BORCH Editions opens No Plan at All in London

Intaglio prints carry the weight of centuries. The technique, refined across generations, demands an intimacy between hand and plate, each line bitten into copper a record of intention and pressure. At David Zwirner London, No Plan at All opens this evening with new and historical works from BORCH Editions, the Copenhagen workshop and publisher founded by Niels Borch Jensen, revealing the layered conversation between artists and the studio that has shaped their visions into ink and paper.

The exhibition moves through five artists whose sensibilities bend the traditions of intaglio in entirely different directions. Andreas Eriksson’s Mossa, a 2024 work, builds its form through accumulated texture and pale tonal shifts, greys and creams emerging from stippled surfaces like moss itself reclaiming stone. Mamma Andersson’s Bakgård, also recent, carries the narrative weight of domestic Swedish landscape rendered in intaglio’s characteristic precision. Per Kirkeby’s untitled 2016 print presents a solitary birch stripped bare, its trunk carved into the composition with sparse, deliberate marks.

Rosemarie Trockel’s What it is like to be what you are not, created in 1993, stands as historical testimony to the studio’s collaborative reach, while Frida Orupabo’s Sickbed II, newly made this year, demonstrates how the medium continues to draw contemporary artists seeking its particular qualities of depth and shadow.

On opening day, Niels Borch Jensen will join Tacita Dean and Jenny Ramkalawon, curator at the British Museum, for a conversation within the exhibition space about their collaborations and the craft that binds them. The discussion unfolds not in a separate lecture hall but among the prints themselves, where the technical choices and artistic decisions become visible in the work.

No Plan at All opens at David Zwirner London this evening, November 5th.

Imagery courtesy of David Zwirner (@davidzwirner).