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53</head><body><div id="__nuxt"><div class="font-default min-h-100dvh flex flex-col"><div class="nuxt-loading-indicator" style="position:fixed;top:0;right:0;left:0;pointer-events:none;width:auto;height:3px;opacity:0;background:#2563eb;background-size:Infinity% auto;transform:scaleX(0%);transform-origin:left;transition:transform 0.1s, height 0.4s, opacity 0.4s;z-index:999999;"></div><a href="#main" class="sr-only">Skip to main content</a><div></div><header class="sticky z-99 top-0 bg-default text-medium grid grid-cols-[1fr_2fr_1fr] gap-1 p-1" id="site-header"><div class="col-start-2 col-span-1 text-center"><button aria-label="Menu" aria-expanded="false" aria-controls="site-menu" class="w-full">OâOvergaden</button></div><div class="col-start-3 col-span-1 text-right"><nav aria-label="Language" class="uppercase"><!--[--><!--[--><span class="has-[.router-link-active]:text-gray has-[.router-link-active]:pointer-events-none text-medium hover:underline"><a aria-current="page" href="/en/exhibitions/in-protest-and-in-care" class="router-link-active router-link-exact-active">en</a></span>/<!--]--><!--[--><span class="has-[.router-link-active]:text-gray has-[.router-link-active]:pointer-events-none text-medium hover:underline"><a href="/da/exhibitions/in-protest-and-in-care" class="">da</a></span><!--]--><!--]--></nav></div></header><!----><main id="main" class="flex-1"><!--[--><div><div><div class="m-1 mb-2"><!--[--><h1 class="text-medium text-center mx-auto block uppercase font-normal m-0">Exhibition</h1><span></span><!--]--><h2 class="container-default mx-auto text-center font-normal my-0 text-medium"><span><em>IN PROTEST AND IN CARE</em>: Group Exhibition</span></h2><!--[--><!----><span class="components-core--root--uTSy6 text-medium text-center mx-auto block" data-format="date"><span></span></span><!--]--></div><section class="m-1"><!----><div class="container-default mx-auto relative"><!--[--><div class="relative overflow-hidden" data-v-32d41f11><!----><div class="swiper root w-full h-auto" data-v-32d41f11><!--[--><!--]--><div class="swiper-wrapper"><!--[--><!--]--><!--[--><div class="swiper-slide" data-swiper-slide-index="0" data-v-32d41f11><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:1.5;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-2048x.jpg 2048w" alt="in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm.jpg" data-sizes="auto" data-orientation="landscape" style=""></figure><!--]--><!----></div><!--]--><!--[--><!--]--></div><!----><!----><!----><!--[--><!--]--></div></div><!--]--></div></section><div class="flex flex-col gap-1"><!--[--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-small"><p data-first-node data-last-node>Alex Dolores Salerno, <em>semilla santa, </em>(2025â)</p></div><!----><!----></div></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-medium text-center"><p data-first-node data-last-node><em>IN PROTEST AND IN CARE </em>is a group exhibition bringing together works by 18 Danish and international artists and artist groups, addressing vulnerability and impairment, as well as care and resistance.</p></div><!----><!----></div></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-default"><p data-first-node data-last-node>Participating artists: Kirstine Aarkrog (DK, 1986), Panteha Abareshi (CA, 1999), Rikke Benborg (DK, 1973), Jesse Darling (UK, 1981), Julie Falk (DK, 1991), Kasper Hesselbjerg (DK, 1985), Marie Kølbæk Iversen (DK, 1981), Jakob Jakobsen (DK, 1965), Derek Jarman/Christopher Robert Jones & Liza Sylvestre (UK, 1942â1994; US, 1991; US, 1983), Frida Lisa Carstensen Jersø (DK, 1997), Christine Sun Kim & Thomas Mader (US, 1980; DE, 1984), Carolyn Lazard (US, 1987), Elisabeth Molin (DK, 1985), Bernd Oppl (AT, 1980), Alex Dolores Salerno (US, 1994), Victor Vejle (DK, 1994), Anna Walther (DK, 1990), and Bobbi-Johanne Ãstervang (DK, 1990).</p></div><!----><!----></div></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-default"><p data-first-node>Several of the works offer insights into concrete, lived experiences of illness, functional variation, and disability, including being confronted by both external demands and self-imposed expectations. At the same time, various works point to the architectural, institutional, structural, and linguistic barriers that create and uphold divides between the non-normative and the normative, the unproductive and the productive, the sick and the healthy.</p><p>Across a wide range of materials and media, the works propose new languages for experiences of marginalization and vulnerability, but also for interdependence and new forms of community. The artistic expressions move between the poetic and imaginative, the political and the humorous and point to, among other things, impatience and a resistance to labeling language and stigmatization. Central is also the idea of âcrip timeââdenoting a flexible time that bends to the rhythm of the individual body and mind, rather than bending bodies and minds to fast- paced schedules.</p><p data-last-node>The title of the exhibition is borrowed from the earlier work <em>At Work (In Protest and in Care) </em>by participating artist Alex Dolores Salerno. Although that work is not present in the exhibition, the title is an apt heading for the underlying question at stake. It emphasizes that there is protest in care, just as there is care in protesting against societyâs existing arrangements and structures. The absence of the title work also points to the many voices and stories that are not present at OâOvergaden, but which nevertheless have a significant place in the broader discussion to which the exhibition contributes.</p></div><!----><!----></div></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-small"><p data-first-node>The exhibition <em>IN PROTEST AND IN CARE </em>is curated by Anne Kølbæk Iversen as part of the research project <em>Crip TimeâArt of Impairment, Withdrawal, and Impatience</em>, hosted by OâOvergaden and the Department of Arts and Cultural Studies at the University of Copenhagen and funded by the New Carlsberg Foundation (2024â27).</p><p>The project is part of a larger investigation of the institutionâs own shortcomings, not least the lack of accessibility to OâOvergadenâs listed building. While OâOvergaden is working to ensure physical access to the building, several events and accessibility initiatives have been developed for the exhibition.</p><p data-last-node>Read more about OâOvergadenâs details on accessibility <a href="https://overgaden.org/en/visit-contact" target="_blank">here</a></p></div><!----><!----></div></section><!--]--><!--[--><section class="m-1"><h2 class="text-medium text-center container-default mx-auto">Exhibited Works</h2></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><!----><!----><div class="mt-1"><!--[--><div><!--[--><!--[--><!--[--><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-0" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-0"}"><!--[--><!--[--><!--[-->Alex Dolores Salerno <!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-0" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-1"}" id="radix-vue-collapsible-content-nknJNUdUHWd-1"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-2" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-2"}"><!--[--><!--[--><!--[-->Anna Walther<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-2" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden 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53Bobbi-Johanne Ãstervang<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-6" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down 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first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-10" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-10"}"><!--[--><!--[--><!--[-->Christine Sun Kim & Thomas Mader<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-10" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-11"}" id="radix-vue-collapsible-content-nknJNUdUHWd-11"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-12" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-12"}"><!--[--><!--[--><!--[-->Derek Jarman / Blue Description Project â Christopher Robert Jones og Liza Sylvestre<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-12" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-13"}" id="radix-vue-collapsible-content-nknJNUdUHWd-13"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-14" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-14"}"><!--[--><!--[--><!--[-->Elisabeth Molin<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-14" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-15"}" id="radix-vue-collapsible-content-nknJNUdUHWd-15"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-16" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-16"}"><!--[--><!--[--><!--[-->Frida Lisa Carstensen Jersø<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-16" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-17"}" id="radix-vue-collapsible-content-nknJNUdUHWd-17"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-18" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-18"}"><!--[--><!--[--><!--[-->Jakob Jakobsen<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-18" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-19"}" id="radix-vue-collapsible-content-nknJNUdUHWd-19"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-20" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-20"}"><!--[--><!--[--><!--[-->Jesse Darling<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-20" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-21"}" id="radix-vue-collapsible-content-nknJNUdUHWd-21"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-22" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-22"}"><!--[--><!--[--><!--[-->Julie Falk<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-22" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-23"}" id="radix-vue-collapsible-content-nknJNUdUHWd-23"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-24" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-24"}"><!--[--><!--[--><!--[-->Kasper Hesselbjerg<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black
53stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-24" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-25"}" id="radix-vue-collapsible-content-nknJNUdUHWd-25"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-26" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-26"}"><!--[--><!--[--><!--[-->Kirstine Aarkrog<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-26" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-27"}" id="radix-vue-collapsible-content-nknJNUdUHWd-27"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-28" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-28"}"><!--[--><!--[--><!--[-->Marie Kølbæk Iversen<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-28" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-29"}" id="radix-vue-collapsible-content-nknJNUdUHWd-29"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-30" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-30"}"><!--[--><!--[--><!--[-->Panteha Abareshi<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-30" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-31"}" id="radix-vue-collapsible-content-nknJNUdUHWd-31"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-32" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-32"}"><!--[--><!--[--><!--[-->Rikke Benborg<!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-32" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-33"}" id="radix-vue-collapsible-content-nknJNUdUHWd-33"><!----></div></div><!--]--><!--]--></div><div data-state="closed" data-orientation="vertical" class="text-default border-b-default first:border-t-default py-[10px]"><!--[--><!--[--><div><h3 data-orientation="vertical" data-state="closed"><!--[--><button type="button" aria-controls aria-expanded="false" data-state="closed" id="radix-vue-accordion-trigger-nknJNUdUHWd-34" data-radix-vue-collection-item data-orientation="vertical" class="group text-left flex justify-between items-center w-full [&[data-state='open']]:text-blue-500" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-34"}"><!--[--><!--[--><!--[-->Victor Vejle <!