The recent work of seven young Danish artists, three of whom make up the collaborative team known as Superflex, provide a diverse sampling of new video tendencies in Copenhagen. Workin in personal styles derived from tabloid and documentary filmmaking, cinema verité and television, the artists in “Video Copenhagen” explore a range of topics. Joachim Hamou juggles media conventions in a way that often makes it difficult to distinguish the real thing from the spoof, while Peter Land’s humorous exercises in futility slyly refer to experimental video motifs from the 1970s. In contrast, Simone Aaberg Kaern’s straightforward tribute to female fighter pilots uses fast, rhythmic edits to replicate the experience of defying gravity, while Superflex’s video narrative documents the team’s recent installations of a biogas system in a Zimbabwean village from both the artists’ and the villagers’ perspectives. In Gitte Villesen’s psychobiographies, people the artist knows become the subjects of amusing and highly personal encounters.