At a glance
When everyone can see through someone else’s eyes, what happens to your own truth? A dreamlike journey through perception, politics and unstable reality.
Why go
You'll see
Pace of visit
Don't miss
Artlovers Tip
Pay attention to the amphitheatre. It isn't simply scenery. It can be a place where democracy happens — but also where people become an audience watching a spectacle. That double meaning provides a useful key to the exhibition: are we participating in reality, or increasingly watching versions of it constructed for us?
Worth discovering
Artlovers relevance
Inside the exhibition
Meet the artist
Key Movements
Medium
Description
The Surface of Everything transforms the rooms of Møstings into a gradually unfolding installation. Visitors move through dimly lit spaces toward an amphitheatre-like setting where Trier's animated film plays out almost as a chamber drama. Its characters inhabit a strange condition: understanding another person's viewpoint seems easy, while establishing an individual sense of reality becomes increasingly difficult.
The amphitheatre provides the exhibition's central metaphor. Historically it has been a place for political debate and collective decision-making, but also for spectacle, entertainment and games. Trier uses this ambiguity to reflect on a present in which politics and fiction increasingly intermingle and apparently stable versions of reality become harder to decode.
Sara Krøgholt Trier is a Danish visual artist who graduated from the Royal Danish Academy of Fine Arts in 2024. Her practice centres on digitally rendered films and images, alongside text and sound, and investigates how constructed realities and fictional systems influence the way we perceive and move through the world.
