Pinksummer is pleased to present
#comingsoon
#comingsoon
Pinksummer is pleased to present
Of Water and Other Reflections for Change is an exhibition that begins with the still, crystal-clear water of the great two-nave Renaissance cistern of Monte San Savino. Once fed by underground springs, the Cisternone supplied water to the local community through spouts set into the ancient walls of the town.
In L’eau et les rêves (“Water and Dreams”), Gaston Bachelard, who grew up near a river, argues that freshwater is the truly mythical water, unlike seawater, which is inhuman and perilous, closer to the infinite. Water is the element that most profoundly substantiates dreaming; it is the substance that, by dissolving solidity, induces a rêverie on existence and all that exists.
Reflecting on the fluid dissolution of constructs, it seems fitting to place within the cistern a work by Luca Trevisani that alludes to the phantasmatic and ritual origins of our civilization. This is a sound piece in which the artist translated into Morse code the geographical coordinates of the Addaura, a cave near Palermo that is currently closed to the public but preserves invaluable prehistoric petroglyphs. Using a software freely available online, he then converted the Morse code of the cave’s coordinates into sound, creating a timeless mantra detached from any specific place: astral.
These reflections, or further reflections, continue in different forms within the Baroque Church of the Confraternity of Suffrage, built through the expansion of the earlier sixteenth-century Church of the Holy Trinity. This is a largely undiscovered site: although the exterior has recently been restored, the interior has remained closed to the public until now, and Luigi Ademollo’s fresco cycle depicting the Deposition from the Cross has been removed for conservation purposes.
We imagined this space enchanted by the iridescent reflections of two Foam sculptures of varying dimensions by Tomás Saraceno, a series of works with a “liquid” consistency. In fact, the Foams evoke foam itself, the internal geometry of a fractal that can be found anywhere throughout nature. In the third and final volume of the Spheres Trilogy, devoted to contemporary society, Peter Sloterdijk allows spheres to dissolve into foam. Foam symbolizes the end of monocentric narratives and, in some sense, an attempt to reorient subjectivity after the collapse of interventionist ideas. After all, life is always a matter of finding a form again.
Here, works by three more artists will also be presented, all addressing the reordering of identity and ecology, because, as Félix Guattari argued, no ecology can exist without first engaging in the psychological transformation of the individual.
Inside the church visitors will therefore encounter Mark Dion’s remarkable cabinet Davy Jones’ Locker, a piece of furniture whose two doors feature a seagull based on one of Dion’s drawings, intricately inlaid with different wood species. Created for the American artist’s 2021 solo exhibition By the Sea, presented by Pinksummer in a seventeenth-century palazzo on Genoa’s Strada Nuova, the cabinet contains a series of glass vessels in which the artist has sorted marine debris collected on Genoa’s beaches according to type (plastic balls, bottle caps, cable ties, and other objects returned by the sea). The drawer of the cabinet contains a map of Liguria and its beautiful yet exploited sea, much like every sea everywhere on Earth.
Also on view will be a light box by Peter Fend, the American artist who, since the 1970s, has transformed his artistic practice into environmental activism. The sign recalls the colors of IP gas stations, but the words “Global Desert” reveal the true consequence of fossil fuel consumption: the transformation of the planet into a global desert.
The last work is a lamp by Michael Beutler, constructed from humble building-site materials with the aid of machines that he designs and often exhibits alongside his artworks: sort of large, electricity-free devices bringing artistic production closer to traditional craftsmanship. Beutler’s anti-consumerist approach views empowerment promoting self-sufficiency as a catalyst for change within the ontological foundations of society.
The exhibition continues at GAS (Galleria Andrea Sansovino), directed by Giuseppe Simone Modeo.
On the entrance staircase, In a Convex Mirror, a ceramic work by Mariana Castillo Deball. Within the practice of the Mexican artist, who is based in Berlin, this ceramic piece evokes a kind of anthropological universal related to material culture as a repository of technical knowledge. The work, originally presented in the artist’s 2022 solo exhibition of the same title at Pinksummer, is decorated with slip and features a perforation. This perforation evokes the “kill holes” used in ancient Latin American burial rituals; the Klein bottle, a mathematical object that connects interior and exterior by creating continuity between them; and the Mexican piñata, the pentolaccia that, in the European tradition, marks the end of Carnival and the beginning of Lent, and which missionary monks used as a tool for the evangelization of Indigenous peoples in Mexico.
Here, recent papier-mâché Treasure Boxes by Michael Beutler will also be presented: small sculptures inspired by the salt boxes once found in rural homes, created from the remnants of the large participatory and disorienting installation Onion, presented by Pinksummer last February.
Making its debut in the rooms of GAS at Palazzo Sansovino is Muffa semiotica (“Semiotic Mold”), a recently produced installation by Luca De Leva composed of short poems, assembled from fragments of text taken from the package inserts of personal care products: a form of self-erasure exercise connected to the project Thyself Agency, through which the artist proposes a series of exercises designed to disrupt habitual behavior. Among them is the temporary exchange of lives, which De Leva describes as a radical inward journey activated by abandoning one’s own routine and mimicking that of another person. He defines Thyself Agency as a “travel agency.”
The gallery will also present Georgina Starr’s feminist and alchemical tarots, used in her latest film Quarantaine, in which two young girls pass through a portal (a hollow tree trunk), leave behind the reality of a London park and surrender themselves to the unknown: a world governed by different rules, new educational systems, and mysterious languages to be learned. The installation consists of thirty-three watercolors from which the artist also produced an edition of cards.
Luca Trevisani will be represented in the gallery by a sculpture from his series Ai piedi del Pane (“At the foot of bread”), works made of bread molded with shoe soles, stabilized with resins and placed upon a precious wooden cobbler’s tool wrapped in pure gold leaf. The work evokes the human journey and the invention of bread as a decisive turning point in the progress of civilization. Trevisani maintains that diet functions as a form of social sculpture, shaping behaviors, habits, and pathologies.
In the drawings also presented in the gallery, Mark Dion appropriates the format of scientific classification charts used for educational purposes, only to divert their notations, arbitrarily and often humorously, toward culture and some of today’s most pressing ecological concerns.
We also wished to include in the exhibition a collage by Tobias Putrih, created as a kind of daily meditation inspired by the simple act of eating an egg for breakfast, breaking its shell, and transforming the fragments into a perfect, exquisite spatial composition.
Finally, the gallery will present two Spidermaps by Tomás Saraceno, spider webs transferred onto paper. These works are created by inviting spiders of different species to collaborate sequentially within an open carbon-fiber frame.In this instance, once the spiders have completed their work and been removed, Saraceno carefully transfers the web onto paper, preserving its original perspective and dusting it with graphite powder to make it visible against the white surface. Each web is then framed and protected with Museum Glass. The title always specifies which spider species collaborated (whether social, semi-social, or solitary), how many weeks they worked, and, if the carbon-fiber frame was rotated during the process, by how many degrees. Saraceno began collaborating with spiders around 2009, inspired by the superstring theory and the holistic sensibility that the microcosm reflects the macrocosm, and that the spider web resembles dark matter: the substance that constitutes approximately 70% of our universe and forms the vast cosmic network supporting galaxies and worlds.
Pinksummer is pleased to present
Pinksummer: Recently you said that you are trying to merge two personalities into one, to bring everything together into a single whole.
It made us think of the quantum paradox of Schrödinger’s cat, existing in a superposition of being both alive and dead at the same time.
In fact, we have always thought of the identities of Carsten Nicolai and Alva Noto as a superposition of possible states. After all, it seems that the first particle of matter emerged spontaneously from the void thanks to a vibrating energy: in some civilizations it is called the Word, in others “the songlines”, and if we were to extend our search through time as well as space, we would reach as far as the Tower of Babel.
It is said that what we perceive as solid is an illusion, and that the universe should instead be understood as a conglomerate of essential energy vibrating at different speeds—or rather, at different frequencies.
Does the solid and highly essential illusion of Carsten Nicolai not arise from the environments which we like to define as the “cymatic landscapes” of Alva Noto?
Carsten Nicolai: I’m not necessarily trying to merge my two personalities into one. Maybe it’s more about the perception of the outside world, because as we know, there’s still quite a big division between the world of music and the world of visual arts. And sometimes these worlds do collide—or at least in my terms they do a lot, of course, and they interact—but in the perception of the press, and the research, and the history of art as well, it is still a pretty much debated and probably unripe idea that these two worlds may naturally belong together. So I’m especially working on communicating that they do, and don’t necessarily need a division.
As for the parallel that you brought up with the paradox of Schrödinger’s cat… I think that’s a little bit too strong for me, because I hope neither of my personalities is dead. Just making a little note on this.
You’re also talking about solids, illusion, and the universe as a conglomerate of essential energy vibrating at different speeds, or frequencies. I think this is quite a beautiful metaphor. When talking about such deep topics, and the fact that we don’t completely understand what we are surrounded with, I think that if to this day we still don’t really know what this universe around us consists of, probably most of the stuff it consists of is not material, is not materia [“matter”, in Italian in the text]. So solids—what we are producing here—are actually pretty rare. And, of course, this way this ends up being more of a philosophical matter.
But I do like this metaphor about electromagnetic frequencies, because I think we can describe pretty much everything through electromagnetic frequencies, and energy levels. In this case, I would probably go as far as to say I actually prefer Rudolf Steiner’s idea, that Joseph Beuys also exploited—the idea of energetics, of the immaterial. And maybe we could work with this metaphor, while knowing that it stands for something that we cannot completely understand in a scientific way. Or maybe, we could have a different approach. Maybe we can see things from a religious point of view, or from a metaphoric, or poetic point of view. But I think approaching such topics on an artistic level is a very open and fruitful way of looking into this kind of fundamental questions.
PS:
We have read that Hans Jenny, in his cymatic experiments applied to words from ancient languages such as Sanskrit and Hebrew, found that the figures produced by the frequencies corresponded to the alphabetic symbols of those same languages. This brought to mind Cratylus, the dialogue by Plato in which Cratylus and Hermogenes discuss whether language is conventional or whether names reflect the nature of things. It seems that those ancient civilizations were already aware of the relationship between sound and visible form.
In this sense, technology reconnects us to the minimal and unadorned origins of language. In the case of your art, which symbolically rejects ornament and redundancy, do you truly believe that sound is a universal language not mediated by convention?
CN: In many ways, cymatics is a reference for my work.
But I’m actually no turning to cymatics in its classical sense, because Hans Jenny is a bit more parascientific in his way of explaining it, while I’m actually leaning much more towards a scientific approach here. My work refers more to Hermann von Helmholtz’s theories of frequencies and transmission, and doesn’t just look into sound, but into a wider range of electromagnetic frequencies from radio to light—including parts that are imperceptible to us. That’s maybe the main reason. And there’s a few moments where this kind of constellations manifests in a visual way. There are photographs, for example, of an installation I made using water, or milk, researching the way frequencies produce interference patterns on liquids.
I’m not a huge fan of the theory that language and words correspond directly to specific parts of cymatics. There are many reasons why I’m a little bit skeptical about that, but I don’t find that idea so convincing. Yeah. I’m taking a different path than Hans Jenny here, let’s put it like that.
“Do you truly believe that sound is a universal language, not mediated by convention?” Yes, I think that sound is a universal language because first of all, it’s accessible to everyone, since we all have the ability to hear. Perhaps we need to free ourselves from the understanding of language. And when I say language, I don’t mean spoken language—what I’m just now recording, for instance. I’m referring here to the effect of constellations of notes, or frequencies, to the way they can talk to us. I think this is an innate ability, culturally speaking.
There are, of course, different hearing patterns, connected to cultural context. A good explanation might be that in terms of harmonics, different scales or tonalities may be perceived differently. In that sense, it might be more of a social definition, if that’s what you’re referring to. But in general, I believe that sound is a universal language that can connect us very easily to each other—and maybe to the outside as well. A great example is when we tried to be seen by possible alien life forms; we basically expressed ourselves, our identity, and our existence, through a Golden Record that just contains sound, music, and some pictograms—the most fundamental communication forms. And we could say that if a pictographic alphabet is the fundamental visual form, then sound is the most basic form of communication in terms of hearing.
PS: Do you think the music of the Pythagorean spheres—what Boethius, a few centuries later, defined “musica mundana”—is comparable to cosmic microwave background radiation, the “fossil” echo of the Big Bang, discovered, incidentally, in 1965, the year of your birth?
CN: There has been a lot written about it, and a number of debates. I guess I’m a bit skeptical—or it might just be that the idea of there being a harmonious constellation of Nature, where everything goes in cycles, by perfect units… I think we all know by now that’s probably not the case. Things are much more complex than that. What instead may apply to all of our findings is the idea that Nature follows a sort of masterplan designed by God or, in this case, by some kind of force, if that makes sense.
I want to bring up a remark Einstein made about quantum mechanics, a beautiful phrase that probably relates strongly to the work I’m showing in Genoa. He said that “God does not play dice”—meaning He doesn’t make things arbitrarily or without reason. This is the common ground that drives scientists to believe in research, and is maybe also one of the reasons why I’m so interested in these kinds of constellations: what is randomness, actually? Does it “care” or does it not follow any kind of rule or order?
Which brings us to the Atlas Borealis drawings. I have introduced six circles on them—six, like the numbers you choose when you play the Lotto [“lottery”, in Italian in the text]—each enclosing a random constellation. These star constellations are so gigantic that how they sit together in terms of size and order can only be random—because we look at them from our microscopic point of view on Earth; and from Earth we look at this gigantic mass of nothing but a few Suns, this immense amount of space that is hard to process for us in terms of understanding—but I think I’m drifting away from your question here.
PS: Have you ever been in an anechoic chamber?
CN: Yes, I have been in quite a few and I have also been in the Quietest Room on Earth. That is also an anechoic chamber, at Orfield Laboratories, in Minneapolis. It was a great experience because what you understand there is that there is no “no-sound”. When you come into such a space what happens is, you start hearing yourself. You can hear your eyelashes, you can hear your bloodstream, you can hear your heart clearly. We are not silent. You get very deeply involved in your body’s activities there.
PS: We have read that low frequencies correspond to magmatic and, at least in appearance, chaotic forms, while high frequencies produce very precise rhythmic patterns. It seems to us that the morphogenetic outcomes of your sound architectures suggest a preference for high frequencies and the analytical vocation of Modernism.
If we were to simplify and assign frequencies to our time, would you say that ours is qualitatively a high-frequency or a low-frequency time?
CN: I don’t necessarily think that rhythmically architectural frequencies are high. I think they can be both low and high—I don’t make a division, I see them together. We have to understand that our “low” and “high” frequencies are such for us, and only apply to us, as humans. For different animals, or bugs, or insects, or whatever, the frequencies of low and high have a different definition. Maybe some of the frequencies we hear or see are out of their range, just like the frequencies we can hear only go up to a certain point. Take high frequencies. The limit of what we can hear or perceive is around 20,000 hertz. What I’m trying to say is that our “high” frequencies are definitely low compared to the full range of frequencies, and this concept of “high” and “low” only applies to humans. I actually see sound in a much wider range than our perceptive range. I hope this can answer your question a little bit better.
PS: How do you assign colors to your soundscapes?
What frequency does white have?
CN: This is a very simple question. By definition, white light contains the whole spectrum of frequencies in it—so more of less, all colors. The definition of white noise has been also created in relation to this—because with white noise, too, you basically have all the frequencies inside. And if you look at it, it is also a very beautiful metaphor—how a white light, which we tend to consider the purest and simplest form, is actually a maximum you can filter any color out of, because that color is already inside of it. And the same goes for white noise: any kind of music piece, any kind of noise, or sound, is already inside of it. White is like a huge piece of marble: you can create any kind of sculpture with it—and the same goes for the matter surrounding us. So, even though white always feels so pure and empty to us, it is actually the complete opposite. White is the absolute maximum.
PS: What will you be presenting at Pinksummer?
CN: I’m presenting 24 drawings of the Atlas Borealis at Pinksummer.
I have been collecting star atlases for many years, and I have a fascination with them. At the same time, I wanted to create something specifically for Pinksummer and Genoa in connection to lottery, where you “play the dice” with numbers, and randomness. This gave me a systemic base for the idea that we can’t predict randomness, or numbers; Genoa was the birthplace of modern lottery, so there is obviously a strong connection between the city and the concept of chance.
I took these drawings as a source for random constellations that are so gigantic—as I said earlier—they can only be described as random. Through the six circles I’ve drawn on them, I have more or less defined a random constellation of dots on each map—different sizes, different distances, different weights—making it a possible source for other works. These compositions could be later on a source of random data for writing a composition program, or new visual patterns. This is kind of a very fundamental source for me in the future.
But the drawing themselves are also beautiful, because they have their own logic. I made the circles without trying to follow any kind of rule as for how and where to place them—and that’s probably what we call “intuition”, or rather, “intuitive choices”. That is what I really believe in.
But the drawing themselves are also beautiful, because they have their own logic. I made the circles without trying to follow any kind of rule as for how and where to place them—and that’s probably what we call “intuition”, or rather, “intuitive choices”. That is what I really believe in.
I hope this answers everything and thank you very much.
On occasion of Plamen Dejanoff’s solo show at Credo Bonum Foundation and in collaboration with the exhibitions’s curator Stephan Stoyanov, Pinksummer is pleased to present the first Bulgarian edition of Pinksummer Goes to…, woth a private view featuring 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.
Pinksummer is pleased to present
«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).
For his third solo exhibition at Pinksummer, Onion, Michael Beutler transforms the gallery into a layered architectural device in which the work becomes a “room within a room”.
At the center of the reflection is the value of material labor as an act of resistance: in a 2026 dominated by algorithms, Beutler responds with a machine that “could have been made a hundred years ago” — low-tech, manual, participatory. The installation that gives the exhibition its title, in fact, is activated only through the interaction of the public.
With the twelve Salzschätzen (salt boxes) produced from the scraps of Onion, Michael Beutler completes the definition of a space of play and disobedience in which, to reconnect with objective reality and the wisdom of artisanal labor, “the tip of your finger” is enough.
Pinksummer is pleased to present
Pinksummer: A paradox of philosophy is that it understands work as non-existent before Hegel if not as a formless mark of servitude, with few exceptions — such as the Sancta Regula set forth by Saint Benedict with its ora et labora, pray and work. As a matter of fact Hegel, in chapter IV of his
As the workingman, while working, impresses his form and rationality on matter, this act endows him with self-consciousness and a superior freedom. Hegel sees work as an act of human self-generation, a man is the result of his work. By satisfying the needs of civil society, work integrates the individual into a network of mutual dependence and cooperation. Through labor, one becomes a historical subject. Hegel only briefly glimpsed the danger of the mechanization of the human under the abstract and fragmented work brought about by the Industrial Revolution. Marx’s critique renders the concept of labor more material and sensuous, and above all understands the State as an instrument of the dominant classes, and capitalism as the economic distortion of a market detached from necessity and collective utility.
You have always maintained that, in relation to your work, the process is as important as the result, and that work—especially communal work—appears fundamental to any realization. We believe that you hold a conception of material labor that is profoundly spiritual with regard to self-generation, human formation and self-consciousness.
In 2026, workers are not only separated from the finished product, as they were after the industrial revolution; in this phase of financialized capitalism, workers are actually disconnected from their intelligence, which is sometimes used to train algorithms that could replace them. AI’s algorithmic management makes hiring, firing, and workload decisions based on big data. Corporate power becomes inscrutable, opaque, and difficult to challenge.
What would Hegel and Marx say today about the precarization of work, the wage compression, the de-professionalization, the real subsumption of work under digital capitalism? Will work ultimately exit humanity and fall into spurious algorithmic calculation?
Michael Beutler: I guess there will always be work, some of it quite detached and some as it always has been. There are works that AI cannot substitute, like the work of the plumber. And even though there is big research in how building processes could be individualized with AI and robotic tools… there is also the slow shift in understanding the limits of technology. Everything just becomes more complex and less enjoyable. There is a big longing for simpler routines, simpler and more communicative ways of working together. I believe that humans will keep work within their reach. But it is true the situation today is worrying and not everybody has the power to decide for themselves. I don´t want to imagine how many people will lose their jobs due to AI. What will they be doing instead?
PS: Your practice evokes DIY activism, the anti-consumerist approach, and the empowerment that promotes self-sufficiency, creating highly creative and collaborative alternatives that prepare an ontological substratum both among the teams you form and among visitors. Everyone becomes a participant, as in last year’s Bozar Monumental Flow Motion project in the Horta Hall. The manual machines you invent “on the job” for the
making of your installations are indispensable parts of the exhibition, as though highlighting the fertile relationship between work and knowledge typical of artisans, in a world dominated by AI automation.
In the past, progress and the flourishing of inventions were the work of manual workers operating in a collective environment, philosophically prepared by the Scientific Revolution: Thomas Newcomen, inventor of the steam engine in 1705, was a blacksmith; John Kay, who in 1733 invented the flying shuttle, a mechanical loom, was a cloth merchant; Abraham Darby, pioneer of the eighteenth-century iron industry, was a former miller turned founder. Workers with a strong will to experiment, and boundless energy. Social advancement often passed through the patent office.
Financialized capitalism, which soars on technological wings – as after all did the manufacturing one before it – relies on social consent. In this sense, social media and transnational fake-news factories are very much to its advantage.
We have always understood your technicalized aesthetic as a space of disobedience, and also as a survival strategy.
Is it the case that even today, no one should speak seriously about labor without having once smelled the scent of turned and milled metal?
MB: Well, no. Anybody should have the right to talk. I think it is good for everybody to understand that we all have different understandings of what we do. A manager, who never has touched wood, might have some good ideas about how to deal with a chair a carpenter has made. I think we are very lucky to in this world together and not alone. I feel no need to claim all the knowledge I have about the work I do. I make my work the way I do to be independent, but this doesn’t mean that I wouldn`t be interested in the opinion of someone who might not have a clue about what I do.
PS: You once said that, for a farmer, the most beautiful machine is the one that becomes so integrated into their agricultural system that it completely dissolves within it — completely dismantling, we might add, the notion of passive consumption. Do you believe it might be possible to take a step back and methodically imagine the idea of free expression without appearing foolish? Could this be the sense of the turning gate in the Onion exhibition you will present at Pinksummer, and of the Flow Motion at Bozar? Without nostalgic tropes, could they be loosely understood as Puertas del retorno, helping us reconnect somehow to what Hegel considered objective reality? The sense of the zoetrope within
MB: I don’t know what Onion will do to people, or if it will turn and float or sink altogether… it is not finished yet. But
PS: We always have the impression, when faced with your work, that you manage to pull real, living rabbits out of metaphysical hats. Perhaps it’s just foolish imagination, but all this metaphor of rotating things, and in particular the idea of the turning gate, brought to mind the 2002 film by the Korean director Hong Sang-soo,
In this particular moment in History, humanity appears rather frustrated and vindictive: a rotating gate could resemble a symbol of life and of necessary change.
Speaking of memory, over five years and three months have passed since your last exhibition at Pinksummer, Keep Beating below 65°. It was October 2020; Covid had begun in February, people had remained shut inside their homes all spring, summer had allowed us to catch our breath again and in the press release interview for that exhibition you stated: “Covid 19 is still around and will only be dealt with when all are working together. The Internet has helped spread information and keep people busy in their lonely homes, but it also keeps spreading wrong information and a lot verschwörungstheorien. The internet provided a way to talk to my students, but meeting them in person after some months really made us very happy. So I guess, Keep beating below 65°, because we don’t want the beautiful foam to collapse. Energetic but careful beating, I would say. I so very much want to set up this tiny workshop in the gallery, that with just three or four people will make some nice foamy shapes, that will slowly grow together to shape some big structure, which will conquer the space, separate us from each other again, but hopefully also display the joy of its togetherly making.”
Precisely during the making of the exhibition, many people from the improvised team became ill with Covid, fortunately without any serious consequences — they were young. A long winter followed — not terrible in Italy like the first lockdown, but gloomy nonetheless.
Your words and that beautiful exhibition which excluded solitude had given us comfort, but since then the foamy forms of civil society appear somewhat collapsed, as if humanity were still trapped in an arcane defense mechanism activated to repel unpleasant emotionscaused by negative experiences. As if anxiety and fear had thrown us into a vicious circle. In this sense, could the turning gate represent a psychological mechanism of tightening, in consideration of the perspectives at play in the present — assuming that time remains linear, though like a coiled serpent?
MB: The turning gates and other works on water all create intense situations within which people usually come together. It is not so much the workshop of the last exhibition that created a social bond, but it is this strange visual experience you share with other visitors you mind find within the carousel (turning gates are of course also carousels, only you are not being moved… just mentally carried along.)
When you enter a gate, everything around you is moving. No sound is accompanying the movement and gives acoustic proof for the visual sensation. Your body feels the movement, but your feet are not walking. For the moment you might find yourself completely detached from the familiar space that the gallery promised you, as you came in and you might as well for the moment be detached from all the troubles out there. Pure physical magic sucks you in.
It was too much for quite some people in Flow Motion at Bozar. They quickly had to leave the inner circle and could take relief observing the constantly moving drum from the outside.
The observers themselves turn the gate. There only is movement when there is interaction. By the tip of your finger, you have the power to make the thing turn, for yourself and for everybody else.
The Onion depends on people as well. It invites you to play. Play has positive potentials and effects and is deeply connected to not only human creatures on this planet. Very many people simply heavily smiled sitting inside Flow Motion.
PS: Your new solo exhibition at Pinksummer is titled
Naturally, Marina Abramović’s 1995 performance The Onion also came to mind. To simplify, we would say that the performance focused on the positive and liberating power of crying.
The Polish poet Wisława Szymborska, in a poem, speaks of the “onionhood” of the onion, which, “oniony” all the way to the core, “could look inside itself without feeling fear”.
Why did you Michael Beutler’s third Pinksummer solo show Onion?
MB: Because of an Italian childrens book Adventures of Cipollino. I tried to read it to my daughter, but I think I have to wait a little longer. This might be more of a coincidence. Another reason is the architectural use of the onion as a symbol for multiple thermic wall layers to create defined areas of specific temperature. Onion itself is a room inside the gallery, which itself is a room inside the palace. And there are more layers within
In the pause between Anna Scalfi Eghenter‘s first Pinksummer solo show Collectors Anonymous and Michael Beutler‘s third Pinksummer solo exhibition Onion, Pinksummer is pleased to announce the first edition of INTERVALLO. Landscapes in-between , a special intermediate installation dedicated to selected works from Pinksummer’s archive.
In the February 2026 edition of INTERVALLO, Pinksummer presents a selection of works by Koo Jeong A, Tobias Putrih, and Tomás Saraceno.
February 3rd, 2026 – February 10th, 2026
Pinksummer | Palazzo Ducale, Genoa
2022
285 neon rossi, hand-shaped cold cathode illuminating tubes in crystal, silicone insulating covers for electrodes, high-voltage cables, transformers, accessories.
Unique
Photo by Ela Bialkowska, OKNO Studio
Teatro Sociale, Trento, Centro Servizi Culturali S.Chiara. Legal curator Fabio Bassan, 20/04 – 02/04, Teatro Sociale, Centro Servizi Culturali S.Chiara, Trento.
Photo by Ela Bialkowska, OKNO Studio
Scaccchi. Omaggio al padre
2014
Unique
Photo by Ela Bialkowska, OKNO Studio
Tennnis. Homage to Albertina Eghenter.
2010
Centre Court, Centro Tennis, Meranarena, Merano – 17/10 2010-09/01 2011, curated by Angelika Burtscher, Daniele Lupo, Lungomare Bozen-Bolzano; Centre Court, Centro Tennis, Meranarena, Merano.
Photo by Ela Bialkowska, OKNO Studio
Anna Scalfi Eghenter (1965 Trento, Italy) lives and works in Italy. Working at the intersection of sociology, law, and the visual arts, their practice does not produce decorative objects, but critical devices that challenge the norms of civil coexistence. Through installations and performances, Scalfi Eghenter manipulates the boundaries of property and bureaucracy, transforming the audience into an active political body.
Among their most significant projects are Collectors Anonymous, which applies support group methodologies to the art market, and the Jurisdictional Gymnasium, where physical activity becomes a metaphor for the exercise of rights. With a background spanning from Management to Fine Arts, the artist has exhibited in numerous international contexts, such as the Berlin Biennale and MAXXI.
Anna Scalfi Eghenter
Communio pro-indiviso
2022
285 red neons, hand-molded crystal cold cathode lighting tubes, silicone electrode insulating covers, high-voltage cables, transformers, accessories.
110 x 716 cm (entire work) / 14 x 8.5 cm (single piece)
Unique edition
Photo © Ela Bialkowska, OKNO Studio
[A work shared among multiple collectors who own varying shares of the square elements of which it is composed; as such, every owner of the undivided work is defined as a “communist,” as the work spells out in its entirety. Each frame establishes ownership of a portion of the work, and each collector can acquire multiple neon units, which together will constitute the corresponding percentage of ownership of the entire asset in “Communio pro indiviso”.]
Anna Scalfi Eghenter, Scaccchi. Omaggio al padre. Private collection, Rome, 2014. Installation view. Photo © Ela Bialkowska, OKNO Studio.
[Players can place a new chessboard on the side without adding pieces or changing rules.]
Anna Scalfi Eghenter, Interim Measure, Centro Servizi Culturali S.Chiara, Teatro Sociale, Trento, 2021. Installation view. Photo © Ela Bialkowska, OKNO Studio.
[During the lockdown to open the theater, a supermarket is opened inside.]
Anna Scalfi Eghenter, Tennnis. Homage to Albertina Eghenter, Centre Court, Tennis Centre, Meranarena, Merano, 2010. Installation view. Photo © Ela Bialkowska, OKNO Studio.
[once the net is halved, the court is adapted and the match starts as per the usual rules].
Anna Scalfi Eghenter (1965 Trento, Italy) lives and works in Italy.
EDUCATION
2013
PhD in Management Studies, Essex Business School, University of Essex, Colchester, UK
2003
MSc in Sociology, Department of Sociology and Social Research, University of Trento, Italy
1991
MFA in Acting, Silvio D’Amico National Academy of Dramatic Arts, Rome, Italy
1988
MFA in Pittura (corso di Luciano Fabro), Accademia di Belle Arti di Brera, Milan, Italy
PERFORMANCE, PROJECTS, EXHIBITIONS (SELECTION)
2025
Collectors Anonymous, Pinksummer, Genoa, Italy
Die Komödie! [The comedy!], 13th Berlin Biennale, Germany
2024
The fluo swan, AR/GE Kunst, Bozen, Italy
The Museum Game, Tiroler Landesmuseum Ferdinandeum, Innsbruck, Austria
2023
Faites vos jeux, Tiroler Landesmuseum Ferdinandeum, Innsbruck, Austria
2021
Interim Measure, Teatro Sociale, Centro Servizi Culturali S. Chiara, Trento, Italy
2019
La fabbrica c’è ancora, MUSE – Museo delle scienze, Trento, Italy
2018
Green Woman on the Traffic Lights in LA STRADA. DOVE SI CREA IL MONDO, curated by Hou Hanru with the curatorial team, MAXXI – Museo nazionale delle Arti del XXI secolo, Rome, Italy (permission denied)
2016
Property Free Certification, Res Communis Omnium, Matrici irregolari, Paesaggio Privato, in “De Rerum Rurale”, curated by Matteo Lucchetti, 16th Art Quadriennale. Altri tempi, altri miti, Palazzo delle Esposizioni, Rome, Italy
Unflagged, in Der Blitz 2016, curated by Denis Isaia, Federico Mazzonelli, MAG Museo Alto Garda, Riva del Garda, Italy
Qual mobil veste allo spirto de popoli, for Giornata del Contemporaneo AMACI, MAG Museo Alto Garda, Riva del Garda, Italy
2014
S’ils n’ont pas de cerfs, qu’ils chassent des princesses, curated by Rebecca De Marchi, Eco e Narciso, in Stupinigi Fertile, Palazzina di Caccia Stupinigi, Musei in Mostra – Artissima 21, Turin, Italy
Partoutoù les circonstances l’exigeront, in Esercizi di Rivoluzione, curated by MAXXI, Nomas Foundation, MAXXI – Museo nazionale delle Arti del XXI secolo, Rome, Italy
Homage, in Iconica, curated by Bartolomeo Pietromarchi, Maria Alicata, CONI, Foro Italico, Rome, Italy
2013
La stanza delle asole, in ARTE PUBBLICA. Modelli ed esperienze nazionali e internazionali a confronto sul tema arte pubblica e reti socio-economiche, curated by IFM Foundation, Nomas Foundation, MACRO – Museum of Contemporary Art, Rome, Italy
Agonale, in Autoritratti. Iscrizioni del femminile nell’arte italiana contemporanea, curated by a.titolo, MAMbo – Museum of Modern Art, Bologna, Italy
Property Free Certification, curated by Matteo Lucchetti, Circolo dei Lettori, Sala Grande, in Legally, curated by Gianmaria Ajani and Alessandra Donati, Biennale Democrazia 2013, Turin, Italy
2012
Tennnis. Homage to Albertina Eghenter, curated by Giovanna Nicoletti, MAG Museo Alto Garda, Circolo del Tennis Riva, Casina delle Magnolie, Riva del Garda, Italy
Grande Disegno, in Dialogo con Pinot Gallizio, curated by Francesca Comisso with Archivio Gallizio, Chiesa di San Domenico, Alba, Italy
a.property, in Mente locale, nuovi committenti per una mostra / VIAPAC project / curated by a.titolo / Il Filatoio di Caraglio, Italy
reset, in Enacting populism in its mediæscape, curated by Matteo Lucchetti / Kadist Art Foundation, Paris, France
2011
L’Apocalisse non avrà tempo di essere annunciata, in Lo stato dell’arte – Trentino Alto Adige, Special initiative of the Italian Pavillion, 54th Venice Biennale, Palazzo Trentini, Trento, Italy
Liturgia Breve, curated by Maria Rosa Sossai, Avelino Sala, Reale Accademia di Spagna a Roma, Tempietto di Bramante, Rome, Italy
’68TN, curated by Andrea Viliani, Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità, Trento, Italy
2010
Histogram, Palais de la Bourse, Brussels, Belgium
L’opera è il pubblico, in Il titolo è il pubblico, curated by Denis Isaia, Südtiroler Kunstlerbund, Bozen, Italy
2009
Traccia 0, via Belenzani 46, Trento, curated by Andrea Viliani, Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità, Trento, Italy
2008
Italia, esterno notte, in Del Paese e altre storie. Politica, rappresentazione e nuovo realismo nella giovane ricerca artistica italiana, curated by Denis Isaia, Loggia degli Abati, Palazzo Ducale, Genoa, Italy
Celata (sotto la piazza scorre una roggia), in Manifesta7 parallelevents, curated by Denis Isaia, Piazza Duomo, Trento, Italy
Always Half Full, in Dai tempo al tempo, curated by Fiona Parry, Joseph del Pesco, Pelin Uran, Fondazione Sandretto Re Rebaudengo, Palazzo Re Rebaudengo, Guarene d’Alba, Italy
2007
Money Will Save the World, Palais Brongniart, Place de la Bourse, Paris, France
Welcome to Italy, curated by Julia Trolp, Mart-Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy
2005
Aesthetics, Trading of Time and Creativity, Mart-Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy
PROJECTS IN UNIVERSITIES, LECTURES (SELECTION)
2017
Rilevatore posturale di saluto, in Frammentazioni, LUISS Business School, Villa Blanc, Rome, Italy
Campo da Legalità, in Università per la Legalità – Fondazione Falcone, University of Palermo, Italy
Sopralluogo per sperimentare la consistenza giuridica degli spazi, Polo Carmignani, University of Pisa, Italy
Permission d’arrêter et de retour, Scuola di Economia, RomaTre, Rome, Italy
2016
Permission d’arrêter et de retour, in “De Rerum Rurale” a cura di Matteo Lucchetti, 16th Art Quadriennale. Altri tempi altri miti, School of Economy, RomaTre, Rome, Italy
2015
The Game of the Rules, CETCOPRA / Università Paris 1 Pantheon-Sorbonne, Paris, France
Keynote, in Organizational Creativity, Play and Enterpreneurship, Chania, Crete, Greece
2013
Agonale. Managers and Entrepreneurs (CUOA Business School) with Cristiano Seganfreddo, MAMbo – Bologna Museum of Modern Art, Italy
Il curatore giuridico. Esercitazioni nella palestra giurisdizionale, curated by di a.titolo, Dipartimento di Giurisprudenza, Università di Torino, in Legally, curated by Gianmaria Ajani and Alessandra Donati, Democracy Biennale 2013, Turin, Italy
2012
Traccia 68, Sociologia, Trento, in Tracce fuori mappa, Faculty of Sociology, Trento, Italy
Percorso Metodologico, in La notte dei ricercatori, University of Trento, Italy
Il campo è ovunque, Free University of Bozen, Italy
2010
Three Years Later, FBK >Arte, Fondazione Bruno Kessler, Povo, Italy
Metodologie di conversione linguistica applicata, in Platform Translation, curated by Silvano Manganaro, Barbara D’Ambrosio, Museo Laboratorio di Arte Contemporanea dell’Università La Sapienza, Rome, Italy
habitAzione [trad. Anna Scalfi], in Clean floor, by Chiara Leonardi (FBK), Massimo Zancanaro (FBK), Fabio Pianesi (FBKNetcarity), Francesca Gennai (IRSRS), FBK-Fondazione Bruno Kessler, Via S. Croce, Trento, Italy
2009
Between the Brain and the Bunny [transl. Anna Scalfi], in Clean Floor, di Paolo Avesani (FBK CIMEC), in The Researchers’ Night, FBK-Fondazione Bruno Kessler, Via S. Croce, Trento, Italy
Through the Looking-Glass [trans. Anna Scalfi], in Clean Floor, di Michele Zanin (FBK), Paul Chippendale (FBK), in The Researchers’ Night, FBK-Fondazione Bruno Kessler, Povo, Italy
I’m Here [trad. Anna Scalfi], in Clean Floor, by Paolo Massa (FBK), Maurizio Napolitano (FBK), in The Researchers’ Night, FBK-Fondazione Bruno Kessler, Povo, Italy
Differenze di classe (spazio di 1° classe e spazio di 2° classe), Faculty of Sociology- University of Trento, Italy
Chat, Faculty of Economy-University of Venice Ca’Foscari, Cannaregio, Venice, Italy
2006
From Inside (I Like the System), University of Essex, Colchester, UK
Disclaimer, Akademia Pedagogiczna, Krakow, Poland
The Scholars’ Desk, Centro Conferenze Panorama, Sardagna, Italy
This Is Not a Written Sentence, University of Essex, Colchester, UK
2005
Not Yet Titled (Women at Work), Faculty of Sociology-University of Trento, Italy
Free University, Freie Universität Berlin, Berlin, Germany
Do Not Cross the Passion Line, University of Trento, Italy
Listening 2.433, Burg auf der Creuzburg, Creuzburg, Germany
2004
Untitled 2004 # Paris, ESCP-EAP, Paris, France
2003
The Iron Cage with Density Spectrum Zone 0.1 by Loris Cecchini, Faculty of Sociology- University of Trento, Italy
PUBLIC PROJECTS, INDEPENDENT EVENTS (SELECTION)
2020
Fiori dalla fabbrica S/20, streaming, Trento, Italy
Collectors Anonymous, Milan, Italy
Fiori dalla fabbrica (Trento, Michelin 1927-1999), Trento, Italy
2017
Il cancello della fabbrica, 1927/2027, timelapse, in I natali della fabbrica, Quartiere Le Albere, Trento, Italy
GenderGapPay, 1-4/06, Trento, Italy
Paesaggio Privato, in Patrimonio, curated by Cecilia Canziani and Davide Ferri, Festival Ipercorpo 2017, Forlì, Italy
GapTransfer, New York, USA
2016
La Venere Giocatrice, Via Durini 24, Milan, Italy
2015
La Venere giocatrice, Ventura Contemporary Art Night, Officina temporanea, Milan, Italy
Unequal Fields, European Forum Alpbach, Alpbach, Austria
GapTransfer, Lambrate, Milan, Italy
Scalfi&Eghenter Ltd, Ventura Lambrate 2015, Milano Design Week, Milan, Italy
2014
Scaccchi, private collection, Rome, Italy
Situation as of 1st May 2014 (Flag Europe), in Domenica24ORE, 6/7
Sea Specific A, private collection
2013
Collectors Anonymous, from June 11th, Basel, Switzerland, October 17th London, UK, October 24th Paris, France
Colo, is, colui, cultum, ère, in La cultura: spesa o investimento, cantiere MUSE – Museo delle scienze, Trento, Italy
Integrity, private collection, Basel, Switzerland
Corporate Temporary Shop and Temporary Offer, in The Gift of Betrayal, curated by Matteo Lucchetti, Delire Gallery, Brussels, Belgium
2012
Demo, in Scuola politica, Fondazione Trentina Alcide De Gasperi, Pieve Tesino, Italy
Salita inversa, Madonna di Campiglio, Pinzolo, Italy
2011
True cursor, IGF Italia, Fondazione <ahref, Le Gallerie di Piedicastello, Trento, Italy
Annissima. Vendo ergo sum.. L’artista esiste fuori dal mercato?, with Cesare Pietroiusti, Palazzo Sinigaglia, Turin, Italy
Il tempo è il luogo, curated by Giulia d’Amaro Valle and Silvia Ferri de Lazara, Art&Co 2011 – Festival delle Città Impresa, Fondazione March, Villa del Conte, Padova, Italy
2010
Frazioni multiple I, in Critical Complicity, curated by Lisa Mazza, Julia Moritz, Lungomare Bozen-Bolzano (addictional project partners Kunsthalle Exnergasse, Vienna; Galerija Skuc, Ljubljana), Italy
Tennnis. Homage to Albertina Eghenter, curated by Angelika Burtscher, Daniele Lupo, Lungomare Bozen-Bolzano; Centre Court, Tennis Centre, Meranarena, Merano, Italy
Institutional Tattoo, from September 14th
Formalization of the dealer-artist relationship between Cesare Pietroiusti & Anna Scalfi, Studio di Cesare Pietroiusti, Trastevere 259, Rome, Italy
2009
On a Sheet of Paper, in The Invisible Generation. A Vision Forum di Per Hüttner, Daniele Balit, Margaret Lawrence Gallery, Melbourne, Australia
Chat, in Creative Emergencies, curated by Maria Livia Brunelli, Silvia Cirelli, Piazza S. Francesco, Ravenna, Italy
pro forma, in Playlist – Ognuno è internazionale al suo presente, June 25th, curated by Denis Isaia, neon>campobase, Bologna, Italy
indeposito, from February 4th, curated by Denis Isaia
2008
Situation as of 31st August 2008 (Roma), in Independence! Workshop sulle politiche ed economie delle iniziative indipendenti, curated by Cecilia Canziani, Francesco Ventrella, 1:1 projects, Rome, Italy
Private Portrait, from June
2006
W.W.W. (Wonderful Women Working), from August 25th
The Chorus Portrait, San Vandemiano-Conegliano, Treviso con Coro della SAT, Italy
Money Will Save the World, Festival dell’Economia, Teatro Sociale, Trento, Italy
2005
Untitled 2005 (Green Woman on the Traffic Lights), public street, Rovereto, Italy
Infirmitas sexus, Corte Civile del Tribunale, Trento, Italy
Home Sweet Om, private home, Via San Pantaleo, Rome, Italy
SOLO VOICE, CONCERTS (SELECTION)
2003
Melodramma del Prometeo moderno per attrice e 15 strumenti, FRAU FRANKESTEIN, by Giorgio Battistelli, in “Frankenstein”, with Elio delle Storie Tese in FRANKENSTEIN di H.K. Gruber, Director: M. Dini Ciacci, Ensemble Pocket Opera Italy, Opera Barga, Italy
2002
Ormond Brasil 10, melologo scenico per voce e pianoforte, by Fabio Cifariello Ciardi, with videos by Rivka Rinn and piano by Patrick Trentini, Festival Musica ‘900, Galleria Civica d’Arte Contemporanea, Trento, Italy
2001
Asma Asmaton o estin to Salomon, music by and with OTEM Ensemble, International Festival of the European Organ Academy, Schloss Goldrain, Goldrain, Italy
1999
Cantico dei Cantici di Salomone, trans. Guido Ceronetti, music by and with OTEM Ensemble, Festival Il Silenzio e L’Ascolto
1998
Riflessi d’ombra, by Mauro Marcantoni, music by and with Emilio Galante
1994
Conosci tu il paese dove fioriscono i limoni? Quattro storie di spose blindate, by Toti Palma, Anna Scalfi, music by and with Max Biasioni, set design Enrico Job, Centro Servizi Culturali Santa Chiara, Argentina Theatre, Rome, Italy
1990
Sinfonia 14 di Shostakovich, by Sofia Orchestra, Festival Musica ‘900
1989
Pasolini, poetries, directed by Marco Bernardi
TEACHING, PRESENTATIONS, RESEARCH (SELECTION)
2019
Seminario di credito, Pratica artistica organizzativa: ricerca sul campo nell’area ex Michelin di Trento, University of Trento, Italy (appointment)
2018
Rule of Law in our Mind –Brainstorming workshop – Institut d’etudes avancees de Paris, France (participation)
2017
Master Progettare cultura – ALMED – Cattolica University, Milan, Italy (testimonial)
2015
10th Organization Studies Summer Workshop, Chania, Crete, Greece (Keynote Speaker)
Cfa in Curatore Museale ed Eventi, IED Istituto Europeo di Design, Rome, Italy (teaching assistant)
2013
Two-year Master’s program in Sculpture, Academy ofi Brera, Milan, Italy (collaboration)
2006
Junior researcher in the project Research Methods for the Aesthetic Understanding of Organizations, La ricerca qualitativa: teorie, metodi ed applicazioni, MIUR
2005
Master of Art and Culture Management, Trento School of Management, Rovereto, Italy (teaching assistant)
Degree program in Applied Cognitive Psychology, University of Trento, Rovereto, Italy (collaboration)
Member of the “Research Unit on Communication, Organizational Learning and Aesthetics” (RUCOLA) since 2005
Member of the “Arts, Aesthetics, Creativity, and Organisation Research Network” (AACORN) since 2005
2004
School of Business Management, Bocconi University, Milan, Italy (collaboration)
Master in Management of Social, Political and Institutional Communication, IULM University of Languages and Communication, Milan, Italy (appointment)
De Leva moves within the liminal space where contemporary art ceases to be a mere object of contemplation, becoming instead a relational device and an anthropological inquiry. His practice finds its conceptual core in Thyself Agency, a project-platform structured as a paradoxical “travel agency” for the inner self. Through this framework, De Leva proposes a series of exercises aimed at disrupting the mechanisms of habit and daily automatism. Among the most radical protocols is the temporary life exchange: an experience in which participants abandon their routine to immerse themselves entirely in someone else’s, adopting their schedules, spaces, and relationships. This shift in identity is not intended as a simple performative fiction, but as a profound and unsettling journey of self-exploration.
Through the mechanism of Thyself Agency, De Leva deconstructs the romantic idea of isolated authorship, utilizing the codes and structures of service provision to convey experiences of intimacy and vulnerability. By transforming the gallery space into the nerve center of this Situationist agency, the artist analyzes the identity constructs and interpersonal bonds of our time.
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De LevaPhoto by Alice Moschin
Luca De Leva (1986 Milan, Italy), lives and works in Milan.
TEACHING
2026
Performative techniques at Accademia IED Aldo Galli, Como, Italy
FOUNDATION international course at Accademia IED Aldo Galli, Como, Italy
2025
Performative techniques at Accademia IED Aldo Galli, Como, Italy
FOUNDATION international course at Accademia IED Aldo Galli, Como, Italy
Summer workshop of painting and drawing at Accademia IED Aldo Galli, Como, Italy
2024
Performative techniques at Accademia IED Aldo Galli, Como, Italy
FOUNDATION international course at Accademia IED Aldo Galli, Como, Italy
2023
Performative techniques at Accademia IED Aldo Galli, Como, Italy
FOUNDATION international course at Accademia IED Aldo Galli, Como, Italy
Integrated expressive techniques at Accademia IED Aldo Galli, Como, Italy
2022
Performative techniques at Accademia IED Aldo Galli, Como, Italy
Integrated expressive techniques at Accademia IED Aldo Galli, Como, Italy
2021
Performative techniques at Accademia IED Aldo Galli, Como, Italy
EDUCATION
Accademia di Belle Arti di Brera, Milan, Italy
Academy of Visual Art, Leipzig – HGB, Germany
SOLO SHOWS
2026
THYSELF AGENCY TALK, Portofranco, curated by Rossella Farinotti, Castelfranco Veneto, Italy
2025
THYSELF AGENCY INFO POINT, Portofranco, curated by Rossella Farinotti, Castelfranco Veneto, Italy
THYSELF AGENCY VIDEO CALL, performance, Alma Pearl Gallery, London, UK
Thyself Agency OPEN-AIR INFO POINT, Marseille, France
Thyself Agency INFO POINT, curated by Acid Tank, Reggio Emilia, Italy
Thyself Agency INFO POINT, INVISION, Milan, Italy
2024
Thyself Agency performance delle due rose, Pinksummer, Genoa, Italy
Thyself Agency INFO POINT, Cremona art week, Italy
Thyself Agency INFO POINT, miart art fair, Milan, Italy
Thyself Agency INFO POINT, BiM, Milan, Italy
2023
Thyself Agency INFO POINT, Genoa, Italy
Thyself Agency INFO POINT, Milan, Italy
www.thyself.agency, Pinksummer, Genoa, Italy
2019
È stato bello pensarti, ADA, Rome, Italy
Hai paura dell’uomo nero? Curated by Daniela Zangrando, Museo Burel, Belluno, Italy
2018
TWO, VR projectroom, Manifesta, collateral event, Palermo, Italy
2017
Ultime Volontà, ADA, Rome, Italy
Cronache da un altro Occhio, performance, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy
2016
Ricreazione, Studio Amaro, Neaples, Italy
Horses and Virgin Marys. Sentimentally inspired by Arnaldo Badodi, INPRATICA project in Giuseppe Iannaccone Collection, Milan, Italy
2015
ThySelf Talk: Chronicles from another eye, performative conference, Museo Villa Croce, Genoa, Italy
Requiem, Basilica S.Marco, project with Artache, Milan, Italy
2014
Fiammetta dixit, Cura.basement, Rome, Italy
Ceci n’è pas, Private house, project with Artache, Vienna, Austria
2013
Ho perso gli anelli, ma mi restano le dita, Room Galleria, Milan, Italy
Blarney 5×3, Almanac Projects, London, UK
2012
ThySelf, De Walvisch Culture Ship, London, UK
2011
Thy Self Talk, Zicohouse, Beirut, Lebanon
2009
Ottut, Room Galleria, Milan, Italy
GROUP SHOWS
2025
Journeys/Viaggi, Alma Pearl Gallery, London, UK
2024
Supercondominio curated by Treti Galaxie and Fondazione CRT LATANA, Milano Triennale, Italy
2023
Postcards from Genova, Wouters Gallery, Brussels, Belgium
Their Volumes, Artworks from Cristella Collection, curated by Treti Galaxie, Piacenza, Italy
2019
Straperetana curated by Saverio Verini, Pereto, Italy
2018
C’est toi ou c’est moi? Curated by Luca Gennati, Fondazione Pini, Milan, Italy
Rosina #1, Limone, London, UK
2017
Self-care while smoking, TILE + CLOG, CLOG, Turin, Italy
Viva arte viva curated by Treti Galaxie, Future Dome, Milan, Italy
Glimmerate, Marsèlleria New York, New York, USA
Collezione Agovino – Frammenti di Paradiso, Le Scalze, Neaples, Italy
2016
Encounters program, performance, Central Saint Martin’s, London, UK
2015
Rob Pruitt’s flea market, A plus A, 56th Venice Biennale, Italy
Italia Happening, 21er Haus, Vienna, with Yes I am Writing A Book, Austria
Club of matinee Idolz, Co2, Turin, Italy
2014
Keep it real, Ventura XV, Milan, Italy
Studio visit on Cura, web project
LDL, performative lecture at Accademia Carrara, Bergamo, Italy
2013
Corso Aperto, curated by Simone Menegoi, Fondazione Antonio Ratti, Como, Italy
Do you know because I tell you so or do you know, do you know?, Viafarini, Milan, Italy
2012
Straight Up, project by Elena Tavecchia and Alice Conconi, Family Business New York, USA
80, GUM studio, Turin, Italy
Record, curated by GUM studio and Gianandrea Poletta, Fondazione Bevilacqua la Masa, Venice, Italy
Underneath the Street, the Beach, curated by Benoit Antille, Michele Fiedler, Andrey Parshikov, Fondazione Sandretto Re Rebaudengo, Turin, Italy
Polline e cerniere, Anonima Nuotatori, for Bureau for Art Nerds, Istituto Svizzero, Casa Morigi, Milan, Italy
Better than beter, Anonima Nuotatori, Copenhagen Place, London, UK
2011
MotelLucie, Artissima LIDO, Turin, Italy
Aghilisti, GUM Studio, Artissima LIDO, Turin, Italy
Run3, Room Galleria, Milan, Italy
Studiovisit.it, G.C.A.C. Monfalcone curated by Andrea Bruciati, Monfalcone, Italy
De dreit Nien – Serpi corallo, Anonima Nuotatori, Spazio Borgonovo, Museo Pecci, Milan, Italy
Born in Harem, Klenova, Czech Republic
After Prisma, Villa Romana, Florence, Italy
Tu Mi Piaci, workshop curated by MotelLucie, Museo Carlo Zauli, Faenza, Italy
Exploding Fluid Inevitabile, Anonima Nuotatori, Piscine Caimi, Milan, Italy
2010
Il raccolto d’autunno, curated by Chiara Agnello and Milovan Farronato, Viafarini/Docva, Milan, Italy
Certo Sentimento, curated by Frank Boehm, Turin, Italy
Armless monkey suck bananas from bananos, GUM studio, Carrara, Italy
Titolo Grosso, Cripta 747, Turin, Italy
Arte desputatio, Miart, curated by Milovan Farronato, Milan, Italy
RESIDENCIES, WORKSHOPS
2013
CSAV Fondazione Antonio Ratti, workshop with Mat Mullican, Como, Italy
Fondazione Spinola Banna per l’arte, workshop with Marta Kuzma, Turin, Italy
2012
Fondazione Spinola Banna per l’arte, workshop with Tim Rollins & K.O.S. Turin, Italy
Artegiovane, Global Art Program, London, UK
2011
Zicohouse, Beirut, Lebanon
Klenova Castle, Klenova, Czech Republic
Pauline Curnier Jardin (b. 1980, Marseille, France) is an Berlin-Rome based artist working across installation, performance, film and drawing.
Selected solo and group exhibitions, commissioned projects and screenings include:
57th Venice Biennale, IT; Tate Modern, London (2017) UK
Cobra Museum of Modern Art, Amsterdam, Netherlands
International Film Festival, Rotterdam, Netherlands
Video Art At Midnight, Berlin, Schirn Kunsthalle Frankfurt, Germany
Futura, Prague, Czech Republic
Ellen de Bruijne Projects, Amsterdam, Netherlands (2018)
Performa 15, New York, USA
The Fondation Cartier pour l’Art Contemporain, Paris, France
Migros Museum of Contemporary Art, Zurich, Swiss
University of São Paulo, São Paulo, Brasil (2015)
MIT List Visual Arts Center, Cambridge, USA (2014)
Haus der Kulturen der Welt, Berlin, Germany
Palais de Tokyo, Paris, France (2013)
Centre George Pompidou, Paris, France (2012)
Musée d’Art Moderne, Paris, France
ZKM Museum of Contemporary Art, Karlsruhe, Germany (2010)
Curnier Jardin completed a residency at the Rijksakademie Van Beeldende Kunsten, Amsterdam in 2015-2016.
She was the winner of the Dutch prize NN Award (2018) and laureate of the Prix Fondation d’Entreprise Ricard (2017).
She was a visiting tutor at the Dutch Art Institute and at Kunsthochschule Kassel and has been tutor at De Ateliers in Amsterdam for the past year.
She is the winner of the 2019 Preis der Nationalgalerie and recipient of the 2019/2020 Villa Medici Residency in Rome and the 2021 Villa Romana Fellows in Florence.
http://paulinecurnierjardin.com/
con Peter Fend, Koo Jeong A, Tomás Saraceno, Mark Dion,
Luca Vitone, Bojan Šarčević, Cesare Viel, Luca Trevisani
Castello di Senarega, Valbrevenna (Ge)
July 30th – September 13th, 2020
The exhibition will be open Friday to Sunday, 4 – 8 pm or by appointment.
PRESS RELEASE
Pinksummer goes to, after Rome and Palermo, will go in the countryside in the castle of the small medieval village named Senarega, in Valbrevenna, at the feet of Mount Antola, a very dear one for the Genoese. The name derives from the Greek word ἄνθος (antos), which means flower, therefore flowery mountain where a sixteen years old Albert Einstein (Ulma, March 14th, 1879 – Princeton, April 18th 1955), on the street from Pavia to Genoa, spent a night, looking at that mysterious sky for the first time, at the odd orbit drown by Mercury. But then this year, nothing feels more appropriate than a vacation in the countryside, and the following otium, to refresh before eventual travels or holidays, in a future that we can’t redraw yet in a confidential form.
A middle summer show, that will open the Fieschi castle in Senarega at the end of July, that will be over very close to the fall. For the title of the exhibition we got inspiration from Nature by Ralph Waldo Emerson (Boston, May 25th,1803 – Concord, April 27th, 1882) which says: Why Should Not We Enjoy an Original Relation to the Universe?
Friedrich Nietzsche (Röcken, near Lützen, 1844 – Weimar 1900) himself got inspired by Emerson when he was imagining The Gay Science in Genoa.
An exhibition to think about a time, our time, when we don’t seem interested in looking at a direct relation with nature or God, both collapsed in the myth, but differently from our ancestors we got to see the biopolitics in action with our own eyes.
The network of powers that manages, or better is managing the body discipline and the regulation of the population. To speak with the words of Michel Foucault (Poitiers, October 15th, 1926 – Paris, June 25th, 1984): an area where power has access to the body to guarantee life. A space where the law has been substituted with the norm, ductile and malleable on the circumstance as molten metal, that guarantee to power a no man’s land of the state of exception, that Giorgio Agamben (Rome, April 22nd, 1942) feels, in the ultra-modernity is becoming, for some reason, a habit. A norm that in the last few months transformed to a worldwide level in a poisoned distilled of pure terrorism, beyond linguistic aberration of indicating a slight spring rain with the word “alert”, followed by the one indicating the color yellow.
Why Should Not We Enjoy an Original Relation to the Universe? will present work of art by eight artists represented by Pinksummer: Koo Jeong A, Peter Fend, Tomás Saraceno, Mark Dion, Luca Vitone, Bojan Šarčević, Cesare Viel, Luca Trevisani. A show with a fragile intent, to claim full life, burning as if it was a straw and rags scarecrow, the nude life. A passage, like those celebrated in the mountains, to chase away the winter with a fire ritual and welcome regeneration.
A ritual exhibition in the steep mountains of a valley in the Ligurian Appennines, to celebrate the right of the individual, young and old, to subjectivity and intersubjectivity, even inter-species, to freedom and the satisfaction of true desires against any science or statistical or sociological discipline that has dragged us defenseless in the wake of a fake and scaring normality in relation to biological activity.
An exhibition sprouted to remind us that something deeply dystopian happened, and that occurred in the frame of pervasive and deviated neoliberalism, perhaps even pathological, that tends to flatten nature in the ecological-environmental echo, making us forget that when nature wants, can be really evil, even with humans, without any exception, composing and dissolving us almost as if we were clouds. Nature that asks our body and intelligence to adapt continuously. Nature that has no equal between beings for its perfidy and its instinct of beauty and we could never race against it on indifference.
A vicious and anti-ecological exhibition, like the closed circle of Giacomo Leopardi (Recanati, June 29th, 1798 – Naples, June 14th, 1837) poetic through, between man’s tedium and heroic titanism, which could, with some disinterested adjustment, stop considering us, humans, as locusts of the planet, or even comparing us to the meteorite falling on the Yucatan, or the giant reptiles, consumers of prehistory.
Human is in fact an exception between all the species, and our reckless humanism we know that even amongst the best beavers that build dams, there isn’t any Galileo Galilei or any Michelangiolo.
The show is an invitation to take a break, briefly, from the blatantly neoliberal hygienic and sanitizing framework of bio-politics because, beyond the misanthropic chatter of the gnome or the goblin of the Operette Morali (Moral Operettas), even Giacomo Leopardi recognized that heroism of the human race lies in the awareness.
Some works presented in the exhibition are unpublished, fresh from production, others are phantasmal like dreams, all are humanized and humanizing in the most positive sense.
EVENTS:
Thanks to Comune di Valbrevenna, Trattoria Il Pioppo and all the participants of the collateral events: Rosa Matteucci, Alberto Pesavento, Cesare Viel, Luca Vitone, the collective Mefistofele Documenta.
010 2543762
Jorge Queiroz2019
Acrylic on canvas
120 x 80 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Acrylic on canvas
95 x 80 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Pencil on paper
41 x 41 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Pencil on paper
41 x 41 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Acrylic on canvas
120 x 80 x 5 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Acrylic on canvas
60 x 120 cm
Unique
Photo Alice Moschin
Jorge Queiroz2019
Acrylic on canvas
80 x 70 cm
Unique
Photo Alice Moschin
Tuguldur Yondonjtams
81 meters backwards to the Darkest Dark
2019
installation
Photo by Alice Moschin
Tuguldur Yondonjtmas
The Alphabet
2019
paper
Photo by Alice Moschin
Tuguldur Yondonjtmas
Myna song
2019
video 15’11’’
Photo by Alice Moschin
Tuguldur Yondonjtmas
Map of a Portal
2019
white tape, markers
Photo by Alice Moschin
Dana Sherwood
Alice / Persephone
2018
screen print on paper
Photo by Alice Moschin
Dana Sherwood
See / Sight Equus Mongolia
2019
video
Photo by Alice Moschin
Dana Sherwood
Shamans coat
2019
shamanic dress
Photo by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark DionFoto by Alice Moschin
Mark Dion
Roy Chapman Andrews
2019
Wood furniture, handmade reproduction of Roy Chapman Andrews, glass bell
Unique
Photo by Alice Moschin
Tomás Saraceno (1973, San Miguel de Tucumán, Argentina) lives and works in Berlin. His interdisciplinary practice combines art, science, and architecture, imagining new models of ecological and social coexistence inspired by natural structures such as spiderwebs, clouds, and atmospheric ecosystems. His monumental and often suspended installations invite us to rethink the authorship of art and the relationship between humans, nature, and animals. Tomás Saraceno has exhibited at international institutions such as the Palais de Tokyo in Paris, the Hamburger Bahnhof in Berlin, the MoMA in New York, and the Serpentine Galleries in London, and has participated in numerous editions of the Venice Biennale and other international events.
Tomás Saraceno, Conviviality, EXPO, Osaka, 2025. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Conviviality, EXPO, Osaka, 2025. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Conviviality, EXPO, Osaka, 2025. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Conviviality, EXPO, Osaka, 2025. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Complementarities, Red Brick Art Museum, Beijing, 2024. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Complementarities, Red Brick Art Museum, Beijing, 2024. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, On Air, Palais de Tokyo, 2024. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, On Air, Palais de Tokyo, 2024. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Web(s) of Life, Serpentine Gallery, London, 2023. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Web(s) of Life, Serpentine Gallery, London, 2023. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Web(s) of Life, Serpentine Gallery, London, 2023. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Cloud Cities, Mirador Torre Gloriès, Barcelona, 2022. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Cloud Cities, Mirador Torre Gloriès, Barcelona, 2022. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Particular Matters, The Shed, New York, 2020. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Gli Stati dell’Acqua, 2021. In AnarcoAracnoAnacro, Neapolis, Syracuse, 2021. Installation view. Photo © Olimpia Cavriani.
Tomás Saraceno, Gli Stati dell’Acqua, 2021. In AnarcoAracnoAnacro, Neapolis, Syracuse, 2021. Installation view. Photo © Olimpia Cavriani.
Tomás Saraceno, Gli Stati dell’Acqua, 2021. In AnarcoAracnoAnacro, Neapolis, Syracuse, 2021. Installation view. Photo © Olimpia Cavriani.
Tomás Saraceno, Particular Matters, The Shed, New York, 2020. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Particular Matters, The Shed, New York, 2020. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Particular Matters, The Shed, New York, 2020. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, Aria, Palazzo Strozzi, Florence, 2020. Exhibition view. Photo © OKNO Studio.
Tomás Saraceno, On the Disappearance of Clouds, 58th Venice Biennale, 2019. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, On the Disappearance of Clouds, 58th Venice Biennale, 2019. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, On the Disappearance of Clouds, 58th Venice Biennale, 2019. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, May You Live in Interesting Times, 58th Venice Biennale, 2019. Installation view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Du Sol Au Soleil, Versailles Castle, 2018-2019. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Du Sol Au Soleil, Versailles Castle, 2018-2019. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Stillness in Motion, San Francisco Museum of Modern Art (SFMOMA), 2016. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Stillness in Motion, San Francisco Museum of Modern Art (SFMOMA), 2016. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Stillness in Motion, San Francisco Museum of Modern Art (SFMOMA), 2016. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno, Stillness in Motion, San Francisco Museum of Modern Art (SFMOMA), 2016. Exhibition view. Photo © Studio Tomás Saraceno.
Tomás Saraceno (1973 Tucumán, Argentina), lives and works in Berlin.
EDUCATION
2009
International Space Studies Program, NASA Center Ames, Silicon Valley, California, USA
2003-2004
Postgraduate in Art and Architecture, IUAV, Venice, Italy
2001-2003
Staatliche Hochschule für Bildende Künste, Städelschule Frankfurt am Main, Germany
1999-2000
Postgraduate in Art and Architecture, Escuela Superior de Bellas Artes de la Nación Ernesto de la Carcova, Buenos Aires, Argentina
1992-1999
Bachelor of Architecture, UBA – Universidad Nacional de Buenos Aires, Argentina
SELECTED ARTISTIC RESIDENCIES
2016
Goethe Institut, London, UK
RAVE residency, Villa Manin, Udine, Italy
2014-2015
Centre National d’Études Spatiales (CNES), Paris, France
2012
MIT Center for Art, Science & Technology (CAST), Cambridge, Massachusetts, USA
2010
Atelier Calder in Saché, France, (recipient of Calder Prize and Calder Residency).
2009
Walker Art Center, Minneapolis, Minnesota, USA
2003-2004
Hessische Kulturstiftung, Rotterdam, Netherlands
SELECTED PRIZES
2022
Premio Konex de Platino, Visual Arts Prize. Argentina
2019
Golden Madonnina, Design Prize
2010
1822-Kunstpreis
2009
Alexander Calder Prize
2003-2004
Fondo Nacional de las Artes, Argentina/ IUAV Venice, Italy
Hessische Kulturstiftung, prize and residency in Rotterdam
2003
Bundeswettbewerb des Bundesministeriums für Bildung und Forschung (1st prize)
SELECTED SOLO EXHIBITIONS
2026
TBC, Haus der Kunst, Germany
Interwoven, New Taipei City Art Museum, Taiwan
2025
tomàs saracenoi, Neugerriemschneider, Berlin, Germany
Conviviality, EXPO2025, Osaka, Japan
2024
ANIMA∞LE, Pinksummer, Genoa, Italy
Live(s) on Air, Tanya Bonakdar Gallery, Los Angeles, California, USA
Complementarities, Red Brick Art Museum, Beijing, China
2023
Haggerty Museum of Art, Milwaukee, Wisconsin, USA
Serpentine Galleries, Serpentine South, the Royal Parks, London, UK
Le Tripostal, Lille, France
2022
Domaine des Etangs, Massignac, Francia (permanent installation)
Torre Glòries, Barcelona, Spain (permanent installation)
Tomás Saraceno: Particular matter(s), The Shed, New York, USA
Tomás Saraceno: Silent Autumn, Tanya Bonakdar, New York, USA
2021
AnarcoArcanoAnacroArcano, Neapolis Archaeological Park, Syracuse, Italy
Du sol au soleil, Domaine des Etangs, Massignac, France
Cloud Constellation Omega Centauri 3.9, Ordrupgaard, Charlottenlund, Denmark (permanent installation)
Movement [49.244811, 4.053926], Ruinart, Reims, France (permanent installation)
Inter+Play Season 2, Towada Art Center, Towada, Japan
2020
Aria, Palazzo Strozzi, Florence, Italy
Songs for the air, Hessischen Landesmuseum, Darmstadt, Germany
Tomas Saraceno: Event Horizon, Cisternerne, Copenhagen, Denmark
Moving Atmospheres, Garage Museum of Contemporary Art, Moscow, Russia
Stayin Alive, ANOTHER SPACE, New York, USA
2019
Algo-r(h)i(y)thms, Esther Shipper Galelry, Berlin, Germany
Tomás Saraceno, Gallery Hiunday, Seoul, South Korea
Tomás Saraceno, Tanya Bonakar Gallery, Los Angeles, California, USA
2018
ON AIR, Palais de Tokyo, Paris, France
Aerographies, Fosun Foundation, Shanghai, China
A Thermodynamic Imaginary, MAAT, Museum of Art, Architecture and Technology, Lisbon, Portugal
Solar Rhythms, Tanya Bonakdar Gallery, New York, USA
Albedo, Pinksummer, Genoa, Italy
2017
Gravitational Waves, Z33, Genk, Belgium, curated by Jan Boelen
Entangled Orbits, Baltimore Museum of Art, Baltimore, Maryland, USA, curated by Kristen Hileman
Event Horizon, Ruth Benzacar Gallery, Buenos Aires, Argentina
Our Interplanetary Bodies, Asia Culture Centre, Gwangju, South Korea, curated by Sung Won Kim
Aerosolar Journeys, Museum Haus Konstruktiv, Zurich, Switzerland, curated by Sabine Schaschl
How to entangle the universe in a spider web, Museo de Arte Moderno, Buenos Aires, Argentina, curated by Victoria Noorthoorn
Re-opening In Orbit, K21 Ständehaus, Düsseldorf, Germany
Aerosolar Journeys, Wilhelm-Hack Museum, Ludwigshafen, Germany, curated by René Zechlin
2016
Stillness in Motion. Cloud Cities, SFMOMA, San Francisco Museum of Modern Art, San Francisco, California, USA, curated by Joseph Becker
163,000 Light Years, MARCO, Museum for Contemporary Art, Monterrey, Messico, curated by Gonzalo Ortega
Solar Bell Ensemble, Contemporary Arts Center, Cincinnati, Ohio, USA
Aerocene, Esther Schipper, Berlin, Germany
Many suns and worlds, Vanhaerents Art Collection, Brussels, Belgium
Dark Cosmic Web, Pinksummer, Rome, Italy
Cloud City installation, Oklahoma Contemporary Arts Center, Campbell Art Park, Oklahoma City, Oklahoma, USA
2015
Aerocene, Solutions COP21, Grand Palais, Paris, France, United Nations Climate Change Conference COP21
Aerocene, Espace Muraille, Geneva, Switzerland
Arachnid Orchestra. Jam Sessions, NTU Centre for Contemporary Art, Singapore, curated by Ute Meta Bauer and Anca Rujoiu
Becoming Aerosolar, Haus21er, Vienna, Austria, curated by Mario Codognato
14 Billions (Working Title), SKMU Sørlandets Kunstmuseum, Kristiansand, Norway, curated by Else-Brit Kroneberg
Hybrid solitary… semi-social quintet… on cosmic webs…, Tanya Bonakdar Gallery, New York, USA
2014
Cosmic Jive, Tomás Saraceno: The Spider Sessions, Villa Croce, Genoa, Italy, curated by Ilaria Bonacossa and Luca Cerizza
Iridescent Planet, Pinksummer, Genoa, Italy
Real DMZ Project, Cheorwon Peace Observatory, DMZ, South Korea
2013-2016
In Orbit, K21 Ständehaus, Düsseldorf, Germany, curated by Marion Ackermann and Susanne Meyer-Büser
2013
Social .. Quasi Social .. Solitary .. Spiders … On Hybrid Cosmic Webs, Esther Schipper Gallery, Berlin, Germany
Tomás Saraceno, Andersen’s Contemporary, Copenhagen, Denmark
2012
Cloud City, Roof Garden Installation, Metropolitan Museum of Art, New York, USA, curated by Anne Strauss
On Space Time Foam, HangarBicocca, Milan, Italy, curated by Andrea Lissoni
Cloud Cities, Maison Hermès, Tokyo, Japan
Tomás Saraceno, Taidehalli Kunsthalle Helsinki, Finland
Air-Port-City/Cloud Cities, Tanya Bonakdar Gallery, New York, USA
2011
Cloud Cities, Hamburger Bahnhof-Museum für Gegenwart, Berlin, Germany, curated by Britta Schmitz
Cloud-Specific, Kemper Museum of Contemporary Art, St. Louis,Missouri, USA, curated by Meredith Malone
Cloudy Dunes. When Friedman Meets Bucky On Air-Port-City, MACRO, Museo d’Arte Contemporanea, Rome, Italy
Labor, K20 Grabbeplatz, Nordrhein-Westfalen, Düsseldorf, Germany
2010
Cloud Cities: Connectome, Tanya Bonakdar Gallery, New York, USA
14 Billions (working title), Bonniers Konsthall, Stockholm, Sweden
Cloud-Cities, Pinksummer, Genoa, Italy
Tomás Saraceno, Baltic Centre for contemporary Art, Gateshead, UK
Sculpture project ROSSMARKT3, Frankfurt, Germany
Tomás Saraceno: Lighter than air, Houston Blaffer Gallery, Houston, Texas, USA
From Camogli to San Felipe, spiders weaving stars, Fondazione Pierluigi and Natalina Remotti, Camogli, Italy
2009
Tomás Saraceno: Lighter than air, Walker Art Center, Minneapolis, Minnesota, USA
Biosphere, Statens Museum for Kunst, Copenaghen, Denmark (in the framework of the cycle «RETHINK Relations»)
Tomás Saraceno, MUDAM Musée d‘Art Moderne Grand-Duc Jean, Luxembourg (in the framework of the cycle «Habiter»)
Cloudy House, Andersen’s Contemporary, Berlin, Germany
Tomás Saraceno, Andersen’s Contemporary, Copenaghen, Denmark
2008
Galaxies forming along filaments, like droplets along the strands of a spider webs, Tanya Bonakdar Gallery, New York, USA
Cloudy Dunes, Fondazione Garrone, Genoa, Italy
2007
Opening, AEREA Christian Larsen, Stockholm, Sweden
Biosphere MW32 Air-Port-City, Pinksummer, Genoa, Italy
Air-Port-City, De Vleeshal, Middelburg, Netherlands
Microscale, Macroscale and Beyond: Large-Scale Implications of Small-Scale Experiments, Berkeley Art Museum, Berkeley, California, USA
2006
Air-Port-City, Tanya Bonakdar Gallery, New York, USA
Cumulus, Barbican Art Centre, London, UK
On Water, Centre d’Art Santa Monica, Barcelona, Spain
Cloudy Dunes_Air-Port-City, Attitudes – espace des arts contemporains, Geneva, Switzerland
Infinitive Actives, Portikus, Frankfurt Am Main, Germany (with Personal States of Marjetica Potrc)
2004
On-Air, Pinksummer, Genoa, Italy
2003
In-migration, University of Kaiserslautern, Kaiserslautern, Germany
2000
612 Planetas, Parque Planetario, Buenos Aires, Argentina
1998
Luces de estrella, Escuela Nacional de Bellas Artes Ernesto de la Carcova, Buenos Aires, Argentina
SELECTED GROUP EXHIBITIONS
2025
Utopia: Recht auf Hoffnung, Kunstmuseum Wolfsburg, Germany. Curated by Andreas Beitin, Sebastian Mühl e Dino Steinhof, with Veronika Mehlhart
The Quantum Effect, SMAC San Marco Art Centre, Venice, Italy. Curated by Daniel Birnbaum and Jacqui Davis
Expo 2025, Osaka, Japan. With special thanks to Tokura Masakazu, Ishige Hiroyuki, Yuko Hasegawa, Hiroaki Miyata and the team of EXPO 2025
Dialogo tra Palazzo Foundation e Arte contemporanea, Villa delle Peschiere, Genoa, Italy
2024
The Morbid Palace, Former Church of the Guardian Angel, Genoa, Italy
Mutual Aid: Art in collaboration with nature. Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy. Curated by Francesco Manacorda and Marianna Vecellio
Deep Distance Tender Touch. Kunst- und Kulturstiftung Opelvillen Rüsselsheim, Germany. Curated by Jochem Hendricks and Dr. Beate Kemfer
Fluss Bad Berlin, Bauakademie Schinkelplatz, Berlin, Germany
The Lives of Animals, Museum van Hedendaagse Kunst Antwerpen (M HKA), Antwerp, Belgium. Curated by Joanna Zielińska
Widening the Lens: Photography, Ecology, and the Contemporary Landscape, Carnegie Museum in Pittsburgh, Pennsylvania, USA. Curated by Leers and Keenan Saiz
Luca Massimo Barbero. Un Diavolo Amico, Historical Archives of the Contemporary Arts, Venice Biennale, Italy
Radical Playgrounds, Berliner Festspiele, Berlin, Germany. Curated by Joanna Warsza
Daegu Forum III: Whose Forest, Whose World, Daegu Art Museum, Daegu, South Korea
Time Travelers: Foundations, Transformations, and Expansions, TMA Centennial, Tucson Museum of Art, Arizona, USA
2023
Argentina. What the night tells the day, Padiglione d’Arte Contemporanea, Milano, Italia. Curated by Andrés Duprat and Diego Sileo
WORLD FRAMED: Contemporary Drawing Art of the Schering Stiftung. Kupferstichkabinett, Staatliche Museen zu Berlin, Germany. Curated by Jenny Graser
Concerning Nature, Tanya Bonakdar Gallery, New York, USA
Frieze Sculpture, London, UK
Au bout de mes rêves: Cloud Cities: mise-en-Aéroscène, Lille. Curated by Vanhaerents Art Collection
Arachnodrone, MIT Museum, Massachusetts, USA. Curated by MIT Center for Art, Science & Technology
Compulsive Desires: On Lithium Extraction and Rebellious Mountains. Galeria Municipal do Porto, Portugal. Curated by Marina Otero Verzier
Renaissance 3.0, ZKM – Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany. Curated by Peter Weibel
The power and pleasure of books and possessions. neugerriemschneider, Berlin, Germany
Gedanken spielen Verstecken. Haus Kunst Mitte, Berlin, Germany. Curated by Rebecca Raue
So it appears, Institute for Contemporary Art, Virginia Commonwealth University, Richmond, Virginia, USA
2022
Brain(s), when matter becomes mind. Fundación Telefónica, Madrid, Spain. Curated by Emily Sargent e Ricard Solé
Fetishizing the Future. Utopias of the third dimension. Zeppelin Museum, Friedrichshafen, Germany. Curated by Ina Neddermeyer and Jürgen Bleibler
Musicanimale: le grand bestiaire sonore. Philharmonie de Paris, France. Curated by Marie-Pauline Martin and Olivier Mantei
AIR. Queensland Art Gallery of Modern Art (QAGOMA). Brisbane, Australia. Curated by Geraldine Barlow
Onderkruipsels, Rijksmuseum, Amsterdam, Netherlands. Curated by Jan de Hond and Julia Kantelberg
In the Line of Flight, for Possible Worlds. Deji Art Gallery, Nanjing, China. Curated by Ai Lin and Zhang Ga
Homosphere. Kunsthalle Mainz, Germany. Curated by Stefanie Böttcher
Back to the Roots: Decolonize Nature. WE ARE AIA, Zurich, Switzerland. Curated by Gianni Jetzer and Martina Huber
Unknown Unknowns. Milan Triennale, Italy, 2022. Curated by Ersilia Vaudo
Un Panorama de este Mundo, Acute Art & Fundación PROA, Buenos Aires, Argentina. Curated by Daniel Birnbaum
Visions: An Outdoor Augmented Reality Art Exhibition, Acute Art & National Gallery Singapore for the Light To Night Exhibition, Singapore. Curated by Daniel Birnbaum
2021
Biocenosis21, IUCN World Conservation Congress e La Traverse, Marseille, France
PANORAMA Procida, curated by Vincenzo de Bellis, ITALICS, Procida, Italy
The Looking Glass, organized by Daniel Birnbaum and Emma Ender, The Shed and Acute Art, New York, USA
IRL, Tanya Bonakdar Gallery, New York, USA
Gropius Bau, Berlin, Germany (online project)
Design Society, Shenzhen, China
Back to Nature Villa Borghese, Rome, Italy
Venice Architecture Biennale, Venice, Italy
Back to Earth, Serpentine Galleries, London, UK
AIR-CONDITION, Opera de Nancy, France
2020
Return of the Real, Tanya Bonakdar Gallery, New York, USA
Songs in the Dark, Tanya Bonakdar Gallery, New York, USA
Riga International Biennial of Contemporary Art Art 2, Riga, Latvia (RIBOCA2)
Schloss Derneburg Museum, Derneburg, Germany
2019
Floating Utopias. Art Science Museum, Singapore
58th Venice Biennale, May you live in interesting times, curated by Ralph Rugoff, Venice, Italy
Tomorrow is the Question, ARoS Aarhus Kunstmuseum, Aarhus, Denmark
2018
Foresta Urbana, Piazza Bologni, Palazzo Belmonte Riso, Palermo, Italy
Victor Papanek: The Politics of Design, Vitra Design Musem, Weil am Rhein, Germany
Liquid City, Bruges Triennale, Belgium
Floating Utopias. NGBK, Berlin, Germany
2017
Winter Journey, Jardins du Château de Versailles, France, curated by Palais de Tokyo
Into the Cosmos, MAXXI, Rome, Italy, curated by Hou Hanru
Floating Worlds, Lyon Biennale for Contemporary Art, France, curated by Emma Lavigne
ARoS Triennale, Aarhus, Denmark
Between Spaces, Center for Art and Public Space, Berlin, Germany, curated by Katja Assmann
Loose Threads, De León, Bath, UK
Aerocene at Socle du Monde Biennale, Herning, Denmark
Aerocene at Antarctic Biennale, Ushuaia, Argentina
Elbphilharmonie Revisited, Deichtorhallen, Hamburg, Germany
Pune Biennale, Pune, India
2016
Shanghai Biennial, Shanghai, China
Istanbul Design Biennial, Istanbul, Turkey
Spinnen, Senckenberg Museum, Francoforte sul Meno, Germany
Collezionismo Contemporaneo, The Museum of Palazzo Fortuny, Venice, Italy
Surface and Beyond, Dirimart, Istanbul, Turkey
Meta.morf Biennial, Trondheim, Norway
The Calder Prize 2005-2015, Pace Gallery, London, UK
Architecture of Life, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, California, USA
2015
The State of the Art of Architecture, Chicago Architecture Biennial, Chicago, Illinois, USA
Space Without Rockets, Rubin Art Center, White Sands, New Mexico, USA, curated by Rob La Frenais
Brève histoire de l’avenir, Musée du Louvre, Paris, curated by Jean de Loisy
homecomings: PROJECTIVE SPACE, Berlin, Germany
Le Bord des Mondes, Palais de Tokyo, Paris, France
Haus-Rucker-Co, Architekturutopie Reloaded, Haus am Waldsee, Berlin, Germany
Pequod, 11 Columbia, Munich, Germany
Cold War Hot Peace, Slought, Philadelphia, Pennsylvania, USA
Der entfesselte Raum, Gewerbemuseum, Winterthur, Switzerland
2014-2017
The Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium
2014-2015
Synthesis, Reykjavik Art Museum, Reykjavik, Iceland
Diese Kunst, Galerie der Stadt Sindelfingen, Sindelfingen, Germany
Haus-Rucker-Co, Architekturutopie Reloaded, Haus am Waldsee, Berlin, Germany
2014
The Net: Weaving Webs in Art, Kunsthalle Kiel, Germany
INSERT 2014: The Sharp Edge of the Global contemporary, Indira Ghandi Centre of the Arts, New Delhi, India
Kroblyos un groviglio di segni – da Parmigianino a Kentridge, Rimini Drawing Biennale, Italy
Attention Economy, Kunsthalle Wien, Vienna, Austria
Vanitas. Motive des Vergänglichen in der zeitgenössischen Skulptur, Georg Kolbe Museum, Berlin, Germany
City and Nature, Sapporo International Art Festival 2014, Sapporo, Japan
Lichterfest, K21 Ständehaus, Düsseldorf, Germany
Second | Fourteen Highlight, Salon Kennedy, Frankfurt Am Main, Germany
The Anthropocene Monument, Les Abattoirs, Toulouse, France
Between the lines, Tanya Bonakdar Gallery, New York, USA
2013
Moving. Norman Foster on Art, Carré d’Art – Musée d’art contemporain de Nimes, France
Mobile M+: Inflation!, M+ Museum for Visual Culture, Hong Kong, China
Emscherkunst, Zeche Nordstern, Gelsenkirchen/Essen, Germany
Tomás Saraceno, Solar Bell, Portscapes 2, series of artistic project alongside the construction of Maasvlakte2, Rotterdam, Netherlands
What am I doing here, Esbjerg Art Museum, Esbjerg, Denmark
I know you, Irish Museum of Modern Art, Dublin, Ireland
Reflets – Un Morceau de Pinksummer Genes, 11 Columbia, Munich, Germany
Novela Festival, Toulouse, France
Tomás Saraceno, Flora, Bogotá, Colombia
2012
Wir sind alle Astronauten Universum Richard Buckminster Fuller im Spiegel zeitgenössischer Kunst/ We are all astronauts. Universe Richard Buckminster Fuller reflected in contemporary art, Zeppelin Museum Friedrichshafen, Germany
Wonder works – Masterpieces from Danish private collections, Kunsten – Museum of Modern Art Aalborg, Aalborg, Denmark
Intersections: Science in Contemporary Art, Weizmann Institute of Science, Rehovot, Israel
Nature’s Toolbox: Biodiversity, Art and Invention, the Field Museum, Chicago, Illinois, USA
2011
The Divine Comedy, Harvard Graduate School of Design, Cambridge, Massachusetts, USA
20 Jahre Gegenwart, MMK Museum für Moderne Kunst Frankfurt, Germany
Cloud Cities, Perth International Arts Festival, Perth, Australia
Redesigning Nature, Städtische Galerie Bremen, Bremen, Germany
The End of Money, Witte de With, Center for Contemporary Art, Rotterdam, Netherlands
Private/Corporate VI. Die Sammlung Juan & Patricia Vergez, Buenos Aires, Argentina, im Dialog mit der Daimler Kunst Sammlung, Stuttgart/Berlin, Daimler Contemporary, Haus Huth, Berlin, Germany
Wir sind alle Astronauten Universum Richard Buckminster Fuller im Spiegel zeitgenössischer Kunst/ We are all astronauts Universe Richard Buckminster Fuller reflected in contemporary art, MARTA Herford, Herford, Germany
Merz World: Yona Friedman & Tomas Saraceno, Cabaret Voltaire, Zurich, Switzerland
2010
Redesigning Nature, Künstlerhaus Wien, Vienna, Austria, curated by Susanne Witzgall, Florian Matzner and Iris Meder
Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, Akademie der Künste, Berlin, Germany
Movin’ Space, KUNSTEN Museum of Modern Art Aalborg, Aalborg, Denmark
Tales of Resistance and Change. Artists from Argentina, Frankfurter Kunstverein, Frankfurt Am Main, Germany
Rethink Contemporary Art and Climate Change, Rogaland Art Museum, Stavanger, Norway
Art for the world, World Expo Shanghai, China
Afuera, Centro Cultural España Córdoba, Córdoba, Argentina, Art Festival
Radical conceptual – Positionen aus der Sammlung des MMK, MMK, Frankfurt Am Main, Germany
Klimakapseln, Museum für Kunst und Gewerbe, Hamburg, Germany
Languages and Experimentations. Young artists in a contemporary collection, MART, Rovereto, Italy
In Defense of Nature, East Ayrshire Museum, Ayrshire, Scotland, UK
Bianco e Nero, Udine Art Festival, Udine, Italy
Between here and there: Modern and Contemporary Art from the Permanent Collection, Pérez Art Museum Miami, Florida, USA
2009
Fare Mondi – Making Worlds, 53rd Biennale di Venezia, Palazzo delle Esposizioni, Venice, Italy, curated by Daniel Birnbaum
WANAS 2009: FOOTPRINTS, Wanas Foundation, Knislinge, Sweden
In Defense of Nature, Barbican Art Center, London, UK
Life Forms, Bonniers Konsthall, Stockholm, Sweden
Labyrinth: Freiheit, Franzensfeste Fortress, Fortezza, Italy
Earth – Art of a Changing World, Royal Academy of Arts, London, UK
Dome Culture in the 21st Century, Art in General, New York, USA
Liverpool Biennial 2008, Liverpool, UK
Multiverse: Directions for the World, A.L.I., Rome, Italy
2008
50 Moons of Saturn, T2 Turin Triennale, Italy
Peripheral Vision and Collective Body, Museion Bozen, Italy
Experiment Marathon Reykjavic, Reykjavic Art Museum, Reykjavic, Iceland
Kunst Naturligvis, Esbjerg Kunstmuseum, Esbjerg, Denmark
We have a dream, Spazio Gerra, Reggio Emilia, Italy
Art Focus 5: Can Art Do More?, Jerusalem, Israel
ROOMING IN! Claus Andersen visits Patricia Low, Patricia Low Contemporary, Gstaad, Switzerland
Psycho Buildings – Artists and Architecture, Hayward Gallery, London, UK
Sonsbeek 2008: Grandeur, Arnhem, Netherlands
Greenwashing, Fondazione Sandretto Re Rebaudengo, Turin, Italy
Megastructure Reloaded, Raumlabor, Berlin, Germany
48°C Public.Art.Ecology, Delhi, India
2007
Brave New Worlds, Walker Art Center, Minneapolis, Minnesota, USA
Biennale de Lyon 2007, Lyon, France
Hector German Oesterheld, La Aventura Continua, Museo de Arte y Memoria, Buenos Aires, Argentina
Poetic Cosmos of the Breath, Air Show Gunpowder Park, London, UK
Still Life Art, Ecology and the Politics of Change, Sharjah Biennale, United Arab Emirates
On Water, Art Basel, Basel, Switzerland
In Cima alle Stelle. L’Universo tra Arte, Archeologia e Scienza, Forte di Bard, Aosta, Italy
SituazionIsola, a new Urbanism, Isola Art Center, Milan, Italy
Weather Report. Climate Change and Visual Arts, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain
The Domain of the Great Bear 3/3 Kosmische Sehnsucht, Kunstraum München e.V., Munich, Germany
2006
On Mobility, Berlin Büro Friedrich, Berlin, Germany
On Mobility, De Appel, Amsterdam, Netherlands
Buenos dias Santiago, Museo de Arte Contemporaneo, Santiago del Cile, Chile
I still believe in miracles*, ARC (Musee d’Art moderne de la Ville de Paris), Paris, France
Reconstruction 1, Sudeley Castle, Gloucestershire, UK, curated by Mollie Dent-Brocklehurst and Elliott McDonald
Busan Biennale, South Korea
How to live together, 27th São Paulo Biennale, Brazil
Presented by, Galerie Andreas Huber, Vienna, Austria
2005
Luna Park. Fantastic Art, Villa Manin Centre for Contemporary Art, Codroipo, Italy
Dialectic of Hope, First Moscow Biennale of Contemporary Art, Moscow, Russia
The Opening, Andersen’s Contemporary, Copenaghen, Denmark
Project Rotterdam, Museum Boijmans Van Beuningen, Rotterdam, Netherlands
Pursuit of Happiness, Leidsche Rijn, Netherlands
La Strada, Fuori uso 2005, Pescara, Italy
Sehnsüchtig gleiten Ballone rund um die Welt, Green Light Pavilion, Berlin, Germany
2004
What is in my apartment when I’m not there, Berlin, Germany
Open Duende, Duende, Rotterdam, Netherlands
Universal Outstretch, Flaca Gallery, London, UK
Common Property, 6. Werkleitz Biennale, Halle, Germany
ZIM- Zwaanshals in Motion, Rotterdam, Netherlands
Do It. Curated by Hans-Ulrich Obrist. Presented by Electronic Flux Corporation
2003
Here we come!!! Kunststudentinnen und Kunststudenten stellen aus, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
Utopia Station, Dreams and Conflicts: The Dictatorship of the Viewer, Venice Biennale, Italy
Un-build Cities, Kunstverein Bonn, Germany
Art-gentina, The Buena Vista Building, Miami, Florida, USA
2002
X-position, Architekturzentrum Wien, Vienna, Austria
Peace (end) love istruzioni per la possibilità, Palazzo Bonaguro, Bassano, Italy
Xposition, Berlague Institute, Rotterdam, Netherlands
Next, 8th Venice Architecture Biennale, Italy, curated by Deyan Sudjic
Mobile HIV/AID Health Clinic for Africa, RIBA, London, UK
El Suelo en Renuncio, Ministerio de fomento Arquería de los Nuevos Ministerios, Madrid, Spain
2001
Real Presence, Tito Museum, Belgrade, Serbia and Montenegro
Neue Welt, Kunstverein Frankfurt, Frankfurt Am Main, Germany
Rundgang, Städelschule, Frankfurt Am Main, Germany
1999
City Editing, Fundación proa, Buenos Aires, Argentina
Siglo XX arte y cultura en la Argentina, Centro Cultural Recoleta, Buenos Aires, Argentina
1998
Objetos de jóvenes artistas, Centro Cultural Recoleta, Buenos Aires, Argentina
PERMANENT INSTALLATIONS
TBC | Cloud City Aalborg, Denmark
TBC | Cloud Cities New York, Terminal One, JFK Airport, New York, USA
TBC | El Santuario del Agua (The Sanctuary of Water), Salinas Grandes, Argentina
2025, The Seeds of Flight , Parkline Place, Sydney, Australia
2024, Cosmic Threads, Planetarium, Copenhagen, Denmark
2024, Crux Australis 68.0, Ralph S. O’Connor Building for Engineering & Science, Rice University Houston, Texas, USA.
2023, Life(s) of Webs : arachnophobias, arachnophilias, and other stories, Palazzo Lanfranchi
2023, Fondazione Matera-Basilicata, Matera, Italy
2023, Cloud Cities: du Sol au Soleil, Domaine des Étangs, Massignac, France
2023, Corona Australis 38.39, Fundación Hortensia Herrero, Valencia, Spain
2022, Zonal Harmonic Constellation 170,000; Zonal Harmonic Constellation 220,000, North Carolina Museum of Art, Raleigh, North Carolina, USA
2022, Tomás Saraceno: Cloud Cities, Mirador Torre Glòries, Barcelona, Spain
2022, Aerocene: Free the Air. “Orbit -s” For a Post -Fossil Fuel Era, K21 Ständehaus, Düsseldorf, Germany
2021, Awan, 88 Market Street, Singapore
2021, Movement 49.244811, Ruinart, Reims, France
2021, Movement 49.053926, Ruinart, Reims, France
2021, California Air Resources Board (CARB), Riverside, California, USA
2020, An Open Letter for Invertebrate Rights, Gropius Bau, Berlin, Germany
2019, Cosmic Filaments, Mildred Lane Kemper Art Museum , St. Louis, Missouri, USA
2019, Wolf 359 c/M+M, Denning H ouse, Stanford University, California USA
2019, Sundial for Spatial Echoes, Bauhaus-Museum Weimar, Germany
2017, Gravitational Waves, Z33, Genk, Belgium
2017, Stillness in Motion – 3 Airborne Self-Assemblies, Mapletree, Singapore
2017, Cloud Cities – Nebulous Thresholds, Rollins College, Florida, USA
2017, On Cosmic Clouds, NYU Abu Dhabi Library, United Arab Emirates
2016, Cloud Cities: HAT-P-12, Taipei, Taiwan
2016, Caelum Dust, University of South Florida, Tampa, Florida, USA
2015, Cloud Cities / Air-Port-City, Domaine du Muy, Parc de sculptures contemporaines, France
2015, Sundial for Spatial Echoes, Aker Brygge, Oslo, Norway
2008, On clouds (Air-Port-City), Towada Arts Center, Towada, Japan
2007, Flying Garden, EPO Munich, Germany
SELECTED PUBLIC COLLECTIONS
Museo nazionale delle arti del XXI secolo – MAXXI, Rome, Italy
Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy
K21 Ständehaus, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
Sammlung KiCo, Kunstmuseum Bonn and Lenbachhaus München, Munich, Germany
Miami Art Museum, Miami, Florida, USA
Museum für Moderne Kunst, Frankfurt Am Main, Germany
Museum of Modern Art, New York, USA
San Francisco Museum of Modern Art, San Francisco, California, US
Walker Art Center, Minneapolis, Minnesota, USA
Nationalgalerie, Staatliche Museen zu Berlin, Germany
Bonniers Konsthall, Stockholm, Sweden
The National Gallery of Denmark, Copenaghen, Denmark
Esbjerg Kunstmusem, Esbjerg, Denmark
Istanbul Modern Art Museum, Istanbul, Turkey
Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany
Boros Collection, Berlin, Germany
The Collection of Juan Vergez, Buenos Aires, Argentina
BSI Art Collection, Lugano, Switzerland
Mudam Musée d‘Art Moderne Grand-Duc Jean, Luxembourg
Fondazione La Gaia, Busca, Italy
Fondazione Pierluigi e Natalina Remotti, Camogli, Italy
Fondazione Morra Greco, Neaples, Italy
Fondazione Edoardo Garrone, Genoa, Italy
Lumas Foundation, Zurich, Switzerland
Reykjavik Art Museum, Reykjavik, Iceland
SELECTED PUBLICATIONS
Saraceno, Tomás, 2025. Cloud Cities Barcelona. Genoa, Italy: Asinello Press .
Saraceno, Tomás, 2024. Life(s) of webs, arachnophobias, arachnophilias and other stories. Milan, Italy: NERO Editions.
Saraceno, Tomás, 2023. AnarcoAracnoAnacroArcano, Archeologic parc of the Neapolis in Syracuse, Italy. Florence, Italy: Electa.
Saraceno, Tomás, 2023. Tomás Saraceno in Collaboration: Web(s) of Life. Serpentine Galleries, London, UK. Madrid, Spain: Ivorypress.
Saraceno, Tomás, 2023. Spiders in Motion, Rainy Commotion. Serpentine Galleries, London, UK. Madrid, Spain: Ivorypress.
Saraceno, Tomás. 2022. Ocean(s) of Air. Hobart, Australia: Museum of Old and New Art.
Saraceno, Tomás. 2022. From Arachnophobia to Arachnophilia. Library Council of The Museum of Modern Art (MoMA), New York, USA. Artist book.
Saraceno, Tomás with Emma Enderby (ed.). 2022. Particular Matter(s), The Shed. New York, USA: Verlag der Buchhandlung Walther und Franz König.
Saraceno, Tomás. 2020. Event Horizon. Cisternene, Søndermarken. Denmark: Narayana Press.
Saraceno, Tomás. 2020. Tomás Saraceno. Aria. Palazzo Strozzi, Florence. Venice, Italy: Marsilio
Saraceno, Tomás. 2018. ON AIR. Carte Blanche à Tomás Saraceno, Palais 28 Le Magazin du Palais de Tokyo, Paris, France
Saraceno, Tomás. 2017. Flying Plaza. Berlin, Germany: Spector Books
Saraceno, Tomás. 2017. Aerocene. Milan, Italy: SKIRA
Saraceno, Tomás. 2017. Arachnid Orchestra. Jam Sessions. Ed. Ute Meta Bauer. Singapore: NTU Centre for Contemporary Art
Saraceno, Tomás. 2017. Aerosolar Journeys. Ed. Schaschl, Sabine, Zechlin, René. Berlin: Walter König
Saraceno, Tomás. 2016. Tomás Saraceno. 163,000 Light Years. Monterrey: MARCO, Museo de Arte Contemporáneo de Monterrey
Saraceno, Tomás. 2015. Aerocene. Berlin, Germany: Studio Tomás Saraceno
Saraceno, Tomás, and Mario Codognato. 2015. Tomás Saraceno: Becoming Aerosolar. Vienna, Austria: Belvedere
Saraceno, Tomás, and Joseph Grima. 2014. Cosmic Jive: The Spider Sessions. Genoa, Italy: Asinello Press
Saraceno, Tomás, Meredith Malone, Igor Marjanović, Inés Katzenstein, and D. L Weaire. 2014. Tomás Saraceno: Cloud Specific. Chicago: University of Chicago Press
Saraceno, Tomás, and Sara Arrhenius. 2011. Tomás Saraceno: 14 Billions (Working Title). Milan, Italy: Skira
Saraceno, Tomás, Marion Ackermann, Daniel Birnbaum, Udo Kittelmann, and Hans Ulrich Obrist. 2011 Cloud Cities. Berlino: Distanz Verlag
Saraceno, Tomás, and Juliane von Herz. 2010. Tomás Saraceno: Cloud Cities/Air-Port-City. Bielefeld: Kerber Verlag
Tomás Saraceno
Spiders in motion, rainy commotion, 2023
Ivorypress
Pages: 120
Language: English
ISBN: 9788412279283
Tomás Saraceno
Tomás Saraceno – ARIA, 2020
Marsilio Editori
Curated by Arturo Galansino
Pages: 200
Language: Italian
ISBN: 9788829703630
Tomás Saraceno
Tomás Saraceno: The Areocene Project, 2017
With texts by Hans-Ulrich Obrist, Eva Horn, Timothy Morton
Editore Skira
Pages: 149
Language: English
ISBN: 885723473
Tomás Saraceno
Arachnid Orchestra. Jam Sessions , 2017
Audio publication
NTU Centre for Contemporary Art Singapore
Curated by Ute Meta Bauer and Anca Rujoiu
ISBN: 9789811130472
Tomás Saraceno
Aerosolar Journeys, 2017
Buchhandlung Walther König
Pages: 152
Languages: German/English
ISBN: 9783960981824
Tomás Saraceno
Ciento sesenta y tres mil años luz, 2016
MARCO, Museo de Arte Contemporáneo de Monterrey
Languages: Spanish/English
ISBN: 9786079355104
Tomás Saraceno
Becoming Aerosolar, 2015
21er Haus
Curated by Agnes Husslein-Arco, Mario Codognato
Pages: 215
Languages: English/German
ISBN: 9783902805706
Tomás Saraceno
Cosmic Jive: Tómas Saraceno The Spider Sessions, 2014
Asinello Press
Curated by Ilaria Bonacossa, Luca Cerizza, William Eberhard, Gianni Garrera, Joseph Grima, Federico Nicolao, Federico Rahola, David Toop
Pages: 112
Language: English
ISBN: 9788890968051
Tomás Saraceno
Cloud Specific, 2014
University of Chicago Press
Curated by Meredith Malone and Igor Marjanovic
Pages: 144
Language: English
ISBN: 9780936316352
Tomás Saraceno
Cloud Cities, 2011
Distanz
Curated by Marion Ackermann, Daniel Birnbaum, Udo Kittelmann and Hans Ulrich Obrist
Pages: 255
Language: English
ISBN: 9783942405379
Tomás Saraceno
14 Bilions (Working Title), 2011
Skira
Curated by Sara Arrhenius, Helena Granström, Nikolaus Hirsch and Jeffrey Kastner and Hans-Ulrich Obrist
Pages: 246
Language: English
ISBN: 885720857
Peter Fend (1950 Columbus, Ohio, USA) is an artist who has been active in New York since the late 1970s. His work brings together ecology, geopolitics, and territorial planning, viewing art as a practical tool for addressing environmental, economic, and political issues in concrete ways. In 1980, Fend co-founded the Ocean Earth Development Corporation, an organization that uses satellite imagery to analyze ecological crises, conflicts, and the impacts of industrial activity, anticipating investigative practices that are now widely adopted. His projects propose alternatives to extractive systems through water resource management, renewable energy, and ecosystem restoration, as exemplified by the Africa–Arctic Flyway project. Exhibited internationally at venues such as the Venice Biennale, dOCUMENTA, MUMOK, and the Palais de Tokyo, Fend works at the intersection of art, science, and activism, redefining the role of the artist as an agent of change on a planetary and ecological scale.
Campo da Calcio Eurafrica Libia al centro
Una proposta per il portophoto credits Alice Moschin
Emisfero Nordphoto credits Alice Moschin
Verso l’Artico con gli uccelli e la ferrovia nello spirito di Umberto Nobiliphoto credits Alice Moschin
Word Stack about Physiocracyphoto credits Alice Moschin
Costa verso Costa
Puerto Rico
Japan
Fukushima
Global Terror
Forse
Peter Fend (1950 Columbus, Ohio, USA), lives and works in New York.
EDUCATION
1973, BA, Carleton College, Northfield, Minnesota, USA
SELECTED SOLO EXHIBITIONS
2025
Lavoro per Natura Vivente, non solo Capitali, Fondazione Morra Greco, Neaples, Italy
2024
Azioni sulla Terra, Pinksummer, Genoa, Italy
2021
Peter Fend, Georg Kargl BOX, Vienna, Austria
2020
BIRDS REIGN, Galerie Barbara Weiss, Berlin, Germany
2019
AFRICA-ARCTIC FLYWAY, Museo Nivola, Orani, Sardinia, Italy
Filling the absence – Peter Fend and Yona Friedman, Pinksummer, Genoa, Italy
2018
HACE SENTIDO / MAKES SENSE, Embajada, San Juan, Puerto Rico
Costa Verso Costa, Pinksummer, Palermo, Italy
2017
Forse, Pinksummer, Genoa, Italy
Shadow Cabinet: A Loyal Opposition Response, Cuchifritos Gallery + Project Space, New York, USA
2015
TO BE BUILT, Galerie Barbara Weiss, Berlin, Germany
AFRIKA EUROPA BRÜCKE, Oracle, Berlin, Germany
2014
REBELS ARE REASONABLE, ESSEX STREET, New York, USA
Lomonosov Furthered, with Shane Munro, LISTZ, Berlin, Germany
2012
Über die Grenze: May Not Be Seen Or Read Or Done, ESSEX STREET, New York, USA
WHAT TO DO NEXT, Peanut Underground Art Projects, New York, USA
2011
“Arab Springs”/ Atlantic Wealth: Trading Room, White Box / MA.P.S, New York, USA
Ricchezza D’Italia, Galleria Cesare Manzo, Pescara, Italy
2010
Situation Room, 391 Victoria Street, Hamilton, New Zealand
2009
Situation Room: Technology Change Climate Stability, Arnolfini, Bristol, UK
2007
Elbegas, Galerie für Landschaftskunst, Hamburg, Germany
BET AND WIN: Way Out Too, Unit 2 Gallery, London, UK
2005
Parallel Projects: Proposals for Condoleezza Rice / Parallelprojekte: Vorschläge für Condoleezza Rice, Christian Nagel, Berlin, Germany
2004
Reverse Global Warming, Spacex, Exeter, UK
One to Another (foreign policy proposal), American Fine Arts, New York, USA
Correspondence, American Fine Arts, New York, USA
2003
Independence from Big Oil, Dublin City Council and Fingal County Council, Dublin, Ireland
Proposals for Arabia, Galeria Marta Cervera, Madrid, Spain
2002
Global Gas / Super Gas, Ocean Earth vis-à-vis Superflex, Kunstruimte Wagemans, Netherlands
2001
Naval Action, Mars Gallery, Tokyo, Japan
Big Deal: Revival of the Americas, Nikolai Fine Art, New York, USA
Sea Change, Spacex Gallery, Exeter, UK
Ocean Earth: Policy Models, Rockford Art Museum, Rockford, Illinois, USA
Economic Potential, Roger Smith Gallery, New York, USA
2000
RAPID: Post-Petroleum Gas Stations, Launching a Brand, American Fine Arts, New York, USA
EURAFRICA/AMERICAS/MONDO, Galeria Marta Cervera, Madrid, Spain
NEWS ROOM NEW YORK (Chaikin, Fend, Lehman, Lombardi, RR), Roger Smith Gallery, New York, USA
1999
Global Warming: A Rapid Response Remark, at Chelsea Exxon station, Nikolai Fine Art, New York, USA
Chase Scene, American Fine Arts, New York, USA
1998
NEWS ROOM GRAZ, Kunst und Neue Medien, Steirischer Herbst, Graz, Austria
1997
Spiral Ramp, Woodlawn Cemetery, The Bronx, New York, USA
1996
Chernobyl Solutions, Steffany Martz Gallery, New York, USA
Art Meets Science, Charlottenborg, Copenhagen, Denmark
1995
Landkraft/Swiss Split, Ars Futura, Zurich, Switzerland
Landkraft, Kunstlerhaus Palais Thurn & Taxis, Bregenz, Austria
Architecture for the 21st Century, Artspace, Sydney, Australia
1994
Eurasian Scenario, Marc Jancou Gallery, London, UK
Startbahn Oesterreich, Galerie Metropol, Vienna, Austria
Global Spiral, installation at Global Forum, G-Mex Centre, Manchester, UK
Ocean Earth, Strauss & Adamopolous, Frankfurt, Germany
NEWS ROOM COPENHAGEN, with Globe, Copenhagen, Denmark
1993
Strategie Globale: Giant Algae System for France, FRAC Poitou-Charentes, Angouleme, France
Habitus, Galerie Anne de Villepoix, Paris, France
OCEAN EARTH: FOR A WORLD WHICH WORKS, Neue Galerie am Landesmuseum, Graz, Austria
NEWS ROOM PARIS, Galerie des Archives, Paris, France
1992
Site Simulator, Tivat Bay, American Fine Arts, New York, USA
Beach Party Deutschland, Galerie Esther Schipper, Cologne, Germany
Beach Party Yugoslavia, Riverside Studios, London, UK
Documenta Flags, Galerie de Marseille, Marseille, France
Documenta Flags, Le Case D’Arte, Milan, Italy
Espace Circulant/Spinning Room, Galerie Roger Pailhas, Paris, France
Floriade, The Hague, Netherlands
Corse Divise, Assemblee Nationale, Paris, France
NICAF, Yokohama, Japan
Means to Wealth/Mittel und Wohlstand, Galerie Tanja Grunert, Cologne, Germany
1991
Europa, Kunstraum Daxer, Munich, Germany
Beach Party, American Fine Arts, New York, USA
NEWS ROOM STOCKHOLM, Galerie Nordenstad-Skarstedt, Stockholm, Sweden
Salle du Monde, long-term installation, L’Hôpital éphémère, Paris, France
1990
City of the Dead / Die Totenstadt, Galerie Tanja Grunert, Cologne, Germany
Cities as Bodies / Staedte als Koerper, Esther Schipper, Cologne, Germany
NEWS ROOM FRANKFURT, Institut fuer Neue Medien / Pavilion Varisella, Frankfurt, Germany
NEWS ROOM NEW YORK/NEWS ROOM AMSTERDAM, American Fine Arts, New York and Museum Fodor, Amsterdam, Netherlands
Progetto Adriatico, Le Case D’Arte, Milan, Italy
Einheiten, Galerie Ryszard Varisella, Frankfurt, Germany
Kleine Fragen, Galerie Christian Nagel, Cologne, Germany
1989
Completion of the War, American Fine Arts, New York, USA
Global Monitoring and Assessments: Towards the 21st Century, Fondazione Cini, Venice, Italy
1988
BODY, American Fine Arts, New York, USA
Peter Fend, Scott Hanson Gallery, New York, USA
Art at the End of the Social, Rooseum, Malmo, Sweden
1985
Bacino Torbido, Museo Santa Barbara, Calabria, Italy
1983
Image/Process, The Kitchen, New York, USA
1982
Space Force in Action, Kunsthalle Düsseldorf, Germany
Art of the State, The Kitchen, New York, USA
Global System, Chase Manhattan Plaza, sponsored by Lower Manhattan Cultural Council, New York, USA
1979
IRON LUNG: A ROOM DEFINED NOT BY ITS WALLS BUT BY A PUMP, Peter Nadin Gallery, New York, USA
WEALTH OF BASINS, DEATH OF NATIONS, Peter Nadin Gallery, New York, USA
World Space: Political Economies After Oil, Peter Nadin Gallery, New York, USA
SELECTED GROUP EXHIBITIONS
2025
Confrontations, Pairings from the Collection, Museum Brandhorst, Munich, Germany
Files, Kunsthalle Zurich, Switzerland
2024
1,5 Grad, Kunsthalle Mannheim, Germany
The Ocean, Bergen Kunsthall, Bergen, Norway
2022
The State I Am In, Capitain Petzel, Berlin, Germany
Visual Natures: The Politics and Culture of Environmentalism in the 20th and 21st Century, Museum of Art, Architecture and Technology, Lisbon, Portugal
Conditions and Frameworks: Infrastructure as Form and Medium, Vienna Academy of Fine Arts, Austria
2020
Politiche della Natura-Masters, MAAB Gallery, Milan, Italy
Critical Zones, ZKM Center for Art and Media, Karlsruhe, Germany
Potential Worlds 2: Eco-Fictions, Migros Museum für Gegenwartskunst, Zurich, Switzerland
Excerpts: Works from the Marjorie Barrick Museum of Art Collections, Marjorie Barrick Museum of Art, University of Nevada, Las Vegas, USA
2019
RESET, Kai Matsumiya, New York, USA
2018
Brand New: Art and Commodity in the 1980s, Hirshhorn Museum, Washington D.C., USA
Unthought Environments, The Renaissance Society, Chicago, Illinois, USA
The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York, USA
The Dutch Savannah, De Domijnen Museum, Sittard, Netherlands
We stared at the Moon from the centre of the Sun, Towner Art Gallery, Eastbourne, UK
The Second Yinchuan Biennale: Starting from the Desert, Ecologies on the Edge, Museum of Contemporary Art Yinchuan, China
2017
EUtopia | 28, Museumcultuur Strombeek/Gent, Strombeek, Belgium
Tomorrow Will Still Be Ours, Gavin Brown’s enterprise, New York, USA
Aubades. Land Art for Aliens, Weiss Falk, Basel, Switzerland
Water Worlds #1, Centre international d’art et du paysage, Beaumont-du-Lac, France
2016
World Made By Hand, Andrew Edlin Gallery, New York, USA
Changing Circumstances: Looking at the Future of the Planet, FotoFest Biennial, Houston, Texas, USA
History Made By Artists, C L E A R I N G, Brooklyn, New York, USA
Tomorrow’s Man, Sheppard Contemporary, University Galleries, University of Nevada, Reno, Nevada, USA
You Cannot Do Nothing, Galerie Alte Schule, Berlin, Germany
Oceans After Nature, Yerba Buena Center for the Arts, San Francisco, California, USA
Politics of Nature, Fondazione Zimei, Pescara, Italy
Global Terror, Nagel Draxler Kabinett, Berlin, Germany
Mean Machine (Up Jumped the Devil), The Meeting, New York, USA
2015
Territories: Alighiero e Boetti and Peter Fend, Le Case D’Arte, Milan, Italy
Globale – Exo-Evolution, ZKM, Karlsruhe, Germany
The Fountainhead, Fondazione Zimei, Pescara, Italy
to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990, Mumok, Vienna, Austria
2050. A Brief History of the Future., Royal Museums of Fine Arts, Brussels, Belgium; Palazzo Reale Milan, Italy
Dojima River Biennale 2015: Take Me To The River – currents of the contemporary, Dojima River Forum, Osaka, Japan
Anthems for the Mother Earth Goddess, Andrew Edlin Gallery, New York, USA
Drawings | Fridges, Greene Exhibitions, Los Angeles, California, USA
DUMP! Multispecies Making and Unmaking, Kunsthal Aarhus, Aarhus, Denmark
Decolonized Skies, organized by High&Low Bureau, ADN Platform, Barcelona, Spain
For Troedsson Villa, curated by Tam Ochiai and Anne Eastman, Troedsson Villa, Nikko, Japan
ECO-TAX, Cannonball and Dimensions Variable, Miami, Florida, USA
Looking Back / The 9th White Columns Annual, selected by Cleopatra’s, White Columns, New York, USA
Hollywood Hills House, curated by Pierre-Alexandre Mateos and Charles Teyssou, ltd los angeles, Los Angeles, California, USA
2014
WORK IT OUT, Momenta Art, Brooklyn, New York, USA
Decolonized Skies, organized by High&Low Bureau, Apexart, New York, USA
TEDxVaduz redux, T293, Rome, Italy
The Real Estate Show Was Then: 1980, James Fuentes, New York, USA
2013
Looking Back / The 7th White Columns Annual, selected by Richard Birkett, White Columns, New York, USA
Scott Burton, curated by Oscar Tuazon, Fondazione Giuliani, Rome, Italy
Yes Naturally: How Art Saves The World, Gemeentemuseum Den Haag, The Hague, Netherlands
2012
OilScapes, Peacock Visual Arts, Aberdeen, UK
2010
Islands and Ghettos, Heidelberger Kunstverein, Heidelberger, Germany
2008
This is the Gallery…, Eastside Projects, Birmingham, UK
Come Out & Play, apexart, New York, USA
2007
Green Dreams, Kunstverein Wolfsburg, Germany
Aussen vor/On The Outside, ACC Galerie, Weimar, Germany
Still Life. Art, Ecology & The Politics of Change, 8th Sharjah Biennale, Sharjah Emirate, United Arab Emirates
Arrêt sur Images, FRAC Provence Alpes Côte d’Azur, Marseille, France
2006
The Drop, Exit Art, New York, USA
2005
Gotik und Moderne, Fraenkische Galerie, Bayerisches Nationalmuseum, Kronach, Germany
Temporary Spaces, Ausstellungsraum Glue, Berlin, Germany
Mirage, curated by Martin Beck and Julie Ault, Alexander and Bonin, New York, USA
Dry Wells that Upwell Groundwater to Revive Margins of Salt Lakes, Harper Dry Lake, California, USA
Waterways, Venice Biennale, Italy
2004
Election, American Fine Arts, New York, USA
Hortus, Independent Section, Liverpool Biennale, UK
Wonderful, Cornerhouse, Manchester, UK
Le Dessus des Cartes, ISELP, Brussels, Belgium
Adaptations, Apexart, New York, USA
2003
Attack: Art and War, Kunsthalle Wien, Vienna, Austria
Banquete/Bankett, Barcelona Cultural Center, Barcelona, Spain; Zentrum fuer Kunst und Medientechnologie (ZKM), Karlsruhe, Germany; Medialab, Madrid, Spain
GNS, Palais de Tokyo, Paris, France
Hardcore, Palais de Tokyo, Paris, France
Utopia Station, Venice Biennale, Italy
Collaborations, Centre d’art Contemporain, Meymac, France
2002
Ars Electronica 2002, Ars Electronica Center, Linz, Austria
Oekonomien der Zeit, Museum Ludwig, Cologne, Germany; Akademie der Kunste, Berlin, Germany; and Migros Museum, Zurich, Switzerland
Ecovention, Contemporary Art Center, Cincinnati, Ohio, USA
Ways Out, Stroom, The Hague, Netherlands
Empire/State: Artists Engaging Globalization, Whitney Independent Study Program, New York, USA
2001
The South Bronx Story, James Fuentes / The Point, The Bronx, New York, USA
Cartographie des artistes, Galerie Anne de Villepoix, Paris, France
São Paulo Biennale, Azerbaijan/Armenia/Georgia Pavilion, São Paulo, Brazil
2000
Ecologies, The Smart Museum, The University of Chicago, Illinois, USA
Undo, Theater for the New City, New York, USA
Dystopia, Tribes Gallery, New York, USA
World Trade, Roebling Hall, Brooklyn, New York, USA
Carnival in the Eye of the Storm, Pacific Northwest College of Art, Portland, Oregon, USA
1999
Post-War Architecture, Venice Biennale, Italy
Crash, ICA, London, UK
1998
Your Utopia, Momenta Art, Brooklyn, New York, USA
Hey, You Never Know, Kenny Schachter / ROVE, New York, USA
Cartographers, Center for Contemporary Art, Ujazdowski Castle, Varsaw, Poland
Cartographers, Umnetnosta Galerie, Maribor, Slovenia, Entrance display
Desert Flood, ROVE, New York, USA
1997
The Experimenters, curated by Kenny Schachter, Lombard-Fried Fine Arts, New York, USA
French Pavilion TV Studio, with Fabrice Hybert, Venice Biennale, Italy
Cartographers, Museum of Contemporary Art, Zagreb, Croatia
Géographiques: territoires vécus, territoires voulus, territories figures, FRAC Corse, Corsica, France
1996
Atopic Site, curated by Yukiko Shikata, Tokyo International Exhibition Center, Tokyo, Japan
Art Meets Science, in conjunction with “Copenhagen, European City of Culture,” Charlottenborg, Copenhagen, Denmark
1995
Faith, Hope, Love, Death, Kunsthalle Wien, Vienna, Austria
Mapping: A Response to MoMA, curated by Peter Fend, American Fine Arts, New York, USA
On Board, Aperto, Venice Biennale, Italy
Photography After Photography, Siemens Kulturprogramm, Munich; Kunsthalle, Krems, Austria; Städtische Galerie Erlangen, Brandenburgische Kunstsammlungen, Cottbus, Germany; Museet for Fotokunst, Odense, Denmark; Fotomuseum, Winterthur, Svizzera; ICA London, UK; ICA Philadelphia, Pennsylvania, USA
Infrasound, Kunst im öffentlichen Raum, Hamburg, Germany
1994
Cloaca Maxima, curated by Hans Ulrich Obrist, Stadtentwasserung, Zurich, Switzerland
Bifurcations, Centre d’art Contemporain, Meymac, Francia; Musée des Beaux-arts de Dole, France; Cimaise et portique, espace d’art contemporain, centre culturel de l’Albigeois Albi, France
Mission Impossible, Gashouder, Amsterdam, Netherlands
1993
Aperto, Venice Biennale, Italy
Kunst in Weltmasstab, Kunsthalle zu Kiel, Kiel, Germany
Fontanelle, Potsdam, Germany
Kontext Kunst, Neue Galerie am Landesmuseum Joanneum, Graz, Austria
First Europeans, Schloss Charlottenberg, Berlin, Germany
Antwerp Cultural Center, European City of Culture, Antwerp, Belgium
The Edge of Chaos: New Ways of Seeing, Louisiana Museum for Modern Art, Humlebaek, Denmark
Viennese Story, Wiener Secession, Vienna, Austria
Tutto Tondo, Monika Sprüth Galerie, Cologne, Germany
1992
Documenta IX, Kassel, Germany
Documatter, Andrea Rosen Gallery, New York, USA
Il Faut Construire Hacienda, curated by Nicholas Bourriaud, CCC, Tours, France
Multiplici Culturali, selected by Angela Vettesse, Rome, Italy
Floriade, The Hague, Netherlands
Corse Divise, Assemblée Nationale, Paris, France
Nippon International Contemporary Art Fair, Yokohama, Japan
Reconnaissance, Simon Watson Gallery, New York, USA
1991
Teorici Americani, Ottagano, Milan, Italy
Wiener Festwochen, subway station installations, Vienna, Austria
FRAC Corse, Corsica, France
Iberian Current, FRAC Pays de la Loire, France
1990
Around the World, PS 1, Long Island City, New York, USA
The Köln Show, Galerie Daniel Buchholz, Cologne, Germany
California Project, Terrain Gallery, San Francisco, California, USA
Reconnaissance, Simon Watson Gallery, New York, USA
1989
Art at the End of the Social, Rooseum, Malmo, Sweden
Video Works, Galerie Nordenstadt, Stockholm, Sweden
Competition Diomede, The Clocktower, New York, USA & USSR
On-Site: Response to Conditions, Anne Plumb Gallery, New York, USA
Jet Lag, Turon Travel, New York, USA
Project DMZ, Storefront for Art and Architecture, New York, USA
Completion of the War, American Fine Arts, New York, USA
Global Monitoring and Assessments: Towards the 21st Century, two-part presentation on occasion of the conference UN Food & Agriculture Organization and UN Environment Program, Fondazione Cini, Venice, Italy
1988
The New Poverty II, Meyers-Bloom Gallery, Los Angeles, California, USA
International Landscape, XPO Gallery, Hamburg, Germany
International Landscape, Galerie Christoph Duerr, Munich, Germany
Computer Images of Architecture, NY Chapter, American Institute of Architects, New York, USA
Competition Diomede, The Clocktower, New York, USA
Kunstrai, Amsterdam, Netherlands
Public Discourse, Real Art Ways, Hartford, Connecticut, USA
The Drawing Show, Cable Gallery, New York, USA
1987
Documenta VIII, Kassel, Germany
The New Poverty, John Gibson Gallery, New York, USA
Corporate Crime, alternative spaces, San Francisco and San Diego, California, USA
1986
Surveillance, LACE Gallery, Los Angeles, California, USA
1985
Deutsche Kunst, 1945-1985, Nationalgalerie, Berlin, Germany
1984
Kunst und Medien, Kunsthalle Berlin, Germany
Via Satellite, Amerika Haus, Cologne, Germany
The International Show, curated by Michael Smith, Baskerville & Watson, New York, USA
1983- 1984
Show, Ronald Feldman Fine Arts/Village Voice, New York, USA
Image/Process, The Kitchen, New York, USA
Documenta VII, Kunsthalle Dusseldorf, Germany
1982
Natural History, curated by Scott Cook, Grace de Borgenicht Gallery, New York, USA
1981
New York, New Wave, curated by Diego Cortez, PS 1 Contemporary Art Center, Long Island City, New York, USA
Forrest Avenue Maze, on-site project, Forest Avenue School, The Bronx, New York, USA
Jamaica Fish/Bird Port, Urban Animals II, ABC No Rio / Collaborative Projects
1980
The Real Estate Show, New York, USA
Ruhrgebiet Projects, Duisburg, Germany
The Times Square Show, New York, USA
Public Policy: Architecture Propositions, organized by Peter Fend, 626 Broadway, New York, USA
1979
World Space: Political Economies After Oil, Peter Nadin Gallery, New York, USA
Manifesto Show, New York, USA and Milan, Italy
Participation in Urban Animals shows, South Bronx and ABC No Rio, New York, USA
Participation in Collaborative Projects shows (1978-83, mainly 1979)
1978
Poetry of Systems, Baxter Art Museum, California Institute of Technology, Pasadena, California, USA
Peter Fend
Africa-Arctic Flyway. Physiocratic States , 2023
Mitpress
Edited by Elisa R. Linn and Lennart Wolff
Pages: 256
Language: English
ISBN: 9783956796326
Peter Fend
Ocean Earth: 1980 – Today, 1999
Pages: 272
Language: English
ISBN-10: 3927789720
ISBN-13: 978-3927789722
Michael Beutler (1976 Oldenburg, Germany) lives and works in Berlin.
Renowned for his monumental, site-specific installations that radically transform the perception of architectural and social spaces through the use of modest or industrial materials, Beutler is distinguished by a process-based approach rooted in collective participation. A hallmark of his practice is the creation of custom-built, manual machinery, often integrated into the work itself, with the aim of transforming the exhibition into a dynamic, open construction site.
Over the years, Michael Beutler has exhibited in prestigious international museums and institutions, including the Hamburger Bahnhof in Berlin, Nottingham Contemporary, and the Museum für Moderne Kunst in Frankfurt. He has also participated in major international exhibitions, such as the Venice, Berlin, and Gwangju biennials.
Michael Beutler, Keep Beating Below 65°, Pinksummer, Genoa, 2020. Exhibition view. Photo © Alice Moschin.
Michael Beutler, Keep Beating Below 65°, Pinksummer, Genoa, 2020. Exhibition view. Photo © Alice Moschin.
Michael Beutler, Keep Beating Below 65°, Pinksummer, Genoa, 2020. Exhibition view. Photo © Alice Moschin.
Michael Beutler, Shipyard, Viva Arte Viva, 57th Venice Biennale, 2017. Installation view. Photo © Haupt & Binder.
Michael Beutler, Shipyard, Viva Arte Viva, 57th Venice Biennale, 2017. Installation view. Photo © Haupt & Binder.
Michael Beutler, Shipyard, Viva Arte Viva, 57th Venice Biennale, 2017. Installation view. Photo © Haupt & Binder.Michael Beutler, Criss Cross Garage, Pinksummer, 2017. Exhibition view. Photo © Alice Moschin.
Michael Beutler, Pump House, Spike Island, Bristol, 2016. Exhibition view. Photo © Stuart Whipps.
Michael Beutler, Pump House, Spike Island, Bristol, 2016. Exhibition view. Photo © Stuart Whipps.
Michael Beutler, Pump House, Spike Island, Bristol, 2016. Exhibition view. Photo © Stuart Whipps.
Michael Beutler, Pump House, Spike Island, Bristol, 2016. Exhibition view. Photo © Stuart Whipps.
Michael Beutler, Moby Dick, Hamburger Bahnhof, Berlin, 2015. Exhibition view. Photo © Staatliche Museen zu Berlin, Nationalgalerie / Thomas Bruns.
Michael Beutler, Moby Dick, Hamburger Bahnhof, Berlin, 2015. Exhibition view. Photo © Staatliche Museen zu Berlin, Nationalgalerie / Thomas Bruns.
Michael Beutler, Ballenernte, 2014, Kunstareal Munchen, Munich
Michael Beutler, Haus Beutler, Bielefelder Kunstverein, 2014. Exhibition view. Photo © Philipp Ottendörfer.
Michael Beutler, Haus Beutler, Bielefelder Kunstverein, 2014. Exhibition view. Photo © Philipp Ottendörfer.
Michael Beutler, Haus Beutler, Bielefelder Kunstverein, 2014. Exhibition view. Photo © Philipp Ottendörfer.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view. Photo © Gijs Haak.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view. Photo © Gijs Haak.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view. Photo © Gijs Haak.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view.
Michael Beutler, Polder Peil, Wilhelminapolder, 2014. Installation view.
Michael Beutler, Knock Knock, Le Grand Café, Centre d’Art Contemporaine, Saint Nazarie, 2013. Exhibition view. Photo © Marc Domage.
Michael Beutler, Aluminum Pagode, LAC, Frankfurt, 2006. Permanent installation. Photo © Michael Beutler.
Michael Beutler (1976 Oldenburg, Germany) lives and works in Berlin.
EDUCATION
1997-2003
Städelschule Frankfurt, Frankfurt am Main, Germany
2000-2001
Master in Fine Arts at Glasgow School of Art, Glasgow, UK
PRIZES AND RESIDENCIES
2013
Atelier Calder (residency), Saché, France
2007
mfi-Preis Kunst am Bau, Essen, Germany
2006
Kunstfonds Artistic Residence Scholarship, Bonn, Germany
2005 / 2006
IASPIS Stipendium (residency), Stockholm, Sweden
2005
Preis für Skulptur und Installation der Öffentlichen Versicherung, Oldenburg, Germany
2004
Förderpreis für Kunst des Landes Niedersachsen, Germany
2003 / 2004
Pontostiftung, Dresdner Band, Frankfurt Am Main, Germany
SOLO SHOWS
2026
Onion, Pinksummer, Genoa, Italy
2025
Michael Beutler, Z33, Hasselt, Belgium
Bozar Monumental (site-specific installation), Brussels, Belgium
2024
SCHÖNER WOHNEN, Galerie Bärbel Grässlin, Frankfurt, Germany
2022
Stardust, Wilhelm Hack Museum, Germany
Plonger et puiser, HAB galerie, Nantes, France
2021
Oak Barrel Baroque, Fondazione La Raia, Novi Ligure, Italy (permanent installation)
2020
Keep beating below 65°, Pinksummer, Genoa, Italy
2018
Råby Planet, Västerås, Sweden
2017
Guest at JoyCom’s, Galerie Nagel Draxler, Berlin, Germany
Pipeline Field, Frac Alsace, Sélestat, France
Criss cross garage, Pinksummer, Genoa, Italy
Galerie Bärbel Grässlin, Frankfurt, Germany
2016
Pump House, Spike Island, Bristol, Nottingham Contemporary, Nottingham, UK
Galeria Heinrich Ehrhardt, Madrid, Spain
2015
Moby Dick, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany
Wechselstuben, Kunstverein am Rosa Luxemburg Platz, Berlin, Germany
2014
Arbeiten, Produzieren, Verhalten, Verhandeln, Museum für Gegenwartskunst, Basel, Switzerland
Polder Peil, WIlhelmina Polder, Zeeland, The Netherlands
Haus Beutler, Bielefelder Kunstverein, Bielefeld, Germany
Pipeline field, Chapelle St Jacques, Saint-Gaudens, France
Ballenernte, Kunstareal München / Pinakothek der Moderne, Munich, Germany
Galerie Bärbel Grässlin, Frankfurt Am Main, Germany
Kunsthalle Osnabrück, Osnabrück, Germany
Haus Beutler, La Loge, Brussels, Belgium
2013
Galerie Nagel Draxler, Berlin, Germany
Maison Saucisson, Atelier Calder, Saché, France
Knock Knock, Le Grand Café, Saint-Nazaire, France
2012
Sensor, ZKM, Karlsruhe, Germany
2011
Kunsthalle Lingen, Lingen (Ems), Germany
2010
Galerie Bärbel Grässlin, Frankfurt Am Main, Germany
Galerie Christian Nagel, Cologne, Germany
2009
7×14 Staatliche Kunsthalle, Baden-Baden, Germany
Fortino #1 Fondazione Broadbeck, Catania, Italy
Kunstverein St. Pauli, Hamburg, Germany
2008
Bonniers Konsthall, Stockholm, Sweden
Stuck o flab, dèpendance, Brussels, Belgium
Spitta steige, After the butcher, Berlin, Germany
Sopra / Sotto, Franco Soffiantino Arte Contemporanea, Turin, Italy
2007
Galerie Christian Nagel, Berlin, Germany
Portikus, Frankfurt Am Main, Germany
2006
Aluminium Pagode, LAC Lufthansa Aviation Center, Frankfurt Airport, Germany (permanent installation)
Manin City, Villa Manin, Passariano di Codroipo, Italy
2005
pecafil, Galerie Michael Neff, Frankfurt Am Main, Germany
Franco Soffiantino Arte Contemporanea, Turin, Italy
Museumsstraße Sprengel Museum, Hannover, Germany
outdoor-yellow12/irrgarten, Botanischer Garten, Munich, Germany
Taking the Matter into Common Hands, IASPIS, Stockholm, Sweden
2004
Signal, Malmö, Sweden
Oldenburger Kunstverein, Oldenburg, Germany
Kunstverein Heilbronn, Heilbronn, Germany
Kunstverein Braunschweig, Braunschweig, Germany
Kunstverein Solothurn, Switzerland
Nicht innen sondern außen – nicht drinnen sondern draußen, Frankfurter Kunstverein, Frankfurt Am Main, Germany
Flip, Kunstverein Braunschweig, Braunschweig, Germany
Proper en Droog, dèpendance, Brussels, Belgium
2003
Galerie Michael Neff, Frankfurt Am Main, Germany
Galerie Barbara Wien, Berlin, Germany
2002
Wiener Secession, Vienna, Austria
2001
dontmiss, Frankfurt, Germany
GROUP SHOWS
2025
SUPERMÖBEL, Kölnischer Kunstverein, Cologne, Germany
2023
HOME IS WHERE YOU’RE HAPPY, Haus Mödrath, Kerpen, Germany
2021
1st Meseberg International for Contemporary Art, Galerie Nagel Draxler, Meseberg, Germany
2019
Werkleitz Festival, Dessau, Germany
Art Encounters Biennial, Timisoara, Romania
Freundschaftsspiel Sammlung Grässlin: Museum für Neue Kunst, Freiburg, Switzerland
2018
Luz, Galeria Heinrich Erhardt, Madrid, Spain
Birds, Oldenburger Kunstverein, Oldenburg, Germany
Soziale Fassaden. Ein Dialog der Sammlungen des MMK und der DekaBank, MMK, Museum für Moderne Kunst, Frankfurt Am Main, Germany
Pictorial Goose Turn – Pinksummer goes to Palermo, Palermo, Italy
Yesterday, Today, Today, Kunstraum Buchberg, Schloss Buchberg am Kamp, Austria
2017
Primary Structures, MMK2, Museum für Moderne Kunst, Frankfurt, Germany
Viva Arte Viva, 57th Venice Biennale, Italy
2016
Wetransform, Neues Museum, Nuremberg, Germany
Fever variations, Gwangju Biennale, South Korea
Kenpoku Art Festival, Hitachi-Omiya, Japan
2015
Eppur si muove, MUDAM, Luxembourg
Ärger im Paradies, Bundeskunsthalle Bonn, Bonn, Germany
Gegen den Strich, Kunstfestspiele Herrenhausen, Hannover, Germany
2014
Body Life in your Head, Geneva, Switzerland
Living in the Material World, Kunstmuseum Krefeld, Krefeld, Galerie imTaxispalais, Innsbruck, Austria
Backdoor Fantasies Kai 10 Arthena Foundation, Düsseldorf, Germany
Plastic Age, ERES-Stiftung, Munich, Germany
Play Time, Rennes Biennale, Rennes, France
2013
Decorum, Musée d‘Art Moderne de la Ville de Paris, Paris, France
Risk Society, MOCA Museum of Contemporary Art, Taipei, Taiwan
I knOw yoU, Irish Museum of Modern Art, Dublin, Ireland
2012
Slg. Wilhelm Otto Nachf., Leopold-Hoesch-Museum, Düren, Germany
No Desaster, Sammlung Haubrok bei Falckenberg / Deichtorhallen, Hamburg, Germany
Wie kommt das Neue in die Welt, Haus am Waldsee, Berlin, Germany
La vie des formes, Les Abattoirs / Frac Midi-Pyrénées, Toulouse, France
Das Atelier. Orte der Produktion, Kunstmuseum Lucerne, Switzerland
30 Künstler/30 Räume, Kunstverein Nürnberg, Nuremberg, Germany
Manufacture, CentrePasquArt, Bienne, Switzerland
Sammlung Marx, National Museum in Szczecin, Poland
2011
Skulpturales Handeln, Haus der Kunst, Munich, Germany
Thomas Bayrle curates (reluctantly) Schrippenking with a p?, Galerie Mezzanin, Vienna, Austria
Melanchotopia, Witte de With, Rotterdam, The Netherlands
Flaca“, Portikus, Frankfurt Am Main, Germany
MMK 1991 – 2011, Museum für Moderne Kunst, Frankfurt Am Main, Germany
Manufacture, Parc Saint Leger / Centre d’Art Contemporain, Pougues-les-Eaux, France, John Hansard Gallery, Southampton, UK
Open House, Singapore Biennale, Singapore
2010
People meet in Architecture, Venice Biennale of Architecture, Italy
Material World: Extraordinary Environments from Ordinary Things, Massachusetts Museum of Contemporary Art, MASS MoCA, North Adams, USA
Sketches of space, MUDAM, Musée d’Art Moderne Grand-Duc Jean, Luxembourg
Werk 2010, Heidenheim an der Brenz, Germany
Galerie Christian Nagel, Antwerp, Belgium
Leinen los! 85. Herbstausstellung niedersächsischer Künstler, Kunstverein Hannover, Germany
Paradise Lost – Holidays In Hell, Centro Cultural Andratx – CCA, Andratx, Spain
Arrivals and Departures, Fondo Mole Vanvitelliana, Ancona, Italy
New works, Basis Frankfurt, Frankfurt Am Main, Germany
2009
Open Source, Amsterdam, The Netherlands
Bulletin Board Blvd., Pro Choice, Vienna, Austria
2008
My Space.Cosa vuol dire “pubblico”? PAN – Palazzo delle Arti di Napoli, Neaples, Italy
Casa sem dono, Casa Triangulo, São Paulo, Brazil
Uturn“, Quadriennal for Contemporary Art, Copenhagen, Denmark
Fusion/Confusion, Museum Folkwang, Essen, Germany
Ad Absurdum, Städtische Kunsthalle Nordhorn / MARTA Herford, Germany
APPELL, Museum Felix de Boeck, Brussels, Belgium
Vertrautes Terrain ZKM, Karlsruhe, Germany
Kunstmaschinen Maschinenkunst, Tinguely Museum, Basel, Switzerland
Psychobuildings, Hayward Gallery, London, UK
Personal Protocols and other Preferencies, CCS Bard College, New York, USA
2007
Modelle für Morgen, European Kunsthalle, Cologne, Germany
Dèpendance at galerie neu Galerie Neu, Berlin, Germany
Encuentro Internacional de Medellín 07, Medellín, Colombia
Made in Germany, Kestner Gesellschaft, Hannover, Germany
perspektive 07, Lenbachhaus, Munich, Germany
Verwendungsnachweis, Museum für Moderne Kunst, Frankfurt Am Main, Germany
Kunstmaschinen Maschinenkunst Schirn Kunsthalle, Frankfurt Am Main, Germany
Into it Kunstverein Hildesheim, Hildesheim, Germany
2006
Von Mäusen und Menschen, 4th Berlin Biennale, Germany
Playstation, Sprengelmuseum, Hannover, Germany
Bonanza, Tilton Gallery, New York, USA
Bühne des Lebens. Rhetorik des Gefühls, Kunstbau Lenbachhaus, Munich, Germany
Don Quixote, Witte de With, Rotterdam, The Netherlands
Fever Variations, 6th Gwangju Biennale, Gwangju, South Korea
Housewarming, SWISS Institute, New York, USA
2005
From our cold hands, VTO, Londra, UK
Dialectics of hope, 1st Moscow Biennale, Russia
Bench, Kunsthalle St. Gallen / Bonner Kunstverein, Bonne, Germany
Memphis, Flaca Gallery, London, UK
Lore, Project Room, Glasgow, UK
Negotiating Realities, International Göteborg Biennale for Contemporary Art, Sweden
Quattro Flaca, Kunsthaus Langenthal, Switzerland
Frieze Projects, Frieze Art Fair, London, UK
Present Future, Artissima, Turin, Italy
2004
Was ist in meiner Wohnung, wenn ich nicht da bin?, Greifswalderstr.212, Berlin, Germany
The Savoy, Collective Gallery, Edinburgh, UK
Sculpture Garden, Old Street Roundabout, London, UK
Universal Outstretch, Flaca Gallery, London, UK
Heimweh, Haunch of Venison Bruton Street, London, UK
No money, Kunsthalle zu Kiel, Kiel, Germany
2003
Utopia Station Sindelfingen, Städtische Galerie, Sindelfingen, Germany
Total motiviert/The state of the upper floor: Panorama, Kunstverein München, Munich, Germany
Make it new!, Portikus/Dresdner Kleinwort Wasserstein, Frankfurt Am Main, Germany
2002
Terrassen, mit / with Henning Bohl, Kjubh Kunstverein, Cologne, Germany
Origami rückwärts, Technoplus, Paris, France
Fluten, Hinterconti, Hamburg, Germany
easy-heavy, with Sunah Choi, Luftraum, Frankfurt Am Main, Germany
Whitecubeponderosa, Griesinger Schule, Frankfurth Am Main, Germany (permanent installation)
Michael Pfrommer / Mandla Reuter, Lothringerstraße 13/Laden, Munich, Germany
2001
Sour Cherry Soup (Meggyleves), Mafuji Gallery, London, UK
Interim, Mackintosh Gallery, Glasgow School of Art, UK
Trash Art Festival, Gazi, Athens, Greece
Ausstellung Wohnung Draschan/Wolff, with Lise Harlev, Vienna, Austria
Museumsshop, Stellwerk, Kassel, Germany
Haiku Installation, Unit2, London and Podium Gallery, Glasgow School of Art, Glasgow, UK
Vasistas, Technische Universität, Instanbul, Turkey
New Heimat, Frankfurter Kunstverein, Frankfurt Am Main, Germany
2000
Und was machen wir heute, Steinweghalle, Oldenburg, Germany
Städelschule Frankfurt am Main – Büropark Neu Isenburg, Frankfurterstrasse 127, Neu Isenburg, Germany (permanent installation)
ISBN 3-9805670-3-6, Hanauer Landstrasse 133, Frankfurt Am Main, Germany
Membersshow, Transmission Gallery, Glasgow, UK
Festival Junger Talente, Messehallen, Offenbach Am Main, Germany
1999
Neue Räume, c/o Rathenaustrasse, Offenbach Am Main, Germany
Jailbreak, Phantombüro, Frankfurter Kunstverein, Frankfurt Am Main, Germany
Transformation Delta, Stellwerk, Kassel, Germany
1998
Stuttgart, 17.7.1956 – Salem (Wis.)/USA, 3.3.1977, Portikus, Frankfurt Am Main, Germany
Michael Beutler
Moby Dick, 2016
Spector Books
Edited by Anna M. Szaflarski, Melanie Roumiguière, Melanie Roumiguière and Udo Kittelmann
Pages: 208
Language: English
ISBN-13: 978-3959050289
Jeroen Boomgard, Frits de Coninck, Kathrin Ginsberg, Philip Kaiser, Theo Tegelaers
Polder Peil, 2014
Catalogue for the Land Art project Polder Peil (2009-2014).
CBK, Zeeland
Edited by Katharin Ginsberg and Theo Tegelaers
Languages: Dutch/English
ISBN: 9789063541828
Michael Beutler
Kottgubbar, 2008
Bonniers Konsthall
Edited by Sara Arrhenius, Kim Einarsson, Polly Staple
Pages: 160
Languages: Swedish/English
Michael Beutler
Pecafil, 2006
Edited by Nicolaus Schafhausen and Katja Schroeder, Frankfurter Kunstverein
Testi di Thomas Bayrle, Maria Lind, Ariane Müller
Pages: 100
Languages: English/German
ISBN: 9780974568850
Michael Beutler
Secession, 2003
Edited by Matthias Herrmann, Gregory Williams, Stefanie Kleefeld
Pages: 24
Languages: English/German
ISBN: 390192650X
Canoas
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Untitled
Untitled
Luca Trevisani (1979 Verona, Italy) lives and works between Milan and Berlin.
Trevisani’s work explores the unstable territories where sculpture abandons the rigidity of stone to become a biological, chemical, and temporal process. Rather than imposing a fixed form on matter, his research yields to its continuous flow of metamorphosis, decay, and regeneration. By orchestrating poetic collisions between organic elements and artificial constructs, Trevisani transforms the sculptural act into a philosophical reflection on the porosity of bodies, demonstrating that nature and culture are not separate realms, but a single ecosystem in permanent transition.
The most recent and radical synthesis of this methodology is the project Kotikeye, winner of the 13th edition of the Italian Council. Drawing from the study of prehistoric footprints preserved in the Toirano Caves, the artist developed a series of porous ceramic sculptures that investigate interspecies alliances between humans and animals, as well as the very concept of domestication. Through a series of itinerant performative banquets, these works function as genuine relational and sensory devices, inviting the shared act of consumption to restore touch to its role as a primal language.
Luca Trevisani’s work has been exhibited in numerous international institutions. Among his recent exhibitions and projects, a standout is the solo show Kotikeye at the Casa Museo Jorn in Albissola Marina, preceded by performative presentations at FRAC Corsica, the Académie Internationale de la Céramique in Geneva, the National Museum of Modern Art in Zagreb, and Palazzo Ducale in Genoa, prior to entering the permanent collection of the Museo Madre in Naples. His research has also been presented by, among others, the Museo del Novecento in Milan, MACRO and MAXXI in Rome, Museion in Bolzano, GAM in Turin, and the Venice Architecture Biennale.
Notes for dried and living bodies in Corso Umberto, Platea, Palazzo Galeano, Lodi, 2022Photo by Alberto Messina
Luca Trevisani, Spazio Lima, Milan, 2022
Wireless Fidelity, MAXXI L’Aquila, permanent
Daniel Day Lewis for Gestus, Teatrino Palazzo Grassi, 2021
In bocca, Pinksummer, Genoa, 2021
38° 11′ 13.32” N 13° 21′ 4.44” E 44° 24′ 27.4” N 8° 55′ 60.0” E, Pinksummer, Genoa, 2018
Clinamen, Pinksummer, Genoa, 2006
Luca Trevisani (1979 Verona, Italy) lives and works between Milan and Berlin.
EDUCATION
2005 Advanced Course in Visual Arts Fondazione Antonio Ratti, Como, Italy
2003 BA in Drama, Art, and Music Studies (DAMS), Faculty of Arts and Humanities, University of Bologna (110/110 with honors), Bologna, Italy
1997 High School Diploma in Science and Technology
PRIZES
2023 Italian Council (DGAAP), Ministero dei Beni e delle Attività Culturali e del Turismo
2023 exChange, Eurac research, Bozen, Italy
2021 Cantica21, Ministero della Cultura
2020 Premio Rotary, Artefiera, Bologna, Italy
2017 Italian Council, (DGAAP) Ministero dei Beni e delle Attività culturali e del Turismo
2015 Premio Artevisione Sky e Careof
2013 Premio Moroso
2011 Premio Ettore Fico
2010 Selected for premio Ars Viva Prize 2010/11
2009 Premio New York, Ministero degli Affari Esteri
2009 Premio Emerging Talents, La Strozzina, Palazzo Vecchio, Florence, Italy
2008 Premio ACACIA, Milan, Italy
2007 Premio Furla per l’arte
2006 Selection for Premio Artegiovane, Milano e Torino incontrano l’Arte, Italy
RESIDENCIES
2023 Crespo Foundation, ArtNature/NatureArt, Glenkeen Garden, Ireland
2017 Belvedere Museum/ 21er Haus, Vienna, Austria
2016 Viaggio in Sicilia #7, touring residency Planeta per l’Arte e il Territorio
2015 Istituto Italiano di Cultura, Paris, France
2010 ISCP, New York, USA
2009 Nederlands Instituut voor Mediakunst, Montevideo, Amsterdam, Netherlands
2008 Kuenstlerhaus Bethanien, Berlin, Germany
2008 Fondazione Buziol, Venice, Italy
TEACHING
The artist currently teaches at: Free University of Bozen-Bolzano, Faculty of Design and Art, Bolzano; NABA Nuova Accademia di Belle Arti, Milan; IUAV University, Venice
Past Teaching Experience: Department of Visual Arts, Faculty of Arts and Humanities, University of Bologna, Seminar Lecturer, Workshop Leader (2003–2006); Master’s Degree Program in Fashion Systems and Communication, University of Bologna, Rimini Campus (2004–2006); Cladem, Bachelor’s Degree Program in Fashion Design, Rimini (2005); NABA Nuova Accademia di Belle Arti, Milan (2009); Carlo Zauli Museum, Faenza (September 2009); Accademie Eventuali, Bologna – MAMbo, Bologna; Furla Foundation, Bologna, Seminar Lecturer, Workshop Leader (April 2012).
SOLO SHOWS
2026
Kotikeye, Casa Jorn, Albissola, Italia
2025
Kotikeye, performances: FRAC Corsica, Oletta, France – IAC, Usine Kugler, Geneva, Switzerland – National Museum of Modern Art, Zagreb, Croatia – Casa Jorn, Albissola Marina, Italy
La Natura della Natura della Natura, Palazzo Ducale, Genoa, Italy
2024
Luca Trevisani, Insalata di Fossili, COLLI, Foligno, Italy
2023
Del taglio, Pinksummer Contemporary Art, Spazio Campo XS, Genoa, Italy
2022
Notes for dried and living body, Palazzo Galeano, Lodi, Italy
Flour Fossils of Lemon Flavor, Mehdi Chouakri, Berlin, Germany
Luca Trevisani, Spazio Lima, Milan, Italy
Naturalmente la natura non esiste, Platea, Lodi, Italy
2021
In bocca, Pinksummer Contemporary Art, Genoa, Italy
C-ART-OFF-LINE, Casa Museo Palazzo Maffei, Verona, Italy
2019
Pièce Unique IV, Dream Republic, Mehdi Chouakri, Berlin, Germany
2018
38° 11′ 13.32” N 13° 21′ 4.44” E 44° 24′ 27.4” N 8° 55′ 60.0” E, Pinksummer, Genoa, Italy
Hot, Melange, Cologne, Germany
2017
Caldo, Base progetti per l’arte, Florence, Italy
2016
Marselleria Milan, Italy
Cerchio, Museo del Novecento, Milan, Italy
2015
Possibilità, Vitrine, Gam, Turin, Italy
Grand Hotel ed des Palmes, Istituto Italiano di Cultura, Madrid, Spain
Grand Hotel ed des Palmes, Istituto Italiano di Cultura, Paris, France
Grand Hotel ed des Palmes, Museo Civico di Castelbuono, Palermo, Italy
2014
Glaucocamaleo, Museo Marino Marini, Florence, Italy
Placet experiri, Konrad-Adenauer-Stiftung, Berlin, Germany
2013
To the point of your fingers, Mehdi Chouakri, Berlin, Germany
Macro, Rome, Italy
Fino alla punta delle tue dita, Valentina Bonomo, Rome, Italy
Private, Studio Geddes, Rome, Italy
2011
Interval Training, Mehdi Chouakri, Berlin, Germany
Placet Experiri, ReMap KM III, Athens, Greece
2010
NIMK / Montevideo, Amsterdam, Netherlands
Lo spazio è un giardino da coltivare, (special project for MACRO), MACRO, Rome, Italy
2009
Identity is a cloud, a cura di D. Lotta, Museo Carlo Zauli, Faenza, Italia
The truth is that the truth changes, Pinksummer, Genoa, Italy
2008
Giò Marconi, Milan, Italy
Mehdi Chouakri, Berlin, Germany
Kunstlerhaus Bethanien, Berlin, Germany
Luca Trevisani / Gianni Pettena, Sistemi binari.1, Neoncampobase, Bologna, Italy
2006
Clinamen, Pinksummer, Genoa, Italy
SELECTED GROUP EXHIBITIONS
2025
Mediterranea. Visioni di un mare antico e complesso, MAXXI, Rome, Italy
Per grazia ricevuta, Museo del Tesoro di San Gennaro, Neaples, Italy
Vibrant Matter, Fondazione Bonollo, Vicenza, Italy
2024
Diorama – Generation Earth, MAN, Nuoro, Italy
The Glenkeen Variations, Crespo Foundation, Frankfurt, Germany
The Morbid Palace, Pinksummer at former Church of the Guardian Angel, Genoa, Italy
2023
Nova Express: Avvento dei desideri e dei diritti, Ciacca Levi, Milan, Italy
Postcard from Genova. An exhibition in collaboration with Pinksummer, Wouters Gallery, Brussels, Belgium
Dimensions of Civilization, Art Museum of Sichuan, Chongqing, China
Panpestato, Panorama L’Aquila – ITALICS Art
Bojan Šarčević & Luca Trevisani, Pinksummer goes to Milan, Sanfermosette, Milan, Italy
2022
No Neon No cry, Mambo, Bologna, Italy
Eclettica!, MEF Museo Ettore Fico, Turin, Italy
Mutaforma. Mutazioni ceramiche del codice CZ, Alchemilla, Palazzo Vizzani, Bologna, Italy
2021
Gestus, Teatrino di Palazzo Grassi, Venice, Italy
Friendship. Nature. Culture. 44 Years of the Daimler Art Collection, Daimler Contemporary, Berlin, Germany
Point of Equilibrium. Thought Space Light from Toyo Ito to Ettore Spalletti, MAXXI L’Aquila, Italy
Artists’ Library: 1989–2021, Museo MACRO, Rome, Italy
Italian Twist, Gallerie delle Prigioni, Treviso, Italy
Come pesci nell’acqua, curated by G. Verzotti, Villa Nigra, Miasino, Palazzo Tornielli Ameno, Italy
2020
Real Italy, MAXXI, Rome, Italy
Material Matters, Mehdi Chouakri, Berlin, Germany
La forma della terra Fondazione Malvina Menegaz per le Arti e le Culture, Castelbasso, Italy
2019
To be played, Giardino Giusti, Verona, Italy
Negativer Raum, ZKM, Karlsruhe, Germany
Equilibrium. Un’idea per la scultura italiana, Mazzoleni, London, UK
2018
Low Form, MAXXI, Rome, Italy
Into the wild, Kunst Merano arte, Merano, Italy
Classic Reloaded, Rethinking Classicism in contemporary Italian art, Villa Audi Mosaic, Beirut, Lebanon – Kunst Merano arte Museum, Merano, Italy – Museo Nazionale del Bardo, Tunisi, Tunisia
– WunderMoRE, MAXXI, Rome, Italy
Raymond, Grand Hotel et des Palmes, Palermo, Italy
Raymond controfigura, Museo civico di Castelbuono, Palermo, Italy
2017
Lost in Narration, MAC, Belfast, Ireland
Hämatli & Patrae , Museion, Bozen, Italy
In between, the library as a medium, Kunsthalle Wien, Vienna, Austria
Deposito d’arte italiana presente, Turin, Italy
Global Learning, Maga, Gallarate, Italy
Solo Figli, Padiglione de l’Esprit Nouveau, Bologna, Italy
2016
In Retrospect: Good & Plenty, Too, Mehdi Chouakri, Berlin, Germany
Process, Performance, Presence, Kunstverein Braunschweig, Germany
XVI Quadriennale, Rome, Italy
Urban Mining, XXV Premio Gallarate, Maga, Gallarate, Italy
The Camera’s Blind Spot III, Palazzo De’ Toschi, Bologna, Italy
Avviso di Garanzia, FuoriUso 2016, Pescara, Italy
Che il vero possa confutare il falso, Siena, Italy
HAEMOLACRIA. The complete words of Marcel BloodTears Artistic literary homage to Marcel Broodthaers, Laboratorio del dubbio, Turin, Italy
Terra provocata, Museo Civico Medievale, Bologna, Italy
2015
Function follows vision, vision follows reality, Kunsthalle Wien, Vienna, Austria
The camera‘s blind spot II, Extra City_Kunsthal Antwerpen, Antwerp, Belgium
Exo-evolution, Zkm, Zentrum für kunst und medientechnologie, Karlsruhe, Germany
Comunità Italia, Milan Triennale, Italy
La Scrittura degli Echi, MAXXI, Rome, Italy
Un museo ideale, Museo del novecento, Milan, Italy
Growing roots, Palazzo Reale, Milan, Italy
Vanità/Vanitas – Museo Ettore Fico, Turin, Italy
Collecting for Tomorrow: New Works at Museion – MUSEION, Bozen, Italy
Andy Warhol sul comò – Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy
Notyetseeninberlin – Mehdi Chouakri, Berlin, Germany
2014
Conceptual & Applied III, Daimler Contemporary, Berlin, Germany
We have Never Have Been Modern, SongEun ArtSpace, Seoul, South Korea
Vanitas, Georg Kolbe Museum, Berlin, Germany
Krobylos, un groviglio di segni, drawing Biennale, Rimini, Italy
2013
Bestiario Contemporaneo, Museo di Storia Naturale, Venice, Italy
From Albers to Warhol to (now), Museo di Santa Giulia, Brescia, Italy
AB, by Gabriele de Sanctis, Nomas Foundation, Rome, Italy
2012
Premio Italia , MAXXI, Rome, Italy
Dior seen by, Milan Triennale, Italy
D’apres Giorgio, curated by Luca Lo Pinto, Fondazione Giorgio e Isa De Chirico, Rome, Italy
Wie kommt das Neue in die Welt?, Haus am Waldsee, Berlin, Germany
Gli artisti italiani della collezione ACACIA, Palazzo Reale, Milan, Italy
Periplo della scultura italiana, MUSMA, Matera, Italy
Berlin. Status (1), Kunstlerhaus Bethanien, Berlin, Germany
Live Arts Week / Gianni Peng, Bologna, Italy
Epipedon, curated by L. Pratesi, CO2, Rome, Italy
Casabianca, Bologna, Italy
2011
Suspence, curated by Lorenzo Giusti and Arabella Natalini, EX3, Florence, Italy
ITaliens, curated by A.Pace e M. Sorbello, Italian Embassy in Berlin, Germany
2010
SI – Sindrome Italiana, la jeune création artistique italienne, curated by Yves Aupetitallot, Le Magasin, Grenoble, France
Ampersand, Daimler Kunstsammlung, Berlin, Germany
High ideals & CRazy Dreams, Galerie Vera Munro, Hamburg, Germany
The Berlin Box, CCA Antrax, Mallorca, Spain
Fuori centro, Hangar Bicocca, Milan, Italy
Elogio della semplicità, curated by G. Verzotti, Fondazione Stelline, Milan, Italy
Linguaggi e Sperimentazioni, curated by G. Verzotti, MART, Rovereto, Italy
ARS – Artists in Residence Show, Fondazione Arnaldo Pomodoro, Milan, Italy
The bearable lightness of being – the metaphor of the space 2, Arsenale Novissimo, Biennale Architettura 2010, Venice, Italy
La Scultura Italiana del XXI secolo, curated by Marco Meneguzzo, Fondazione Arnaldo Pomodoro, Milan, Italy
For Istance, curated by L. Bruni, SUN, studio rosso, Florence, Italy
2009
Evidence of the Paranormal, Klaus von Nichtssagend Gallery, New York, USA
Abc, Berlin, Academie die Kunst, Berlin, Germany
Up Against The Wall, curated by R. Pinto, Ileana Tounta Contemporary Art Center, Athens, Greece
Cui Prodest ?, curated by F. Stocchi, New Galerie de Francia, Paris, France
Arrivals & Departures Europe, curated by A. Bruciati, Mole Vanvitelliana, Ancona, Italy
Fuorisalone 2009, Plusdesign, Milan, Italy
Spaciux, curated by D. Lotta, M. Arfiero, P. Gallio, Lambretta, Milan, Italy
Non Voltarti Adesso/Don’t Look Now, Cà Pesaro, Venice, Italy
Nothing but a Show, curated by A. Ascari, Castello Sforzesco, Milan, Italy
Una collezione trasversale, curated by F. Cavallucci, Spazio ALT, Alzano Lombardo, Italy
Emerging talents, CCCS Centro di Cultura Contemporanea Strozzina, Florence, Italy
Through the looking glass, curated by C. Alinovi, Pinksummer, Genoa, Italy
Lo sguardo di Giano, curated by F. Stocchi, American Academy in Rome, Italy
2008
Manifesta 7, curated by A. Budak, Rovereto, Italy
50 Moon Of Saturn, acurated by D. Birnbaum, Turin Triennale, Italy
Biennale di Sydney, curated by C. C. Bakargiev, Sydney Australia Online venue
Sguardo periferico, corpo collettivo, curated by C. Diserens, Museion, Bozen, Italy
…a lady’s shoe lost in the grass, curated by A. Grulli, Italian Cultural Institute C.M. Lerici Italia – Stockholm, Sweden
XV Quadriennale, Rome, Italy
Sporgersi prego, Lange & Pult, Zurich, Switzerland
Paperweight, Mehdi Chouakri, Berlin, Germany
Notebook n° 0, curated by D. Lotta and M. Arfiero, Neon fdv, Milan, Italy
Soft Cell. Dinamiche nello spazio in Italia, GC.AC Galleria Comunale d’Arte Contemporanea, Monfalcone, Italy
Focus on Contemporary Italian Art, MAMbo Museo d’Arte Moderna di Bologna, Italy
2007
The space of your future, MOT, Museum of Contemporary Art, Tokyo, Japan
Present Future, Artissima, Turin, Italy
Looking for the border, Cultuurcentrum, Strombeek, De Garage, Mechelen, curated by Luk Lambrecht, Roberto Pinto and Koen Leemans, Fondazione Stelline, Milano, Italia
On mobility, Premio Furla per l’arte, curated by C. Parisi and G.Maraniello, Villa delle Rose, Bologna, Italy
The importance of not being seen, curated by Luca Cerizza, Cafe Moskau for Galerie Isabella Bortolozzi, Berlin, Germany
In dialogo, curated by M. R. Sossai, Studio La Città, Verona, Italy
Bellavita, New Chinatown Barbershop, Los Angeles, California, USA
Albedo: a new perspective in italian moving images, curated by A. Bruciati, GC.AC, Monfalcone, Italy; XII International Media Art Biennale WRO 07, Wroclaw, Poland; Teatro Junghans, Venice, Italy
videoREPORT ITALIA: 04_05, curated by A. Bruciati, MMSU, Rijeka; V 07 – Venice VideoArt Fair, Venice, Italy
2006
L’immagine del vuoto. Una linea di ricerca nell’arte in Italia 1958-2006, Museo Cantonale d’Arte, Lugano, Switzerland
First Sudden Gone the One. First Sudden Back, Project 133, London, UK
Workscape-Cantiere d’autore, Biennale d’architettura di Venezia, Venice, Italy
Dialogo II – Athanasios Argianas, Tobias Putrih, Luca Trevisani, curated by S. Menegoi, Galleria Enrico Fornello, Prato, Italy
videoREPORT ITALIA: 04_05, curated by A. Bruciati, GC.AC, Monfalcone (GO); MAN, Nuoro, Italy
Cortocircuito: coincidenze ed incontri segnici, curated by M. Tagliaferro, ex Palazzo Enel, Novara, Italy
Manomettere, Galleria Comunale d’arte contemporanea, curated by D. Lotta, Castel S. Pietro terme, Bologna, Italy
Tracce di un seminario, curated by A. Daneri and R. Pinto, Assab One, Milan, Italy
Il vuoto al centro, curated by E. De Cecco and T. Ponziani, Montesilvano, Pescara, Italy
Il vento dal settecento all’arte contemporanea, Fondazione Torino Tremusei, Castagneto Po, Italy
2005
Punto d’estensione, curated by G. Molinari, AR/Ge Kunst Galerie Museum, Bozen, Italy
Anigma, 2nd Novosibirsk International Festival. Digital Imaging and Animation, curated by M. Gorni and A. Martynov, Novosibirsk, Russia
Padiglione Italia out of biennale, Flash art museum, Trevi, Italy
Report, Villa delle Rose, curated by C. Parisi, Galleria d’arte Moderna, Bologna, Italy
Estetica della Resistenza, curated by R. Pinto, ex Ticosa, Como, Italy
No location relocation, Galleria Comunale d’arte contemporanea, Castel S. Pietro terme, Bologna, Italy
Architettura nel secondo Novecento in Emilia-Romagna, curated by M. Lupano and P. Orlandi, Galleria d’arte Moderna, Bologna, Italy
2004
ad’ a, curated by R. Daolio, Imola, Bologna, Italy
Enpowerment/ Nazione Italia, curated by M.Scotini, Genoa, Italy
Me without you, Biagiotti arte contemporanea, Florence, Italy
Assab One 2004. Curated by R. Pinto, Milan, Italy
Chance, T293, Neaples, Italy
2003
Collaudi, curated by D. Lotta and M. Altavilla, Villa delle Rose, Bologna, Italy
In Movimento, curated by G. Scardi, Viafarini, Milan, Italy
PUBLIC COLLECTIONS
MAXXI Collection, Museo nazionale delle arti del XXI secolo, Rome, Italy
Farnesina Collection, Ministero per gli Affari Esteri, Rome, Italy
Museion Collection, Bozen, Italy
Macro Museum Collection, Rome, Italy
Villa Adriana e Villa d’Este Collection, Tivoli, Rome, Italy
Museo del 900 Collection, Milan, Italy
Museo Civico di Castelbuono Collection, Palermo, Italy
ACACIA Collection, Milan, Italy
Luca Trevisani
Walking Loaves, 2023
NERO
Pages: 230
Language: Italy
ISBN: 978 88 8056 1927
Luca Trevisani
Via Roma 398. Palermo , 2018
Humboldt Books
Pages: 151
Language: English
ISBN: 978 8899385477
Luca Trevisani
Grand Hotel et Des Palmes, 2015
NERO
Pages: 132
Language: English / Spanish
ISBN: 978-8897503569
Luca Trevisani
Luca Trevisani, 2014
Snoeck
Pages: 319
Language: English
ISBN: 978 3864421068
Luca Trevisani
Water Ikebana. Stories About Solid and Liquid Things , 2014
Humboldt Books
Pages: 216
Language: Italian
ISBN: 978 8890841866
Luca Trevisani
Museo Carlo Zauli. Residenza d’artista. 8ª edizione Workshop di ceramica nell’arte contemporanea , 2009
Silvana Editoriale
Pages: 131
Language: Italian / English
ISBN: 978 8836615964
Luca Trevisani
The Effort Took Its Tools, 2008
Argobooks
Language: English
ISBN: 978 3981228427
Caledonian Road – The queen
Cavendish Square London 2001 – red glove
Caledonian Road London
Kings Cross London
Bermondsey London 1973 – blue car spray
Islington London 1998
San Francisco 2001
Kings Cross London 1983 – window wheel
Oakland California 2001 – market
Caledonian Road London 2001 – sash windows
Giants
Giants
Giants
Catherine
Catherine, rouge n. 4
Carsten Nicolai, also known as Alva Noto (1965 Karl-Marx-Stadt, Germany), lives and works in Berlin and Chemnitz.
His practice takes place at the intersection of visual art, music, and science. As the founder of the Noton label, Nicolai has redefined the boundaries of digital aesthetics, exploring the marginal zones between sensory perception and logical-mathematical systems.
Through multimedia installations and sound performances, the artist transforms frequencies, electronic signals, and complex patterns into physical experiences, with an aesthetic that favors rigorous minimalism, a strong geometric component, and a constant interest in error and the “glitch” as generative elements. Under the pseudonym Alva Noto, Nicolai has become a central figure in experimental electronics, distinguishing himself through the use of hypnotic loops and processed digital textures. With Noton, the artist curates projects that combine avant-garde design and sonic research.
Carsten Nicolai’s works have been exhibited in numerous international institutions, including the Guggenheim Museum in New York (2000), Tate Modern in London (2006, 2012), and the Venice Biennale (2001, 2003, 2015, 2019). Twenty-six years after his first performance for Pinksummer (2000), the artist returned to the gallery with the solo exhibition “Atlas Borealis” (2026).
Carsten Nicolai (Alva Noto), HYbr:ID, MACRO, Rome, 2024. Exhibition view. Photo © Melania Dalle Grave.
Carsten Nicolai (Alva Noto), HYbr:ID, MACRO, Rome, 2024. Exhibition view. Photo © Melania Dalle Grave.
Carsten Nicolai, Strahlen / Raggi, FMAV, Modena, 2023. Exhibition view. Photo © Rolando Paolo Guerzoni.
Carsten Nicolai, Strahlen / Raggi, FMAV, Modena, 2023. Exhibition view. Photo © Rolando Paolo Guerzoni.
Carsten Nicolai, Strahlen / Raggi, FMAV, Modena, 2023. Exhibition view. Photo © Rolando Paolo Guerzoni.
Carsten Nicolai, Transmitter / Receiver – the machine and the gardener, Marsèll Paradise, 2023. Exhibition view. Photo © Lorenzo Capelli.
Carsten Nicolai, Transmitter / Receiver – the machine and the gardener, Marsèll Paradise, 2023. Exhibition view. Photo © Lorenzo Capelli.
Carsten Nicolai, Transmitter / Receiver – the machine and the gardener, Haus Der Kunst, Munich, 2022. Exhibition view. Photo © Max Geuter.
Carsten Nicolai, Transmitter / Receiver – the machine and the gardener, Haus Der Kunst, Munich, 2022. Exhibition view. Photo © Max Geuter.
Carsten Nicolai, Grau, with Alber Oehlen, Galerie EIGEN + ART, Berlin, 2022. Exhibition view.
Carsten Nicolai, Grau, with Alber Oehlen, Galerie EIGEN + ART, Berlin, 2022. Exhibition view.
Carsten Nicolai, Rota, Lehmbruck Museum, 2019. Exhibition view. Photo Uwe Walter © Galerie EIGEN + ART Leipzig/Berlin und PaceWildenstein, VG Bild-Kunst Bonn 2009.
Carsten Nicolai, Parallax symmetry, Kunstsammlung NRW, Düsseldorf, 2019. Exhibition view. Photo © Achim Kukulies.
Carsten Nicolai, Tele, Berlinische Galerie, 2018. Exhibition view. Photo © Julija Stankeviciene.
Carsten Nicolai, Tele, Berlinische Galerie, 2018. Exhibition view. Photo © Julija Stankeviciene.
Carsten Nicolai, Organ, St. Anne Chapel, Weira, 2017. Installation view. Photo © Thomas Müller.
Carsten Nicolai, Organ, St. Anne Chapel, Weira, 2017. Installation view. Photo © Thomas Müller.
Carsten Nicolai, Parallax, Ichihara Lakeside Museum, 2017. Exhibition view. Photo © Hideto Nagatsuka.
Carsten Nicolai, Unidisplay, HangarBicocca, Milan, 2012. Exhibition view. Photo © Agostino Osio.
Carsten Nicolai, Unidisplay, HangarBicocca, Milan, 2012. Exhibition view. Photo © Agostino Osio.
Carsten Nicolai, Unidisplay, HangarBicocca, Milan, 2012. Exhibition view. Photo © Agostino Osio.
Carsten Nicolai, also known as Alva Noto (1965 Karl-Marx-Stadt, Germania), lives and works in Berlin and Chemnitz.
EDUCATION
1984
He works as a gardener
1985-90
He studies Landscape Design in Dresden, Germany
1992
Co-founder of di Voxxx.kultur und Kommunikationszentrum, Chemnitz, Germany
1994
Founder of Noton – Archiv für Ton und Nichtton
1999
Founder of Raster-Noton
2015
Professorship in art with focus on digital and time-based media, Dresden Academy of Fine Arts
PRIZES
2014
17th Japan Media Arts Festival, Grand Prize (art division), (Crt Mgn), Japan
2012
Giga-Hertz-Award, Zkm Karlsruhe (Cyclo. Id publication with Ryoji Ikeda), Germany
2007
Villa Massimo, Rome, Italy
Zurich Prize, Zurich, Switzerland
2003
Villa Aurora, Los Angeles, USA
2001
Prize Ars Electronica, Golden Nica, Linz (Polar installation with Marko Peljhan), Austria
2000
F6-Philip Morris, Graphic Prize, Dresden, Germany
Prize Ars Electronica, Golden Nica, Linz (20’ to 2000 project), Austria
1990
Jürgen Ponto Prize, Frankfurt, Germany
ARTWORKS IN PUBLIC SPACES
2018
Tristela, Daikin Ales Aoya Expansion, Tottori, Japan
2017
Chroma ora, The MixC, Shenzhen, China
2015
Chroma actor, Seibu Shibuya, Tokyo, Japan
2011
lfo spectrum, Olympic Park, London, UK
2010
Monitor, Siobhan Davies Studios, London, UK
Autor, Temporäre Kunsthalle (temporary), Berlin, Germany
2009
Poly stella, Kasumigaseki Building Plaza, Tokyo, Japan
Pionier II, Piazza Plebiscito (temporary), Neaples, Italy
2006
Polylit, Kleiner Schlossplatz, Kunstmuseum Stuttgart, Germany
2005
Frequenz (milch), Tramhaltestelle, Hauptbahnhof Leipzig, Germany
SOLO SHOWS
2024
HYbr:ID, MACRO – Museo di Arte Contemporanea di Roma, Rome, Italy
2023
Strahlen / Raggi, FMAV – Palazzina dei Giardini, Modena, Italy
Transmitter / Receiver — the machine and the gardener, Marsèll Paradise, Milan, Italy
2022
Grau, con Albert Oehlen, Galerie EIGEN + ART, Berlin, Germany
Transmitter / Receiver — The machine and the gardener, Haus der Kunst, Munich, Germany
2019
Parallax symmetry, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
Rota, Lehmbruck Museum, Duisburg, Germany
2018
Formula, Galerie EIGEN + ART, Berlin, Germany
Tele, Berlinische Galerie, Berlin, Germany
2017
Organ, St. Anne Chapel in Krobitz, Weira, Germany
Parallax, Ichihara Lakeside Museum, Ichihara, Japan
Unicolor, Galerie EIGEN + ART, Leipzig, Germany
Autonomo, ibid Gallery, Los Angeles, USA
2016
Bausatz noto ∞, Shibuya Hikarie, Tokyo, Japan
2015
Bausatz noto ∞, Art Front Gallery, Tokyo, Japan
2013
Empty garden, The hole gallery, Prague, Czcech Republic
Crt Mgn, Galerie Eigen + Art Berlin, Germany
Observatory, Ibid projects, London, UK
Unidisplay/uni(psycho)acoustic, Museum für Moderne Kunst, Frankfurt, Germany
2012
Unidisplay, Musée d’art Contemporain, Montréal, Canada / Hangarbicocca, Milan, Italy
Schatten loop, cos store (in collaboration with cos), Berlin, Germany
2011
Pionier, Cac, Vilnius / Galerie Eigen + art, Leipzig, Germany / The Pace Gallery, New York, USA
Filter, House of Art, České Budějovice, Czech Republic
Unitxt mirrored, Galleria lorcan o’neill, Rome, Italy
2010
Polar m [mirrored] with Marko Peljhan, Ycam, Yamaguchi, Japan
Scaler, Hendrik Christian Andersen Museum, Rome, Italy
Maga, Museo Arte Gallarate, Italy
Autor, Temporäre Kunsthalle, Berlin, Germany
Moiré, The Pace Gallery, New York, USA
Anti Reflex, La casa encendida, Madrid, Spain
Rota, Museum der bildenden Künste, Leipzig, Germany
2009
Aoyama Space, Kunstraum Innsbruck, Germany
Rota, Schering Stiftung, Berlin, Germany
Unitxt, sketch, London, UK
2008
Anti Reflex, Kunsthalle Hamburg, Germany
Tired light, Galerie Eigen + art, Berlin, Germany
2007
Static Fades, Haus Konstruktiv, Zurich / Pacewildenstein, New York, USA
2006
Inver, Frieze art fair, London, UK
Inver, Galerie eigen + art, Leipzig, Germany
2005
Audio Sisual Spaces, Stedelijk Museum voor actuele kunst (smak), Gent, Belgium
Anti reflex, Schirn Kunsthalle, Frankfurt, Germany
Syn Chron, Neue Nationalgalerie, Berlin, Germany / Bern, Switzerland / Yamaguchi, Japan
2003
Funken, Galerie eigen + art, Berlin, Germany
Modular re.struct, Poalo Curti/Annamaria Gambuzzi & co, Milan, Italy
2002
Parallel Lines Cross at Infinity, Watari-um, Watari Museum of Contemporary Art, Tokyo, Japan
2001
Milch, London, UK
2000
Performance, Pinksummer, Genoa, Italy
Ystad Kunsthalle, Ystad, Sweden
Polar, Canon Artlab 10 (con Marko Peljan), Tokyo, Japan
1999
1% space, Copenhagen, Denmark
1998
Polyfoto, Galerie für Zeitgenössische Kunst, Leipzig, Germany
1996
Leonhardi-museum, Dresden, Germany
The New York Kunsthalle, New York, USA
1995
Galerie Margrit Gass, Basel, Switzerland
Kunstverein Konstanz, Constance, Germany
1994
Espace des Arts, Chalon-sur-Saône, France
2000
Kunstverein Ulm, Germany
Neue Nationalgalerie, Berlin, Germany
1993
Städtische Kunstsammlungen Chemnitz, Germany
1992
Galerie Springer, Berlin, Germany
1991
Magica ll, Lichtinstallation, Kunst-werke, Berlin, Germany
1986
Der keller, Galerie eigen + art, Leipzig, Germany
GROUP SHOWS
2024
Poetics of Encryption, KW Institute for Contemporary Art, Berlin, Germany
2023
Tribute to RYUICHI SAKAMOTO: Music / Art / Media, ICC, Tokyo, Japan
Shangai Biennale: Cosmos Cinema, Shanghai, China
LUX: Poetic Resolution, Dongdaemun Design Plaza, Seoul, South Korea
Oku-Noto Triennale, Suzu, Japan
Synesthetic Immersion, 0xCollection, Prague, Czech Republic
Glitch. Die Kunst der Störung, Pinakothek der Moderne, Munich, Germany
Art in Motion, Shenzhen Museum of Contemporary Art and Urban Planning (MOCAUP), China
2022
Broken Music Extended, Hamburger Bahnhof — Nationalgalerie der Gegenwart, Berlin, Germany
Art and Industry, Ulsan Art Museum, South Korea
Homosphäre”, Kunsthalle Mainz, Mainz, Germany
“Freezing Point — Kunst unter Null Grad Celsius”, Villa Merkel, Esslingen, Germany
2021
Oku-Noto Triennale, Ishikawa, Japan
Artists’ Breath, Ichihara Lakeside Museum, Chiba, Japan
2017
Art Stage Singapore 2017, Marina Bay Sands, Singapore
2015
Listening to the Line, Ginza Maison Hermes, Tokyo, Japan
Simple Forms: Contemplating Beauty, Mori Art Museum, Tokyo, Japan
2013
Soundings: a contemporary score, MoMA, New York, USA
Arctic, Louisiana Museum of Modern Art, Copenhagen, Denmark
Noise, De Arte Associazione, Venice, Italy
Fragile?, Fondazione Giorgio Cini, Venice, Italy
System und sinnlichkeit, Kupferstichkabinett, Berlin, Germany
2012
A house full of music, Mathildenhöhe, Darmstadt, Germany
Rasterfahndung, Kunstmuseum Stuttgart, Germany
Sound art. Sound as a medium of art, Zkm, Karlsruhe, Germany
Echigo Tsumari Triennial 2012, Echigo-Tsumari Art Center, Tokamachi, Japan
Art & music. Search for a new synestesia, MOT, Toyko, Japan
2011
Our magic hour, Yokohama Triennale, Yokohama, Japan
2010
Seconde nature, Fondation Vasarely, Aix en Provence, France
Rudolf steiner und die kunst der gegenwart, Kunstmuseum Wolfsburg, Germany
Biennale für Internationale Lichtkunst, Unna, Germany
2009
Barock, Madre, Neaples, Italy
See this sound, Kunstmuseum Linz, Germany
4th Taipei Digital Art Festival, Digital Arts Centre, Taipei, Taiwan
The Kaleidoscopic eye, Mori Art Museum, Tokyo, Giappone
2008
Leben, Kunsthaus Graz, Germany
Open space, NTT Intercommunication Center [ICC], Tokyo, Japan
Art on air, Weserburg – Museum für Moderne Kunst, Bremen, Germany
2007
2nd Moscow Biennale, Moscow, Russia
Konstellationen ll, Städel Museum, Frankfurt, Germany
Marta Schweigt, Marta Herford, Germany
Space for your Future, Museum of Contemporary Art, Tokyo, Japan
2006
Biennale di Singapore, Singapore
Still points of the turning world, 6th International Santa Fe Biennale, New Mexico, USA
Sonambiente 2006, Tesla, Berlin, Germany
2005
Künstler.archiv, Akademie der Künste, Berlin, Germany
2004
Densité ±0”, école nationale des beaux arts, Paris, France / Freiburg, Switzerland
2003
50th Venice Biennale, Italy
Berlin-Moskau / moskau-berlin 1950-2000, Martin Gropius-bau, Berlin, Germany / Moscow, Russia
Echigo Tsumari Triennale, Echigo Tsumari, Niigata Prefecture, Japan
The 10th New York Digital Saloon, New York, USA
2002
Frequenzen (hz)”, Schirn Kunsthalle, Frankfurt, Germany
2001
Wild zone, Witte de with, Rotterdam, The Netherlands
Perspectives, Micamoca, Milan, Italy
49th Venice Biennale, Italy
Quobo, art in Berlin 89-99, Hamburger Bahnhof, Berlin, Germany
Istanbul Biennale, Istanbul, Turkey
Audible images, The Museum of Contemporary Photography, Chicago, USA
2000
Sound art, NTT Intercommunication Center [ICC], Gallery A, Tokyo, Japan
Volume, ps 1, New York, USA
Taktlos, Bern, Switzerland
1999
Examining pictures: exhibiting paintings, Whitechapel Art Gallery, London, UK / Museum of Contemporary Art, Chicago, USA
Empty garden, Watari-um, Watari Museum of Contemporary Art, Tokyo, Japan
Liverpool Biennale
1997
dOCUMENTA, Kassel, Germany
p.s.1 reopening, New York, USA
1996
Projektor (with Olaf Nicolai), Städtisches Kunstmuseum Reutlingen, Germany
All+tag, (with Mika Vainio), Industriemuseum Chemnitz, Germany
1994
Welt-moral, Kunsthalle Basel, Switzerland
Metropole und peripherie, Museum de arte Moderna Mam, Rio de Janeiro, Brazil
1993
Ein Jahrhundert des Holzschnitts”, Kunsthalle Hamburg, Germany
Cadavre exquis, Drawing Center, New York, USA
Takashi Murakami (1962 Tokyo, Japan), lives and works in Tokyo and New York.
EDUCATION
1986
Graduated Department of Japanese – Traditional Painting: Nihon-ga, Tokyo National University of Fine Arts and Music
1988
MA, Tokyo National University of Fine Arts and Music
1993
PhD, Tokyo National University of Fine Arts and Music
1998
Teach at UCLA for 3 months (New Genre Course)
SOLO SHOWS
2020
Takashi Murakami: Michael Majerus Superflat. Michael Majerus Estate, Berlin,
Germany.
2019
Murakami vs. Murakami. Tai Kwun Contemporary, Hong Kong.
GYATEI²2 . Gagosian, Beverly Hills, CA.
2018
In Wonderland. Perrotin, Shanghai, China.
AMERICA TOO. Gagosian, Beverly Hills, CA.
Change the Rule! Gagosian, Hong Kong.
Heads < – – > Heads. Perrotin, New York, NY.
TECHNICOLOR 2 (with Virgil Abloh). Gagosian, Paris, France.
future history. Gagosian, Davies Street, London, England.
2017
Takashi Murakami: The Deep End of the Universe. Albright-Knox Art Gallery, Buffalo, NY.
Takashi Murakami: Lineage of Eccentrics (in collaboration with Nobuo Tsuji). Museum of Fine Arts Boston, Boston, MA.
Under the Radiation Falls. Garage Museum of Contemporary Art, Moscow, Russia.
Murakami by Murakami. Astrup Fearnley Museum of Modern Art, Oslo, Norway.
Takashi Murakami: The Octopus Eats Its Own Leg. Museum of Contemporary Art Chicago, Chicago, IL; traveled to the Vancouver Art Gallery, Vancouver,
Canada; the Modern Art Museum of Fort Worth, Fort Worth, TX.
2016
Takashi Murakami: Learning the Magic of Painting. Galerie Perrotin, Paris, France.
2015
Murakami: The 500 Arhats. Mori Art Museum, Tokyo, Japan.
2014
In the Land of the Dead, Stepping on the Tail of a Rainbow. Gagosian Gallery, West 24th Street, New York, NY.
Arhat Cycle. Palazzo Reale, Milan, Italy.
2013
Takashi in Superflat Wonderland. Plateau, Seoul, South Korea.
Takashi Murakami. Galerie Perrotin, Hong Kong.
Arhat. Blum & Poe, Los Angeles, CA.
2012
Flowers and Skulls. Gagosian Gallery, Hong Kong.
Murakami: Ego. Qatar Museums Authority, Qatar.
Homage to Yves Klein. Galerie Emmanuel Perrotin, Paris, France.
Takashi Murakami. Gagosian Gallery, Britannia Street, London, England.
2010
Takashi Murakami. Gagosian Gallery, Rome, Italy.
Takashi Murakami Versailles, Palace of Versailles, Île-de-France, France.
2009
Takashi Murakami Paints Self-Portraits, Galerie Emmanuel Perrotin, Paris, France.
Takashi Murakami: Picture of Fate: I Am But a Fisherman Who Angles In the Darkness
of His Mind. Gagosian Gallery, West 24th Street, New York, NY.
INOCHI. Kaikai Kiki Gallery, Tokyo, Japan.
New Paintings. Gagosian Gallery, Davies Street, London, England.
2008
Davy Jone’s Tear. Blum & Poe, Los Angeles, CA.
2007
©MURAKAMI. Museum of Contemporary Art, Los Angeles, CA; traveled to the Brooklyn Museum of Art, Brooklyn, NY; Museum für Moderne Kunst,
Frankfurt, Germany; Guggenhiem, Bilbao, Spain.
Jellyfish Eyes. Museum of Contemporary Art, Chicago, IL.
Tranquility of the heart. torment of the flesh – open wide the eye of the heart. And nothing is invisible. Gagosian Gallery, 980 Madison Ave., New York, NY.
2006
Limited/Unlimited. 34 Long Fine Arts, Cape Town, South Africa.
The Pressure Point of Painting. Galerie Emmanuel Perrotin, Paris, France.
Installation at Samurai. Tokyo, Japan.
2005
Kaikai Kiki Exhibition. Aoi Gallery, Osaka, Japan.
Takashi Murakami Print Show. Mizuho Oshiro Gallery, Kagoshima, Japan.
T1: Takashi Murakami. Fondazione Sandretto Re Rebaudengo, Turin, Italy.
Post and After. Brandeis University, Randallstown, MD.
Installation at Roppongi Hills, Tokyo, Japan.
2004
Satoeri Ko² Chan. Tomio Koyama Gallery, Tokyo, Japan.
Inochi. Blum & Poe, Los Angeles, CA.
2003
Reversed Double Helix. Rockefeller Center, New York, NY.
Superflat Monogram. Galerie Emmanuel Perrotin, Paris, France.
Superflat Monogram. Marianne Boesky Gallery, New York, NY.
2002
Kaikai Kiki: Takashi Murakami. Fondation Cartier pour l’art contemporain, Paris,
France; traveled to the Serpentine Gallery, London, England.
2001
Summon monsters? Open the door? Heal? Or die? Museum of Contemporary Art Tokyo, Tokyo, Japan.
Takashi Murakami: Made in Japan. Museum of Fine Arts, Boston, MA.
Mushroom. Marianne Boesky Gallery, New York, NY.
WINK. Grand Central Station, New York, NY.
Kaikai Kiki, Galerie Emmanuel Perrotin, Paris, France.
2000
Second Mission Project Ko. P.S.1 Contemporary Art Center, Long Island City, NY.
Kaikai Kiki: SUPERFLAT. Issey Miyake Men, Tokyo, Japan.
1999
Marianne Boesky Gallery, New York
“DOB in the Strange Forest”, Parco Gallery, Tokyo/Nagoya
“The Meaning of the Nonsense of the Meaning”, The Center for Curatorial Studies and Art in Contemporary Culture, Bard College, New York
1998
Feature Inc. , New York, USA
“Back Beat”, Blum & Poe, Santa Monica, USA
“Back Beat – Super Flat”, Tomio Koyama Gallery, Tokyo, Japan
“Moreover, DOB raises his hand”, Sagacho bis, Tokyo
1997
Emmanuel Perrotin, Paris, France
Gallery Koto, Okayama, Japan
University at Buffalo Art Gallery, New York State University, Buffalo, USA
Blum & Poe, Santa Monica, USA
1996
Feature Inc., New York
Gavin Brown Enterprize, New York
“727”, Tomio Koyama Gallery, Tokyo
“Konnichiwa, Mr. DOB”, Kirin Plaza Osaka, Osaka, Japan”7272″, Aoi Gallery, Osaka, Japan
“A Very Merry Unbirthday, ToYou, To Me!”, Ginza Komatsu, Tokyo
1995
Emmanuel Perrotin, Paris, France
“Crazy Z”, SCAI The Bathhouse, Tokyo
“Niji”, Gallery Koto, Okayama, Japan
Yngtingagatan 1, Stokholm, Sweden
1994
“Fujisan”, Gallery Koto, Okayama, Japan
“Which is Tomorrow?”, SCAI The Bathhouse, Tokyo
“Azami, Kikyo, Ominaeshi”, Aoi Gallery, Osaka, Japan
1993
Nasubi Gallery, Tokyo “A Very Merry Unbirthday!”, Hiroshima City Museum of Contemporary Art, Hiroshima “A Romantic Evening”, Gallery Cellar, Nagoya, Japan
1992
“Wild, Wild”, Rontgen Kunst Institut, Tokyo
1991
Art Gallery at Tokyo National University of Fine Arts and Music, Tokyo
Aoi Gallery, Osaka, Japan
Rontgen Kunst Institut (one night Exhibition, August 23), Tokyo
Gallery Aries, Tokyo
Hosomi Gallery Contemporary, Tokyo
1989
Gallery Ginza surugadai, Tokyo
GROUP EXHIBITIONS
2021
Hong Kong Exchange. Gagosian, Hong Kong.
2020
Stars: Six Contemporary Artists from Japan to the World. Mori Art Museum, Tokyo, Japan.
Happy! NSU Art Museum, Fort Lauderdale, FL.
Murakami por Murakami. Instituto Tomie Ohtake, São Paulo, Brazil.
2019
An Exhibition for Notre Dame Gagosian, Paris, France.
Japan Supernatural. Art Gallery of New South Wales, Sydney, Australia.
2017
All Too Human: Bacon, Freud and a Century of Painting Life. Tate Britain, London, England.
2016
Creature. The Broad, Los Angeles, CA.
Lunar Attraction. Peabody Essex Museum, Salem, MA.
Nude: From Modigliani to Currin. Gagosian, 980 Madison Ave., New York, NY.
Superflat Collection: From Shohaku and Rasanjin to Anselm Kiefer. Yokohama
Museum of Art, Yokohama, Japan.
Prototypology: An Index of Process and Mutation. Gagosian Gallery, Rome, Italy.
2015
The Shape of Time: In Collaboration with Gisèle Croës. Gagosian, Hong Kong.
The Mannequin of History: Art After Fabrications of Critique and Culture. Expo 2015 Modena, Modena, Italy.
Beverly Hills 20-Year Anniversary Invitational Exhibition, 1995-2005. Gagosian, Beverly Hills, CA.
Sprayed: Works from 1929 to 2015. Gagosian, Britannia Street, London, England.
Artists for MOCA Highlights. Gagosian, Beverly Hills, CA.
2014
G I R L (curated by Pharrell Williams). Galerie Perrotin, Paris, France.
Takahashi Collection 2014: Mindfulness! Nagoya City Art Museum, Nagoya, Japan.
Dirge: Reflections on [Life and] Death. Museum of Contemporary Art, Cleveland, OH.
Making Links: 25 Years. SCAI The Bathhouse, Tokyo, Japan.
2013
Intellectual Game. Shanghai Xintiandi Culture Festival, Shanghai, China.
Re: Quest―Japanese Contemporary Art since the 1970s. Museum of Art, Seoul National University, Seoul, South Korea.
2012
Regarding Warhol: Sixty Artists, Fifty Years. Metropolitan Museum of Art, New York,
NY, traveled to the Andy Warhol Museum, Pittsburgh, PA.
Battleground States. Utah Museum of Contemporary Art, Salt Lake City, UT.
2011
Il mondo vi appartiene (The World Belongs to You). Palazzo Grassi, Venice, Italy.
A History of Edition: Duchamp, Beuys, Murakami. Galerie Emmanuel Perrotin, Paris, France.
Gagosian Pop-Up! Gagosian Gallery, Davies Street, London, England.
Surfaces of Everyday Life: Postwar and Contemporary Masters from Ai Weiwei to Andy Warhol. Ikkan Art Gallery, Artspace@Helutrans, Singapore.
Future Pass: From Asia to the World. 54th Esposizione Internazionale d’Art, la
Biennale di Venezia, Venice, Italy.
2010
Multiple Choice. Queensland Art Gallery, Brisbane, Australia.
Pop Life: Art in a Material World. National Gallery of Canada, Ottowa, ON, Canada.
John Armleder, Tauba Auerbach, Hernan Bas, Matthew Day Jackson, Bernard Frize,
Mark Grotjahn, Sergej Jensen, Bharti Kher, Adam McEwen, Olivier Mosset,
Takashi Murakami, R.H. Quaytman, Claude Rutault, Lee Ufan, Piotr Uklanski,
Martin Wohr. Galerie Emmanuel Perrotin, Paris, France.
Sexual Transcendence. Pinchuk Art Centre, Kyiv, Ukraine.
Skin Fruit: Selections from the Dakis Joannou Collection. New Museum, New York,
NY.
2009
15th Anniversary Inaugural Exhibition. Blum & Poe, Los Angeles, CA.
Pop Life: Art in a Material Age. Tate Modern, London, England.
Mapping the Studio. Palazzo Grassi, Venice, Italy.
Louis Vuitton and the Passion for Creation. Hong-Kong Museum of Art, Hong Kong.
Un Certain État du Monde? A Selection of Works From Francois Pinault Foundation
Collection, Garage Center for Contemporary Culture, Moscow, Russia.
2008
Kaikai Kiki Artists. Kaikai Kiki Gallery, Tokyo, Japan.
RETROSPECTIVE. Gagosian Gallery, West 21st Street, New York, NY.
for what you are about to receive. Gagosian Gallery, Red October, Moscow, Russia.
2007
Aoi Gallery 20th Anniversary. Aoi Gallery, Osaka, Japan.
CELUX. Kaikai Kiki Gallery, Tokyo, Japan.
Insight? Gagosian Gallery, Barvikha Luxury Village, Russia.
Reflection. PinchukArtCentre, Kiev, Ukraine.
Pleasures of Collecting, Part III: Contemporary and Cutting Edge. The Bruce Museum,
Greenwich, CT.
Don’t Look: Contemporary Drawings from an Alumna’s Collection, Davis Museum and
Cultural Center Wellesley College, Wellesley, MA.
Open House: Cincinnati Collects. Contemporary Arts Center, Cincinnati, OH.
Red Hot: Asian Art Today from the Chaney Family Collection. Museum of Fine Arts,
Houston, TX.
Pop Art Is… Gagosian Gallery, Britannia Street, London, England.
Land of the Samurai. Aberdeen Art Gallery, Aberdeen, Scotland.
Rockers Island: Olbricht Collection. Museum Folkwang, Essen, Germany.
Comic Abstraction. Museum of Modern Art, New York, NY.
2006
Jellyfish Eyes. Museum of Contemporary Art, Chicago, IL.
My 2007. Colette, Paris, France.
The Francois-Pinault Collection, a Post-Pop Selection. Palazzo Grassi, Venice, Italy.
Mass Production: Artists’ Multiples and the Marketplace. The University of Akron,
Akron, OH.
Japan vs. Art: Contemporary Art and Nihon-ga from Taikan Yokoyama and Seiho
Takeuchi to Takashi Murakami. Osaka City Museum of Art, Osaka, Japan.
Selections from the Logan Collection. Museum of Contemporary Art Denver, Denver, CO.
Off the Shelf: New Forms in Contemporary Artists’ Books. Vassar College,
Poughkeepsie, NY.
10th Anniversary. Tomio Koyama Gallery. Tokyo, Japan.
Spank the Monkey. Baltic Centre for Contemporary Art, Gateshead, England.
Invisible Landscape. Lund City Museum, Lund, Sweden.
Surprise, Surprise. Institute of Contemporary Arts, London, England.
Where are we going? Selections from the Francois Pinault Collection. Palazzo Grassi,
Venice, Italy.
Exhibition of collected works: Secret Base. Toyota Municipal Museum of Art, Toyota, Aichi, Japan.
Infinite Paintings. Villa Manin Contemporary Art Center, Udine, Italy.
Sellout. Bard College Center for Curatorial Studies, Annandale-on-Hudson, NY.
Dragon Veins. USFC Museum of Tampa, Tampa, FL.
2005
Kaikai Kiki Exhibition. Aoi Gallery, Osaka, Japan.
Ecstasy: In and About Altered States. Museum of Contemporary Art, Los Angeles, CA.
Post and After. Brandeis University Rose Museum, Boston, MA.
Galerie Emmanuel Perrotin. Paris, France.
Japan POP. Helsinki City Art Museum, Helsinki, Finland.
Fairy Tales Forever. ARoS Aarhus Kunstmuseum. Aarhus, Denmark.
POPulance. University of Houston, Houston, TX. Cleveland Museum of Contemporary
Art, Cleveland, OH. Southeastern Center for Contemporary Art, WinstonSalem, NC.
Moving Energies, Museum Folkwang, Essen, Germany.
Translation. Palais de Tokyo, Paris, France.
Little Boy: The Arts of Japan’s Exploding Subculture. Japan Society, New York, NY.
Colours and Trips. Künstlerhaus Palais Thurn und Taxis, Bregenz, Austria.
Museum der Stadt Ratingen, Ratingen, Germany.
2004
Funny Cuts. Stuttgart Museum, Stuttgart, Germany.
Liverpool Biennial’s International 04 Exhibition. Tate Liverpool, Liverpool, England.
Walker without Walls. Walker Art Center, Minneapolis, MN.
Monument to Now: The Dakis Joannou Collection. Deste Foundation, Athens, Greece.
Modern Means: Continuity and Change in Art from 1880 to the Present. Mori Art Museum, Tokyo, Japan.
Optimo: Manifestations of Optimism in Contemporary Art. Ballroom Marfa, Marfa, TX.
Floating Worlds. Beacon Cultural Foundation, Beacon, NY.
Galerie Emmanuel Perrotin, Miami, FL.
2003
Supernova: Art of the 1990s from the Logan Collection. San Francisco Museum of Modern Art, San Francisco, CA.
Popular. Pop. and Post-pop. Philadephia Museum of Art, Philadelphia, PA.
Pulp Art: Vamps Villains and Victors from the Robert Lesser Collection. Brooklyn
Museum of Art, Brooklyn, NY.
Splat Boom Pow! The Influence of Cartoons in Contemporary Art. Contemporary Arts
Museum, Houston, TX.
The Draemon Exhibition. Sogo Museum, Yokohama, Kanagawa, Japan. Asahikawa
Museum of Art, Asahikawa, Hokkaido, Japan. Matsuzakaya Museum,
Nagoya, Aichi, Japan. Oita Museum, Oita, Japan.
Painting Pictures: Painting and Media in the Digital Age. Kunstmuseum Wolfsburg, Wolfsburg, Germany.
On the Wall: Wallpaper and Tableau. Rhode Island School of Design, Providence, RI.
The Fabric Workshop and Museum, Philadelphia, PA.
Comic Release: Negotiating Identity for a New Generation. Carnegie Mellon University, Pittsburgh, PA.
Inaugural Exhibition. Mori Art Center, Tokyo, Japan.
Blum & Poe. Santa Monica, CA.
Pittura / Painting: Rauschenberg to Murakami. 1964-2003. Museo Correr, Venice
Biennale, Venice, Italy.
2002
The Japanese Experience – Inevitable. Das Museum der Moderne Salzburg, Salzburg, Austria.
Drawing Now: Eight Propositions. Museum of Modern Art, New York, NY.
Reality Check: Painting in the Exploded Field. CCAC Wattis Institute for Contemporary Arts, San Francisco, CA.
Chiho Aoshima, Mr., Takashi Murakami, Aya Takano. Galerie Emmanuel Perrotin, Paris, France.
Out of the Box: 20th-Century Print Portfolios. Philadelphia Museum of Art, Philadelphia, PA.
The Uncanny: Experiments in Cyborg Culture. Vancouver Art Gallery, Vancouver, Canada.
POPJack: Warhol to Murakami. Museum of Contemporary Art Denver, Denver, CO.
2001
Casino 2001. 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst, Ghent, Belgium.
Mr., Tam Ochiai, Hiroshi Sugimoto, Yoshitomo Nara, Takashi Murakami, Masahiko
Kuwahara. Stephen Friedman Gallery, London, England.
Form Follows Fiction. Castello di Rivoli Museo d’Arte Contemporanea, Torino, Italy.
Murakami/Nara. Tomio Koyama Gallery, Tokyo, Japan.
Beau Monde: Toward a Redeemed Cosmopolitanism. Site Santa Fe Fourth
International Biennial, Santa Fe, NM.
Un art populaire. Fondation Cartier pour l’art contemporain, Paris, France.
JAM: Tokyo London. Barbican Art Gallery, London, England.
Made in Asia? Duke University Museum of Art, Durham, NC.
Public Offerings. Museum of Contemporary Art (LA MOCA), Los Angeles, CA.
Painting at the Edge of the World. Walker Art Center, Minneapolis, MN.
My Reality: The Culture of Anime. Des Moines Art Center, Des Moines, IA.
Under Pressure. Swiss Institute, New York, NY.
Superflat. Los Angeles Museum of Contemporary Art (MOCA), Los Angeles, CA.
Traveled to: Walker Art Center, Minneapolis, MN. Henry Art Gallery, Seattle, WA.
2000
murakami-manetas, newsantandrea Savona
murakami-manetas, pinksummer Genova
1999
New Modernism for a New Millennium: Works by Contemporary Asian Artists from the Logan Collection, San Francisco Museum of Modern Art
Painting for Joy: New Japanese Painting in 1990s, The Japan Foundation Forum, Tokyo
Something Warm and Fuzzy/ Children and Contemporary Art, Des Moines Art Center, Iowa
Carnegie International 1999-2000, Carnegie Museum of Art, Pittsburgh
1998
Cities on the Move, Secession, Wien, Austria Å^Capc Musee d’art contemporain de Bordeaux, Bordeaux, France/ P.S.1, New York
People, Places and Things, Marianne Boesky Gallery, New York
Pop Surrealism”, The Aldrich Museum of Contemporary Art, Connecticut
So what? – Exhibition of contemporary Japanese art, Ecole Nationale Superleure des Beaux-Arts, Parigi
Art is Fun 9, Hara Museum Arc, Gunma
The Manga Age, The Museum of Contemporary Art, Tokyo
The Noumea Third Biennale of Contemporary Art, Noumea, Nouvelle Caledonie
50 Years of Japanese Life Style; Postwar fashion and design, Utsunomiya Museum of Art, Tochigi
Ero Pop Christmas, Nadiff, Tokyo
Tastes and pursuits: Japanese Art in the 1990s, National Gallery of modern Art, New Delhi, India/ Metropolitan Museum of Manila, The Philieppines
1997
Flying Buttress Please, Torch Gallery, Amsterdam
Super Body, Tomio Koyama Gallery, Tokyo
Hiropon Show ’97: Tokyo Underground Visual Show, Shop 33, Tokyo
Need for Speed, Grazer Kunstverein, Graz, Austria
Japanese Contemporary Art Exhibition, The National Museum of Contemporary Art, Korea, Seoul
Singularity in Plurality, Yokohama Civic Art Gallery, Kanagawa
1996
Tokyo Pop”, The Hiratsuka Museum of Art, Kanagawa
Ironic Fantasy, The Miyagi Museum of Art, Sendai, Miyagi
Sharaku Interpreted by Japan’s Contemporary Artists, The Japan Foundation Forum, Tokyo
Asia-Pacific Triennial 1996, Queensland Art Gallery, Brisbane, Australia
Romper Room, Thread Waxing Space, New York
1995
Incidental Alterations: P.S.1 Studio Artists 1994/95, The AngelOrensanz Foundation, New York
Art Space Hap, Hiroshima
Transculture, The 46 th Venezia Biennale, Venezia
Japan Today, Louisiana Museum of Modern art, Humblebaek / Kunstnernes Hus, Oslo / Liljevalchs Konsthall, Stoccolma / Waino Aaltonen Museum of Art, Turku, Finland / MAK, Wien, Austria
Cutting Up, Max Protetch Gallery, New York
Transculture, Benesse House Naoshima Contemporary Art Museum, Kagawa (-1996)
1994
Shinjyuku Syonen Art, Shinjyuku Kabuki-cho, Tokyo
Lest We Forget: On Nostalgia, The Gallery at Takashimaya, New York
VOCA ’94, The Ueno Royal Museum, Tokyo
Koriyama City Museum of Art, Fukushima
1993
Malaria Art Show Vol.1, February 1st Festival, Tokyo
Artists’ Shop ’93, Sai Gallery, Osaka
Malaria Art Show Vol.4, Decorative, Tokyo
The Ginbrart, Ginza, Tokyo
00 Collaboration, Sagacho Exhibit Space, Tokyo
Art Today ’93, Neo Japanology, Sezon Museum of Modern Art, Karuizawa, Nagano
Beyond the ‘Nihonga’- An Aspect of Contemporary Japanese Paintings, Tokyo
Metropolitan Art Museum, Tokyo
The Exhibition for Exhibitions, Kyoto Shijo Gallery, Kyoto, Japan
1992
Artists’ Shop ’92, Sai Gallery, Osaka, Japan
Mars Galler, Tokyo
Floating Gallery Vol.1, Tsukishima Warehouse, Tokyo
1st Transart Annual, Painting/Crossing, Bellini Hill Galley, Yokohama
Nakamura and Murakami, Space Ozone, Seoul, Korea
Nakamura and Murakami, SCAI Project Room, Tokyo
Anomary, Rontgen Kunst Institut, Tokyo
Tama Vivant ’92, Seed Hall, Shibuya Seibu, Tokyo
Nakamura and Murakami, MetariaSquare Hotel, Osaka
1991
Jan Hoet in Tsurugi, Tsurugi-cho, Ishikawa
Jan Hoet’s Vision’, Art Gallery Artium, Fukuoka
PRIZES
2006
Heisei 17 (56th) Educational Minister Rookie of the Year, Awarded by the Agency for
Cultural Affairs for the Advancement of Art.
Best Thematic Museum Show in New York, AICA USA.
11th AMD Awards, Prize of Recognition.
2005
Japan Society Imajiné Award.
2004
Les Compagnons du Beaujolais, Honorary Knighthood.
Tag Heuer Business Award.
2003
Special Award, 46th Japan Fashion Editor Club (FEC) Awards.
1998
Visiting Professor, School of Art and Architecture, UCLA, Los Angeles, CA.
1994-95
Asian Cultural Council Fellowship
P.S.1 International Studio Program, New York, USA
PUBLIC COLLECTIONS
The Japan Foundation
Peter Norton Family Foundation
Queensland Art Gallery
The Museum of Modern Art, San Francisco
Untitled
Untitled
Untitled
Untitled
Ceal Floyer, 2000, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer Genova
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, <span class=”st”>installation view at pinksummer, Genova</span>
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer, Genova
Ceal Floyer, installation view at pinksummer, Genova
Zuffi per Bonami
Cellula con vista
Cellula con vista
Cellula con vista
Cellula con vista
Finestra A4
Finestra A4
E adesso che sorvoliamo
La replica
La replica
Resting Branch
Promozione speciale!
Io, Luca Vitone, 2017, installation view at PAC, Milano
Chambres (Pinksummer, Genova)
Chambres (Pinksummer, Genova)
Chambres (Pinksummer, Genova)
Souvenier d’Italie (lumiérs)
Räume (Bundesgerichtshof, Karlsruhe; Deutsche Bundesbank Frankfurt/Main; Deutscher Bundestag, Berlin; Pergamonmuseum, Berlin )
Per l’eternità
Per l’eternità (Milano)Work has 4 variants
Per l’eternità (Venezia)Work has 4 variants
Per l’eternità (Genova)Work has 4 variants
Per l’eternità (archivio)
Per l’eternità (Il Venerdì)
Per l’eternità
Rogo
Il Volo del Grifo
Piffero delle Quattro Province
Il Volo del Grifo
Il Volo del Grifo
Il Volo del Grifo
Vuole Canti
Capricci (Giuliano Giampiccoli, Gianbattista Tiepolo, Ruins with palm, lion and a sound of Ayyala)
Eppur si muove (Divano)
Io, Roma (piazza Monte di Pietà)
Io, Roma (Via del Porto Fluviale)
Io, Roma ( via degli Specchi)
Carta atopica Europa
Finestra III (Isola dell’arte)
Finestra III (Isola dell’arte)
Los Angeles
Calliope
Et in arcadia ego
Busciuéta
Stundaiu
Mapping
Wide city
Il luogo dell’arte
Superstudio (1966-1986) was a Florentine group of avantgarde architects: Adolfo Natalini, Cristiano Toraldo di Francia, Roberto Magris, Gian Piero Frassinelli and Alessandro Magris (together with Alessandro Poli from 1970 to 1972) was one of the pioneers of what became known as Radical Architecture. and later endeavoured to try to achieve a form of anthropological rebirth of architecture.
A rare example of longevity amongst avantgarde groups, for twenty years they conducted patient research into the design of objects, environments and architecture itself, through projects and construction.
SUPERSTUDIO
La Moglie di Lot
1978 – 2014
galvanized iron, wood, salt, refractory material, acrylic (plexiglass)
251 x 56 x 100 cm; 56 x 56 x 156 cm
Edition of 3
SUPERSTUDIO
Monumento Continuo (Piazza Navona)
1970
Photomontage
29 x 50 cm (unframed) / 50 x 68 cm (framed)
Unique
SUPERSTUDIO
Atti fondamentali: Amore (La macchina innamoratrice)
1972
Lithograph
70 x 100 cm
Edition of 100
SUPERSTUDIO
Atti fondamentali: Morte (Il cimitero di Modena)
1971 – 1973
Lithograph
70 x 100 cm
Edition of 100
SUPERSTUDIO
Atti fondamentali: Educazione
1971
litografia
70 x 100 cm
Edizione di 100
SUPERSTUDIO
Atti fondamentali: Vita (Supersuperficie)
1971
Lithograph
70 x 100 cm
Edition of 100
SUPERSTUDIO
Atti fondamentali: Cerimonia (il grande pellegrinaggio)
1972
Lithograph
100 x 70 cm
Edition of 100
SUPERSTUDIO
Monumento Continuo (Serie Manhattan a stadi)
1969/70
Photomontage, tracing paper
64.5 x 49.5 cm + 3 sheets of tracing paper 67 x 56 cm; 79 x 51 cm; 51 x 36 cm
Unique
SUPERSTUDIO
Monumento Continuo (Taj Mahal)
1969/70
Photomontage
51 x 32 cm (unframed) / 103 x 73 cm (framed)
Unique
SUPERSTUDIO
Monumento Continuo (Nel Deserto del Sahara)
1969/70
Photomontage
41 x 24.5 cm (unframed) / 103 x 73 cm (framed)
Unique
SUPERSTUDIO
Graz (Mur)
1971
Photomontage
23 x 36 cm (unframed) / 38 x 53 cm (framed)
Unique
SUPERSTUDIO
Graz (Clockentrum)
1971
Photomontage
31 x 36 cm (unframed) / 38 x 53 cm (framed)
Unique
SUPERSTUDIO
Graz (Allagamento 1)
1971
Photomontage
40 x 30 cm
Unique
SUPERSTUDIO
Graz nella vasca assonometrica
1971
Photomontage
63 x 44 cm (unframed) / 74 x 56 cm (framed)
Unique
SUPERSTUDIO
Atti fondamentali: Educazione 3
1971/72
Photomontage
70 x 150 cm (unframed) / 101 x 71 cm (framed)
Unique
SUPERSTUDIO
Sfere di schiuma (unfinished series)
1975
Photomontage
Unique
SUPERSTUDIO
Verso la Mecca, sotto il grattacielo
1968
Photomontage
50 x 35 cm
Unique
SUPERSTUDIO
Cubo di foresta sul Golden Gate
1975
Photomontage
107.5 x 75 cm
Unique
SUPERSTUDIO
House for a Superstar
1975
Photomontage
70 x 100 cm (unframed) 71 x 101 cm (framed)
Unique
SUPERSTUDIO
Salvataggi Centri Storici Napoli
1972
B/W picture (original picture in colour)
Unique
SUPERSTUDIO
Guardiani del tempo
1973 – 2013
Photomontage
70 x 100 cm
Unique
SUPERSTUDIO
Cerimonia Los esclavos
1971
Photomontage
Unique
SUPERSTUDIO
Progetto per l’anfiteatro romano di Cagliari
1972
Photomontage
73 x 103 cm
Unique
Superstudio (1966-1986) was a Florentine group of avantgarde architects: Adolfo Natalini, Cristiano Toraldo di Francia, Roberto Magris, Gian Piero Frassinelli and Alessandro Magris (together with Alessandro Poli from 1970 to 1972) was one of the pioneers of what became known as Radical Architecture. and later endeavoured to try to achieve a form of anthropological rebirth of architecture.
A rare example of longevity amongst avantgarde groups, for twenty years they conducted patient research into the design of objects, environments and architecture itself, through projects and construction.
Superstudio’s critical work has appeared through theoretical projects, such as “Architectural Histograms” , “A Catalogue of Villas, “The Continuous Monument”, “The Twelve Ideal Cities” and the series of films entitled ” The Fundamental Acts” (“Life, Education, Ceremony, Love, Death”).
From 1973 to 1975, he was part, as a co-founder, of “Global Tools”, a workshop system for the development of collective creativity.
From 1973 to 1978, he devoted himself to research and teaching, especially focalized on extra-urban material culture.
Superstudio’s work and writings has appeared in numerous publications and exhibitions throughout the world.
Main publications include: G. Pettena, “Superstudio 1966-1982, Storie, Figure, Architetture” Electa Firenze 1982, Superstudio e Moryama, “Superstudio & Radicals”, Japan Interior Inc.”, Tokyo 1982, P. Lang, W. Manking “Superstudio Life Without Objects” Skira Editore, Milano 2003.
Main exhibitions include: “Italy the new domestic landscape”, Museum of Modern Art, New York 1972, “Mindscapes, Sottsass & Superstudio” Walker Art Center, Minneapolis e altri sei musei americani, 1973, “Superstudio Fragmente aus einem personlichen Museum”, Neue Galerie Graz, Galerie nach St. Stephan Wien, Galerie in Taxis Palais, Innsbruck, “Superstudio Metaphors and allegories” Israel Museum, Jerusalem 1982, “Superstudio 1966-82” Galleria dell’Accademia, Firenze 1982, plus various participations in the Venice Biennale, the Triennale in Milan and also other major exhibitions on Radical Architecture from 1966 until today.
The work of Superstudio is included in the collections of many museums: Museum of Modern Art New York, Israel Museum Jerusalem, Deutsches Architekturmuseum Frankfurt am Main, Centre Pompidou Paris, MAXXI Roma.
The Archivio Superstudio (Superstudio Archive) was founded in 2001 to organize and conserve the Superstudio legacy and to curate exhibitions and publications on their work.
The travelling exhibition entitled “Superstudio: Life without objects” was shown at the Design Museum in London in 2003 (GB) and Pratt Art Gallery, Artists Space, Storefront New York (USA) in 2003, Williamson Gallery, Pasadena, Cal. (USA) and Vleeshal, Middelburg (NL) in 2004 and further venues are planned (Greece, Spain, China, Italy).
Adolfo Natalini (Pistoia 1941)
Cristiano Toraldo di Francia (Firenze 1941)
Roberto Magris (Firenze 1935-2003)
Gian Piero Frassinelli (Porto S. Giorgio, Ascoli Piceno 1939)
Alessandro Magris (Firenze 1941)
Alessandro Poli (Fiesole 1941)
Italy: The New Domestic Landascape
Emilio Ambasz
1972
The Museum of Modern Art, NY
Catalogue MOMA
Superstudio Life Without Objects
Peter Lang, William Menking
2003
Skira
Available online here
ISBN 888491569
Superstudio
Roberto Gargiani, Beatrice Lampariello
2010
Editore Laterza
Available online here
Superstudio La moglie di Lot
Valter Scelsi, Vittorio Pizzigoni, Andrea Zanderigo
2013
Asinello Press
info: 1 colour Risograph print, 32 pages, edition of 100
Superstudio La vita segreta del Monumento Continuo
Gabriele Mastrigli
2014
La Biennale di Venezia – Marsilio
Read online
Super Superstudio
Andreas Angelidakis, Vittorio Pizzigoni, Valter Scelsi
2015
Silvana Editoriale
Read online
ISBN 978-8836632442
Gelato Balleto! for Hermes, Performance, Old Sessions House, London, UK, 2022
Gelato Balleto! for Hermes, Performance, Old Sessions House, London, UK, 2022Quarantaine, Pinksummer Contemporary Art, Genova, 2022
Quarantaine, Pinksummer Contemporary Art, Genova, 2022
The Eternal Ear, Matera Alberga, Sextantio Le Grotte della Civita, Italy, 2019
Monument Memory Monument, Palazzo Reale, Milano, 2017
Monument Memory Monument, Palazzo Reale, Milano, 2017
Monument Memory Monument, Palazzo Reale, Milano, 2017
Androgynous Egg, Frieze Projects, Frieze London, 2017
Androgynous Egg, Frieze Projects, Frieze London, 2017
The Lesson, Pinksummer Goes to Rome, Rome, Italy, 2016/2017
The Lesson, Pinksummer Goes to Rome, Rome, Italy, 2016/2017
I, Cave, mima (Middlesbrough Institute of Modern Art), Middlesbrough, UK, 2013
I, Cave, mima (Middlesbrough Institute of Modern Art), Middlesbrough, UK, 2013
The Joyful Mysteries of Junior, Pinksummer Contemporary Art, Genova, Italy, 2012
Georgina Starr, Pinksummer, Genova, Italy, 2008
The Miracle of the Hovering Cow
Hemidactylus GallusInstallation view at Kusthalle Lissabon, Lisbon
Shaking Hand
3
Fragment
Tourist
Tourist
Tourist
Tourist
Tourist
Tourist
Tourist
Tourist
Hut
Hut
Hut
Hut
Hut
Hut
Kunstgriff
Kunstgriff
Kunstgriff
Kunstgriff
Kunstgriff
Kunstgriff
Kunstgriff
Kunstgriff
SlampadatoPhotographer Francesco Cardarelli
Pomodori PelatiPhotographer Francesco Cardarelli
Mercedes W 124 E-KlassePhotographer Francesco Cardarelli
Animula vagula blandulaPhotographer Francesco Cardarelli
Where the hand doesn’t enter, heat infuses
Involuntary twitch
Eventuellement, 2010, Le Grand Cafe, St.Nazaire
A Curious Contortion in the Method of Progress, 2012, Kunstmuseum Liechtenstein, Vaduz
L’Ellipse D’Ellipse, 2012, L’IAC, Villeurbane
Rhombic oath folded
Knuckles
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Stamina and the Muse
Presence at Night
Presence at Night
Presence at Night
Tomás Saraceno In Collaboration: Web(s) Of Life, Serpentine Galleries, Londra, 2023
© Studio Saraceno
Tomás Saraceno In Collaboration: Web(s) Of Life, Serpentine Galleries, Londra, 2023
© Studio Saraceno
Tomás Saraceno In Collaboration: Web(s) Of Life, Serpentine Galleries, Londra, 2023
© Studio Saraceno
Tomás Saraceno. Cloud Cities Barcelona, installazione permanente, Mirador Torre Glòries, Barcellona, 2022
© Studio Saraceno
Tomás Saraceno. Particular Matter(s),The Shed, New York, 2022
© Studio Saraceno
Tomás Saraceno. Particular Matter(s),The Shed, New York, 2022
© Studio Saraceno
Tomás Saraceno. Particular Matter(s),The Shed, New York, 2022
© Studio Saraceno
Stati dell’acqua, AnarcoAracnoAnacro, Neapolis di Siracusa, 2021
© Olimpia Cavriani
Aria, Palazzo Strozzi, Firenze, 2020
© Photography OKNO Studio
Aria, Palazzo Strozzi, Firenze, 2020
© Photography OKNO Studio
Aria, Palazzo Strozzi, Firenze, 2020
© Photography OKNO Studio
Aria, Palazzo Strozzi, Firenze, 2020
© Photography OKNO Studio
Aria, Palazzo Strozzi, Firenze, 2020
© Photography OKNO Studio
May you live in interesting times, 58th International Art Exhibition – La Biennale di Venezia
Spider/Web Pavilion 7: Oracle Readings, Weaving Arachnomancy, Synanthropic Futures: At-ten(t)sion to invertebrate rights!, 2019
© Photography by Studio Tomás Saraceno, 2019
May you live in interesting times, 58th International Art Exhibition – La Biennale di Venezia
Spider/Web Pavilion 7: Oracle Readings, Weaving Arachnomancy, Synanthropic Futures: At-ten(t)sion to invertebrate rights!, 2019
© Photography by Studio Tomás Saraceno, 2019
May you live in interesting times, 58th International Art Exhibition – La Biennale di Venezia
Aero(s)cene: When breath becomes air, when atmospheres become the movement for a post fossil fuel era against carbon-capitalist clouds, 2019
© Photography by Studio Tomás Saraceno, 2019
May you live in interesting times, 58th International Art Exhibition – La Biennale di Venezia
Aero(s)cene: When breath becomes air, when atmospheres become the movement for a post fossil fuel era against carbon-capitalist clouds, 2019
© Photography by Studio Tomás Saraceno, 2019
Our Interplanetary Bodies
Our Interplanetary Bodies
Our Interplanetary Bodies
Aerosolar Journeys
Aerosolar Journeys
Aerocene 10.4 & 15.3
Aerocene 10.4 & 15.3
Aerocene 10.4 & 15.3
Aerocene, lancio nel White Sands Natural Park
Aerocene, lancio nel White Sands Natural Park
Aerocene, lancio nel White Sands Natural Park
Aerocene, lancio nel White Sands Natural Park
Foam 21B/15p
Iridescent Planet
Cosmic Jive
Cosmic Jive
Outer space seems not so unfamiliar (working title)
Untitled
Untitled
Poetic Cosmos of the Breath
Becoming Areosolar
Adamas
Solar Bell Cloud Cities (working title)
Capella (Star)
Solar Center
In Orbit
T Cloud Module Net
On Space Time Foam
Cloud City
Tomás Saraceno, Cloud Cities, 2011.
14 billions (working title)
Biospheres
Galaxy Forming along Filaments, like Droplets along the Stands of a Spider’s Web
32MW/ Biosphere/Flying Garden/Air-Port-City
Evening sun
CumulusOur Interplanetary BodiesOur Interplanetary BodiesAerosolar JourneysAerosolar JourneysAerocene 10.4 & 15.3Aerocene 10.4 & 15.3Aerocene, lancio nel White Sands Natural ParkAerocene, lancio nel White Sands Natural ParkIridescent PlanetCosmic JiveCosmic JiveBecoming AreosolarIn OrbitOn Space Time FoamCloud CityTomás Saraceno, Cloud Cities, 2011.14 billions (working title)BiospheresGalaxy Forming along Filaments, like Droplets along the Stands of a Spider’s Web32MW/ Biosphere/Flying Garden/Air-Port-CityCumulus
Spogliando un vicino (variazione 2)
Revolution Square, Ljubljana (collages)
Whitecity
Untitled 7
Untitled 3
Untitled 8
Untitled
Untitled
Barita Magica
Arco
Baton de promenade
Hemidactylus
Ojo
Sin titulo
Sin Titulo
Huevos Cosmicos
Sin titulo
Acantholis
Untitled 
Untitled 
Untitled 
Untitled 
Untitled 
Untitled 
Untitled 
Untitled Untitled 
Untitled
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Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Untitled
Senza Titolo (Star Museum)
Star_C_10
Heebies Jeebies
Heebies Jeebies (correttore di grate)
Heebies Jeebies
Heebies Jeebies (Maglia di debolezza)
Heebies Jeebies
Heebies Jeebies
MBB 3000™
Senza Titolo (Per raccontare questa storia d’amore bisogna partire da Odessa)
Senza Titolo
Orango
Hippo
Untitled
Invention de Morel
Untitled (Dwarf #4)
Sword made with Sikhote-Alin iron meteorite
Mariana Castillo Deball (1975 Mexico City, Mexico) lives and works between Berlin and Mexico City. Her interdisciplinary practice develops at the intersection of art, archaeology, history, anthropology, and social sciences, investigating the role of objects in the construction of cultural narratives and collective memory. Through in-depth archival research and dialogue with museum collections, archaeological artifacts, and knowledge classification systems, she creates installations, sculptures, drawings, editorial works, and immersive environments that challenge the ways in which history is told, preserved, and transmitted. The artist has exhibited in major international institutions such as the New Museum in New York, the Hamburger Bahnhof in Berlin, the Centre Pompidou in Paris, and the MACBA in Barcelona. She has also participated in prominent international events such as dOCUMENTA (13), the Venice Biennale, the Berlin Biennale, and the São Paulo Biennial. Her artistic research is distinguished by its capacity to weave together different disciplines and to bring to light unprecedented connections between past and present, critically questioning the structures of knowledge and the processes through which shared identities, cultures, and histories are formed.
Mariana Castillo Deball, detail of Feathered Changes site, 2025, a commission for LACMA’s David Geffen Galleries, © Mariana Castillo Deball
Mariana Castillo Deball, detail of Feathered Changes site, 2025, a commission for LACMA’s David Geffen Galleries, © Mariana Castillo Deball
Installation view of Death, I am Still Paper. Organized by Tangente St. Pölten, Austria, August 3 – November 11, 2024. Curators Joana Warza, and Lorena Moreno Vera. Photograph courtesy of Studio Castillo Deball © David Reiber Otálora
Installation view of Death, I am Still Paper. Organized by Tangente St. Pölten, Austria, August 3 – November 11, 2024. Curators Joana Warza, and Lorena Moreno Vera. Photograph courtesy of Studio Castillo Deball © David Reiber Otálora
Installation view of Death, I am Still Paper. Organized by Tangente St. Pölten, Austria, August 3 – November 11, 2024. Curators Joana Warza, and Lorena Moreno Vera. Photograph courtesy of Studio Castillo Deball © David Reiber Otálora
Column of Conglomerates, 2022. Ceramic column with glazed details and metal, 50 x 50 x 361cm. Installation view of Roman Rubbish, Bloomberg SPACE, London. 2022 Courtesy of Mariana Castillo Deball and Bloomberg SPACE Photo © Marcus Leith.
Column of Vessels, 2022. Ceramic column and metal structure, 50 x 50 x 333cm. Installation view of Roman Rubbish, Bloomberg SPACE, London. 2022. Courtesy of Mariana Castillo Deball and Bloomberg SPACE Photo @ Marcus Leith
Column of Plenty, 2022. Ceramic column and metal structure, 65 x 65 x 370cm. Installation view of Roman Rubbish, Bloomberg SPACE, London. 2022. Courtesy of Mariana Castillo Deball and Bloomberg SPACE Photo © Marcus Leith.
Mariana Castillo Deball, installation view of Calendar Fall Away, 2022, CNC-engraved wooden floor, Variable dimensions, Hasta que los cantos broten (Until The Songs Spring), 2022, Mexican Pavillion at the 59th International Art Exhibition of La Biennale di Venezia. Courtesy of Mariana Castillo Deball and Mexican Pavilion La Biennale di Venezia. Photo © INBA/WE EXHIBIT – Samuele Cherubini. 2022
Marian Castillo Deball, installation view of Calendar Fall Away, 2022, CNC-engraved wooden floor, Variable dimensions, Hasta que los cantos broten (Until The Songs Spring), 2022, Mexican Pavillion at the 59th international Art Exhibition of La Biennale di Venezia. Courtesy of Mariana Castillo Deball and Mexican Pavilion La Biennale di Venezia. Photo © Manuel Raeder.
Mariana Castillo Deball, installation view of Amarantus, MUAC, Mexico City, 2021. Courtesy of Mariana Castillo Deball and MUAC. Photo © Gerardo Landa Rojano.
Mariana Castillo Deball, installation view of Amarantus, MUAC, Mexico City, 2021. Courtesy of Mariana Castillo Deball and MUAC. Photo © Gerardo Landa Rojano.
Mariana Castillo Deball, installation view of Between making and knowing something, Modern Art Oxford, Oxford UK, 2020. Courtesy of Mariana Castillo Deball and Modern Art Oxford. Photo © Helen Messenger.
Mariana Castillo Deball, Uncomfortable Objects, Witte de With Center for Contemporary Art, 2019. Installation view. Photo © Kristien Daem.
Mariana Castillo Deball, Finding Oneself Outside, New Museum, New York, 2019. Exhibition view. Photo © EPW Studio.
Mariana Castillo Deball, Finding Oneself Outside, New Museum, New York, 2019. Exhibition view. Photo Mari Hutchinson © EPW Studio.
Mariana Castillo Deball, Mariana Castillo Deball: Petlacoatl, installation view in the Logan Center Gallery. Photo by Robert Chase Heishman, 2018
Mariana Castillo Deball, Hypothesis of a Tree, 2016. Bamboo structure, rubbings on Japanese paper, Sumi ink, dimensions variable.
Commisioned by 32nd Bienal de São Paulo, installation view at 13th Sharjah Biennial
Mariana Castillo Deball, Liverpool Biennale, 2016, United Kingdom 
Mariana Castillo Deball, Nuremberg Map of Tenochtitlan, 2015, Musée régional d’art contemporain, Sérignan
Mariana Castillo Deball, Parergon, 2014, Hamburger Bahnhof, Berlin
Uncomfortable Objects
Mariana Castillo Deball (1975 Città del Messico, Messico), lives and works in Berlin.
EDUCATION
2002-2003 PhD at Jan Van Eyck Academie, Maastricht, Holland
1998- 1999 Master in Philosophy. Iberoamerican University, Mexico
1993- 1997 Master in Fine Arts. National University of Mexico
PRIZES
2015 Premio ARCO Comunidad de Madrid para jóvenes artistas, Madrid, Spain
2013 First Prize, Preis der Nationalgalerie für junge Kunst, Berlin, Germany
2012 Zurich Art Prize, Museum Haus Konstruktiv, Zurich, Switzerland
2009 Ars-viva award, History, Germany
2004 Prix de Rome/first prize. Amsterdam, Netherlands
2002 Grant for postgraduate studies CONACULTA (National Council for the culture and arts), Mexico
2001 Young artists Grant. National Council for the culture and arts, Mexico
ARTISTIC RESIDENCIES
2016 18th Street Art Centre, Los Angeles, California, USA
2012 Cove Park, Henry Moore Foundation, Scotland, UK
2011 DAAD residency, Berlin, Germany
2010 Capacete, São Paulo, Brazil
2009 Capacete, Rio de Janeiro, Brazil
2008 22e ateliers internationaux of Frac des Pays de la Loire, France
2006 Cisneros Fontanals Art Foundation, Miami, Florida, USA
2001 Grant Unesco/Ashberg. Vila Nova de Cerveira, Portugal
SELECTED SOLO EXHIBITIONS
2026
Ella es la luna and she lights the darkness, Neues Museum Nürnberg, Germany
Feathered Changes, Los Angeles County Museum of Art (LACMA), Los Angeles, California, USA
2025
Stringing Beads, Dortmunder Kunstverein, Dortmund, Germany
Martha Hellion – Hojas Sueltas Ediciones Sin Límites, curated by Mariana Castillo Deball and Manuel Raeder, Museo Experimental El Eco, Mexico City, Mexico
2024
Vùjá de – Paper Thresholds, Galerie Barbara Wien, Berlin, Germany
The Flames Leave a Feathered Mark, ASU Art Museum Arizona State University, Tempe, Arizona, USA
2023
Cada cosa es Babel, Mendes Wood DM, Brussels, Belgium
Luce Dietro Tracce Incompiute, MUDEC, Milan, Italy
To-day / A Noite, September 2nd, Pivô, São Paulo, Brazil
2022
In a Convex Mirror, Pinksummer, Genoa, Italy
Amarantus Artium, Artium Museoa Vitoria-Gasteiz, Spain
Roman Rubbish, Bloomberg SPACE, London, UK
Amarantus MUAC, Mexico City, Mexico
2021
Amarantus. Museum für Gegenwartkunst Siegen, Germany
Amarantus, MUAC, Mexico City, Mexico
Amarantus, Artium Museum (Centro-Museo Vasco de Arte Contemporáneo), Araba, Spain
Walking through the town I followed a pattern on the pavement that became the magnified silhouette of a woman’s profile, England’s Creative Coast, UK (commission with Towner Eastbourne)
2020
Mariana Castillo Deball. England’s Creative Coast, Towner Eastbourne, UK
Between making and knowing something, Modern Art Oxford, Oxford, UK
2019
Replaying Life’s Tape, Monash University Museum of Art, Caulfield, Australia
Mariana Castillo Deball, a solo exhibition, Witte de With, Rotterdam, Netherlands
Mariana Castillo Deball: Finding Oneself Outside, New Museum, New York, USA
2018
Amparo Museum Puebla, Puebla, Mexico
SCAD Museum of Art, Savannah College of Art and Design, Savannah, Georgia, USA
Barbara Wien Gallery, Berlin, Germany
Magical fatalism Opera about desire and nostalgia, Alumnos 47, Mexico City, Mexico
Statues Also die, Fondazione Sandretto Re Rebaudengo, Turin, Italy
2017
Them inside the skin, Mendes Wood DM, Brussels, Belgium
Pleasures of association, & poissons, such as love —, Galerie Wedding, Berlin, Germany
Sharjah Biennial 13 Tamawuj, Sharjah, United Arab Emirates
Mimbres pottery kill hole sequence, Kadist, Paris, France
The tortoise and other footraces between unequal contestants, Pinksummer, Rome, Italy
2016
Feathered Changes, Serpent Disappearances, Walter and McBean Galleries, San Francisco Art Institute, San Francisco, California, USA
2015
Reliefpfeiler, Barbara Wien Gallery, Berlin, Germany
Chronotropo, Musée Régional D’art Contemporain Languedoc-Roussillon, Sérignan, France
¿Quién medirá el espacio, quién me dirá el momento?, Museo de Arte Contemporáneo de Oaxaca MACO, Oaxaca, Mexico
2014
Parergon, Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany
Vista de Ojos, Kurimanzutto, Mexico City, Mexico
Moi-Peau, Kunsthalle Lisbon, Lisbon, Portugal
2013
Tamoanchan, Pinksummer, Genoa, Italy
Palavra e pedra solta não têm volta, Mendes Wood, São Paulo, Brazil
What we caught we threw away, what we didn’t catch we kept, CCA Glasgow, UK
What we caught we threw away, what we didn’t catch we kept, Chisenhale Gallery London, UK
TEOR/éTica, San José, Costa Rica
2012
Zurich art prize, Haus Konstruktiv, Zurich, Switzerland
2011
We are silently illiterate, Galerie Wien Lukatsch, Berlin, Germany
Este desorden construido, autoriza geológicas sorpresas a la memoria mas abandonada, Museo experimental, El Eco, Mexico City, Mexico
Figures don‘t lie but liars can figure, Pinksummer, Genoa, Italy
2010
Between you and the image of you that reaches me. Museum of Latin American Art, Long beach, California, USA
Solo show, SCHAU ORT Elisabeth Kaufmann + Christiane Büntgen, Zurich, Switzerland
2009
Kaleidoscopic Eye, Kunst Halle Sankt Gallen, St. Gallen, Switzerland
2008
DO UT DES. Objectif_exhibitions, Antwerp, Belgium
Nobody was tomorrow. Galerie Wien Lukatsch, Berlin, Germany
2006
Estas Ruinas que ves. Museum of contemporary Art Carrillo Gil, Mexico City, Mexico
2005
Time takes no time in a story. Adamski gallery, Aachen, Germany
2004
Institute of Chance. Prix de Rome. Stedelijk Museum, Amsterdam, Netherlands
Never odd or Even. Marres, Center for contemporary art, Maastricht, Netherlands
2003
Interlude: The reader’s traces. Intervention at National Library in Paris, Public library in New York and National library in Berlin. Contributions by: Paul Elliman, Hubert Czerepok, Dario Gamboni, Raimundas Malasauskas, Harry Mathews, Peter Piller, Manuel Raeder, Steve Rushton, Enrique Vila-Matas
To look for a needle in a haystack. Stephan Adamsky gallery, Aachen, Germany
Nine chains to the moon. Jan van Eyck Academie, Maastricht, Netherlands
2002
The wall and the books: 987 words stolen from a library. Library and gallery space Jan van Eyck Academy. Maastricht, Netherlands
Stochastic Archives, Sala de Arte Público Siqueiros, Mexico City, Mexico
SELECTED GROUP EXHIBITIONS
2024
Fictions: Narrativity in Contemporary Art, MAZ, Zapopan, Jal., Mexico
Pre-Architecture, CIVA, Brussels, Belgium
Forgive Us Our Trespasses, HKW, Berlin, Germany
Tangente, Festival for Contemporary Culture, St. Pölten, Austria
Dibújame un mapa de lo que no verás, Casa del Lago Juan José Arreola UNAM, Mexico
Indigenous Histories, Kode, Bergen, Norway
The Paradoxes of Internationalism (As narrated by the Museo Tamayo Collection) Part II, Museo Tamayo, Mexico City, Mexico
Spaces of Possibility, Bruges Triennial, Berlin, Germany
Ten Thousand Suns, 24th Sydney Biennale, Australia
Rituals of Daily Life, Collegium, Arevalo, Spain
2023
lnto Nature: Time Horizons, Borger-Odoorn, Netherlands
Linhas Tortas, Mendes Wood DM São Paulo, Brazil
Imaginario Coyolxauhqui, Museo del banco de Mexico, Mexico City, Mexico
El fin de los tiempos: Narrativas del fin de un Mundo en el imaginario mexicano, Museo de Antropología, Mexico City, Mexico
2022
As Hardly Found in the Art of Tropical Architecture, Architectural Association, London, UK
Ceremony (Burial of an Undead World), Haus Kulturen der Welt, Berlin, Germany
Hasta que los cantos broten (Until The Songs Spring), Mexican Pavillion at 59th Venice Biennale. Curated by Catalina Lozano and Mauricio Marcín
Publishing practices, Archive books, SAAVY, Berlin, Germany
mixed up with others before we even begin, MUMOK, Vienna, Austria. Curated by Franz Thalmair
2019
Time for Fragments – Works from the Marx Collection and the Collection of the Nationalgalerie, Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany
2018
6th Gherdëina Biennale, Italy
Rogerio Duarte Marginalia 1, Museo Jumex, Mexico City, Mexico
Magical fatalism Opera about desire and nostalgia, Alumnos 47, Mexico City, Mexico
Statues Also die, Fondazione Sandretto Re Rebaudengo, Turin, Italy
2017
A Universal History of Infamy, LACMA, Los Angeles, California, USA
Neither., Mendes Wood DM, Brussels, Belgium
Recouvrir, ensabler, copier, traduire, restituer, Kadist Foundation, Paris, France
Soil and Stones, Souls and Songs, Parasite, Hong Kong, China
13th Sharjah Biennale, United Arab Emirates
Proyecto líquido. Deseo, Alumnos 47, Mexico City, Mexico
Beyond the Box. Sammlung Dohmen, Leopold-Hoesch-Museum, Düren, Germany
Touch Base, Studio Flotti, Berlin, