4 July 2026 In News

TOMÁS SARACENO – ANCESTRAL FUTURES | HAUS DER KUNST, MUNICH, 17.07.26 – 07.02.27

TOMÁS SARACENO – ANCESTRAL FUTURES | HAUS DER KUNST, MUNICH, 17.07.26 – 07.02.27

Tomás Saraceno’s “Ancestral Futures” brings together the fields of natural sciences, architecture and Traditional Ecological Knowledge in the largest exhibition of his work to be staged in Germany.

Tomás Saraceno, El Santuario del Agua, 2026 (digital rendition).
“When the llama drinks from the stars and the spider weaves cycles of life, where the sky touches the earth and time expands like salt…” — a description by Tomás Saraceno of the exhibition “Ancestral Futures”.

“Ancestral Futures”, the largest exhibition to be staged in Germany by the international, multi- disciplinary artist Tomás Saraceno, brings insights from across the the fields of natural sciences, architecture and Traditional Ecological Knowledge (TEK), integrating intergenerational practices and beliefs that foster reciprocal relation between human and more-than-human communities. It opens at Haus der Kunst in Munich on 17 July 2026.

Inspired by the thought of the Indigenous Brazilian philosopher Ailton Krenak, the future is nothing we need to invent – it is already here, woven into the landscape like a river, Saraceno rethinks connections with the environment through his works to engage with other forms of life, and to imagine eco-social ways of living together on Earth. Tracing the unique journey throughout Saraceno’s multi-disciplinary practice, the exhibition connects large-scale immersive installations, drawn from his research and collaboration with human and more-than-human communities, to small scale environments, featuring vibrations of spider webs and dust particles, to question relationships with the earth, water, air, and the cosmos.

Starting with the air-filled sculpture Museo Aero Solar (2022), a transnational work and wider community project that has developed collaboratively across six continents since 2007 and continues to grow as an open, process-oriented artwork.

At the heart of the exhibition lies the expansive environment, Towards the Sanctuary of Water (2026), a reflection on the importance of water to life. The three adjoining galleries are dedicated to the cosmologies of the Indigenous Andean communities and establish a connection between northern Argentina and Germany.

The exhibition further features a landscape of intricate spiderwebs from the work series Webs of Attent(s)ion (2026) and the installations Algo-r(h)i(y)thms (2026) and Sounding the Air (2022 — 2026); the participatory project Fairclouds (2023 – ongoing) and the film Fly with Pacha, into Aerocene (2017 – 23) alongside stunning photographs by Tomás Saraceno taken on the Salinas Grandes salt flats, since his first visit in 2006.

On the initiative of the Red Atacama network, an alliance of indigenous communities of the Salinas Grandes, in northern Argentina, Tomás Saraceno is realising a permanent work of land art, The Sanctuary of Water (2026), continuing a collaboration in a region the artist has been visiting for the last two decades.

Haus der Kunst is contributing directly to this project, enabling the exhibition to have an impact beyond its own walls. The structure, which is being built using traditional Andean methods, is due to be completed in autumn 2026. Once completed, it will belong to the Red Atacama communities and is intended to protect the salt lakes’ water from contamination and evaporation caused by lithium mining in the region.

More than just a work of art, The Sanctuary of Water (2026) will be a place to celebrate water, enabling the communities to generate income from ecotourism and draw attention to their critical situation.

The exhibition explores ways in which we can maintain the balance of shared environments, encouraging a view of water not as a raw material, but as a living entity that deserves respect and care.

“Ancestral Futures” expands beyond the walls of Haus der Kunst, opening up to the Eisbach River with the newly created Community Garden Ostwiese and the sculpture Cloud Cities: Species of spaces (2023 – 2026) on the Terrasse Ost, providing seasonal spaces for communal habitats for various species, including birds, insects and spiders, as well as for the first time, inviting dogs to experience Haus der Kunst through their sense of smell.

Throughout the exhibition, the landscape of the English Garden will become an extended playing field with guided walks led by experts from Max Planck Society. On site,open workshops will see the creation of a Museo Aero Solar, built from repurposed plastic bags. Finally, in the autumn, an attempt will be made to launch the collaboratively created solar sculpture into the air.

