6 Jul 2023
O—Overgaden exhibitions in the coming year
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Apolonia Sokol: Le Printemps ( Spring ) Linda, Ni(x), Raya, Dustina,Simon.e, Nirina, Claude- Emmanuelle, Bella & Dourane, Oil on linen. 400 x200 cm, 2020.

O—Overgaden announces its upcoming exhibitions for the coming year, encompassing eight solo exhibitions by diverse voices from the Danish and international contemporary art scene.

Join us for the 25 August opening of Rasmus Myrup’s sculptural queering of Nordic mythology in a collaboration with Gothenburg International Biennial for Contemporary Art (GIBCA), Anna Rettl’s paitings of stripped, manic, or stressed-out modern bodies, and international artist Cally Spooner’s attempt to resist the same constant 24/7 pressure of time and acceleration through her PhD project, DEADTIME, which is further developed in an exhibition of events and collaborations at O—Overgaden.

Besides this, O—Overgaden presents an autumn season including Cassie Agusta Jørgensen’s showgirl view on life as a trans woman and Anna Sofie Mathiasen’s children’s-television-like stop-motion videos on the phenomenon of “healing gardens”, after which the spring continues with Zahna Siham Benamor and Apolonia Sokols’ collaborative exhibition, which carries forward minorities in a joint scenography of new poetry and new painting, Julie Falk’s incisively precise sculptures, a grand performance-based solo by Aske Thiberg, and LA-based Panteha Abareshi’s very first exhibition on Danish ground.

Anna Rettl: Through the open doors all that could be seen was a milling crowd through a cloud of dust against the gilt.(Group 1), 2021. Watercolour on canvas, 180 x 500 cm, Photo: David Stjernholm

Anna Rettl: Laocoön Loop (fall 2023)

Rooted in art historical painting—think adorned bodies in full attire indicating social rank and status, by masters such as Hieronymus Bosch, Eugène Delacroix, or Peter Paul Rubens—painter Anna Rettl drafts human-sized canvases that enlarge existing figures while stripping their bodies entirely bare. Removing all clothes and markers, Rettl creates an anatomical study of the bodies of a certain time and ideology, as if focusing on the naked truth of an era.

For her upcoming solo exhibition at O—Overgaden, Rettl is producing an entirely new painting series focused around early 20th-century modernism in her region of origin: between Austria, Slovenia, and Italy. Thus investigating the figures depicted during the rise of fascism in central Europe, her canvases contain lean, distorted bodies in various states of agitation trying to meet a new industrial and capitalist world order, presented as a cabinet of corpses crawling on all surfaces and amid the spaces of O—Overgaden’s upper floor’s main spaces.

Anna Rettl (b. 1992, AUT) graduated from the Royal Academy of Fine Arts Copenhagen (2021) and the Academy of Fine Arts in Vienna (2014), and she participated in the MAUMAUS Independent Study Programme in Lisbon in 2018. Rettl’s recent exhibitions include Reigen, Outpost Gallery (2021); AFGANG 2021, Kunsthal Charlottenborg (2021), and Skelettynd Grænse with Clara Busch, Arcway (2019), all in Copenhagen. She is part of the nomadic artist-run space Jennifee-See.

Cally Spooner: DEAD TIME (Maggie’s Solo), 2021 (detail), Fifty Billion Hectares of Time, gb agency, 2021. Photo: Aurélien Mole

Cally Spooner with collaborators: Duration (fall 2023)

This August, Cally Spooner transforms one of O—Overgaden’s exhibition spaces into a research laboratory, and dance and sound studio, in which collaborators arrive to collide, and support the making of new repertoire for an opera in progress. A room-size projection of a dance-work to camera titled Maggie’s Solo (2021) will be screened, serving as a study, a tool, and a backdrop against which new works and conversations will be researched and developed live. Maggie Segale, the dancer from the video, hosts a week-long workshop in flesh and blood to evolve Maggie’s Solo into a new dance work; typographer Will Holder scores Maggie’s Solo’s audio feed; Cally Spooner workshops an immersive soundtrack with a group of local children; and a series of talks on collaboration, care, and duration is programmed in collaboration with the University of Copenhagen.

