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Baskets

@roennebaeksholm
Drawing on British pub traditions and their dense, overflowing floral displays, the work presents nature as both ornament and a reflection of how we shape and present our surroundings.

Part of the group show Lansgommere og rigere and growing until 30 May where I will host a workshop during the plant fair.

A big thanks to Vibeke, Lotte, Pernille, Kristin and Michael. supported by @statenskunstfond

@michaelkvium @pernille.taagaard.dinesen
@khvibeke @lottejuulpetersen

Baskets

@roennebaeksholm
Drawing on British pub traditions and their dense, overflowing floral displays, the work presents nature as both ornament and a reflection of how we shape and present our surroundings.

Part of the group show Lansgommere og rigere and growing until 30 May where I will host a workshop during the plant fair.

A big thanks to Vibeke, Lotte, Pernille, Kristin and Michael. supported by @statenskunstfond

@michaelkvium @pernille.taagaard.dinesen
@khvibeke @lottejuulpetersen

Baskets

@roennebaeksholm
Drawing on British pub traditions and their dense, overflowing floral displays, the work presents nature as both ornament and a reflection of how we shape and present our surroundings.

Part of the group show Lansgommere og rigere and growing until 30 May where I will host a workshop during the plant fair.

A big thanks to Vibeke, Lotte, Pernille, Kristin and Michael. supported by @statenskunstfond

@michaelkvium @pernille.taagaard.dinesen
@khvibeke @lottejuulpetersen

The Green Man

2026

Rønnebæksholm kunsthal

The exhibition ‘langsommere og Rigere’ is open until the 31 May.

Thanks to
@michaelkvium
Kirstine Gudnason
@pernille.taagaard.dinesen
@khvibeke
@lottejuulpetersen
@artist_assistance_denmark
@fredeviggo

Thanks for support from @statenskunstfond

Photo @mallegilbert

Text from Soft Power.

The exhibition is open until the 22nd November.

@lagune_ouest
@statenskunstfond
@statensvaerksteder

Text from Soft Power.

The exhibition is open until the 22nd November.

@lagune_ouest
@statenskunstfond
@statensvaerksteder

Curtain is a textile collage almost three meters high and more than five meters wide, consisting of torn wool suits. Partly abstract, concrete and pictorial in its design. The work hangs across the space, shortening the gallery’s otherwise rectangular shape.

Curtain er en næsten tre meter høj og mere end fem meter bred tekstilcollage, der består af opsprættede uldjakkesæt. Delvist abstrakt, konkret og billeddannede i sin udformning. Værket hænger på tværs af rummet og forkorter dermed galleriet ellers rektangulære form.

@lagune_ouest
@statenskunstfond
@statensvaerksteder

Detail shot of ‘curtain’ from my solo exhibition Soft power.
The show is up until 22 November.

@lagune_ouest
Produced @statensvaerksteder
With support from @statenskunstfond
@artist_assistance_denmark

Soft Power

Thanks to everyone who came to the opening of my solo exhibition this Friday.
The work is up until 22 November.

Woolsack
2025

Curtain
2025

@lagune_ouest

Supported by @statenskunstfond
Made at @statensvaerksteder
@artist_assistance_denmark

Soft Power

Thanks to everyone who came to the opening of my solo exhibition this Friday.
The work is up until 22 November.

Woolsack
2025

Curtain
2025

@lagune_ouest

Supported by @statenskunstfond
Made at @statensvaerksteder
@artist_assistance_denmark

Looking forward to show new works for my solo exhibition at Lagune Ouest. Join us for the opening on Friday 24th October 5-8pm.

Looking forward to show new works for my solo exhibition at Lagune Ouest. Join us for the opening on Friday 24th October 5-8pm.

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Simply the best

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Harmony
2025
Stainless steel

Graduation project AMCN Program for art in public space Funen art academy. 

Empty vessels make the most noise—these pots talk. All at once and over each other, with their wide, gaping mouths. With their open holes, they would be pretty useless for cooking soup, yet it’s the argy-bargy surrounding shared meals that Emilie Bausager’s works of sandblasted pot-faces bring to life. The artist is drawn to the harmonies and disharmonies that can arise around a fire and a cooking pot—sounds that have existed as long as societies have, and sounds that may well echo around the communal meeting spot in the Tarup-Davinde Natural Area.
These pot pedestals are distant relatives to the ornamental fixtures of the decorative garden, like birdhouses, insect hotels, and fountains. And they may, in fact, serve as such. If all goes well, grasses, beetles, and birds will move into these cylinders. A bird might snatch an insect from the hotel, and perhaps, thanks to a sly human, become a nourishing chicken soup. Whose natural habitat are we really in? It simmers, boils and rumbles, but at frequencies difficult for us to hear. The pots themselves have ears. What can they hear? Are they laughing at us?

