As part of the 2026 exhibition program, O—Overgaden is proud to present a large-scale exhibition by coyote, opening on Friday 22 May 2026 and running through Sunday 2 August 2026.

As an artist collective, coyote toys with the (art) world’s preoccupation with the individual profile. As with their eponymous wandering nocturnal animal, coyote’s mythmaking is dispersed and elusive, examining how collaboration can instigate alternative spaces and stories; how the group, in and of itself, becomes a material— societal or public, performative or political.

The exhibition at O—Overgaden opens with a staged portrait of the anonymous group, part of an ongoing series. Reflections on the photograph’s surface (partly obscuring its central character) forefronts coyote’s coy mirroring or destabilization of contemporary life’s incessant focus on “who’s who?”.

A keystone in the exhibition is the collective’s own removal of the institution’s fixed drywall that normally blocks off the windows in one of the main spaces. The gesture opens up the view to the unrenovated walls, single-pane windows, and the local backyard, letting the historic cracks of the institution and its surroundings seep in. Meanwhile, this gesture also becomes the matter-of-fact base of the exhibition. All surfaces holding the exhibits—from the plaster plates turned tabletops to the vertical drywalls—are repurposed from the original wall. coyote thus digs into the institutional surface, turning its innards into the exhibition’s main form: the long, communal table, which in turn could be considered the primary sculptural shape or symbol of any Western collective.

On the tables—lit by a series of readymade lamps borrowed from a local bar—we see images derived from the myths of the Copenhagen public sphere. Some site-specific
to Christianshavn, an origin site for the Danish collectivist movement, others extending into the city and its subterrain. As examples, an endoscopic camera investigates the insides of the iconic equestrian statue of Christian V, traces the cracks on Korsgade, related to the occupied Allotria house, or trails the singular spiral staircase of the nearby Our Saviour’s Church, while a selection of photographs from an older municipal archive documents the capital’s deteriorating public space. With this particular kind of “abstract documentarism,” coyote’s lurking eye thus dissects the city as a collective body that bleeds together fiction and reality.

For the opening coyote has invited visual artist Annika Eriksson to re-stage her video work Copenhagen Postmen’s Orchestra from 1996. The performance will take place at 19:00.

The exhibition is supported by Statens Kunstfond and Konstnärsnämnden