Cally Spooner (b. 1983, UK) is the current research fellow at O—Overgaden, in association with the Royal Danish Academy of Fine Arts and the University of Copenhagen (2021–24), where she is completing her PhD. Spooner’s 5-part series of essays A Hypothesis of Resistancehas been workshopped and live edited at O—Overgaden, and is currently being published by Mousse Magazine(#81, Fall 2022 to #85, Fall 2023),the last of which will unfold the subject of the exhibition at O—Overgaden:Duration.Spooner’s recent institutional solo exhibitions have taken place at the Art Institute of Chicago; the Swiss Institute, New York; Castello di Rivoli, Turin; the New Museum, New York; and the Stedelijk Museum, Amsterdam

Rasmus Myrup, 2023

Rasmus Myrup: Precoming (fall 2023)

As a prelude to Danish artist Rasmus Myrup’s upcoming grand-scale commission at the Gothenburg International Biennial for Contemporary Art (GIBCA) opening in September 2023, the queer sculptor and renegade-naturalist mythmaker creates a visually dense presentation for O—Overgaden that spans faux runestones, an assortment of holes, a pine chandelier, thirst trap paintings, and other paraphernalia. The show will take place in O—Overgaden’s historic upstairs front space.

The opening weekend will include a presentation by Myrup as well as João Laia, the chief curator of GIBCA’s 2023 edition, anticipating the upcoming international exhibition in Gothenburg. Known for his long-term investment in building a tongue-in-cheek update of the pan-Nordic Norse pantheon of folkloric folks, Myrup connects the Scandinavian harbor cities of Copenhagen and Gothenburg through his mythological diggings.

Rasmus Myrup (b. 1991, DK) is a graduate of the Funen Art Academy and has exhibited in solo and group exhibitions in venues including Kunstverein Göttingen (2023), Jack Barrett, New York (2022), and Kunsthal Charlottenborg, Copenhagen (2020). He recently published his first book,The Völva’s Bestiary of Best Friends, co-published by s/z and Coda Press (2023).

Cassie Augusta Jørgensen, portrait by Frida Gregersen

Cassie Augusta Jørgensen (winter 2023/24)

Taking our popular culture as a point of departure, Cassie Augusta Jørgensen focuses on the stereotypical (mis)conceptions of the trans woman when her first institutional solo exhibition takes over O—Overgaden this autumn.

Cassie Augusta Jørgensen (1991, DK) is a visual artist, choreographer, and dancer living in Berlin, educated at the Royal Danish Academy of Fine Arts (2022). In recent years, Jørgensen has perfected her showgirl-ship through her work with theater, acting, her background in classical and modern dance, her favorite underwear, and with references to everything from filmmakers such as Rainer Werner Fassbinder and Brian De Palma to inspiring artists such as Valeska Gert, Lindsay Kemp, Hollywood Lawn, and Jackie Curtis. Jørgensen’s works are shaped by by film, History of Dance, and being a trans girl, in all its tragedy and liveliness. Her practice creates folds and gaps in history that speculate on fiction and reality and bring new narratives to our attention. Jørgensen has previously been exhibited by Auto Italia London, 1.1 Basel, and Sophiensaele Berlin.

Anna Sofie Mathiasen (winter 2023/24)

Anna Sofie Mathiasen: Pigen paa Anatomikammeret, stills from stop motion video, 30 min, 2022.

Taking our gardening programs, the folly, and an invasive Jerusalem artichoke plant as points of departure, Anna Sofie Mathiasen focuses on the course of a mental illness when her first institutional solo exhibition takes over O—Overgaden this autumn.

Anna Sofie Mathiasen (b. 1995, DK) graduated from the Academy of Fine Arts in Oslo (2020) and lives and works in Copenhagen and Oslo. With a starting point in her very own and clearly cartoon-inspired style, Mathiasen constructs visual universes that mix historical archive material, animated characters à la DR’s B&U department, educational tools, and personal memories. Her video essays of stop-motion, voice acting and hand-drawn animation create narratives which, for O—Overgaden, delve into a medical and therapeutic treatment process. From the folly to gardening programs: How is a mental illness processed and what does it mean for one’s self-image? Mathiasen has previously exhibited at Kunsthall Oslo; Sol in Nexø, Denmark; Guttormsgaard’s archive in Blaker, Norway; Kunstnernes Hus in Oslo; and Instituto Valenciano de Arte Moderno in Valencia, Spain. She is represented by Galleri K in Oslo

Julie Falk, Détournement, 2023. Still from s/h video, 2:46 min., loop. 

Julie Falk (spring/summer 2024)

Julie Falk’s sculptural and filmic practice works between questions on systemic power and autonomi, between vulnurability, illness, and structural (over)regulation – who will win in the hierarchies of the everyday life? In her feminist and almost surreal works, Falk often collects recognizable objects from the street, our garbage, the backyards of the city, which she rearranges, recreates or enlarges so that a launched firework mortar tube or a cardboard box turns into large scale sculptures or visual surfaces. Falk puts a value to the abandoned, missing, and abject in life, like when she converts her experience with illness and hospital stays into a new video filmed at the roof of the national hospital – the helipad of Riget – as an image of an bodily urge to escape from treatment.

