No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm
No One’s Gonna Live You Like I Do, 2025. Installation view, Møstings Hus. Photo: David Stjernholm

Preppers, 2023
Solo exhibition, Skal Contemporary, Skagen DK

Kindly supported by:

Poul Johansen Fonden

Grosserer L. F. Foghts Fond

Overretssagfører L. Zeuthens Mindefond

Det Obelske Familiefond

Frederiksberg Kommune

Arbejdernes Landsbank

Press release:

In the exhibition No One’s Gonna Love You Like I Do, Christine Overvad Hansen unfolds the power structures of a psychologically abusive relationship. Her works present a narrative of possessive jealousy, control, and power – as well as resistance, hope, and turning points.

“No one’s gonna love you like I do” initially sounds like a big and profound declaration of love, innocent in all its devotion. But the statement also holds an inversely serious perspective, because if the tone is just slightly shifted, it suddenly appears as a threat. “No one’s gonna love you like I do.”

The exhibition No One’s Gonna Love You Like I Do is structured around this ambiguity and explores the cultural markers that, for centuries, have shaped our ideas about romance and relationships – reminding us how the warning signs of abuse can be mistakenly interpreted as love.

Christine Overvad Hansen combines classical sculptural traditions with a performative approach to materials. Sculptures with feather fans, soft textiles, and scents guide the visitor into the exhibition. We are led and seduced into increasingly condensed spaces, where sculptures on walls and floors – half-hidden behind curtains – create sculptural situations within Møstings’ simultaneously grand and intimate setting, addressing the mechanisms at play in relationships marked by psychological violence.

The exhibition is curated by Nanna Stjernholm Jepsen and realized with support from Ny Carlsbergfondet, Statens Kunstfond, Poul Johansen Fonden, Grosserer L.F. Foghts Fond, Overretssagfører L. Zeuthens Mindefond, Det Obelske Familiefond, Frederiksberg Kommune, and Arbejdernes Landsbank.

A catalogue will be published in connection with the exhibition, edited by curator Nanna Stjernholm Jepsen.


The exhibition is kindly supported by:

Grosserer L. F. Foghts Fond

Knud Højgaards Fond

Augustinus Fonden

  1. Juni Fonden