“Vections”

Hannibal Dahl 

Vections

June 27 – September 20, 2026
Curated by Julia Rodrigues

Stepping into PS44’s old smithy at 44Møen, something feels off. The cobblestones slow me down. A flickering sound settles into my body: the room is breathing, the air is electrically charged.

The term vection describes the body being deceived by its own motion, the sensation of moving when no movement takes place. In contemporary society, the illusion of movement feels like part of our daily experience. The relationships we build with everything around us are increasingly constructed and mediated by technological systems. Movement detaches from the body and reappears as effect, as simulation without anchor in physical action.

Around me, I see modular industrial forms distributed across the floor and walls, carrying the formal language of transit infrastructure: tactile stud panels, stainless handrails, steel surfaces. They resemble the architecture of metro stations and airports, where efficiency is distilled into form, but now stripped of any agency. Detached from their original context, they make visible what transit spaces conceal: the mediation of the body’s movement through space.

The sound creates a flutter in my stomach. Notes are cracking, irregular but constant. At times it stretches far beyond its origin, becoming texture rather than melody. I feel it as much as I hear it. Standing on these cobblestones, under a ceiling bearing centuries in its cracks, tickled by the flickering sound passing between these objects and my body, vection stops being a technical term. It becomes exactly the right word for something felt rather than understood. The title doesn’t explain the exhibition. It names a condition.

Stepping out, I notice everyone around me absorbed in their screens. An intimate and constant relationship with a parallel sphere where it is no longer the body moving through space, but digital spaces moving through us.