ENTER AFTERLIFE: The Enigma in Marble and Light
Digital myth meets immersive sound in O Future’s underworld. In the heart of Copenhagen, Denmark, inside the neoclassical grandeur of Thorvaldsen’s Museum, something stirs in the darkness. Not a voice, but a memory you never had. In ENTER AFTERLIFE, Thorvaldsen’s marble halls become a liminal threshold between past and possibility. The artist duo O Future invite us into a mythological simulation: a dream made of projection, sound and shimmering code. This isn’t an exhibition—it’s a passage. And you walk it alone.
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Get Started NowEchoes of Hades, pulses of Elysium
The sculptures remain still. But everything around them shivers. Layers of hand-drawn digital projections shift across stone and wall, transforming gods into ghosts, mythology into light. “We imagined the museum as a passage,” says Katherine Mills Rymer. “A space that honours the past and also opens toward other realities.”
Those realities unfold like levels in a game: tasks, portals, mirrors. Life after death is not resolved here—but rendered, exquisitely, into movement and rhythm. As viewers, we’re not just witnesses. We are questing souls.
We are used to thinking of death as an ending. Here, it becomes an interface. Visitors step into a narrative without fixed answers, where classical visions of the afterlife are mirrored in modern simulation theories and the mythological structure of video games. Life as a level. Death as an upgrade. But nothing here is ironic. The stakes are emotional—and the mysteries are real.
Sound as soul
The soundscape is not accompaniment—it’s invocation. Created for the museum’s sculptures, the compositions draw from ancient instruments held in marble hands: Apollo’s lyre, Mercury’s flute. But here, they are reborn through digital distortion—deep frequencies and spectral chorales vibrating beneath your feet.
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“We composed the musical work for the opening specifically for the museum’s grand hall, where the acoustics are so extreme that the music has to be tailored to the space. But once you do that, the room becomes a collaborator—amplifying every feeling and idea you’re trying to express.”
— Jens Bjørnkjær
This physicality—this sense that architecture itself becomes part of the piece—makes the installation not just immersive, but alive. Jens’ background in both classical composition and avant-garde electronics gives the work a strange fluency. It’s not about nostalgia. It’s about resonance.
Layers of myth, refracted
Like installations by teamLab or Refik Anadol, the work is not placed in space—it is space. But while those projects often lean into sensory spectacle, ENTER AFTERLIFE conjures something deeper: a psychological archaeology of belief. You walk with questions. You exit with more.
One night, one ritual
On the night of May 17, Thorvaldsen’s grand hall becomes something else. A dark temple. 3D projections ripple across the ceiling, sculptures begin to “play”, guests lie on the floor listening to a choreography of myth and frequency. You’re not meant to understand it. You’re meant to surrender.
ENTER AFTERLIFE is not an exhibition. It’s an initiation.
ENTER AFTERLIFE is on view at Thorvaldsens Museum from May 18 to June 29, 2025. The opening event on May 17 is part of the Art Matter Festival. Admission is free. No registration required. But what you enter is not a show—it’s a threshold. Death is not the end here. It’s a question you walk into, without instructions.