Photos: Brian Kure @briankure
Text: Bodil Skovgaard Nielsen @bodilskovgaard
Proof reading: @pejlevognen
@detfynskekunstakademi

Our programme is graduating!

Det Fynske Kunstakademi og Tarup-Davinde byder velkommen til the Tower that used to be a Well, syv nye, stedspecifikke kunstværker, der henover sommeren vil være at finde i det særegne grusgravslandskab i Tarup-Davinde på Fyn.
Indvielse af værkerne: Torsdag den 19. juni kl. 15 – 19.30 i Tarup-Davinde.

Kl. 15.00 - 16.30: Rundvisning i området med introduktion til værkerne af kunstnerne.
Turen starter fra Phønix, Udlodgyden 52, 5220 Odense og ender ved Det Fælles Mødested, Rolighedsvej 100, 5792 Årslev.

Kl. 17.00 - 19.30: Officiel åbning med taler, drinks og stenovnsbagte pizzaer. Direktør John Juul Henriksen fra Tarup-Davinde vil byde velkommen, hvorefter lektorerne på Anne Marie Carl-Nielsen program for kunst i offentlige rum, billedkunstner, Marie Lund og kurator, Francesca Astesani vil give en kort introduktion til udstillingen.

Bus fra henholdsvis København og Odense til Tarup-Davinde tur/retur
Turen er gratis men kræver tilmelding via disse links:

Udrejse:
Afgang fra København kl. 13.00 (Ingerslevsgade 22, 1705 Vesterbro)
Afgang fra Odense kl. 14.30 (Jernbanegade 13, 5000 Odense)
Ankomst Tarup Davinde kl. 15.00

Hjemrejse:
Afgang fra Tarup-Davinde kl. 19.30 - ankomst København kl. ca. 21.00
Afgang fra Tarup-Davinde kl. 19.30 - ankomst Odense kl. ca. 20.00

CPH

https://billetto.dk/e/kbh-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302614?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=2

Odense

https://billetto.dk/e/odense-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302618?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Our programme is graduating!

Det Fynske Kunstakademi og Tarup-Davinde byder velkommen til the Tower that used to be a Well, syv nye, stedspecifikke kunstværker, der henover sommeren vil være at finde i det særegne grusgravslandskab i Tarup-Davinde på Fyn.
Indvielse af værkerne: Torsdag den 19. juni kl. 15 – 19.30 i Tarup-Davinde.

Kl. 15.00 - 16.30: Rundvisning i området med introduktion til værkerne af kunstnerne.
Turen starter fra Phønix, Udlodgyden 52, 5220 Odense og ender ved Det Fælles Mødested, Rolighedsvej 100, 5792 Årslev.

Kl. 17.00 - 19.30: Officiel åbning med taler, drinks og stenovnsbagte pizzaer. Direktør John Juul Henriksen fra Tarup-Davinde vil byde velkommen, hvorefter lektorerne på Anne Marie Carl-Nielsen program for kunst i offentlige rum, billedkunstner, Marie Lund og kurator, Francesca Astesani vil give en kort introduktion til udstillingen.

Bus fra henholdsvis København og Odense til Tarup-Davinde tur/retur
Turen er gratis men kræver tilmelding via disse links:

Udrejse:
Afgang fra København kl. 13.00 (Ingerslevsgade 22, 1705 Vesterbro)
Afgang fra Odense kl. 14.30 (Jernbanegade 13, 5000 Odense)
Ankomst Tarup Davinde kl. 15.00

Hjemrejse:
Afgang fra Tarup-Davinde kl. 19.30 - ankomst København kl. ca. 21.00
Afgang fra Tarup-Davinde kl. 19.30 - ankomst Odense kl. ca. 20.00

CPH

https://billetto.dk/e/kbh-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302614?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=2

Odense

https://billetto.dk/e/odense-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302618?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Our programme is graduating!

Det Fynske Kunstakademi og Tarup-Davinde byder velkommen til the Tower that used to be a Well, syv nye, stedspecifikke kunstværker, der henover sommeren vil være at finde i det særegne grusgravslandskab i Tarup-Davinde på Fyn.
Indvielse af værkerne: Torsdag den 19. juni kl. 15 – 19.30 i Tarup-Davinde.

Kl. 15.00 - 16.30: Rundvisning i området med introduktion til værkerne af kunstnerne.
Turen starter fra Phønix, Udlodgyden 52, 5220 Odense og ender ved Det Fælles Mødested, Rolighedsvej 100, 5792 Årslev.

