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Carl Mannov’s exhibition at Kunstnerforbundet explores the intersection between the staged and the immediate, where everyday elements are inserted into a theatrical reality. In Overlys-salen (the Skylight Hall), he constructs a fragmented narrative in which both people and letters function as visual signs detached from clear meaning.
A series of paintings depicts individuals with neutral facial expressions, wearing glasses and striped sweaters. We might feel a sense of familiarity with the characters, but Mannov withholds information and they remain unidentifiable. Other works consist of letter fragments—where, for example, a “t” might possibly represent a column.
The building blocks of the works—letters, people, body parts, or clothing—are arranged in a scenography where everything is potentially performative. What unites them all is the ambiguous balance between encoding and decoding, between figuration and abstraction.
Carl Mannov (b. 1990, Copenhagen) holds a Master’s degree in…
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Press Release
Carl Mannov’s exhibition at Kunstnerforbundet explores the intersection between the staged and the immediate, where everyday elements are inserted into a theatrical reality. In Overlys-salen (the Skylight Hall), he constructs a fragmented narrative in which both people and letters function as visual signs detached from clear meaning.
A series of paintings depicts individuals with neutral facial expressions, wearing glasses and striped sweaters. We might feel a sense of familiarity with the characters, but Mannov withholds information and they remain unidentifiable. Other works consist of letter fragments—where, for example, a “t” might possibly represent a column.
The building blocks of the works—letters, people, body parts, or clothing—are arranged in a scenography where everything is potentially performative. What unites them all is the ambiguous balance between encoding and decoding, between figuration and abstraction.
Carl Mannov (b. 1990, Copenhagen) holds a Master’s degree in…
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