--]--><svg viewBox="0 0 1000 1000" xmlns="http://www.w3.org/2000/svg" class="w-4 stroke-black stroke-default"><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m0 500h1000" vector-effect="non-scaling-stroke"></path><path class="origin-center transition-transform group-hover:-rotate-45 group-[[data-state='open']]:-rotate-45" d="m500 0v1000" vector-effect="non-scaling-stroke"></path></svg><!--]--><!--]--></button><!--]--></h3><div role="region" hidden aria-labelledby="radix-vue-accordion-trigger-nknJNUdUHWd-34" data-state="closed" data-orientation="vertical" style="--radix-accordion-content-width:var(--radix-collapsible-content-width);--radix-accordion-content-height:var(--radix-collapsible-content-height);--radix-collapsible-content-height:0px;--radix-collapsible-content-width:0px;" class="overflow-hidden [&[data-state='open']]:animate-accordion-slide-down [&[data-state='closed']]:animate-accordion-slide-up" data-n-ids="{"nknJNUdUHWd-0":"nknJNUdUHWd-35"}" id="radix-vue-collapsible-content-nknJNUdUHWd-35"><!----></div></div><!--]--><!--]--></div><!--]--><!--]--><!--]--></div><!--]--></div></div></section><!--]--><!--[--><section class="m-1"><h2 class="text-medium text-center container-default mx-auto">Installation Views</h2></section><!--]--><!--[--><div class="m-1 relative"><div class="container-default mx-auto"><div class="relative overflow-hidden" data-v-32d41f11><nav aria-label="Change image" class="absolute top-0 right-0 z-20 flex gap-[5px] p-1" data-v-32d41f11><button class="text-large cursor-pointer line-clamp-1 bg-white text-black hover:text-gray disabled:text-gray px-[4px] pb-[2px]" aria-label="Previous image" data-v-32d41f11> â </button><button class="text-large cursor-pointer line-clamp-1 bg-white text-black hover:text-gray disabled:text-gray px-[4px] pb-[2px]" aria-label="Next image" data-v-32d41f11> â </button></nav><div class="swiper root w-full h-auto" data-v-32d41f11><!--[--><!--]--><div class="swiper-wrapper"><!--[--><!--]--><!--[--><div class="swiper-slide" data-swiper-slide-index="0" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="portrait" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-2048x.jpg 2048w" alt="in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm.jpg" data-sizes="auto" data-orientation="portrait" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Frida Lisa Carstensen Jersø, <em>Welcome</em>, 2026. Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><div class="swiper-slide" data-swiper-slide-index="1" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="portrait" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-2048x.jpg 2048w" alt="A window pane covered in swirling blue and white handwritten text, drawn directly onto the glass, with green foliage visible in the background outside." data-sizes="auto" data-orientation="portrait" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Bobbi-Johanne Ãstervang, <em>I mine vilde tiders morgen </em>(excerpt), 2026. Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><div class="swiper-slide" data-swiper-slide-index="2" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/d881c6b5cb-1788877497/in-protest-and-in-care_overgaden_005_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/d881c6b5cb-1788877497/in-protest-and-in-care_overgaden_005_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/d881c6b5cb-1788877497/in-protest-and-in-care_overgaden_005_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/d881c6b5cb-1788877497/in-protest-and-in-care_overgaden_005_photo-by-david-stjernholm-2048x.jpg 2048w" alt="On the left a dark stained-wood sculpture depicting a pair of breasts resting on a wooden tray, on the right a sculptural staircase structure that curves upward and ends abruptly mid-air" data-sizes="auto" data-orientation="landscape" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><div class="swiper-slide" data-swiper-slide-index="3" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="portrait" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/85fb24b5f6-1788878059/in-protest-and-in-care_overgaden_014_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/85fb24b5f6-1788878059/in-protest-and-in-care_overgaden_014_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/85fb24b5f6-1788878059/in-protest-and-in-care_overgaden_014_photo-
53by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/85fb24b5f6-1788878059/in-protest-and-in-care_overgaden_014_photo-by-david-stjernholm-2048x.jpg 2048w" alt="View through an arched doorway with several coffee beans brass-chains hanging down from the ceiling, a video screen, a row of small sculptures on plinths, and a stack of folders on a small shelf in the white gallery space behind." data-sizes="auto" data-orientation="portrait" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><div class="swiper-slide" data-swiper-slide-index="4" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/470788994b-1788878524/in-protest-and-in-care_overgaden_034_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/470788994b-1788878524/in-protest-and-in-care_overgaden_034_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/470788994b-1788878524/in-protest-and-in-care_overgaden_034_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/470788994b-1788878524/in-protest-and-in-care_overgaden_034_photo-by-david-stjernholm-2048x.jpg 2048w" alt="in-protest-and-in-care_overgaden_034_photo-by-david-stjernholm.jpg" data-sizes="auto" data-orientation="landscape" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><div class="swiper-slide" data-swiper-slide-index="5" data-v-32d41f11><!--[--><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="portrait" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e2dbf0bf88-1788878552/in-protest-and-in-care_overgaden_048_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e2dbf0bf88-1788878552/in-protest-and-in-care_overgaden_048_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e2dbf0bf88-1788878552/in-protest-and-in-care_overgaden_048_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e2dbf0bf88-1788878552/in-protest-and-in-care_overgaden_048_photo-by-david-stjernholm-2048x.jpg 2048w" alt="in-protest-and-in-care_overgaden_048_photo-by-david-stjernholm.jpg" data-sizes="auto" data-orientation="portrait" style=""></figure><div class="prose max-w-full text-small text-center mx-auto w-full mt-1"><p data-first-node data-last-node>Kirstine Aarkrog, <em>The Notion of Authority (excerpt)</em>, 2024. Installation view from the group exhibition <em>IN PROTEST AND IN CARE</em> at OâOvergaden, 2026. Photo: David Stjernholm.</p></div><!----><!--]--><!--]--><!----></div><!--]--><!--[--><!--]--></div><!----><!----><!----><!--[--><!--]--></div></div></div></div><!--]--><!--[--><section class="m-1"><h2 class="text-medium text-center container-default mx-auto">Video Tour of the Exhibition</h2></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto vimeo-video"><span></span></div></section><!--]--><!--[--><section class="m-1"><div class="container-default mx-auto"><div class="prose max-w-full text-default"><p data-first-node>OâOvergadenâs annual program is supported by the Danish Arts Foundation, the Aage and Johanne Louis-Hansen Foundation, the Obel Family Foundation, the Augustinus Foundation, Beckett-Fonden, and 15. Juni Fonden. </p><p data-last-node>In addition, the exhibition <em>IN PROTEST AND IN CARE </em>has received support from the William Demant Foundation, Knud Højgaard Foundation, The Danish Arts Foundation, The Bevica Foundation, The New Carlsberg Foundation, 15. Juni Fonden, The Council for Visual Arts and Vesterbro Library and Culture House. </p></div><ul class="flex flex-wrap items-center justify-center gap-2 mt-1"><!--[--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:4.854368932038835;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/7b0cba0f61-1736265239/william_demant_foundation_black-800x.png 800w, https://cms.overgaden.org/media/pages/sponsors/7b0cba0f61-1736265239/william_demant_foundation_black-1024x.png 1024w, https://cms.overgaden.org/media/pages/sponsors/7b0cba0f61-1736265239/william_demant_foundation_black-1440x.png 1440w, https://cms.overgaden.org/media/pages/sponsors/7b0cba0f61-1736265239/william_demant_foundation_black-2048x.png 2048w" alt="william_demant_foundation_black.png" data-sizes="auto" data-orientation="landscape" style=""></figure></li>
53<!--]--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:5.648648648648648;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/260ce0fe09-1736265240/khf_logo_sort_subline-800x.png 800w, https://cms.overgaden.org/media/pages/sponsors/260ce0fe09-1736265240/khf_logo_sort_subline-1024x.png 1024w, https://cms.overgaden.org/media/pages/sponsors/260ce0fe09-1736265240/khf_logo_sort_subline-1440x.png 1440w, https://cms.overgaden.org/media/pages/sponsors/260ce0fe09-1736265240/khf_logo_sort_subline-2048x.png 2048w" alt="khf_logo_sort_subline.png" data-sizes="auto" data-orientation="landscape" style=""></figure></li><!--]--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="portrait" style="aspect-ratio:0.7021276595744681;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/a27208f9ab-1736265238/logo_1.svg 800w, https://cms.overgaden.org/media/pages/sponsors/a27208f9ab-1736265238/logo_1.svg 1024w, https://cms.overgaden.org/media/pages/sponsors/a27208f9ab-1736265238/logo_1.svg 1440w, https://cms.overgaden.org/media/pages/sponsors/a27208f9ab-1736265238/logo_1.svg 2048w" alt="logo_1.svg" data-sizes="auto" data-orientation="portrait" style=""></figure></li><!--]--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:3.643776824034335;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/f2102a1a66-1736265236/bevicalegater_transparent-800x.png 800w, https://cms.overgaden.org/media/pages/sponsors/f2102a1a66-1736265236/bevicalegater_transparent-1024x.png 1024w, https://cms.overgaden.org/media/pages/sponsors/f2102a1a66-1736265236/bevicalegater_transparent-1440x.png 1440w, https://cms.overgaden.org/media/pages/sponsors/f2102a1a66-1736265236/bevicalegater_transparent-2048x.png 2048w" alt="bevicalegater_transparent.png" data-sizes="auto" data-orientation="landscape" style=""></figure></li><!--]--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:1.7241379310344827;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/9a782100ea-1736265238/logo_2.svg 800w, https://cms.overgaden.org/media/pages/sponsors/9a782100ea-1736265238/logo_2.svg 1024w, https://cms.overgaden.org/media/pages/sponsors/9a782100ea-1736265238/logo_2.svg 1440w, https://cms.overgaden.org/media/pages/sponsors/9a782100ea-1736265238/logo_2.svg 2048w" alt="logo_2.svg" data-sizes="auto" data-orientation="landscape" style=""></figure></li><!--]--><!--[--><li class="w-[calc((100%-8px*4)/6)] md:w-[calc((100%-8px*6)/8)] lg:w-[calc((100%-8px*9)/14)]"><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:1.8620689655172413;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/sponsors/2f3eab1cea-1736265236/15_juni_fonden_blad_rgb_black.svg 800w, https://cms.overgaden.org/media/pages/sponsors/2f3eab1cea-1736265236/15_juni_fonden_blad_rgb_black.svg 1024w, https://cms.overgaden.org/media/pages/sponsors/2f3eab1cea-1736265236/15_juni_fonden_blad_rgb_black.svg 1440w, https://cms.overgaden.org/media/pages/sponsors/2f3eab1cea-1736265236/15_juni_fonden_blad_rgb_black.svg 2048w" alt="15_juni_fonden_blad_rgb_black.svg" data-sizes="auto" data-orientation="landscape" style=""></figure></li>
