigheder - en kommune, der ikke drager omsorg for sine rum og dermed sine borgere. Ikke reparerer et hegn, som den var blevet advaret om. Mangel på omsorg er livsfarligt.

Der er mange måder historierne kan fortælles på. En af dem er, hvor overvældende sej Frida er. Hvor meget hun opnår på trods. OL, manglende ramper og et ungdomsliv. Men det er ikke vinklingen i Fridas kunst. Hvor stærk man skal være alene.

I stedet bliver pilen peget videre på os allesammen. På den rygsøjle af stål, som samfundet bør være. Som et hegn henover en bro bør være. Som fællesskabet skal være. På de bløde nerveenders nødvendighed midt i det hele.

Kig forbi hendes værk på Dronning Louises Bro. Lige ved siden af det rækværk, som ikke holdt de to piger den dag. Nu holder værket lidt mere sammen på os alle sammen. Det burde blive permanent. Det ville da være det mindste - @rohlchristopher

Frida, din mexicanske navnesøster havde også været fan af dig. taken in Dronning Louises Bro by @idaschyum

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18 hours ago

SUBMISSION: COSMOS IN COMPOST (BOKASHI) — #SilasInoue

#Politikens Forhal, Copenhagen
August 21 — November 05, 2026

Curation: #IdaSchyum

Photography: #DavidStjernholm

Full documentation available on ofluxo.net web platform:
➔ ofluxo.net/cosmos-in-compost-bokashi-silas-inoue-politikens-forhal-copenhagen/

@politikens_forhal
@idaschyum
@david_stjernholm

#ofluxoplatform
@ofluxoplatform taken in Copenhagen, Denmark by @idaschyum

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6 days ago

Silas Inoue: Cosmos in Compost pt. II:

As a tribute to the cyclical nature of composting, the exhibition extends onto Copenhagen City Hall Square with a sculpture group comprising an enlarged aluminium woodlouse and a monumental wooden seed. Later this year, both sculptures will travel to the Sønderbro Area Renewal District (@omf_soenderbro ) on Amager. For the opening, they were filled with organic waste collected from local residents, and over time, plants known to benefit the human microbiome will emerge through the sculptures’ ornamental breathing holes. Growth and decay coexist as different temporal phases fused into a single cycle.

The project forms part of Politikens Forhal’s three-year collaboration with the City of Copenhagen to commission temporary public artworks for Copenhagen City Hall Square, each of which is subsequently relocated to one of the municipality’s Area Renewal Districts. Supported by the Obel Family Foundation, the initiative aims to create new meeting places and foster public dialogue through contemporary art.

As the City of Copenhagen’s Mayor for Technical and Environmental Affairs, Line Barfod, says:

“We are delighted to collaborate on this upcoming art project in the Sønderbro neighbourhood, which will actively involve local residents throughout the process. Art has the power to spark conversations and strengthen communities across the city. Silas Inoue’s practice engages with the climate crisis and explores how waste can be repurposed in new and unexpected ways through art. I look forward to following the project’s development and seeing the positive changes it will bring.”

Photos: 1, 3, 4, 11 by David Stjernholm @david_stjernholm - 2, 5-10 by Jenny Sundby @jennysundby taken in Politikens Hus by @idaschyum

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10 days ago

We are halfway through the exhibition period of the show Cosmos in Compost (Bokashi) by Silas Inoue.

Through playful distortions and humour, Danish-Japanese artist Silas Inoue explores humanity’s relationship with nature and other species. Working in what he describes as a quasi-Asian aesthetic, he constructs speculative worlds populated by demonic creatures and insects that, despite the absence of human figures, ultimately point back to our behavior as a species at a time when concepts such as climate collapse and the sixth mass extinction dominate public discourse.

The cocoon is a classic symbol of metamorphosis, promising transformation and change. Drawing on artistic references ranging from Tetsumi Kudo’s post-nuclear terrariums to Isamu Noguchi’s aestheticised paper lanterns, Inoue presents the cocoons as incubators for a possible future. They remind us that we are, in fact, symbiotic organisms: we breathe air, excrete waste, and exist in constant interaction with billions of bacteria.

