Through sculpture, installation, and text, Dislocated explores the relationship between body and mind. A poetic installation of cast hands and feet reflects on vulnerability, illness, care, and the fragile conditions of human existence. Cast in transparent sugar, the sculptures gradually transform during the exhibition, allowing time and impermanence to become part of the work.

The work was first presented in its entirety at SIC Copenhagen and will be shown at Pannrummet in a new form.

To dislocate is to move something out of its expected position: a joint forced out of place, an alignment disturbed. In Dislocated, Tilda Lundbohm presents a body taken apart and rearranged, where new forms of connection emerge through fragmentation.

Hands and feet emerge from curved steel structures, suspended somewhere between movement and stillness. They appear almost functional, yet remain strangely displaced. Cast in isomalt, a translucent sugar-based material traditionally used in confectionery, the fragmented forms initially resemble glass while remaining vulnerable to time. Surfaces turn opaque, edges soften, and fragments slowly dissolve. The installation does not represent transformation; it performs it.

Lundbohm creates an unstable body, simultaneously assembling and falling apart. The steel structures, inspired by children’s playgrounds and outdoor exercise equipment, evoke movement, strength, and physical ability. Yet the body attached to them refuses to function as expected. It exists between support and collapse, care and control, connection and separation.

Rather than isolated fragments, the installation forms an entangled body: a system of hands, feet, and structures where connection and separation become intertwined. Hands are contradictory instruments: they can comfort, protect, and care, but they can also restrain and control. Feet allow us to stand, move, and orient ourselves in the world, yet here they are detached from the body that gives them purpose. The material becomes both substance and metaphor, holding together the tension between permanence and disappearance, presence and absence, revealing the body as a changing condition.

Through fragmentation, repetition, and an understated sense of humour, Lundbohm makes the familiar strange. The body remains recognisable, yet no longer follows the rules assigned to it. Drawing on lived experience, sculpture, and text, she explores the inseparable relationship between body and mind.
The ephemerality and dissolving nature of the material reveal the body not as a fixed form, but as something continuously negotiated, shaped by experience, dependency, change, and its relationships with others. Dislocated unsettles the idea of the body as complete, stable, and controllable.

Tilda Lundbohm

Tilda Lundbohm’s work focuses on sculpture, installation, and text. Through her work, she explores themes of life, death, illness, grief, and trauma. Drawing from her personal experiences with psychiatry, loss, violence, and mortality, Lundbohm uses autobiography as a starting point for broader reflections on vulnerability, memory, and the human condition. She believes that the most personal experiences are also the most universal.

Central to Lundbohm’s work are questions of memory, time, and transformation. She is particularly interested in altered experiences of time that arise when the body or mind can no longer adhere to societal rhythms. Through explorations of autobiographical memory, the non-normative body, and the psyche, she investigates how identity is shaped, fragmented, and reconstructed.

Lundbohm’s visual language is characterized by a balance of precision and playfulness. It combines a sterile, controlled aesthetic with surreal elements, resembling an overly orchestrated “exquisite corpse.” She is interested in the tensions that arise between opposites, such as hard and soft, heavy and light, and mechanical and organic. However, equally important is the search for balance. Although her work addresses difficult subjects, she strives to maintain a sense of lightness and illumination within them. Beauty is not an escape from complexity, but rather a way of approaching it. Through beauty, Lundbohm creates an opening into experiences that would otherwise be difficult to confront.

Lundbohm graduated from the Royal Danish Academy of Fine Arts in Copenhagen in 2025 with a specialization in Writing and Artistic Research. She has also studied at the Royal Institute of Art in Stockholm. She received the Blix Prize, the Poul Erik Bech Art Prize, and the 15 June Foundation’s Honorary Prize for her graduation project, Memory Machines. (2025) She currently lives and works in Copenhagen and is undertaking a year-long residency at Art Hub Copenhagen.