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53<!--]--></li><li class="pt-1 pb-1 !pt-[8px] !pb-[8px] border-b-default"><!--[--><!----><a href="/en/events/picnic-elisabeth-molin" class="block"><!--[--><div class="group grid grid-cols-6 gap-1"><div class="col-span-1 self-center flex justify-center"><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/events/picnic-elisabeth-molin/d9483e7393-1787642442/2-800x.png 800w, https://cms.overgaden.org/media/pages/events/picnic-elisabeth-molin/d9483e7393-1787642442/2-1024x.png 1024w, https://cms.overgaden.org/media/pages/events/picnic-elisabeth-molin/d9483e7393-1787642442/2-1440x.png 1440w, https://cms.overgaden.org/media/pages/events/picnic-elisabeth-molin/d9483e7393-1787642442/2-2048x.png 2048w" alt="2.png" data-sizes="auto" data-orientation="landscape" style=""></figure><!--]--></div><div class="col-span-5 self-center"><!--[--><!----><div class="text-small font-italic">Event</div><span class="components-core--root--uTSy6 text-small" data-format="date_time"><span></span></span><!--[--><!--]--><div class="text-default group-hover:text-blue-600"><em>PICNIC ~ </em>Elisabeth Molin</div><!--]--></div></div><!--]--></a><!--]--></li><li class="pt-1 pb-1 !pt-[8px] !pb-[8px] border-b-default"><!--[--><!----><a href="/en/events/seminar-on-linguistic-isolation-and-nonverbal-communication-at-o-overgaden-and-online" class="block"><!--[--><div class="group grid grid-cols-6 gap-1"><div class="col-span-1 self-center flex justify-center"><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/events/seminar-on-linguistic-isolation-and-nonverbal-communication-at-o-overgaden-and-online/89bc942e2f-1788863114/seminar_web-800x.jpg 800w, https://cms.overgaden.org/media/pages/events/seminar-on-linguistic-isolation-and-nonverbal-communication-at-o-overgaden-and-online/89bc942e2f-1788863114/seminar_web-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/events/seminar-on-linguistic-isolation-and-nonverbal-communication-at-o-overgaden-and-online/89bc942e2f-1788863114/seminar_web-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/events/seminar-on-linguistic-isolation-and-nonverbal-communication-at-o-overgaden-and-online/89bc942e2f-1788863114/seminar_web-2048x.jpg 2048w" alt="seminar_web.jpg" data-sizes="auto" data-orientation="landscape" style=""></figure><!--]--></div><div class="col-span-5 self-center"><!--[--><!----><div class="text-small font-italic">Event</div><span class="components-core--root--uTSy6 text-small" data-format="date_time"><span></span></span><!--[--><!--]--><div class="text-default group-hover:text-blue-600">Seminar on Linguistic Isolation and Nonverbal Communication ~ at OâOvergaden and online</div><!--]--></div></div><!--]--></a><!--]--></li><li class="pt-1 pb-1 !pt-[8px] !pb-[8px]"><!--[--><!----><a href="/en/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen" class="block"><!--[--><div class="group grid grid-cols-6 gap-1"><div class="col-span-1 self-center flex justify-center"><!--[--><figure class="w-full inline-block opacity-00 has-[.lazyloaded]:opacity-100 overflow-hidden" data-orientation="landscape" style="aspect-ratio:16/11;"><img class="object-contain w-full h-full object-center" data-srcset="https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-800x.jpg 800w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-2048x.jpg 2048w" alt="crip-time.jpg" data-sizes="auto" data-orientation="landscape" style=""></figure><!--]--></div><div class="col-span-5 self-center"><!--[--><!----><div class="text-small font-italic">Event</div><span class="components-core--root--uTSy6 text-small" data-format="date_time"><span></span></span><!--[--><!--]--><div class="text-default group-hover:text-blue-600">Symposium ~ <em>Crip Time</em> | Emma Holten, Margaret Price, Jessica Holmes, and Anne Kølbæk Iversen</div><!--]--></div></div><!--]--></a>
53<!--]--></li><!--]--></ul><!--]--></div></section></div></div><!--]--></main><div class="flex flex-col mt-2"><!----><div class="text-large" style="height:calc(var(--lh) * 1.5);"><div class="overflow-hidden h-full flex justify-center items-center no-wrap h-full"><!--[--><div class="components-shared-logo--root--z6Zgs font-medium"><div><span>OVERGADEN</span></div><!----><!----><!----><!----><!----></div><!--]--><!----></div><!--[--><!--[--><!----><!--]--><!--[--><!----><!--]--><!--[--><!----><!--]--><!--]--></div></div><section class="m-1 mt-3"><div class="container-default mx-auto"><div class="flex gap-1 mb-1"><div class="w-1/2"><label for="newsletter-fname" class="block text-small mb-[4px]">First name</label><input id="newsletter-fname" placeholder="First name" value="" type="text" autocomplete="given-name" class="w-full max-w-screen-lg p-[8px] bg-neutral-100 !placeholder-text-gray"></div><div class="w-1/2"><label for="newsletter-lname" class="block text-small mb-[4px]">Last name</label><input id="newsletter-lname" placeholder="Last name" value="" type="text" autocomplete="family-name" class="w-full max-w-screen-lg p-[8px] bg-neutral-100 !placeholder-text-gray"></div></div><label for="newsletter-email" class="block text-small mb-[4px]">Email</label><input id="newsletter-email" placeholder="Email" value="" type="email" autocomplete="email" class="w-1/1 max-w-screen-lg p-[8px] bg-neutral-100 !placeholder-text-gray"><button class="button mt-[8px]" disabled>Subscribe to our newsletter</button><!----><!----></div></section><footer class="m-1 font-default mb-4"><div class="container-default mx-auto text-center mb-2 flex justify-center"><button class="font-italic text-gray hover:text-gray-dark">Click here to re-activate the Os dancing on your paused screen</button></div><div class="container-default mx-auto grid gap-1 md:grid-cols-3"><ul><li> OâOvergaden </li><li>Overgaden neden Vandet 17</li><li>1414, Copenhagen</li><li>Denmark</li><li><a href="mailto:[email protected]">[email protected]</a></li><li><a href="tel:+45 3257 7273">+45 3257 7273</a></li></ul><div><ul><!--[--><li class="">Tuesday, Wednesday: <span class="components-core--root--uTSy6" data-format="time" seperator="â"><span></span></span></li><li class="">Thursday: <span class="components-core--root--uTSy6" data-format="time" seperator="â"><span></span></span></li><li class="italic">Friday: <span class="components-core--root--uTSy6" data-format="time" seperator="â"><span></span></span></li><li class="">Saturday, Sunday: <span class="components-core--root--uTSy6" data-format="time" seperator="â"><span></span></span></li><!--]--></ul><!----></div><ul><!--[--><li><a href="https://www.facebook.com/overgaden/" target="_blank" rel="noopener noreferrer" aria-label="Facebook (opens in new window)">Facebook</a></li><li><a href="https://www.instagram.com/overgaden_/" target="_blank" rel="noopener noreferrer" aria-label="Instagram (opens in new window)">Instagram</a></li><!--]--></ul></div></footer></div></div><div id="teleports"></div>
53<script type="application/json" id="__NUXT_DATA__" data-ssr="true">[["ShallowReactive",1],{"data":2,"state":661,"once":670,"_errors":671,"serverRendered":673,"path":674},["ShallowReactive",3],{"$kqlGn1xiFqGY9":4,"$kql0PjC9y1QlK":77,"$kqlDq7wG4ez1F":113},{"code":5,"status":6,"result":7},200,"OK",{"banner_pages_ids":8,"banner_pages":12},[9,10,11],"page://IusDC4vgYO058ATg","page://voaWz6XzcevyVwkw","page://mJKeME2BCKGdX7R5",[13,36,60],{"id":11,"slug":14,"title":15,"page_title_substitute":16,"untitled":17,"parent":18,"date_end":19,"date_hide":19,"date_start":19,"date_time_end":20,"date_time_opening":19,"date_time_start":21,"date_published":19,"date_posted":19,"intended_template":22,"additional_date_time_ranges":23,"synopsis":24,"category":24,"artists":25,"type":24,"audio":19,"audio_url":24,"external_links":26,"cover":27,"publication":19,"description":24,"podcasts":35,"cover_contain_carousel":17},"symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen","Symposium ~ Crip Time | Emma Holten, Margaret Price, Jessica Holmes and Anne Kølbæk Iversen","Symposium ~ \u003Cem>Crip Time\u003C/em> | Emma Holten, Margaret Price, Jessica Holmes, and Anne Kølbæk Iversen",false,"events",null,"2026-10-02 17:00","2026-10-02 14:00","event-page",[],"",[],[],{"alt":24,"caption":24,"filename":28,"title":24,"srcset":29,"width":30,"height":31,"url":32,"orientation":33,"ratio":34},"crip-time.jpg","https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-800x.jpg 800w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time-2048x.jpg 2048w",6000,3375,"https://cms.overgaden.org/media/pages/events/symposium-crip-time-emma-holten-margaret-price-jessica-holmes-and-anne-kolbak-iversen/91d1fa1596-1790161556/crip-time.jpg","landscape",1.7777777777777777,[],{"id":10,"slug":37,"title":38,"page_title_substitute":39,"untitled":17,"parent":40,"date_end":41,"date_hide":19,"date_start":42,"date_time_end":19,"date_time_opening":43,"date_time_start":19,"date_published":19,"date_posted":19,"intended_template":44,"additional_date_time_ranges":45,"synopsis":24,"category":24,"artists":46,"type":24,"audio":19,"audio_url":24,"external_links":50,"cover":51,"publication":19,"description":24,"podcasts":59,"cover_contain_carousel":17},"bruno-zhu","Bruno Zhu Women Upstairs","\u003Cem>Women Upstairs\u003C/em>","exhibitions","2026-10-25","2026-09-12","2026-09-12 11:00","exhibition-page",[],[47],{"first_name":48,"last_name":49},"Bruno","Zhu",[],{"alt":24,"caption":52,"filename":53,"title":24,"srcset":54,"width":55,"height":56,"url":57,"orientation":33,"ratio":58},"\u003Cp>Bruno Zhu, \u003Cem>Women Upstairs, \u003C/em>Installation View, OâOvergaden, 2026. Photo by David Stjernholm\u003C/p>","woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/bruno-zhu/67b0df5d24-1789133455/woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/bruno-zhu/67b0df5d24-1789133455/woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/bruno-zhu/67b0df5d24-1789133455/woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/bruno-zhu/67b0df5d24-1789133455/woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm-2048x.jpg 2048w",2700,1764,"https://cms.overgaden.org/media/pages/exhibitions/bruno-zhu/67b0df5d24-1789133455/woman-upstairs_bruno-zhu_overgaden_001_photo-by-david-stjernholm.jpg",1.530612244897959,[],{"id":9,"slug":61,"title":62,"page_title_substitute":63,"untitled":17,"parent":40,"date_end":41,"date_hide":19,"date_start":64,"date_time_end":19,"date_time_opening":65,"date_time_start":19,"date_published":19,"date_posted":19,"intended_template":44,"additional_date_time_ranges":66,"synopsis":24,"category":24,"artists":67,"type":24,"audio":19,"audio_url":24,"external_links":68,"cover":69,"publication":19,"description":24,"podcasts":76,"cover_contain_carousel":17},"in-protest-and-in-care","IN PROTEST AND IN CARE","\u003Cem>IN PROTEST AND IN CARE\u003C/em>
53: Group Exhibition","2026-08-29","2026-08-28 17:00",[],[],[],{"alt":24,"caption":24,"filename":70,"title":24,"srcset":71,"width":72,"height":73,"url":74,"orientation":33,"ratio":75},"in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm-2048x.jpg 2048w",9504,6336,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50d3adc20f-1788879229/in-protest-and-in-care_overgaden_032_photo-by-david-stjernholm.jpg",1.5,[],{"code":5,"status":6,"result":78},{"details":79,"closed_overwrite_opening_hours":17,"closed_note":95,"opening_hours":96},{"email":80,"tel":81,"street":82,"zipcode":83,"city":84,"country":85,"social":86},"[email protected]","+45 3257 7273","Overgaden neden Vandet 17","1414","Copenhagen","Denmark",[87,91],{"label":88,"url":89,"id":90},"Facebook","https://www.facebook.com/overgaden/","0",{"label":92,"url":93,"id":94},"Instagram","https://www.instagram.com/overgaden_/","1","\u003Cp>Closed until 28 Aug 2026. We're currently closed while installing our next shows.\u003C/p>",[97,101,103,106,108,111],{"day":98,"opening_time":99,"closing_time":100},"tuesday","13:00:00","18:00:00",{"day":102,"opening_time":99,"closing_time":100},"wednesday",{"day":104,"opening_time":99,"closing_time":105},"thursday","20:00:00",{"day":107,"opening_time":99,"closing_time":100},"friday",{"day":109,"opening_time":110,"closing_time":100},"saturday","11:00:00",{"day":112,"opening_time":110,"closing_time":100},"sunday",{"code":5,"status":6,"result":114},{"id":9,"title":63,"slug":61,"parent":40,"year":115,"date_time_opening":65,"date_start":64,"date_end":41,"enlarge_autoplay_cover":17,"current_pages":116,"upcoming_pages":117,"untitled":17,"artists":124,"cover":125,"blocks":127,"relations":582},"2026",[9,10],[118,119,120,121,122,123],"page://XgLgFOMSgnIraxmH","page://LYFh3sPkAFfupw7r","page://0TMcKmaAutZDvles","page://m9Ze0HXqwVobKmAB","page://6tHohdpsYr9oex7d","page://qzZr2Mza60FvLZ3A",[],[126],{"alt":24,"caption":24,"filename":70,"title":24,"srcset":71,"width":72,"height":73,"url":74,"orientation":33,"ratio":75},[128,140,151,162,172,182,193,414,424,473,483,502],{"type":129,"content":130},"text",{"code":24,"label":24,"text":131,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":132,"artist_statement":24,"url":24,"full_width":17,"files":133,"image":19,"poster":19,"images":134,"description":24,"sponsors":135,"sponsors_order":136,"items":137,"details":138,"links":139},"\u003Cp>Alex Dolores Salerno, \u003Cem>semilla santa, \u003C/em>(2025â)\u003C/p>","small",[],[],[],[],[],[],[],{"type":129,"content":141},{"code":24,"label":24,"text":142,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":143,"artist_statement":24,"url":24,"full_width":17,"files":144,"image":19,"poster":19,"images":145,"description":24,"sponsors":146,"sponsors_order":147,"items":148,"details":149,"links":150},"\u003Cp>\u003Cem>IN PROTEST AND IN CARE \u003C/em>is a group exhibition bringing together works by 18 Danish and international artists and artist groups, addressing vulnerability and impairment, as well as care and resistance.