Did a interview with @endless_magazine_ out now in print only! Interview by @carolinebernerkuehl and photography by @oliviafrolich

‘Smoke Study (Dragon Spire Burning)‘ Daddy Issues at @kunstglstrand until 5th of May 2026

Publication out now ❤ Thank you @jeppeugelvig @peal___ @rheadall and Kristian Vistrup for writing and making this so great. Here's a peek Get a copy at @overgaden_ or online (link in profil)

To uger tilbage med "Tint" på Overgaden Indtil 25.01.26 på @overgaden_ Billeder af @david_stjernholm

Stilleben (The Fan) Olie og voks på lærred 175 x 190 cm At @overgaden_ Photo @david_stjernholm

Smokestudy (Christianborgs Brand) Oil, eyeshadow, and wax on canvas 200 x 275 cm Photo @david_stjernholm

Thank you to everyone who came out Friday! "Tint" is now open at @overgaden_ until the 25th of January. Thank you to @raerscents and @overgaden_ for collaborating with me on scent and exhibition. Photos by @david_stjernholm The exhibition is supportet by Aage og Johanne Louis-Hansens Fond, Statens Kunstfond, Beckett Fonden, Poul Johansen Fonden, Eickhoffs Fonden, Axel Muusfeldts Fond og Rådet for Visuel Kunst og Kultur.

~ OPENING TONIGHT, FRIDAY 21 NOVEMBER, 7 PM ~ ANNA MUNK: ”TINT” Please join us tonight, Friday 21 November, for the opening of Anna Munks’s new large-scale solo exhibition “Tint”. We start with a viewing of the exhibitions at 7–9pm, followed by DJ sets from 9pm onwards. The event is co-hosted by Anna Gunvor/PROXY. The bar will be open, serving cold refreshments. O—Overgaden’s director, Rhea Dall, will give a short welcoming speech at 7:30 pm. The bar will be open, serving cold refreshments. Free entry and open to all—we can’t wait to see you! ~ The exhibition by Anna Munk marks the culmination of O—Overgaden’s one-year collaboration program INTRO, generously supported by the Aage and Johanne Louis-Hansen Foundation. @anna__munk Photos by @david_stjernholm

~ OPENING 21 NOVEMBER ~ ANNA MUNK As a painter, Anna Munk builds up layered surfaces and historical quotations much like sculpting figures, while working through questions of aging versus appearance, decay versus density, make-up versus still life. Munk blows up 19th-century still life paintings found in storage catalogues of grand museum collections, turning these into a series of new billboard-sized canvases. The motifs are partly contoured from a palette of eyeshadow, highlighter, lip gloss, and foundation. The classical painterly creation and capture of a moment of beauty of, for instance, the fruit in the still life—and its imminent, haunting threat of decay—are thus mirrored in today’s omnipresent libidinous economy of the fresh face and painted (faux) appearance. Join us for the opening of the exhibition on Friday 21 November! Vernissage: 7–9pm Opening party: 9pm—1am / DJs: Lukas Danys ~ Mikkel Ulriksen The event is co-hosted by Anna Gunvor/Proxy. The bar will be open, serving cold refreshments. The solo exhibition by Munk will be on display show 25 January 2026. Read more about the exhibition via link in bio. @anna__munk

Thank you @josefineseifert for the beautiful portraits!

I’m happy to be showing this still life-billboard painting in groupshow “Pigment Compund” curated by @jeppeugelvig showing at @p21.kr ! The show is on view until the 27th of september 2025 @ 66 Hoenamu-ro, Yongsan-gu, Seoul, Korea 04346 Featuring works by So Young Park, Pamela Rosenkranz, Diane Severin Nguyen, Haena Yoo, Haneyl Choi, Sylvie Fleury, Simon Fujiwara, Sanja Ivekovic, Ju Young Kim Photo 1-3, installation view by Yangian Photo 4-6, studio photo “Cherryness” 
 Oil, wax and cosmetics on felt 115 x 150 cm, 2025

𝑭𝒓𝒖𝒊𝒕 𝑷𝒐𝒎-𝑷𝒐𝒎𝒎𝒆𝒔 by Anna Munk is included as part of The Historian, on-view at the gallery until 18 April 🍎 The composition for this work is appropriated from a Gustave Courbet still-life, completed late in life whilst he was imprisoned. Munk has flipped Courbet’s original arrangement to present its mirror image. By using a pre-existing painting from the canon of art history in this way, Munk sublimates elements of her own artistic decision-making, allowing for broader questions about absence and authorship to emerge. Her choice of subject explores the legacy and preservation of favoured cultural objects, alongside considerations of transience and desire which are inherent to the still-life genre. From working at museums, Munk has first-hand experience of seeing paintings restored, as well as those hidden art objects which are too frail or damaged to be publicly exhibited. Here she situates Courbet’s pomegranates and apples in an ambiguous blank colour field. As a result, the painting seems caught in a process of dissolution (or coming into being) that mirrors the threat of imminent decay embodied by the dark silhouettes of these over-ripe fruits. Anna Munk Fruit Pom-Pommes, 2025 Oil and wax on canvas 76.2 x 91.7 cm / 30 x 36.1 inches [framed]