We’ll start the history with the Onion King, the one who ruled the kingdom of multi-layered produce and supplied the capital in the valley with its golden fruit. During his heyday, space was being made across the sea. Space for industry, for labour, for the dream of a better life. These spaces were designed to take care of our dust, our filth, our bodies. Modernity entered the room. As the fruit travelled across the sea, so did its caretakers, moving toward another cultivated landscape, one built from yellow and red brick.

Film is content, packaging, memory, observance, night pleasure, an invitation, a medium, something programmed, something to space out to, something with or without meaning. It is also time passing – all of it! The objects in Breakfast Night – DVDs, snail shells, a sofa – come from homes and particular cruising spots. They move between or have been moved from one to the other. Day time and nighttime collapses into one another in a film that drifts from the observance of morning tea to nocturnal wandering over the course of seven days. These hangout spots of the in and outdoors are framed in each of Aske Olsen’s works.

All all all presents the Danish Pavilion at the Gaza Biennale—a global initiative unfolding across multiple countries—with artists Jehad Jarbou, Yasmeen Al Daya, Ghanem Al-Din, and Aya Jouha.

Hedda Bauer's project, 'Belly Belly Bread', is a micro opera in two acts. It's a work exploring the drama of divas, the exaggerated expressions of Greek tragedy, and the roles of 1950s mothers and grandmothers in the home.

With 'Love in Relief', artist Ville Laurinkoski explores the performative gesture through the concept of "backstage" which functions both as a physical frame and an allegorical examination of the social economy in queer culture, where affective labour is often carried out behind the scenes.

Zahna Siham Benamor's exhibition project 'Se havet som kulisse, som et cellofanhav, som en elefant, som din mave spist af en krokodille og begravet under et træ, som en shaman, som en scene' marks her first solo exhibition, which forms the structure for two performances, functioning as two acts of the same show, where she embodies an exaggerated shamanic figure, performing a surreal fable about her own destiny.

‘Sommerfuglens Forbandelse’ by Nynne Roberta Pedersen Pedersen and Lasse B. Ondesen is the second exhibition and show series in All all all Tryouts. For ‘Sommerfuglens Forbandelse’ Pedersen Pedersen and B. Ondesen, together with a grand ensemble, have created a film based on poet Federico García Lorca’s play ‘The butterfly’s evil Spell’ - “an incredible story about not loving labour but loving poetry and understanding that both cockroaches and humans need love for each other if life is to continue”. During the exhibition period the film will screen and each week, each act of the play will premiere.

With Paolo de Venecia Gile's performance triptych 'KAYA - everytime the sun comes up', All all all initiates its second exhibition programme Tryouts. In Tryouts, All all all becomes a small theatre that investigates the performative gesture through a series of shows. Gile's three-part performance unfolds as a poetic translation of their interest in and research on internet culture, viral dances, Southeast Asian shamanism, and Nordic mythology. Switching between manifesting spaces of individuality and community, the artist tries to employ healing through choreography, club culture and folk dance. 

All all all presents its fifth residency exhibition, artist Erdal Bilici’s Picnic at Flatlands. Through three main elements – a print work, a video work and an installation hidden through a cellar door under Kunstforeningen Gl STRAND’s backhouse – the exhibition investigates movements and overlaps between the domestic and the ’wild’, public and private space, the hidden vs. the visible and our sense of ownership over nature. The project is the last one in All's first year programme.

Ihsan Saad Ihsan Tahir’s first solo show أخْتَفو وَراءْ ألشَمْس (They Disappeared Behind the Sun) is a painterly examination of cultural exchange and masculinity, written language and spoken language, the translation of the two and the experience of voicelessness in this process. The project first took form across two trips he made in the fall of 2022; one into the glittering and diverse fellowship of the Los Angeles art scene, and one to meet his family for the first time in Baghdad, Iraq, where he upon arrival had lost his voice. It now continues in the rooms in All.

On January 13th 2023 All all all opens with the exhibition No Core by Julie Falk. The exhibition is the third in a series of five media-based processual shows, and investigates the artist's self in crises, through abstract sculpture.

All all all presents Mapping the displaced by Danish/ Chilean writer and artist Sidsel Ana Welden Gajardo and Call Center for the displaced an artistic alliance with Iranian musician Melodi Soltani. The exhibition is the second in a series of five media-based exhibitions and it explores language and translation from a transcontinental diasporic perspective.

For All all alls opening exhibition artists Gøtke and Bäckström will build a total installation bar, out of found and gathered reflective materials, a room within the exhibition room, functioning as a meeting place between audiences and artists, humans and objects. In the bar they serve drinks and elaborate desserts, and orchestrate social events that invite the public to participate.