\u003C/p>","large",[],[],[],[],[],[],[],{"type":129,"content":152},{"code":24,"label":24,"text":153,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":154,"artist_statement":24,"url":24,"full_width":17,"files":155,"image":19,"poster":19,"images":156,"description":24,"sponsors":157,"sponsors_order":158,"items":159,"details":160,"links":161},"\u003Cp>Participating artists: Kirstine Aarkrog (DK, 1986), Panteha Abareshi (CA, 1999), Rikke Benborg (DK, 1973), Jesse Darling (UK, 1981), Julie Falk (DK, 1991), Kasper Hesselbjerg (DK, 1985), Marie Kølbæk Iversen (DK, 1981), Jakob Jakobsen (DK, 1965), Derek Jarman/Christopher Robert Jones & Liza Sylvestre (UK, 1942â1994; US, 1991; US, 1983), Frida Lisa Carstensen Jersø (DK, 1997), Christine Sun Kim & Thomas Mader (US, 1980; DE, 1984), Carolyn Lazard (US, 1987), Elisabeth Molin (DK, 1985), Bernd Oppl (AT, 1980), Alex Dolores Salerno (US, 1994), Victor Vejle (DK, 1994), Anna Walther (DK, 1990), and Bobbi-Johanne Ãstervang (DK, 1990).\u003C/p>","default",[],[],[],[],[],[],[],{"type":129,"content":163},{"code":24,"label":24,"text":164,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":154,"artist_statement":24,"url":24,"full_width":17,"files":165,"image":19,"poster":19,"images":166,"description":24,"sponsors":167,"sponsors_order":168,"items":169,"details":170,"links":171},"\u003Cp>Several of the works offer insights into concrete, lived experiences of illness, functional variation, and disability, including being confronted by both external demands and self-imposed expectations. At the same time, various works point to the architectural, institutional, structural, and linguistic barriers that create and uphold divides between the non-normative and the normative, the unproductive and the productive, the sick and the healthy.\u003C/p>\u003Cp>Across a wide range of materials and media, the works propose new languages for experiences of marginalization and vulnerability, but also for interdependence and new forms of community. The artistic expressions move between the poetic and imaginative, the political and the humorous and point to, among other things, impatience and a resistance to labeling language and stigmatization. Central is also the idea of âcrip timeââdenoting a flexible time that bends to the rhythm of the individual body and mind, rather than bending bodies and minds to fast- paced schedules.\u003C/p>\u003Cp>The title of the exhibition is borrowed from the earlier work \u003Cem>At Work (In Protest and in Care) \u003C/em>by participating artist Alex Dolores Salerno. Although that work is not present in the exhibition, the title is an apt heading for the underlying question at stake. It emphasizes that there is protest in care, just as there is care in protesting against societyâs existing arrangements and structures. The absence of the title work also points to the many voices and stories that are not present at OâOvergaden, but which nevertheless have a significant place in the broader discussion to which the exhibition contributes.\u003C/p>",[],[],[],[],[],[],[],{"type":129,"content":173},{"code":24,"label":24,"text":174,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":132,"artist_statement":24,"url":24,"full_width":17,"files":175,"image":19,"poster":19,"images":176,"description":24,"sponsors":177,"sponsors_order":178,"items":179,"details":180,"links":181},"\u003Cp>The exhibition \u003Cem>IN PROTEST AND IN CARE \u003C/em>is curated by Anne Kølbæk Iversen as part of the research project \u003Cem>Crip TimeâArt of Impairment, Withdrawal, and Impatience\u003C/em>, hosted by OâOvergaden and the Department of Arts and Cultural Studies at the University of Copenhagen and funded by the New Carlsberg Foundation (2024â27).\u003C/p>\u003Cp>The project is part of a larger investigation of the institutionâs own shortcomings, not least the lack of accessibility to OâOvergadenâs listed building. While OâOvergaden is working to ensure physical access to the building, several events and accessibility initiatives have been developed for the exhibition.\u003C/p>\u003Cp>Read more about OâOvergadenâs details on accessibility \u003Ca href=\"https://overgaden.org/en/visit-contact\" target=\"_blank\">here\u003C/a>\u003C/p>",[],[],[],[],[],[],[],{"type":183,"content":184},"heading",{"code":24,"label":24,"text":185,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":24,"artist_statement":24,"url":24,"full_width":17,"files":186,"image":19,"poster":19,"images":187,"description":24,"sponsors":188,"sponsors_order":189,"items":190,"details":191,"links":192},"Exhibited Works",[],[],[],[],[],[],[],{"type":194,"content":195},"summary",{"code":24,"label":24,"text":24,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":24,"artist_statement":24,"url":24,"full_width":17,"files":196,"image":19,"poster":19,"images":197,"description":24,"sponsors":198,"sponsors_order":199,"items":200,"details":412,"links":413},[],[],[],[],[201,215,227,238,249,261,273,285,296,308,320,332,344,356,367,380,390,402],{"label":202,"subtitle":203,"description":204,"note":205,"image":206},"Alex Dolores Salerno ","\u003Cp>\u003Cem>RED LINES\u003C/em> (2024) / \u003Cem>semilla santa\u003C/em> (2025-)\u003C/p>","\u003Cp>Alex Dolores Salernoâs interdisciplinary practice critiques standards of productivity, normative ideas of the body, and the commercialization of rest. Their work centers around interdependence, care, rest, accessibility, and community. A recurring material in Salernoâs practice is the bed, which they approach as a
53site of collectivity, protest, and alternative understandings of labor. Their practice invites viewers to embrace diverse needs and ways of being without shame, while questioning capitalist ideas of value and time.\u003C/p>\u003Cp>\u003Cem>RED LINES\u003C/em> (2024, 2026) consists of a fragile tower of red-painted rapid diagnostic tests placed on a mirrored pedestal. Referencing the instability of Jenga, the work reflects the precarious reality of the ongoing Covid-19 pandemic, weakened protections, misinformation, and social isolation. Its title evokes political phrase âred linesâ, that refers to a limit in which behavoir is no longer acceptable, and the shared conditions of safety and harm in our interdependent and globally entangled world.\u003C/p>\u003Cp>\u003Cem>semilla santa\u003C/em>(2025-ongoing) a site-specific installation made from chains of green (unroasted) and roasted coffee beans installed as a curtain that marks the entrance to the exhibition. Asssembled together with brass onto chains that resembles prayer beads and functions as a stimming tool, the work foregrounds neurodivergent embodiment, sensory grounding, spirituality, and sustainability, while confronting coffeeâs violent colonial history and challenging coffeeâs association with capitalist productivity and exploitation.\u003C/p>","\u003Cp>Alex Dolores Salerno (b. 1994, USA) is an interdisciplinary artist based in Lenapehoking (Brooklyn, New York) on Turtle Island in Abya Yala. They received an MFA in Fine Arts from Parsons School of Design (2019). Salerno has exhibited at venues such as Brooklyn Museum (2024); Leslie-Lohman Museum of Art, New York (2024); Espai d'Art Contemporani de Castelló, Castellón de la Plana (2023); Ford Foundation Gallery, New York (2022); and Museum MMK für Moderne Kunst, Frankfurt (2021â22). Salerno was awarded a Wynn Newhouse Award (2022) and an Art Matters Foundation Artist2Artist Fellowship (2023).\u003C/p>",{"alt":207,"caption":208,"filename":209,"title":24,"srcset":210,"width":211,"height":55,"url":212,"orientation":213,"ratio":214},"A small precarious tower made of stacked, used COVID-19 test kits painted red, standing on a mirrored plinth that reflects its form below.","\u003Cp>Alex Dolores Salerno, \u003Cem>RED LINES, \u003C/em>2024/2026. Installation view from the group exhibition \u003Cem>IN PROTEST AND IN CARE\u003C/em> at OâOvergaden, 2026. Photo: David Stjernholm.\u003C/p>","in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/32107a77c4-1788507115/in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/32107a77c4-1788507115/in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/32107a77c4-1788507115/in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/32107a77c4-1788507115/in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm-2048x.jpg 2048w",1987,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/32107a77c4-1788507115/in-protest-and-in-care_overgaden_042_photo-by-david-stjernholm.jpg","portrait",0.7359259259259259,{"label":216,"subtitle":217,"description":218,"note":219,"image":220},"Anna Walther","\u003Cp>\u003Cem>Urmarked\u003C/em> (2026)\u003C/p>\u003Cp>\u003Cem>Bogryggen\u003C/em> (2026)\u003C/p>","\u003Cp>Through her work with sculpture and site-specific installations, Anna Walther investigates power structures and hidden hierarchies, giving them physical form within her practice. Several of Waltherâs works take everyday objects as their starting point, drawing attention to systems and arrangements we take for granted by altering their scale or function. With a humorous and critical lens, Walther offers new perspectives on neurodivergence and care.\u003C/p>\u003Cp>\u003Cem>Bogryggen\u003C/em> (2026) was created in collaboration with local bookbinder Klara K. Book spines are arranged on a wall, their pages torn out, representing a degree zero for knowledge production, and pointing to the need to redefine where knowledge originates and where learning takes place. The empty spines serve as placeholders for, among other things, the disability wisdom that has historically been ignored.\u003C/p>\u003Cp>The sculpture \u003Cem>Urmarked\u003C/em> (2026) points to a primal form of supply and demand, where breastfeeding and maternal
53care are prerequisites for a childâs survival. Before the market, care is a fundamental human condition that no one needs to have earned; within capitalist narratives of productivity, it becomes a structural yet largely invisible precondition for the marketâs existence. The oversized pair of breasts, served on a platter, presents maternal care as at once inexhaustible and scarce, and asks what happens when care is systematized into a resource that can be distributed, offered, and withdrawn. Referencing the monumental idiom of classical bronze sculpture, \u003Cem>Urmarked \u003C/em>gives care a physical form and asks how we take care of one another.\u003C/p>","\u003Cp>Anna Walther (b. 1980, DK) is a visual artist based on Lolland. Walther graduated from Funen Art Academy and the Anne Marie Carl-Nielsen Programme for Public Art (both 2017). Waltherâs work has been presented in several exhibition venues and public spaces including Roskilde Festival (2026); Heartland Festival, Kværndrup (2026); Rønnebæksholm, Næstved (2025); Sharp Projects, Copenhagen (2024); and the National Museum of Denmark, Copenhagen (2024). In 2022, she received the Anne Marie Carl Nielsen Talent Prize.\u003C/p>",{"alt":221,"caption":24,"filename":222,"title":24,"srcset":223,"width":73,"height":224,"url":225,"orientation":213,"ratio":226},"Two tall, narrow wall sculptures made of layered white and cream paper with frayed, wavy edges, and a blue fabric back, mounted side by side.","in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50559949fb-1788878090/in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50559949fb-1788878090/in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50559949fb-1788878090/in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50559949fb-1788878090/in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm-2048x.jpg 2048w",8819,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/50559949fb-1788878090/in-protest-and-in-care_overgaden_019_photo-by-david-stjernholm.jpg",0.7184488037192426,{"label":228,"subtitle":229,"description":230,"note":231,"image":232},"Bernd Oppl in collaboration with Georgina Kleege and Mara Mills","\u003Cp>\u003Cem>Behind My Eye \u003C/em>(2026) / \u003Cem>Eye Tracker\u003C/em> (2026) \u003C/p>","\u003Cp>Bernd Opplâs practice experiments with how we perceive the world through our senses and with the help of both analogue and digital technologies. Through models, photographs, video and sound, which at once magnify and displace bodily experiences, the works open new spaces and perspectives that sit on the border between reality and illusion.\u003C/p>\u003Cp>\u003Cem>Behind My Eye\u003C/em> (2026) is a video essay that through a situated perspective and found footage of medical visualization methods such as visual field tests, eye tracking and OCT (optical coherence tomography), tell a story of how visual impairment and blindness is being diagnosed. The video reflects on the paradox of how a lack of vision is legitimized and made visible through optical devices.\u003C/p>\u003Cp>\u003Cem>Eye Tracker\u003C/em> (2026) Bernd Oppl, in collaboration with Georgina Kleege and Mara Mills Consists of a metal table engraved with medical drawings and visualizations of the artistâs visual impairment, creating a kind of map. Visitors are invited to engage through touch and move their fingers along the lines of the carved drawing on the surface of the table.Two small monitors are placed on the table and connected to headphones. The screens show recordings from sessions made using a custom-developed eye tracker used to capture eye movements and transform them into movements within the sound. The sounds of the eye movements you hear are accompanied by a conversation between sc