Centipedes and millipedes on the walls symbolise how they have survived multiple mass extinctions. Humanity has not. Inoue’s works thus gesture towards the peculiar possibility that humans may ultimately become only a brief parenthesis in the long span of these animal groups. Yet this is not presented as a detached vision of the future. Instead, the works unfold as a tactile and imperfect landscape, where beauty emerges through the prospect of surviving together by dissolving the boundaries between the human and the more-than-human, allowing such categories to grow wild.

Photo: 1, 3, 5-14 by David Stjernholm @david_stjernholm
Photo: 2, 15 by Jenny Sundby @jennysundby taken in Politikens Hus by @idaschyum

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10 days ago

Here’s a fun little story:

People in the room laughed in surprise when I was handed my master’s degree seven years ago, after hearing that my thesis was about AI (machine-learning algorithms) and contemporary art.

Things have moved very fast.

I don’t have any photos from the graduation ceremony, but here are a couple of photos from some of the talks I gave in the wake of my thesis. by @idaschyum

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21 days ago

I had never really thought about how much salt can tell us. About the body eating and sweating it. About how absurd it is to divide the world into discrete units when everything consists of mutable, shifting matter. But I have now, after mentoring the bright Finnish-British artist Nikolai Azariah @nikolai.azariah during his residency at FABRIKKEN for Kunst og Design.

Nikolai’s practice unfolds through salt—not simply as a material, but as a way of thinking and being materially in the world. Drawing on alchemy, geology, and mythology, his work approaches salt as something that preserves, corrodes, crystallises, dissolves ….. and gets sculpted by animals. The material brings his practice from the body to the landscape, from the scientific enquiry to religious scripts, and I was happy to be unboarded on all those perspectives. It is truly a gift mentoring artists.

Thank you, Nikolai, for your generosity and for reminding me that even the most ordinary materials can contain entire cosmologies.

The images are all from his works (photo cred 1+8: Corey Barrie Sanderson), except for a few shots from my visits and two photos of salt sculptures made by animals from the internet. by @idaschyum

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3 months ago

I just love interdisciplinary collaborations! 🤘🏻

LIQUID BODIES: How might stem cells and stem cell medicine shape our lives, both now and in the future? This double exhibition, presented across Medicinsk Museion and Politiken’s Forhal, explores this question through a combination of contemporary art, historical objects, and stem cell research.

When Medical Museion approached us with the idea of creating an exhibition spanning both their museum and Politikens Forhal, it quickly became clear that this was about much more than an exhibition. The project was built on years of research, international collaboration, and impressive fundraising, making it possible to position art as an active contributor to the production of knowledge surrounding stem cell research and the biotechnologies of the future.

Here, art was not brought in at the end to communicate scientific research. Instead, artists Charlotte Jarvis, Jens Settergren, Davide Hjort di Fabio, and Cecilie Waagner Falkenstrøm developed new works in close dialogue with stem cell researchers.

Come by and see for yourself! The exhibition is open through August 12th. Later, parts of the show will travel to the Netherlands and Australia.

Many thanks to curator Pernille Matzen, the team at Medical Museion, Springs Hope Eternal ReNEW, and all the participating artists for such an inspiring collaboration.

Photo: @david_stjernholm by @idaschyum

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3 months ago

Just finished mentoring this talented artist @aldaeydunardottir through @fabrikkenffkd and I’m very much looking forward to her opening at @nordatlantensbrygge on June 20.

It has been a true pleasure to spend time with her work and conversations around Faroese cultural history, language, craft traditions, and the lasting impact of Danish colonisation on the islands. I’ve learned a great deal from discussing representation, opacity, and translation within your practice, Alda.