The exhibition continues a programme shaped by Fujiko Nakaya‘s fog installations (2022), Philippe Parreno’s El Aimendral (2024) and, in particular, the current exhibition “Steina: Playback”, in which landscape, atmosphere and the elemental forces can be experienced as living and interconnected systems.

Just as Nakaya’s mist spread towards the Eisbach River and the English Garden, Saraceno too opens up the building to the surrounding landscape, blurring the boundaries between inside and outside, between human and non-human worlds.

Curated by Sarah Johanna Theurer and Andrea Lissoni.

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Visit the exhibition page on Haus der Kunst’s website

 

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28 June 2026 In News

LUCA TREVISANI – KOTIKEYE | CASA MUSEO JORN, ALBISSOLA MARINA, 30.05.26 – 25.08.26

LUCA TREVISANI – KOTIKEYE | CASA MUSEO JORN, ALBISSOLA MARINA, 30.05.26 – 25.08.26

Casa Museo Jorn presents Kotykeye, an exhibition by Luca Trevisani marking the culmination of a complex project curated and produced by associazione BLU– Breeding and Learning Unit (Genoa). The project is supported by the Directorate-General for Contemporary Creativity of the Ministry of Culture through the Italian Council program (13th edition), dedicated to the international promotion of Italian contemporary art

Luca Trevisani, Kotikeye, Casa Jorn, Albissola, Italy, 2026. Exhibition view. Photo © Andrea Rossetti.

After traveling internationally through a series of performances—from FRAC Corsica to the Académie Internationale de la Céramique in Geneva, and from the National Museum of Modern Art in Zagreb to the Palazzo Ducale in Genoa—and prior to entering the collection of the Museo Madre (Fondazione Donnaregina per le arti contemporanee) in Naples, this series of stoneware sculptures is being exhibited to the public for the first time at Casa Museo Jorn.

The works, created in collaboration with Danilo Trogu of the La Casa dell’Arte pottery—part of the renowned ceramic manufactures of Albissola—engage in a dialogue with the evocative site where artist Asger Jorn theorized and lived the fusion of architecture, nature, and art, now part of the Fondazione Museo della Ceramica di Savona.

This new series of sculptures stems from a deep investigation of the Toirano Caves (Savona), ancestral sites where geological stratification preserves traces of a millennia-old coexistence between nature and culture, human gesture and animal track, memory and matter. Here, alongside footprints left by humans thousands of years ago, signs of some dogs believed to have lived in close proximity to—and perhaps domesticated by—humans are visible. Trevisani explored these Ligurian karst cavities in search of these prints, reading them as thresholds of contact between species, shared histories, and points of mutual friction and transformation— signs suspended between the biological and the symbolic.

The stoneware sculptures, inspired by the morphology of the caves, have assumed porous and tactile forms incorporating organic traces and food, evoking processes of sedimentation and ritual.

 

The title Kotikeye refers to an expression used by christian missionaries in Antarctica; unable to reference the “Lamb of God” in a place where lambs did not exist, they pointed to the gaze of a seal pup as the ultimate expression of innocence. It is an animal and sacred gaze, capable of crossing barriers between species and cultures. The works thus present themselves as vessels for relationships and tools of proximity—sensitive surfaces where the human and the animal touch, recognize, and modify one another. The sculptures were activated through a series of performative banquets, convivial presentations conceived as rituals of relationship. In these events, every gesture becomes language: food is shaped through the sculptures, becoming a layer, a print, and a trace, involving bodies in a dance of proximity and discovery.

Kotikeye transforms the prehistoric footprints kept in the Toirano Caves into porous sculptures, thresholds of contact between human and animal, memory and matter, states Trevisani. The ceramic casts of the steps of a prehistoric family—and perhaps their dog—magical and restless, celebrate an interspecies alliance and a thought that traverses bodies, gestures, and touch. The food, served on the sculptures, invites guests to eat with their hands in a sensory choreography that restores touch to its role as an original language.

In their activation, the sculptures reveal their dual status: objects and subjects, tools and presences, symbols and bodies. The project as a whole questions the very idea of sculpture and tool, food, form, and function, proposing a radical reflection on domestication as a profound cultural device where control, affection, violence, and reciprocity intertwine.