53holars Mara Mills and Georgina Kleege, who reflect on the video clips and discuss how we look at eyes and sight, as well as the misunderstandings experienced by blind and visually impaired people in relation to this. They also discuss eye-tracking as a cultural technique, the technologies developed to track eye movements, and their relationship to visual impairment and disability. They reflect on the complex relationships we have with devices such as cameras and eye-tracking technologies, which are so closely connected to ideas and fantasies of vision.\u003C/p>\u003Cp>Both works courtesy of the artist and Gallery Krinzinger, Vienna.\u003C/p>","\u003Cp>Bernd Oppl (b. 1980, AT) is a visual artist based in Vienna. He studied at the University of Art and Design in Linz and at the Academy of Fine Arts in Vienna. His work has been presented in solo exhibitions at venues including Galerie Krinzinger, Vienna (2024); Lentos Art Museum, Linz (2021); the Ferdinandeum, Innsbruck (2021); Kunsthalle Graz (2021); Kunstraum Dornbirn (2019); WIELS, Brussels (2019); and the Georgia Museum of Art, Athens (2014), as well as in numerous international group exhibitions, and film and art festivals. \u003C/p>",{"alt":24,"caption":24,"filename":233,"title":24,"srcset":234,"width":235,"height":55,"url":236,"orientation":213,"ratio":237},"in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/a42ccc7db4-1788511755/in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/a42ccc7db4-1788511755/in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/a42ccc7db4-1788511755/in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/a42ccc7db4-1788511755/in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm-2048x.jpg 2048w",2155,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/a42ccc7db4-1788511755/in-protest-and-in-care_overgaden_029_photo-by-david-stjernholm.jpg",0.7981481481481482,{"label":239,"subtitle":240,"description":241,"note":242,"image":243},"Bobbi-Johanne Ãstervang","\u003Cp>\u003Cem>Something I Dreamed\u003C/em> (2026) \u003Cbr>\u003Cem>In the Morning of My Wild Times\u003C/em> (2026)\u003Cbr>\u003Cem>Postcards from Cosmic Friends\u003C/em> (2026)\u003Cbr>\u003Cem>In the Morning of My Wild Times\u003C/em> (excerpt)\u003C/p>","\u003Cp>Bobbi-Johanne Ãstervangâs works for the exhibition unfold between text and drawing/painting on and within various media. Emerging from dreams and trance-like states, the works are created as postcards from journeys on other planes, where disabilities and administrative systems of the physical world pose no obstacle. The works give form to dreams or visions that expand and connect the intimate with the cosmosâsimultaneously poetic and critical.\u003C/p>\u003Cp>The work \u003Cem>Something I Dreamed\u003C/em> (2026) is a series of drawings and watercolor paintings on dried Monstera and rhubarb leaves, just as the series \u003Cem>In the Morning of My Wild Times\u003C/em> (2026) consists of excerpts from a long poem written in watercolor on fallen leaves from a dove tree, which the artist has collected and pressed. The leaves are presented alongside a collection of pastels, which are excerpts from the series \u003Cem>Postcards from Cosmic Friends\u003C/em> (2026).\u003C/p>\u003Cp>The drawings and textual excerpts revolve around transformations and transitions between different bodily and mental states, both imagined and concrete.\u003C/p>","\u003Cp>Bobbi-Johanne Ãstervang (b. 1990, DK) is a visual artist and author based in Copenhagen. Ãstervang graduated from the Royal Danish Academy of Fine Arts (2019). They have exhibited at venues including Willumsens Museum, Frederikssund (2022); Kunsthal Charlottenborg, Copenhagen (2019); and the National Centre for Art and Mental Health, Copenhagen (2023). Alongside their visual art practice, Ãstervang has published the books \u003Cem>MÃ¥ du gÃ¥ i køkkenet og ikke i krig\u003C/em> and \u003Cem>De har aftaler\u003C/em> with Laboratory for Aesthetics and Ecology (both 2023).\u003C/p>",{"alt":24,"caption":24,"filename":244,"title":24,"srcset":245,"width":55,"height":246,"url":247,"orientation":33,"ratio":248},"in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/46a345e42e-1788939163/in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/46a345e42e-1788939163/in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/46a345e42e-1788939163/in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/46a345e42e-1788939163/in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm-2048x.jpg 2048w",1890,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/46a345e42e-1788939163/in-protest-and-in-care_overgaden_036_photo-by-david-stjernholm.jpg",1.428571428571428
536,{"label":250,"subtitle":251,"description":252,"note":253,"image":254},"Carolyn Lazard","\u003Cp>\u003Cem>A Conspiracy\u003C/em> (2017)\u003C/p>","\u003Cp>Carolyn Lazard works with video, installation, text, and institutional interventions that explore the relationships between illness, care, accessibility, and work. Their practice often focuses on experiences with chronic illness and examines how social and institutional structures organize bodies, time, and attention. Lazard works with technologies and objects associated with care, treatment, or accessibility, such as subtitles, white noise machines, or therapeutic tools, and shifts their function within an artistic context. These technologies are treated both as practical aids and as cultural systems that regulate who can participate in public spaces. In Lazardâs work, care becomes not only a personal matter but a political and infrastructural issue.\u003C/p>\u003Cp>In \u003Cem>A Conspiracy \u003C/em>(2017), a grid of white noise machines is mounted on the ceiling, filling the space with a constant humming sound. The machines are ordinarily used in bedrooms, hospitals, and therapeutic spaces to create calm and ensure privacy, but spread across the ceiling, the sound becomes both enveloping and potentially overwhelming. By multiplying a technology designed to create discretion, the work explores the relationship between care, control, and the public sphere. The title points to this dual function: noise can both protect and conceal.\u003C/p>","\u003Cp>Carolyn Lazard (b. 1987, USA) is a visual artist, writer, and teacher at Bard College, New York, based in New York and Philadelphia. They hold a BA from Bard College (2010) and an MFA from the University of Pennsylvania (2019). Lazard has had solo exhibitions at venues including Artists Space, New York (2025); Nottingham Contemporary (2023); and Walker Art Center, Minneapolis (2022), and has been included in exhibitions at Museum of Modern Art, New York (2022); Museum of Contemporary Art, Los Angeles; and Museum für Moderne Kunst, Frankfurt (2020, 2021). Lazard has participated in the Whitney Biennial (2019, 2024) and the Venice Biennale (2022), and was awarded a MacArthur Fellowship in 2023.\u003C/p>",{"alt":255,"caption":24,"filename":256,"title":24,"srcset":257,"width":258,"height":55,"url":259,"orientation":213,"ratio":260},"A white ceiling with several round white noise machines and two illuminated strip lights.","in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/21d0242fe7-1788512098/in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/21d0242fe7-1788512098/in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/21d0242fe7-1788512098/in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/21d0242fe7-1788512098/in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm-2048x.jpg 2048w",1857,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/21d0242fe7-1788512098/in-protest-and-in-care_overgaden_017_photo-by-david-stjernholm.jpg",0.6877777777777778,{"label":262,"subtitle":263,"description":264,"note":265,"image":266},"Christine Sun Kim & Thomas Mader","\u003Cp>\u003Cem>Tables and Windows\u003C/em> (2016)\u003C/p>","\u003Cp>Christine Sun Kim examines the social and political dimensions of sound through drawing, performance, and video. Through different media, Kim explores American Sign Language (ASL), musical notation, and body language to visualize sound and critique hearing-centered social norms. Thomas Mader is a research-based artist working with film, video, and installation. He explores themes related to national identity, storytelling, communication, and the relationships between the body, language, and visual communication.\u003C/p>\u003Cp>In their respective practices and recurring collaborations, Kim and Mader explore forms of communication and translation. Their longstanding collaboration informs their exploration of different perceptual worlds and the power relations between signed and spoken languages.\u003C/p>\u003Cp>\u003Cem>Tables and Windows\u003C/em> (2016) is a two-channel HD video installation without sound, in which the artists use sign language, body language, and spatiality to challenge how we describe simple objects such as a table or a window. In each video, Kim and Mader perform a version of âhelping hands,â with one person standing behind the other, only their arms and hands visible. Kim and Mader alternate roles in the two videos, bringing different skills as a native ASL signer and an ASL learner. More than half of ASLâs meaning is conveyed through the face rather than solely with manual signs. Hand signs act as âclassifiersâ to designate type, shape, and size, while face markersâsuch as eyebrow or lip movementsâprovide nuance that can alter or further contextualize the meaning. With humor and precision, the work demonstrates the complexity of sign language and the collaborative nature of making meaning together.\u003C/p>","\u003Cp>Christine Sun Kim (b. 1980, US) and Thomas Mader (b. 1984, DE) are visual artists based in Berlin. Since 2013, they have collaborated as an artistic duo and presented their work at venues including Wellcome Collection, London (2025); White Space, Beijing (2024); Kunstraum, Munich (2022); Museum für Gegenwartskunst, Siegen (2021); and Buffalo AKG Art Museum, Buffalo, New York (2019).\u003C/p>",{"alt":267,"caption":24,"filename":268,"title":24,"srcset":269,"width":270,"height":55,"url":271,"orientation":213,"ratio":272},"Two wall-mounted screens, each showing a person whose arms are actually those of a second person standing hidden behind them, overlaid with bold white captions describing everyday objects and spaces.","in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/6f01b41dcb-1788512338/in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/6f01b41dcb-1788512338/in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/6f01b41dcb-1788512338/in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/6f01b41dcb-1788512338/in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm-2048x.jpg 2048w",2160,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/6f01b41dcb-1788512338/in-protest-and-in-care_overgaden_041_photo-by-david-stjernholm.jpg",0.8,{"label":274,"subtitle":275,"description":276,"note":277,"image":278},"Derek Jarman / Blue Description Project â Christopher Robert Jones og Liza Sylvestre","\u003Cp>\u003Cem>Blue\u003C/em> (2023) / \u003Cem>Blue Description Project\u003C/em> (2023)\u003Cbr>Screening date/ time TBC \u003C/p>","\u003Cp>Derek Jarman (1942â1994) was an English artist, filmmaker, and activist. Jarman was diagnosed with HIV in 1986. Complications of AIDS progressively damaged his sight, at times reducing his vision to a field of blue. He used this experience in his experimental feature film \u003Cem>Blue \u003C/em>(1993). In the film, Jarman combines a static blue image track with narrative accounts by himself and others about his life in London in the 1990s, as well as his illness.