Kl. 17.00 - 19.30: Officiel åbning med taler, drinks og stenovnsbagte pizzaer. Direktør John Juul Henriksen fra Tarup-Davinde vil byde velkommen, hvorefter lektorerne på Anne Marie Carl-Nielsen program for kunst i offentlige rum, billedkunstner, Marie Lund og kurator, Francesca Astesani vil give en kort introduktion til udstillingen.

Bus fra henholdsvis København og Odense til Tarup-Davinde tur/retur
Turen er gratis men kræver tilmelding via disse links:

Udrejse:
Afgang fra København kl. 13.00 (Ingerslevsgade 22, 1705 Vesterbro)
Afgang fra Odense kl. 14.30 (Jernbanegade 13, 5000 Odense)
Ankomst Tarup Davinde kl. 15.00

Hjemrejse:
Afgang fra Tarup-Davinde kl. 19.30 - ankomst København kl. ca. 21.00
Afgang fra Tarup-Davinde kl. 19.30 - ankomst Odense kl. ca. 20.00

CPH

https://billetto.dk/e/kbh-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302614?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=2

Odense

https://billetto.dk/e/odense-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302618?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Our programme is graduating!

Det Fynske Kunstakademi og Tarup-Davinde byder velkommen til the Tower that used to be a Well, syv nye, stedspecifikke kunstværker, der henover sommeren vil være at finde i det særegne grusgravslandskab i Tarup-Davinde på Fyn.
Indvielse af værkerne: Torsdag den 19. juni kl. 15 – 19.30 i Tarup-Davinde.

Kl. 15.00 - 16.30: Rundvisning i området med introduktion til værkerne af kunstnerne.
Turen starter fra Phønix, Udlodgyden 52, 5220 Odense og ender ved Det Fælles Mødested, Rolighedsvej 100, 5792 Årslev.

Kl. 17.00 - 19.30: Officiel åbning med taler, drinks og stenovnsbagte pizzaer. Direktør John Juul Henriksen fra Tarup-Davinde vil byde velkommen, hvorefter lektorerne på Anne Marie Carl-Nielsen program for kunst i offentlige rum, billedkunstner, Marie Lund og kurator, Francesca Astesani vil give en kort introduktion til udstillingen.

Bus fra henholdsvis København og Odense til Tarup-Davinde tur/retur
Turen er gratis men kræver tilmelding via disse links:

Udrejse:
Afgang fra København kl. 13.00 (Ingerslevsgade 22, 1705 Vesterbro)
Afgang fra Odense kl. 14.30 (Jernbanegade 13, 5000 Odense)
Ankomst Tarup Davinde kl. 15.00

Hjemrejse:
Afgang fra Tarup-Davinde kl. 19.30 - ankomst København kl. ca. 21.00
Afgang fra Tarup-Davinde kl. 19.30 - ankomst Odense kl. ca. 20.00

CPH

https://billetto.dk/e/kbh-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302614?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=2

Odense

https://billetto.dk/e/odense-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302618?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Our programme is graduating!

Det Fynske Kunstakademi og Tarup-Davinde byder velkommen til the Tower that used to be a Well, syv nye, stedspecifikke kunstværker, der henover sommeren vil være at finde i det særegne grusgravslandskab i Tarup-Davinde på Fyn.
Indvielse af værkerne: Torsdag den 19. juni kl. 15 – 19.30 i Tarup-Davinde.

Kl. 15.00 - 16.30: Rundvisning i området med introduktion til værkerne af kunstnerne.
Turen starter fra Phønix, Udlodgyden 52, 5220 Odense og ender ved Det Fælles Mødested, Rolighedsvej 100, 5792 Årslev.

Kl. 17.00 - 19.30: Officiel åbning med taler, drinks og stenovnsbagte pizzaer. Direktør John Juul Henriksen fra Tarup-Davinde vil byde velkommen, hvorefter lektorerne på Anne Marie Carl-Nielsen program for kunst i offentlige rum, billedkunstner, Marie Lund og kurator, Francesca Astesani vil give en kort introduktion til udstillingen.

Bus fra henholdsvis København og Odense til Tarup-Davinde tur/retur
Turen er gratis men kræver tilmelding via disse links:

Udrejse:
Afgang fra København kl. 13.00 (Ingerslevsgade 22, 1705 Vesterbro)
Afgang fra Odense kl. 14.30 (Jernbanegade 13, 5000 Odense)
Ankomst Tarup Davinde kl. 15.00

Hjemrejse:
Afgang fra Tarup-Davinde kl. 19.30 - ankomst København kl. ca. 21.00
Afgang fra Tarup-Davinde kl. 19.30 - ankomst Odense kl. ca. 20.00

CPH

https://billetto.dk/e/kbh-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302614?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=2

Odense

https://billetto.dk/e/odense-bus-the-tower-that-used-to-be-a-well-amcn-i-tarup-davinde-billetter-1302618?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1