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20 June 2026 In News

CESARE VIEL – SI PUÒ TREMARE PER UNA FRASE | BOOK

CESARE VIEL – SI PUÒ TREMARE PER UNA FRASE | BOOK

Si può tremare per una frase (“One can tremble at a sentence”) is a book edited by the artist himself, bringing together the performance texts of Cesare Viel written over more than thirty years of artistic activity.

It features thirty texts selected and arranged chronologically, designed to be enacted by the artist—either alone or alongside other performers—through various modalities: lecture performances, videos, audio interventions, environmental installations, and relational devices.

An opportunity to delve deeper into the practice of writing within Viel’s art: a fundamental aspect of his work, which has not always been fully grasped in all its complexity. The writings collected here can also be read in their purest textual dimension: fragmentary narratives, short stories, dialogues, and monologues. Moving between expressiveness, subjectivity, and thought in action.

The hybrid identity of these texts and, more broadly, the conceptual dimension of the entire oeuvre is evident from the very beginning of Cesare Viel’s research at the end of the 1980s. It revolves around recurring themes: the word, the voice, the body, gender identity, the relationship with space, the social context, and personal and collective memory.

An archive of living traces that activate even on the page, in the mind of the reader. Attention and dispersion, strength and fragility, presence and latency are some of the currents running through this magmatic, embodied, undisciplined methodology, which is at the same time consistently coherent and rigorous.

List of performances: Conversazione silenziosa / Faccia ascolto / Il corpo dell’attesa / Androginia / I folletti irritati / Una stanza per sé / Io sono mio / Passaggi qui dal sottoterra / Non detto / Seasonal Affective Disorder / Lost in Meditation / Accendere una lampada e sparire / Operazione Bufera / Domande per il corpo / Progetto Bachmann / Di nuovo una voce persiste / Mi trovavo a casa / Cul de sac / Giorno e notte / Echi di rumori scomparsi / Facciamo fluire via le nostre frasi / Infinita ricomposizione/Tutto si sposta, dopo un po’ / Verso Jorn / La performance che si dissolve nell’aria / Mrs Dalloway. Apparecchiare la cena / Il giardino di mio padre. Gli oggetti sotterrati / Nel cuore della relazione / Richiamato / Sappiamo che / Frasi nell’aria / Accendere una lampada e sparire / Una nuova lettera a Emily Dickinson

Cesare Viel

Si può tremare per una frase. Testi performativi 1990-2024, 2026

Postmediabooks

Language: Italian

Pages: 192 (51 ill.)

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1 May 2026 In News

ART DUBAI 2026 | DUBAI, 14.05.26 – 17.05.26

ART DUBAI 2026 | DUBAI, 14.05.26 – 17.05.26

Pinksummer partakes in Art Dubai’s special edition with a digital artwork by Tomás Saraceno.

Tomás Saraceno, Poetic Cosmos of the Breath, 2013. Installation view at Art Dubai Special Edition, United Arab Emirates, 2026. Courtesy of the artist and Pinksummer. Photo © Faiz Khan.

Poetic Cosmos of the Breath

 

Inspired by the work of Dominic Michaelis, an English architect and inventor who came up with the technology for a solar-powered hot air balloon, Poetic Cosmos of the Breath is a time-based, experimental, solar dome that takes flight only under certain climatic conditions. It uses deceptively simple materials: a paper-thin foil accompanied by a few sandbags, and a handful of participants to produce a startlingly ethereal, shimmering effect. Staged at dawn, as temperature conditions naturally shift, air inside the balloon is heated by a greenhouse effect and the lightweight material slowly lifts off the ground completely unaided by machines or electrical power. At the same time, sunlight cast through the material creates a vibrant rainbow-tinged iridescent glow. Firstly commissioned by The Arts Catalyst in 2007 as a performative action at Gunpowder Park in Essex, the installation was later presented in 2013 at “Mobile M+: Inflation!”, Hong Kong as a temporary event occurring periodically during the show.

Art Dubai 2026 | Special Edition

Madinat Jumeirah

14.05.26 (Preview)

15.05.26 – 17.05.26 (Public days)

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Pinksummer's stand at ARCO Madrid 2026.
28 February 2026 In News

ARCO MADRID 2026 | MADRID, 03.04.26 – 03.08.26

ARCO MADRID 2026 | MADRID, 03.04.26 – 03.08.26

Pinksummer will be participating to the 45th edition of ARCO Madrid with works by Mark Dion, Peter Fend, Koo Jeong A and Tomás Saraceno.