\u003C/p>\u003Cp>This version of \u003Cem>Blue \u003C/em>is edited by the Blue Description Project, an audio description project produced by Christopher Robert Jones and Liza Sylvestre in collaboration with Voices in the Gallery, led by Dr. Sarah Hayden, Associate Professor in Literature and Visual Culture at the University of Southampton. The Blue Description Project created a new experimental version of \u003Cem>Blue \u003C/em>for the 30th anniversary of its release, featuring creative captions and audio description by numerous collaborators who describe their visual experience of \u003Cem>Blue\u003C/em>.\u003C/p>","\u003Cp>Derek Jarman (1942â1994, UK) was an artist, filmmaker, stage designer, writer, gardener, and gay rights activist. Originally trained as a painter, Jarman moved into stage and production design in the late 1960s before turning to filmmaking, directing films including \u003Cem>Sebastiane\u003C/em> (1976), \u003Cem>Jubilee\u003C/em> (1978), \u003Cem>Caravaggio\u003C/em> (1986), \u003Cem>Edward II\u003C/em> (1991), and \u003Cem>Blue\u003C/em> (1993). Throughout his career, Jarman worked across film, writing, and visual art, and became one of the most influential figures associated with New Queer Cinema. He was one of the first public figures in Britain to speak openly about living with HIV and was an outspoken advocate for gay rights.\u003C/p>\u003Cp>Christopher Robert Jones (b. 1991, USA) and Liza Sylvestre (b. 1983, USA) are transdisciplinary artists and writers based in Illinois. They are research assistant professors at the University of Illinois Urbana-Champaign, where they co-founded CRIP*âCripistemology and the Arts. Their work has been presented internationally at venues including the Whitney Museum of American Art, New York (2024); Museum of Contemporary Art San Diego (2024); Bonnington Gallery, Nottingham (2024); MIT List Visual Arts Center, Cambridge (2023); and Museum für Neue Kunst, Frankfurt (2021â2022). They are recipients of a Creative
53Capital Award (2026) and a Joan Mitchell Fellowship (2021).\u003C/p>",{"alt":24,"caption":24,"filename":279,"title":24,"srcset":280,"width":281,"height":282,"url":283,"orientation":33,"ratio":284},"blue-description-project_2023.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/ac43b9fd8f-1784620190/blue-description-project_2023-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/ac43b9fd8f-1784620190/blue-description-project_2023-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/ac43b9fd8f-1784620190/blue-description-project_2023-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/ac43b9fd8f-1784620190/blue-description-project_2023-2048x.jpg 2048w",2048,1365,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/ac43b9fd8f-1784620190/blue-description-project_2023.jpg",1.5003663003663004,{"label":286,"subtitle":287,"description":288,"note":289,"image":290},"Elisabeth Molin","\u003Cp>\u003Cem>like a fatigue, like a mirror crescent \u003C/em>(2020)\u003C/p>","\u003Cp>Elisabeth Molin incorporates various media in her performances, installations, and writingâsuch as objects, photography, and videoâoften referencing everyday objects and pop culture. Central motifs in her work include absence and peripheral spaces.\u003C/p>\u003Cp>Molinâs sculptural work \u003Cem>like a fatigue, like a mirror crescent \u003C/em>(2020)\u003Cem> \u003C/em>consists of a metal clock mounted on the wall; instead of a clock face, a mirror sits inside the housing. The viewerâs expectations of the clock as a tool to measure linear time are interrupted. Instead, they are confronted with their own reflection and that of their surroundings. The work and its title reference the theory and practice of âcrip timeââa concept developed within disability communities and disability studies to describe how sick and disabled people move through time differently: at a slower or more unpredictable pace, structured by pain, fatigue, treatment, and recovery rather than by the schedule the clock imposes. Crip time reverses the usual demandâinstead of bending sick and disabled bodies to meet the clock, it bends the clock to meet them.\u003C/p>\u003Cp>As part of the exhibition, Molin presents the nomadic platform \u003Cem>picnic\u003C/em>, which brings together artists who incorporate writing into their practice. At each event, artists read aloud from their texts under an overarching theme. On the occasion of \u003Cem>IN PROTEST AND IN CARE\u003C/em>, the theme is transition.\u003Cem> Picnic\u003C/em> takes place in Enghave Parken on Saturday 29 August at 5pm.\u003C/p>","\u003Cp>Elisabeth Molin (b. 1985, DK) is a visual artist and author based in Copenhagen and Vienna. She holds a BA in Fine Arts from Chelsea College of Art and an MFA from the Royal College of Art in London. Molin has previously exhibited at venues including Den Frie, Copenhagen (2026); No Show Space, London (2023); Vienna Contemporary (2023); PUBLICS, Helsinki (2022); KW Institute, Berlin (2021); and Wiels Project Space, Brussels (2019). Since 2023, Molin has run the platform \u003Cem>Picnic\u003C/em>.\u003C/p>",{"alt":24,"caption":24,"filename":291,"title":24,"srcset":292,"width":293,"height":55,"url":294,"orientation":213,"ratio":295},"in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/f09749baec-1788515900/in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/f09749baec-1788515900/in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/f09749baec-1788515900/in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/f09749baec-1788515900/in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm-2048x.jpg 2048w",1800,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/f09749baec-1788515900/in-protest-and-in-care_overgaden_009_photo-by-david-stjernholm.jpg",0.6666666666666666,{"label":297,"subtitle":298,"description":299,"note":300,"image":301},"Frida Lisa Carstensen Jersø","\u003Cp>\u003Cem>Ellen Marie, Bertine, Troels, Rebecca, anonymous, Linda, Kristine, Anna, anonymous, and Tina \u003C/em>(2026) \u003Cbr>\u003Cem>The Broken Back \u003C/em>(2026) \u003Cbr>\u003Cem>Welcome \u003C/em>(2026)\u003C/p>","\u003Cp>Frida Lisa Carstensen Jersøâs practice investigates the body and its limitations, with a particular focus on the sick body, ableism, and societal perceptions of disability and illness. Through media including photography, Jersø explores the psychological and emotional dimensions of vulnerability and strength. She often turns the camera upon herself, using it to reflect on her own deeply personal experiences of physical limitation. Her work is driven by a de
53sire to create pieces that invite reflection on bodily experience, dependency, and visibility.\u003C/p>\u003Cp>Frida Lisa Carstensen Jersøâs sculptural installation \u003Cem>Ellen Marie, Bertine, Troels, Rebecca, anonymous, Linda, Kristine, Anna, anonymous, and Tina\u003C/em> (2026), consists of bronze casts of spinal implants belonging to people with spinal cord injuries. Cast from medical scans, each differs in size and shape, emphasizing the individuality of disability and the varied experiences behind medical intervention. The work is echoed by the sculpture \u003Cem>The Broken Back \u003C/em>(2026), cast from Jersøâs own spinal implant, placed in the cityscape at the location of the accident that led to her paralysis.\u003C/p>\u003Cp>The sculpture \u003Cem>The Broken Back\u003C/em> (2026) is a bronze cast of an enlarged model of Jersøâs own spinal implant. It is installed near Dronning Louises Bro in Copenhagen, at the site of the accident that resulted in her paralysis.\u003C/p>\u003Cp>At the entrance to OâOvergaden, a customized blue disability sign is installed, indicating that the building is not wheelchair accessible.\u003C/p>","\u003Cp>Frida Lisa Carstensen Jersø (b. 1997) is a visual artist based in Copenhagen. Jersø holds a BFA in Photography from HDK-Valand Academy of Art and Design in Gothenburg, Sweden. She has exhibited at venues including Benaki Museum, Athens (2026); the Finnish Museum of Photography, Helsinki (2025); Den Frie Centre of Contemporary Art, Copenhagen (2025); Röda Sten Konsthall, Gothenburg (2025); and Städtische Galerie Nordhorn (2025). \u003C/p>",{"alt":302,"caption":24,"filename":303,"title":24,"srcset":304,"width":55,"height":305,"url":306,"orientation":33,"ratio":307},"A row of bronze castings of spinal implants of varying height, each displayed on its own white cylindrical plinth.","
53in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/96a74c2e45-1788855993/in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/96a74c2e45-1788855993/in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/96a74c2e45-1788855993/in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/96a74c2e45-1788855993/in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm-2048x.jpg 2048w",1920,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/96a74c2e45-1788855993/in-protest-and-in-care_overgaden_024_photo-by-david-stjernholm.jpg",1.40625,{"label":309,"subtitle":310,"description":311,"note":312,"image":313},"Jakob Jakobsen","\u003Cp>\u003Cem>Letter of Resignation\u003C/em> (2021)\u003C/p>","\u003Cp>Jakob Jakobsenâs practice is closely linked to political organizing and critical examinations of social and institutional structures, especially in relation to power, exclusion, psychiatry, prison systems, and social marginalization.\u003C/p>\u003Cp>In \u003Cem>Letter of Resignation\u003C/em> (2021), Jakobsen presents a resignation letter written by the artist himself. The text moves quickly away from formal convention and becomes a political and personal statement. In the letter, Jakobsen describes an artistâs working life as characterized by pressure, control, and constant evaluation. The job market is portrayed as a system in which artists are expected to perform even when they are sick. The text also criticizes official narratives of inclusion and diversity, which often stand in contrast to actual conditions.\u003C/p>\u003Cp>The letter connects experiences of illness and breakdown with a broader critique of the labor market and the structures that can make us sick but do not allow us to be so. The personal resignation thus becomes a rejection of structures that demand constant productivity. For Jakobsen, resignation is not merely an individual act of self-care, but a gesture that points to withdrawal as a form of protest.\u003C/p>","\u003Cp>Jakob Jakobsen (b. 1965, DK) is a visual artist, writer, and activist based in Copenhagen and Barcelona. He graduated from the Royal Danish Academy of Fine Arts (1995). Jakobsen has co-founded and participated in numerous artistic and activist initiatives, including the artist collective Koncern, Copenhagen (1989â93); Info Centre, London (1998â99); The Free University, Copenhagen (2001â); and Hospital Prison University Archive, Copenhagen (2019â2021). He has received several honors including the Danish Art Criticsâ Award (2020) and the Danish Arts Foundationâs lifelong grant (2021).\u003C/p>",{"alt":314,"caption":24,"filename":315,"title":24,"srcset":316,"width":55,"height":317,"url":318,"orientation":33,"ratio":319},"Two pieces of A4 paper pinned to a wall bathed in a red light.","in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/725a8343e8-1788856833/in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/725a8343e8-1788856833/in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/725a8343e8-1788856833/in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/725a8343e8-1788856833/in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm-2048x.jpg 2048w",1784,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/725a8343e8-1788856833/in-protest-and-in-care_overgaden_016_photo-by-david-stjernholm.jpg",1.5134529147982063,{"label":321,"subtitle":322,"description":323,"note":324,"image":325},"Jesse Darling","\u003Cp>\u003Cem>Epistemologies\u003C/em> 2 (2022)\u003C/p>","\u003Cp>Jesse Darling works across media, including sculpture, installation, and text, to explore how bodies are shaped by social and political structures. His practice revolves around vulnerability, dependency, and the material organization of power.\u003C/p>\u003Cp>In \u003Cem>Epistemologies\u003C/em> (2018), a small metal shelf stands pressed against a wall, overflowing with worn ring binders in gray, black, and faded bright colours. The binders are stacked, squeezed, and shoved into the system until the structure begins to give way. The shelf tilts slightly in the middle, and its flimsy legs are bent, as if it is about to collapse under the weight of the âknowledge systemâ it supports.