And thank you for being so patient and generous with the fact that a baby has quite literally been deconstructing your studio practice during many of our meetings. by @idaschyum

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5 months ago

Endnu en endt barsel pt II. My maternity leave has come to an end. Endless gratitude for all the art, the books and people who have joined the countless walks. And a big thank you to @kunstpaabarsel and @pilateshouse.dk for nurturing my mind and body. ❤️ Now I slowly have to learn how to juggle two kids and a job. See you out there in real life. by @idaschyum

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7 months ago

Endnu en endt barsel pt I. My maternity leave has come to an end. Endless gratitude for all the art, the books and people who have joined the countless walks. And a big thank you to @kunstpaabarsel and @pilateshouse.dk for nurturing my mind and body. ❤️ Now I slowly have to learn how to juggle two kids and a job. See you out there in real life. by @idaschyum

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7 months ago

Jiyoon Chung’s sharp and beautiful exhibition Dead End at Politikens Forhal is closing soon! Chung won the Charlottenborg Foundation Solo Award 2025. Each year, the prize is awarded in collaboration between the Charlottenborg Spring Exhibition jury and Politikens Forhal, followed by a solo exhibition the following year.

Through Dead End artist Jiyoon Chung explores how crisis has become a permanent condition embedded in our buildings, institutions, and bodies. Using Forhallen as both stage and material the exhibition reflects on the high-level security introduced after the 2010s terror threats in Europe – now a silent, constant part of public life.

“On the windows of the space, residues of our subconscious actions are enhanced so we notice them. Fingerprints planted all over the bomb-proof windows of the exhibition space make us see through the marks we leave behind all the time. These fingerprints – the most private marks – are placed at the border between two types of public space: the world outside and the exhibition space within the hightower of information, for all to see, de-privatized. These anonymous- actions- turned- evidence are placed transparently, peeled from their usual setting and exalted within the institution – that of God, of Art, of News, of Public Enlightenment. Forensic Sculpture.”

- From the exhibition text by Klara Li

Jiyoon Chung (b. Seoul, 1990) graduated from Städelschule (2024) and Chung-Ang University (2012). Her work has been exhibited at Kunsthal Charlottenborg (DK), Marres – House for Contemporary Culture (NL), Kunstverein Wiesen (DE), and Nassauischer Kunstverein Wiesbaden (DE).

Dead End is supported by the Danish Arts Foundation, Danish Art Workshops, and the Beckett Foundation, and curated by my fab maternity cover Rebekka Laugesen in collaboration with Klara Li, Director of the Charlottenborg Foundation.

📷 Brian Kure
@fearwillfollowyou @foraarsudstillingen.dk @rebekkalaugesen @klara.li.scheutz @briankure @statenskunstfond @statensvaerksteder @politikens_forhal taken in Politikens Hus by @idaschyum

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7 months ago

💔 All my thoughts go to the inhabitants of Kalaallit Nunaat / Greenland during these scary times. I find it truly symbolic that Storch’s work ( @inuuteqastorch ) still glows over the entrance of our media house: a semicircle symbolizing the Arctic sunrise, referencing the flag of Kalaallit Nunaat (Erfalasorput) and traditional Inuit spiritual beliefs 🇬🇱. Let the rising sun guide us towards a new day of world peace.

The relationship and history between Denmark and Kalaallit Nunaat / Greenland is complex and should always be discussed, as we did in the show this summer. However, this should never be an excuse to colonize the country.

Shout out to the team: Pauline Koffi Vandet, Spine Studio, Rebekka Laugesen, and Selma Levinsen. And to the many great journalists who helped bringing this show alive @knudbrix @folke1otte @gudrun_marie_schmidt @luciaodoom

Photo: David Stjernholm @david_stjernholm

Breathe the Ice was supported by Beckett Foundation, William Demant Foundation, Aage and Johanne Louis-Hansens Fond, Ernst B. Sund Fonden, Grosserer L. F. Foghts Fond, Politiken Foundation, Lemvigh-Müller Foundation, and the Danish Arts Foundation. taken in Politikens Hus by @idaschyum

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9 months ago