Pinksummer's stand at ARCO Madrid 2026.
Pinksummer at ARCO Madrid 2026, installation view. Courtesy of the artists and Pinksummer. Photo © CHOREO – Lars-Ole Bastar & Roman Häbler

Artistic Activism for an Interdependent Planet

 

In a world facing unprecedented ecological collapse, art must not only reflect — it must activate. This project brings together four visionary artists whose practices, though distinct, converge in a shared commitment to artistic activism. Each work on view constitutes a call to rethink our entanglement with the Earth, advocating for new forms of perception, responsibility, and planetary care.

Peter Fend transforms cartography into resistance. With Global Desert, he appropriates the visual codes of energy corporations to unveil the devastating realities of fossil fuel dependency. His maps and proposals are not metaphors, but real strategies — ecological blueprints that redraw territory along hydrological and biopolitical lines. His work exposes the contradictions of extractive capitalism while offering actionable alternatives grounded in planetary ethics.

Tomás Saraceno invites us into radical cohabitation with nonhuman worlds. His collaborative works with spiders — intricate web sculptures — and his iridescent, air-borne and foam-based installations propose a shift in consciousness. They ask: what would it mean to inhabit the air, the web, the void — not as dominators, but as guests? Saraceno’s practice merges science, architecture, and imagination, constructing utopias of interspecies solidarity and post-fossil futures.

Koo Jeong A’s SS(Seven Stars) series traces a lyrical, metaphysical path through ecology, astronomy, and perception. Her works imagine a reality in which trees, stars, and viewers are bound by invisible lines of light, time, and mutual care. Engaging with the forgotten dimension of night — now obscured by light pollution — her glowing canvases restore the dark as a space of vision and reflection. Her practice, deeply anti-speciesist, recovers the intelligence of plants and the silent wisdom of planetary rhythms.

Mark Dion turns his attention to the fragile ecosystems of marine life. Known for his practice of assembling pseudo-scientific displays that mimic the aesthetics of natural history museums, Dion draws viewers into an inquiry that is both ecological and political. By cataloguing species, artifacts, and remnants of human impact, he highlights what is at stake in our oceans: not only the loss of biodiversity, but the erosion of cultural and environmental memory. Through this work, Dion underscores how
coastal and underwater environments are frontline witnesses of the climate crisis, reminding us that preservation is not nostalgia, but resistance: a commitment to defending the plurality of life forms against the homogenizing forces of extraction and urbanization.

Together, these four artists articulate a politics of ecological urgency — one that rejects spectacle and embraces knowledge, care, and intervention. This is not an exhibition of environmental themes; it is a constellation of artworks-as-agents, tracing new imaginaries of coexistence, resistance, and transformation.

ARCO Madrid 2026

Pavillion 9, Booth 9D10

03.04.26 – 03.05.26 (Preview)

03.05.26 – 03.08.26 (Public days)

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Visit Mark Dion’s page

Visit Peter Fend’s page

Visit Koo Jeong A’s page

Visit Tomás Saraceno’s page

Exhibition view of Plamen Dejanoff's Heritage Project, Credo Bonum Foundation, 2026
11 February 2026 In News

PLAMEN DEJANOFF – HERITAGE PROJECT | CREDO BONUM FOUNDATION, SOFIA, 02.11.26 – 04.26.26

PLAMEN DEJANOFF – HERITAGE PROJECT | CREDO BONUM FOUNDATION, SOFIA, 02.11.26 – 03.29.26

Seven years after unveiling The Bronze House in the center of Sofia, Bulgarian-Austrian artist Plamen Dejanoff returns to Bulgaria with the exhibition Heritage Project.

Exhibition view of Plamen Dejanoff's Heritage Project, Credo Bonum Foundation, 2026
Plamen Dejanoff, Heritage Project, 2026. Exhibition view. Photo © Kalin Serapionov.

Heritage Project was first presented in 2024 at Kunsthaus Graz, Austria, and now arrives in a new version at Credo Bonum Gallery, inviting reflection on the need to learn from the past by tracing paths through the layers of collective cultural experience. As its title suggests, Heritage Project is dedicated to cultural heritage as a supreme value and a shared good—one that calls for responsibility and care.