\u003C/p>\u003Cp>The work materializes knowledge as something physical, heavy, and unstable. The ring binders, as administrative containers for documentation, classification, and control, represent the systems through which the world is organized and understood. Yet the structure meant to ensure clarity and stability appears fragile and close to collapse.\u003C/p>\u003Cp>The work points to epistemology as an institutional practice, raising questions of who defines what counts as knowledge and which bodies and experiences are archived or pushed out of the system. Its near-collapse can be read as both a protest against hierarchies of knowledge and an insistence on exposing the burdens these systems place on marginalized bodies.\u003C/p>","\u003Cp>Jesse Darling (b. 1980, UK) is a visual artist based in Oxford. He received a BA from Central Saint Martins (2010) and an MFA from Slade School of Fine Art, UCL (2014), and now teaches at the Ruskin School of Art at the University of Oxford. Darling has exhibited at venues including Oude Kerk, Amsterdam (2026); Palais de Tokyo, Paris (2026); Petit Palais, Paris (2024); Towner Eastbourne (2023); and Camden Arts Centre, London (2022). Darling has participated in the Venice Biennale (2019) and received the Turner Prize (2023).\u003C/p>",{"alt":326,"caption":24,"filename":327,"title":24,"srcset":328,"width":55,"height":329,"url":330,"orientation":33,"ratio":331},"A small metal shelf packed with worn, colourful cement-filled ring binders, along with several more ring binders stacked around it on the floor.","in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/fd92ab2d38-1788857127/in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/fd92ab2d38-1788857127/in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/fd92ab2d38-1788857127/in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/fd92ab2d38-1788857127/in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm-2048x.jpg 2048w",1771,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/fd92ab2d38-1788857127/in-protest-and-in-care_overgaden_025_photo-by-david-stjernholm.jpg",1.5245623941276114,{"label":333,"subtitle":334,"description":335,"note":336,"image":337},"Julie Falk","\u003Cp>\u003Cem>Epic Drive\u003C/em> (2026)\u003C/p>","\u003Cp>Julie Falkâs practice unfolds through sculpture and film, revolving around autonomy, capacity, and the conditions of form. In her work, form is something derived rather than produced, while time, labor, and presence are treated as fluid and shifting entities. Subtraction, appropriation, and rearrangement are recurring methods where absence and the uncontrollable are allowed to shape the work, and where form is not understood as finite or bounded.\u003C/p>\u003Cp>The film \u003Cem>Epic Drive\u003C/em> (2026), with a soundtrack by Mija Milovic, unfolds in Californiaâs Mojave Desert and is recorded with a phone taped to the side window of a moving car. Roads, arid land, isolated buildings, and technological structures pass through the frame, while the film's movement is derived from the driving, the road, and the conditions of the desert.\u003C/p>\u003Cp>A page from Anne Boyerâs \u003Cem>The Undying\u003C/em> (2019) serves as a script for the film. The book is based on the authorâs treatment for breast cancer. In the filmâs epic form, text, sound, and image exist in an open relationship to one another; the text does not explain the image, and the image does not illustrate the text. The camera records a landscape where body, technology, and economy already exist in relation to one another.\u003C/p>","\u003Cp>Julie Falk (b. 1991, DK) is a visual artist who graduated from Malmö Art Academy and lives and works in Copenhagen. Falk has recently exhibited at venues including Skal Contemporary, Skagen (2026); Inside-Out Museum, Beijing (2025); Nicolai Wallner, Copenhagen (2025); OâOvergaden, Copenhagen (2024); and All All All, Copenhagen (2023). In 2023, Falk received the Carl Nielsen and Anne Marie Carl-Nielsen Talent Award.\u003C/p>",{"alt":338,"caption":24,"filename":339,"title":24,"srcset":340,"width":55,"height":341,"url":342,"orientation":33,"ratio":343},"A large video projection on a gallery wall showing a hazy desert landscape with sparse shrubs, sand, and a pale sky.","in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e738e3966a-1788857583/in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e738e3966a-1788857583/in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e738e3966a-1788857583/in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e738e3966a-1788857583/in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm-2048x.jpg 2048w",1804,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e738e3966a-1788857583/in-protest-and-in-care_overgaden_045_photo-by-david-stjernholm.jpg",1.4966740576496673,{"label":345,"subtitle":346,"description":347,"note":348,"image":349},"Kasper Hesselbjerg","\u003Cp>\u003Cem>Six Kawaii Organs (Chicken Brain)\u003C/em>, 2026\u003Cem>\u003Cbr>Six Kawaii Organs (Chicken Heart)\u003C/em>, 2026\u003Cem>\u003Cbr>Six Kawaii Organs (Chicken Lungs)\u003C/em>, 2026\u003Cem>\u003Cbr>Six Kawaii Organs (Chicken Guts)\u003C/em>, 2026\u003Cem>\u003Cbr>Six Kawaii Organs (Chicken Liver)\u003C/em>, 2026\u003Cem>\u003Cbr>Six Kawaii Organs (Chicken Testicles)\u003C/em>, 2026\u003Cbr>\u003Cem>Kawaii Organ Relation Soup\u003C/em>, 2026\u003C/p>","\u003Cp>Kasper Hesselbjergâs series \u003Cem>Six Kawaii Organs \u003C/em>(2026) consists of photographs of six different chicken organs. Each organ has a cartoon-like face drawn in mayonnaise, giving the organ a
53somewhat cute expression. This cutenessâ\u003Cem>kawaii\u003C/em>âstands in contrast to the raw organs and the industry these animals come from. The work questions how we separate ourselves from, for instance, the chicken we eat, and conversely, how we understand our own organs as part of our selfhood.\u003Cbr>\u003Cbr>\u003Cem>Kawaii Organ Relation Soup \u003C/em>(Laboratory for Aesthetics and Ecology, 2026) is a booklet containing a recipe for chicken soup interspersed with reflections on how organ functions have been understood across medical, gastronomic, and spiritual contexts.\u003C/p>","\u003Cp>Kasper Hesselbjerg (b. 1985, DK) is a visual artist and writer who lives and works in Copenhagen. Hesselbjerg graduated from the Royal Danish Academy of Fine Arts (2013) and has previously exhibited at venues including Inside-Out Art Museum, Beijing (2025); Apexart, New York (2025); Vejle Art Museum (2024); Nikolaj Kunsthal, Copenhagen (2023); and Bonamatic, Copenhagen (2020). In addition to gallery and museum exhibitions, Hesselbjerg has produced a series of dinners featuring edible sculptures that guests were invited to consume. Since 2008, Hesselbjerg has co-run the publishing platform \u003Cem>Forlaget emancipa(t/ss)ionsfrugten\u003C/em>together with Absalon Kirkeby. \u003C/p>",{"alt":350,"caption":24,"filename":351,"title":24,"srcset":352,"width":55,"height":353,"url":354,"orientation":33,"ratio":355},"Two photographs showing chicken organs mounted on wire stands with cartoonish, kawaii-style faces piped onto them in mayonnaise.","in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/784c9de03e-1788875159/in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/784c9de03e-1788875159/in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/784c9de03e-1788875159/in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/784c9de03e-1788875159/in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm-2048x.jpg 2048w",1799,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/784c9de03e-1788875159/in-protest-and-in-care_overgaden_004_photo-by-david-stjernholm.jpg",1.500833796553641,{"label":357,"subtitle":358,"description":359,"note":360,"image":361},"Kirstine Aarkrog","\u003Cp>\u003Cem>A soundproof black glass box. The box is intended for one person lying down. The box has four breathing holes and a hole for installing a light source. The light source prevents the person from looking outside. From outside the box you can peer into the box, and you can call the person inside. The room outside is dark\u003C/em> (2025)\u003C/p>\u003Cp>\u003Cem>The Notion of Authority \u003C/em>(2024)\u003C/p>","\u003Cp>Kirstine Aarkrog uses sculpture to explore the borders between material function and perceived meaning. Her works often suggest specific functions, creating an ambiguous space between object, body, and possible action.\u003C/p>\u003Cp>Aarkrogâs contribution to the exhibition is a sculpture titled \u003Cem>A soundproof black glass box. The box is intended for one person lying down. The box has four breathing holes and a hole for installing a light source. The light source prevents the person from looking outside. From outside the box you can peer into the box, and you can call the person inside. The room outside is dark \u003C/em>(2025).\u003C/p>\u003Cp>In her text-based work \u003Cem>The Notion of Authority \u003C/em>(2024), Aarkrog employs descriptions of potential and hypothetical actions. The texts reflect an ongoing editing process that investigates the authority of description and language. The texts are structured as neat cut-outs and overlays, referring to the repetitive process of thinking, pronouncing, and forming sentences.\u003C/p>","\u003Cp>Kirstine Aarkrog (b. 1986, DK) is a visual artist based in Copenhagen. Aarkrog graduated from the Royal Danish Aca
53demy of Fine Arts (2013) and has previously exhibited at venues including Tørreloft/Vermland Basement, Copenhagen (2025); Galleri Nef, Stockholm (2024); Bladr, Copenhagen (2024); OTP Copenhagen (2021); and Simian, Copenhagen (2021). Aarkrog has received the Ebba Elisabeth and Kristian Larsen Foundation Honorary Grant (2024), the Niels Wessel Bagge Art Foundation Honorary Grant (2023), and the Danish Arts Foundationâs Exhibition Prize together with Louise Rosendal (2017).\u003C/p>",{"alt":24,"caption":24,"filename":362,"title":24,"srcset":363,"width":55,"height":364,"url":365,"orientation":33,"ratio":366},"in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/41813cef79-1788875468/in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/41813cef79-1788875468/in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/41813cef79-1788875468/in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/41813cef79-1788875468/in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm-2048x.jpg 2048w",1933,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/41813cef79-1788875468/in-protest-and-in-care_overgaden_047_photo-by-david-stjernholm.jpg",1.396792550439731,{"label":368,"subtitle":369,"description":370,"note":371,"image":372},"Marie Kølbæk Iversen","\u003Cp>\u003Cem>Den Lille Havfrue (Signed Meditation)\u003C/em> (2026)\u003C/p>","\u003Cp>In continuation of her long-standing exploration of various kinds of mer-folk, Marie Kølbæk Iversen reimagines the tale of \u003Cem>The Little Mermaid\u003C/em> for\u003Cem> In Protest and In Care\u003C/em> as an individual affected by so-called âsudden deafnessââas the little mermaid in the fairy tale, as is well known, gives up her voice in exchange for legs. In Kølbæk Iversenâs experience, losing the ability to hear oneâs own voice is one of the most striking and invasive aspects of becoming deaf. For the exhibition, she contributes a meditation that synthesizes her own experience as a âdeaf-gainerâ with the mythologized transformation of the little mermaid. The meditation will be performed by Kølbæk Iversen herself, using signs and syntax from Danish Sign Language, which she is currently learning as a consequence of her own progressive hearing loss. It is not a perfect sign language, but rather the broken language of a newcomer who, much like the little mermaid, gathers experiences from vastly different worlds into a hybrid expression, within a single body that becomes many through the meditation. The performance is aimed at both Deaf and hearing audiences, who are invited to participate in the meditation. The performance turns the conventional hierarchies of the majority society upside down, as the meditation itself is sign-mediated and subsequently translated into spoken Danish. In the exhibition, a hand-painted poster for the meditation is on display. The meditation will take place on September 19 following a panel discussion on deafness and hearing loss.\u003C/p>","\u003Cp>Marie Kølbæk Iversen (b. 1981, DK) is a visual artist based between Thy and Copenhagen. Kølbæk Iversen graduated with an from the Royal Danish Academy of Fine Arts (2008) and received a PhD degree from the Oslo National Academy of the Arts and Aarhus University (2023). From 2023 to 2026, she was a postdoctoral fellow at SMK ThyâNational Gallery of Denmark. Kølbæk Iversen has exhibited at venues including Kunsthal Aarhus (2025); Kunsthall Trondheim (2022); Henie Onstad Kunstsenter, Oslo (2021); SMKâthe National Gallery of Denmark, Copenhagen (2020); PARMER, New York (2017); and the 11th Gwangju Biennale (2016). She has received awards including the Viggo Jarls Fond Grant (2022) and the Aage and Yelva Nimb Foundationâs Honorary Grant (2018), and her work is held in public collections including SMKâthe National Gallery of Denmark, ARKEN Museum of Contemporary Art, and the Danish Arts Foundation.\u003C/p>",{"alt":373,"caption":24,"filename":374,"title":24,"srcset":375,"width":376,"height":377,"url":378,"orientation":213,"ratio":379},"A figurative painting in murky green, brown and blue-grey tones, depicting a seated mermaid figure viewed in profile, with faint painted text partly visible in the background, and glittering blue handwritten text layered over the top.","in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e82bca5213-1788878141/in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e82bca5213-1788878141/in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e82bca5213-1788878141/in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e82bca5213-1788878141/in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm-2048x.jpg 2048w",5823,8527,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e82bca5213-1788878141/in-protest-and-in-care_overgaden_031_photo-by-david-stjernholm.jpg",0.6828896446581447,{"label":381,"subt