Julie Falk (b. 1991, DA) is an artist educated from Malmö Art Academy. Her past solo- and group exhibitions where shown at institutions including All all all, Copenhagen (2023), KØS Museum for kunst i det offentlige rum, Denmark (2018), Galleri Susanne Ottesen, Copenhagen (2021), and in 2023, she received Anne Marie Carl Nielsen’s talent prize for sculptors.

Apolonia Sokol x Zahna Siham Benamor (spring/summer 2024)

Combining Zahna Siham Benamor’s poetic writing and performance work—focusing on BIPOC and feminist questions while rooted in her social work with Danish NGOs such as Kvinfo and RED Safehouse—and Apolonia Sokol’s continuous painterly employment of portraiture as an empowering tool for a community of feminist, queer, and gender-fluid positions—this collaborative exhibition will present a grand new installation, where an entirely new body of Sokol’s paintings combine into a theatrical scenery where sound, poetry, and live readings by Benamor and an extended network of voices will be staged. 

Apolonia Sokol (b. 1988, FR) is a Paris based artist of Danish, Polish, and French origin educated from the École Nationale Supérieure des Beaux-Arts in Paris (2015). The HBO co-produced documentary ”Apolonia, Aplonia” by filmmaker Lea Glob which follows Sokol’s life and career over a decade has recently been laureated at CPH:DOX 2023, among other film festival. Sokol has had solo and group exhibitions at venues including THE PILL, Istanbul (2022 & 2018); Sebastien Ricou, Brussels (2016); Whitcher Projects, Los Angeles (2016); MO.CO Panacee, Montpellier (2023); Fondation Pernod Ricard, Paris (2022), Viva Villa, MUCEM, Marseille (2022); Modern Art Museum of Fort Worth, Texas (2022); and Villa Médicis, Rome (2021).

Zahna Siham Benamor (b. 1988, DK) is a Danish artist with Algerian and French origin. She has a background in social work engagements at e.g. Kvinfo, RED Safehouse, and the female section of Mændenes Hjem, Copenhagen. Benamor is about to release the EP Jeg kommer fra Ørkenen (2023). She has produced the podcast Normkritisk omsorg in collaboration with DJ HVAD and Sofie Cerqueira (2021), published a literary piece for the online magazine HVERMANDAG (2022),and worked with Apolonia Sokol e.g. as a scriptwriter on the documentary Apolonia, Apolonia (2023). 

Panteha Abareshi: GOOD CRIPLE (2023) Silicone, stainless steel, polyurethane, medical ephemera, latex, surgical tubing. Variable dimensions. Courtesy Panteha Abareshi. Photo: Daniel Vincent Hansen/Kunsthall Trondheim

Panteha Abareshi (spring/summer 2024)

Panteha Abareshi’s sculptural and video practice as well as extensive scholarly writing is based on their personal and systemic experience of living with disability. In their recent body of work, Abareshi unapologetically addresses the tabooed relation between the disabled body—and its dependency on support structures, from the wheelchair and medical tubes to human care—and questions of domination and subjugation, with all its fetishist, erotic implications. Springing from this recent work, Abareshi will develop a new series of works for their grand solo at O – Overgaden, opening in May 2024.

Panteha Abareshi (b. 1999, US/TZ) is a Los Angeles based artist whose works have been shown in solo and group exhibitions at venues including Kunsthall Trondheim (2023), Hunter Shaw Fine Arts, Los Angeles (2022), Los Angeles Municipal Art Gallery (2021), MMK Museum für Moderne Kunst, Frankfurt (2022), Kunsthaus Zürich (2022), 1969 Gallery, New York (2022) and Shape Arts, London (2020).

Aske Thiberg: Hill, 2022, performance documentation by Manon Riet and Thomas Portier

Aske Thiberg (spring/summer 2024)

A solo dancer on a platform - high-tension energy and mechanic movements – but with an almost dead facial expression in an automatized, perhaps even drained-from-happiness performance: In Aske Thiberg’s video, text, and performances he portraits a robot-like body of the digital world, the loneliness of a gamer, and questions the social distance and melancholy of SoMe. For O—Overgaden, Thiberg creates a grand new live performance show that changes the opening hours of O—Overgaden and presents itself as a event series of choreographies to explore the fading lines between reality and virtual life.

Aske Thiberg (b. 1994, SE/DK) is a new gradute from the Royal Danish Academi of Fine Arts (2023) who lives and works in Copenhagen and Stockholm. He has performed and exhibited at institutions including Kunsthal Charlottenborg, Copenhagen (2023), Den Frie Udstillingsbygning, Copenhagen (2022), Malmö Konstmuseum, Malmo (2022), Udstillingsstedet Sydhavn Station, Copenhagen (2020 & 2022).