 

For the artist, his hometown of Veliko Tarnovo and the nearby village of Arbanasi, from which his family originates, become a field for in-depth research. Dejanoff employs the means of classical sculpture, knowledge of craft traditions, and restoration processes, while also researching, collecting, exhibiting, and promoting cultural artifacts around which he builds a sustainable cultural context.

 

At the center of Heritage Project stands a specific object: a large wrought-iron entrance gate produced by an Austro-Hungarian company in 1830, installed at the entrance of the Tarnovo Synod in the mid-19th century, and damaged during the earthquake of 1913. The gate becomes an image of the cultural movements and influences that inevitably accompany human development.

 

Richly decorated and restored step by step to its original appearance, the gate is the subject of Dejanoff’s extensive research, involving various specialists. The artist himself acquires traditional craft skills, confronting firsthand the challenges posed by different materials. In close collaboration with specialized master craftsmen from the workshops of the Austrian Federal Monuments Authority, a process unfolds between functionality, restoration, and artistic freedom. The final result is both an object of cultural heritage and an autonomous work of art.

 

Plamen Dejanoff was born in Veliko Tarnovo and has lived and worked in Vienna for more than 30 years. He studied at art academies in Sofia, New York, Vienna, Los Angeles, Tokyo, and Stockholm. He is known for his research into craft and industrial objects, as well as various forms of consumption, commodities, and design.
In 2010, Plamen Dejanoff and Bernhard Heinz (lawyer and collector) founded a foundation whose mission is the cultural revitalization of Veliko Tarnovo, the affirmation of contemporary art within public perception in Bulgaria, and the realization of specific projects such as Heritage Project. The foundation operates within artistic contexts and is supported by numerous institutions and private individuals.

 

Project BG-RRP-11-016-0045 “Cultural Heritage” is funded under Component 11 “Social Inclusion”, Investment 6 “Development of the Cultural and Creative Sectors”, through the procedure of the Information System for the Recovery and Resilience Facility BG-RRP-11.016 “Grant Scheme for the Presentation of Contemporary European Productions from the Cultural and Creative Industries Sector to Bulgarian Audiences”, as part of the National Recovery and Resilience Plan.

 

Text © Credo Bonum Foundation

On occasion of the exhibition and in collaboration with the show’s curator Stephan Stoyanov, Pinksummer organizes a private view with works from the Heritage Project series presented by Pinksummer in 2024 and on view by appointment at Art Agency Ltd, Sofia, from February 10th, 2026 and throughout the entire exhibition.

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Exhibition view of Plamen Dejanoff's "Heritage Project", a private view by Pinksummer in collaboration with Stephan Stoyanov, Sofia, Bulgaria, 2026.
10 February 2026 In News

PLAMEN DEJANOFF – HERITAGE PROJECT | PRIVATE VIEW, ART AGENCY LTD, SOFIA, 10.02.26 – 29.03.26

PLAMEN DEJANOFF – HERITAGE PROJECT | PRIVATE VIEW, ART AGENCY LTD, SOFIA, 02.10.26 – 04.26.26

On occasion of Plamen Dejanoff’s solo show at Credo Bonum Foundation and in collaboration with the exhibitions’s curator Stephan Stoyanov, Pinksummer organizes a private view with works from the Heritage Project series presented by Pinksummer in 2024 and on view by appointment at Art Agency Ltd, Sofia, from February 10th, 2026 and throughout the entire exhibition.

Invitation card for Plamen Dejanoff's Heritage Project exhibition's private view organized by Pinksummer in collaboration with Stephan Stoyanov in Sofia in 2026

Press release

 

«The communist party in Bulgaria began building highly specialized high schools in the 1970s in order to better promote the talents of the youth.

There were high schools with a focus on mathematics… with a focus on languages… those with a focus on music… fine arts… and sports.

When I was 12 years old I was chosen (without being asked) for the sports high school in Tarnovo.
My dream was actually to become an artist but someone decided that I definitely belong in the sports high school. In the sports high school in Tarnovo we had at least six-seven hours of sport every day (six days a week), plus a bit of a few other subjects.

After a lot of effort on the part of my parents, I was able to leave the sports high school a year later and went to an art boarding school where I received six or seven hours of lessons in art architecture & design every day (six days a week for five years).