53itle":382,"description":383,"note":384,"image":385},"Panteha Abareshi","\u003Cp>\u003Cem>NEW ARTIFACTS [ii]\u003C/em> (2025)\u003C/p>","\u003Cp>Panteha Abareshiâs practice investigates how the sick and disabled body is monitored, medically regulated, and often reduced to an object of observation, while simultaneously exploring the tensions between care and control, vulnerability and power.\u003C/p>\u003Cp>\u003Cem>NEW ARTIFACTS [ii]\u003C/em> (2025) consists of six bleached vertebrae with metal piercings. Abareshi examines how the disabled body is often reduced to an object of fascination. The bone represents the body in its most reduced form, stripped of flesh, identity, and autonomy. At the same time, it serves as an image of profound pain that literally cuts to the bone, and of how self-inflicted pain can be a way of negotiating the pain that accompanies illness and objectification.   \u003C/p>","\u003Cp>Panteha Abareshi (b. 1999, CA) is a visual artist and scholar based in Los Angeles. Abareshi completed their BFA at the Roski School of Art and Design, University of Southern California, and has exhibited at venues including Human Resources, Los Angeles (2025); OâOvergaden, Copenhagen (2024); Kunsthall Trondheim (2023); MMK Museum Für Moderne Kunst, Frankfurt (2022); Kunsthaus Zürich (2022); and Los Angeles Municipal Art Gallery (2021). They received the Kennedy Centerâs VSA Emerging Artists Award (2021) and were a Democracy Machine Fellow at Eyebeam, New York (2021â22). Their monograph, \u003Cem>I Am Inside the Body\u003C/em>, was published by Sming Sming Books (2020).\u003C/p>",{"alt":386,"caption":24,"filename":387,"title":24,"srcset":388,"width":55,"height":293,"url":389,"orientation":33,"ratio":75},"Six white vertebra models, each pierced with silver body-piercing jewelry, arranged in two rows on a white plinth.","in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/8306139a80-1788875859/in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/8306139a80-1788875859/in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/8306139a80-1788875859/in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/8306139a80-1788875859/in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm-2048x.jpg 2048w","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/8306139a80-1788875859/in-protest-and-in-care_overgaden_038_photo-by-david-stjernholm.jpg",{"label":391,"subtitle":392,"description":393,"
53note":394,"image":395},"Rikke Benborg","\u003Cp>\u003Cem>Hysterics\u003C/em> (2017)\u003C/p>","\u003Cp>Rikke Benborg works primarily with video, film, and installation, often in conjunction with performance, scenography, and sound. Her practice explores how identity, gender, and social norms are shaped through historical narratives, cultural imagery, and ideas of normalcy.\u003C/p>\u003Cp>The video work \u003Cem>Hysterics\u003C/em> (2017) takes as its starting point the historical diagnosis of hysteria, associated with the female body since antiquity, and studied across 19th-century European medicine, most significantly at the Salpêtrière Hospital in Paris, where the neurologist Jean-Martin Charcot documented and photographed women's physical reactions, categorizing them as medical symptoms and staging them before an audience in his public lectures. Drawing on this history, Benborg examines hysteria as a bodily and cultural phenomenon. In collaboration with the dance collective FANCLUB, dancer Mejse Vedel, and sound artist Lærke Sødring, the work explores the movements and physical expressions historically associated with hysterical fits.\u003C/p>\u003Cp>Through a performative approach, the video revisits bodily gestures recorded in medical archives and considers how they can be understood both as symptoms and as forms of resistance. \u003Cem>Hysterics\u003C/em> highlights how womenâs emotional expressions and bodily reactions have been interpreted, controlled, and pathologized over time.\u003C/p>","\u003Cp>Rikke Benborg (b. 1973, DK) is a visual artist who graduated from the Royal Danish Academy of Fine Arts (2006) and Middlesex University, London (1999). She has previously exhibited at venues including Til Vægs, Copenhagen (2024); the 9th Cairo Video Festival, Egypt (2019); ARoS Aarhus Art Museum (2018); OâOvergaden, Copenhagen (2017); and ARKEN Museum of Contemporary Art, Ishøj (2017). Benborg received the Aage and Yelva Nimb Foundationâs Honorary Grant (2020) and the Danish Arts Foundationâs three-year working grant (2008).\u003C/p>",{"alt":396,"caption":24,"filename":397,"title":24,"srcset":398,"width":55,"height":399,"url":400,"orientation":33,"ratio":401},"A large screen showing a black-and-white video with a close-up of a woman's face with one eye closed, mounted on a white gallery wall.","in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e6164e5cab-1788876032/in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e6164e5cab-1788876032/in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e6164e5cab-1788876032/in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e6164e5cab-1788876032/in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm-2048x.jpg 2048w",1868,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/e6164e5cab-1788876032/in-protest-and-in-care_overgaden_040_photo-by-david-stjernholm.jpg",1.4453961456102784,{"label":403,"subtitle":404,"description":405,"note":406,"image":407},"Victor Vejle ","\u003Cp>\u003Cem>Sign\u003C/em> (2026)\u003C/p>","\u003Cp>In his practice, Victor Vejle works conceptually with the barriers that shape our physical and social spaces. In previous works, he has used readymades to highlight the lack of accessibility within urban spaces and to question physical barriers through an architectural lens.\u003C/p>\u003Cp>In the sculptural work \u003Cem>Sign\u003C/em> (2026), Vejle has placed a wooden staircase winding upward toward nothing in the center of the exhibition space. The staircase is a readymade that Vejle found during a trip to Poland and later had transported to Copenhagen. As an intervention into the existing architecture, the work amplifies the existing barriers within the exhibition space, as the stairs leading into OâOvergaden are extended and doubled through Vejleâs sculpture. Simultaneously, the work references the staircase as a religious, historical, and pop-cultural motif, frequently associated with the idea of overcoming obstacles. Creating a further barrier in the room, Vejle turns the staircase upon itselfâuseless as an architectural element and unable to fulfill its promises as a
53symbol. Both an obstacle and a symbol, the work questions accessibility and the staircase's promise as a structure for movement, progress, and transcendence.\u003C/p>","\u003Cp>Victor Vejle (b. 1994, DK) is a visual artist based in Copenhagen. Vejle graduated from the Royal Danish Academy of Fine Arts (2026) and has previously exhibited at venues including Kunsthal Charlottenborg, Copenhagen (2026); Fotografisk Center, Copenhagen (2025); and Fabrikken for Kunst og Design, Copenhagen (2023). In 2021, Vejle presented \u003Cem>Kørestolsrampe\u003C/em>, an institutional intervention at the Royal Danish Academy of Fine Artsâ annual Rundgang in Copenhagen.  \u003C/p>",{"alt":408,"caption":24,"filename":409,"title":24,"srcset":410,"width":293,"height":55,"url":411,"orientation":213,"ratio":295},"A sculptural staircase made of rusted metal steps and a curving handrail, elevated on tall, thin legs and rising to end abruptly in mid-air, displayed in a white gallery room with a checkered terrazzo floor.","in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/b87d7afcaa-1788876167/in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/b87d7afcaa-1788876167/in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/b87d7afcaa-1788876167/in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/b87d7afcaa-1788876167/in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm-2048x.jpg 2048w","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/b87d7afcaa-1788876167/in-protest-and-in-care_overgaden_006_photo-by-david-stjernholm.jpg",[],[],{"type":183,"content":415},{"code":24,"label":24,"text":416,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":24,"artist_statement":24,"url":24,"full_width":17,"files":417,"image":19,"poster":19,"images":418,"description":24,"sponsors":419,"sponsors_order":420,"items":421,"details":422,"links":423},"Installation Views",[],[],[],[],[],[],[],{"type":425,"content":426},"imageGallery",{"code":24,"label":24,"text":24,"caption":24,"text_after_truncate":24,"truncate_text":17,"details_expandable":17,"downloadable":17,"size":24,"artist_statement":24,"url":24,"full_width":17,"files":427,"image":19,"poster":19,"images":428,"description":24,"sponsors":468,"sponsors_order":469,"items":470,"details":471,"links":472},[],[429,436,442,448,455,461],{"alt":24,"caption":430,"filename":431,"title":24,"srcset":432,"width":433,"height":55,"url":434,"orientation":213,"ratio":435},"\u003Cp>Frida Lisa Carstensen Jersø, \u003Cem>Welcome\u003C/em>, 2026. Installation view from the group exhibition \u003Cem>IN PROTEST AND IN CARE\u003C/em> at OâOvergaden, 2026. Photo: David Stjernholm.\u003C/p>","in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm-2048x.jpg 2048w",1788,"https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/26c67dbe94-1788877485/in-protest-and-in-care_overgaden_001_photo-by-david-stjernholm.jpg",0.6622222222222223,{"alt":437,"caption":438,"filename":439,"title":24,"srcset":440,"width":293,"height":55,"url":441,"orientation":213,"ratio":295},"A window pane covered in swirling blue and white handwritten text, drawn directly onto the glass, with green foliage visible in the background outside.","\u003Cp>Bobbi-Johanne Ãstervang, \u003Cem>I mine vilde tiders morgen \u003C/em>(excerpt), 2026. Installation view from the group exhibition \u003Cem>IN PROTEST AND IN CARE\u003C/em> at OâOvergaden, 2026. Photo: David Stjernholm.\u003C/p>","in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm.jpg","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-800x.jpg 800w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-1024x.jpg 1024w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-1440x.jpg 1440w, https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm-2048x.jpg 2048w","https://cms.overgaden.org/media/pages/exhibitions/in-protest-and-in-care/deb2116e0c-1788878048/in-protest-and-in-care_overgaden_012_photo-by-david-stjernholm.jpg",{"alt":443,"caption":444,"filename":445,"title":24,"srcset":446,"width":55,"height":293,"url":447,"orientation":33,"ratio":75},"On the left a dark stained-wood sculpture depicting a pair of breasts resting on a wooden tray, on the right a sculptural staircase structure that curves upward and ends abruptly mid-air","\u003Cp>Installation view from the group exhibition \u003Cem>IN PROTEST AND IN CARE\u003C/em> at OâOvergaden, 2026. 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