Autumn 2025 program

Founded for artists by artists in a former print shop back in 1986, O—Overgaden continues to be one of the few large-scale art institutions in Denmark with an unwavering focus on supporting emerging artists, local and international. This autumn, O present large-scale solo exhibitions by practitioners including artist and political dominatrix Reba Maybury, performer and draughtsman Karim Boumjimar, polymath Kamil Dossar, and painter Anna Munk. Each show is accompanied by a new edition in O’s monographic publication series with upcoming contributors including Cédric Fauq, Natasha Maria Llorens, Jeppe Ugelvig, Basyma Saad, and Hugo Bausch Belbachir, among others—designed by fanfare and released in print and online for free download.

Reba Maybury: Private Life
August 30–October 26, 2025
Making work from her position as a dominatrix, Reba Maybury’s (1990, UK) artworks are instruction pieces completed by her submissive men, on her order. By outsourcing the menial labor of production, Maybury’s practice points at the powers of domination and subjugation, layered into both our gendered, intimate relationships and our cultural institutions. Who does the work and who profits? For O—Overgaden, Maybury continues a painting series based on paint-by-numbers kits reproducing Edgar Degas’ infamous images of sex workers washing, while introducing an element of surveillance, watching the audience watching the watched women being sexualized even while completing the most banal of tasks.

Karim Boumjimar: Pandemonium Paradiso
August 30–October 26, 2025
Karim Boumjimar’s (1998, ES) painterly motifs spill fluidly, often erotically, from one figure to another: think animals, public personas, the artist’s friends, mythological creatures. Stemming from an intuitive, “deconditioned,” or unhinged bodily flow of experiments, his drawings toy with cultural figures, creating hallucinating worlds that transcend verbal and societal categorization. In an all-encompassing installation, Boumjimar’s solo exhibition at O—Overgaden will include a new set of 2-meter-tall vases alongside a large-scale site-specific mural, letting the artist’s literally fabulous, transgressive, and polyamorous universe take over the institution’s white walls like a midsummer night’s dream on acid.

Anna Munk
November 22, 2025–January 26, 2026
In her paintings, Anna Munk (1994, DK) builds up layered surfaces much like sculpting figures, while working through historical quotations and questions of aging versus appearance, decay versus density, make-up versus still life. In her first grand solo exhibition premiering at O—Overgaden in late autumn 2025, Munk blows up motifs from 19th-century still life paintings found in online storage catalogues of grand museum collections, turning these into a series of new billboard-sized canvases. Thriving on feminist undertones, the motifs are partly contoured from a palette of eyeshadow, highlighter, lip gloss, and foundation. The classical painterly creations and captured moments of beauty—for instance, the fruit in the still life, and its imminent, haunting threat of decay—are mirrored in today’s omnipresent libidinous economy of the fresh face and painted (faux) appearance.

Kamil Dossar
November 22, 2025–January 26, 2026
The seductive surfaces in Kamil Dossar’s (1988, DK) enigmatic films, paintings, and sculptures grow from dire questions of masculinity, migration, and monstrous or outcast, even invisible identities. In his first large-scale institutional solo exhibition, launching at O—Overgaden in late autumn 2025, Dossar’s point of departure is his position as an ethnically minoritized man with an Iraqi and Hungarian background. Employing AI and “deep fake” technologies, a video turns the musician in a classical Bach piano concerto into a monster. Commenting on the apparent benevolence of the classical music that has become the backbone of European culture, this gesture hints at the link between the divertissement of the ruling class and colonial brutality and oppression. Meanwhile, grand-scale, living cityscapes in Iraq show locals transformed into reptilian creatures—a personal and intimate landscape mirroring Dossar’s own experience of alienation, confronting ideas of Western orientalism, and identity and its erasure. 

Team: Rhea Dall (Director & Chief Curator), Vera Østrup (Curator & Project Coordinator), Asta Kjærulff Bay (Press Coordinator) / Clara Linn Collins-Andersen (Press Coordinator, Maternity Leave Cover), Toke Martins (Installation Manager), Nanna Friis (Managing Editor), Anne Kølbæk Iversen (Postdoc Researcher).

Support: O’s main funder is the Danish Arts Foundation. Further generous supporters include Aage and Johanne Louis-Hansen’s Foundation, the Obel Family Foundation, the Augustinus Foundation, the New Carlsberg Foundation, and Beckett-Fonden. Munk and Dossar’s exhibitions are part of O—Overgaden’s INTRO program backed by the Louis-Hansen Foundation.