However, my friends from the sports high school in Tarnovo (including my “idol” Trifon Ivanov) developed well and in the 1990s, 7 out of 11 Bulgarian national football players were from this high school. 6 of the players who won bronze medals for Bulgaria at this world championship 1994 in USA were from my high school in Tarnovo!»

 

This episode marks the beginning of the Trifon Ivanov collection by Plamen Dejanoff, through which the artist gradually constructed an extensive body of works—almost a museum in itself—comprising photographs, stickers, and publications. The porcelain artworks, produced by the artist in collaboration with Augarten Wien, founded in 1718, are hybrid sculptures positioned halfway between soup tureens and football trophies.

 

«At the end of the 1990s, the education system in Bulgaria totally collapsed and one specialized high school after another was closed.The legendary sports high school in Tarnovo was also closed and brutally converted into a tourism school 5 years ago. As part of the Heritage Project, I was able to save part of the building (which was not needed) from destruction. With a lot of effort I dismantled part of the sports high school in Tarnovo with the idea of including this part of the building to Heritage Project».

 

Plamen Dejanoff began an in-depth research into craftsmanship to investigate European cultural heritage, focusing on both a sense of responsibility and national identity. Drawing on architectural, artistic, and craft knowledge, his artworks function as sculptural and architectural quotations that tell stories about their origins and the aesthetic qualities of traditional craftsmanship.

 

In collaboration with the BDA (Bundesdenkmalamt) Vienna, a conservation authority in which artisans and restorers supported the artist, Dejanoff produced a series of small sculptures referring to historical architectural elements. These works are made in iron and finished using medieval techniques, including oil painting with malachite and azurite pigments crushed and mixed with linseed oil.

 

The glass paintings are handmade and were produced in collaboration with Lamberts, the only company in Europe that still manufactures hand-blown glass, in operation since 1934. The chandelier is a reproduction composed of approximately 150 pieces and is based on an original chandelier from the Austro-Hungarian Empire.

 

Plamen Dejanoff’s private view in collaboration with Stephan Stoyanov will be on view on appointment from February 10th, 2026 and throughout the entire exhibition at Art Agency Ltd (Blvd. Bulgaria 58, Entrance C, Suite 16, 1680, Sofia, Bulgaria).

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Installation view of Koo Jeong A's Land of Ousss [ GRAVITTA ], Kunsthaus Bregenz 2026.
31 January 2026 In News

KOO JEONG A – LAND OF OUSSS [ GRAVITTA ] | KUNSTHAUS BREGENZ, 01.31.26 – 05.25.26

KOO JEONG A – LAND OF OUSSS [ GRAVITTA ] | KUNSTHAUS BREGENZ, 01.31.26 – 05.25.26

Installation view of Koo Jeong A's Land of Ousss [ GRAVITTA ], Kunsthaus Bregenz 2026.
Koo Jeong A, Land of Ousss [ GRAVITTA ], Kunsthaus Bregenz, 2026. Installation view. Photo © Markus Tretter. © Koo Jeong A, Kunsthaus Bregenz

Koo Jeong A directs our gaze to the incidental, to the marginal zones of experience that are first noticed after patient observation. Invisible phenomena can be experienced through sounds, smells, and minimal gestures. The invented and found, concrete and intangible slide into one another devoid of fixed boundaries. At the same time, Koo Jeong A’s work is characterized by extraordinary restraint. Just a few, precisely arranged elements are enough to generate a presence. In this respect, Kunsthaus Bregenz becomes an ideal sounding board. Its size and expansiveness allow the scarcely visible, the subtle, the just barely perceptible to come into its own.

 

For the ground floor of Kunsthaus Bregenz, Koo Jeong A is developing a floor object, a fragment of a skatepark taken out of context, its phosphorescent surface glowing in the dark. The sculpture extends as a sweeping curve that reorders the exhibition area. In dialogue with Peter Zumthor’s architecture, a space emerges that allows the material, light, and movement to be experienced aesthetically and poetically. As with the artist’s earlier skateparks–in connection with the Biennale in Venice in 2024, the Triennale in Milan in 2019, as well as exhibitions in Arles, Liverpool, São Paulo, and Seoul–Koo Jeong A’s use of the track’s curve takes the form of a Möbius strip at Kunsthaus Bregenz too. Here it appears as a sculpture developed specifically for the site, precisely formulated, and integrated into the spatial atmosphere.

 

A significant subject for Koo Jeong A is the exploration of phenomena that are located at or beyond the threshold of human perception. Displayed on one of the upper floors are wall objects that, composed of magnets, are affixed to the walls via swivel mounts. They float like powerful, metal paravents in front of the corners of the room, making us aware that there are forces at work that remain invisible to the naked eye.

 

Another floor is dedicated to scent. In 2024, Koo Jeong A developed a perfume with the Korean fragrance label NONFICTION for ODORAMA CITIES in the Korean Pavilion at the Venice Biennale. Now, a space for olfactory perception is also opening up in Bregenz, for the invisible, for that which can only be perceived by the senses.

 

Shown on the top floor is a film, surrounded by a multitude of greenish fluorescent stars, luminescent emblems of the cosmos, hinting at vastness and infinity.

 

KOO JEONG A’s installations aren’t stages or narratives; instead, they create atmospheres of permeability, spaces of energetic shifts and refined phenomena. The works come alive not through meaning or interpretation but through presence, coherence, and hidden albeit clearly perceptible energy.

 

Text © Kunsthaus Bregenz

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Installation view of Michael Beutler's Flow Motion at Bozar, 2025.
20 June 2025 In News

MICHAEL BEUTLER – BOZAR MONUMENTAL: FLOW MOTION | BOZAR, BRUSSELS, 06.27.25 – 08.31.25

MICHAEL BEUTLER – BOZAR MONUMENTAL: FLOW MOTION | BOZAR, BRUSSELS, 06.27.25 – 08.31.25

From summer 2025 onwards, Bozar will be inviting an artist to create an installation in the Horta Hall: Bozar Monumental. Something similar to the Turbine Hall in Tate Modern? Yes, but in this case tailored to what architect Victor Horta once conceived as a sculpture hall. Michael Beutler sets the ball rolling.

Installation view of Michael Beutler's Flow Motion at Bozar, 2025.
Michael Beutler, Flow Motion, Bozar 2025. Installation view. Photo

Michael Beutler’s workshop is based in Berlin. His studio looks like a cross between an impeccably arranged DIY shop and an industrial workplace. With an array of materials, homemade gadgets, and well-honed methods, he and his team manufacture the components for his installations. The creative process is more important than the final result. Finishing touches are always made on-site, and local materials and methods are often used.

 

First and foremost, Butler views the Horta Hall as a passageway, not an exhibition space. He wants to turn it into a place where people can stay, an orientation point. For this reason, he chooses what he calls a “floating situation”. He is building a cylindrical structure for the middle of the hall. This edifice will sit atop a water feature, with a revolving platform in its centre, where visitors can sit. We are in the midst of a massive zoetrope, an early predecessor to the movie projector that can be found at the Cinematek. A zoetrope consists of a vertical cylinder with slits and drawings on its interior wall. If you rotate the cylinder and look through the viewing holes, the images blend together into a primitive animation. In Beutler’s design, we are not just spectators, but participants, gazing out through the holes and animating the surrounding space. Thankful that we have come to take a look.

 

Over the past few weeks, Michael Beutler and his team have been hard at work transforming the Horta Hall, step by step. As always, he works with hand-powered tools of his own design. For Beutler, the process is just as important as the result: open, collaborative, and visible. He develops his own techniques, often produces his own building materials, and responds to each space like a true bricoleur — guided by the moment, the place, and the possibilities at hand.
His installations are playful and imaginative, inviting interaction and wonder. This latest construction is no exception: it is built on site, in dialogue with the architecture and shaped by the team’s hands.

 

Text © BOZAR

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11 October 2022 In News

Georgina Starr – Quarantaine – Pinksummer goes to London – 11.10.22

Pinksummer and Film & Video Umbrella present the London premiere of QUARANTAINE by Georgina Starr at Curzon Hoxton on 11th October

1st screening starts at 6.45 pm

2nd screening starts at 8 pm

Two young women follow each other through an arboreal portal in a London city park into a parallel dimension. Here, within the cloistered walls of a clandestine house of instruction, they join a queue of women at different stages on the path to enlightenment. Having their fortunes foretold and their identities re-cast, they fall under the spell of a disembodied singing oracle—Pearl Mama One. ‘Quarantaine’ is a dazzling meditation on the female body & voice, alternate realities and the grand illusions of cinema.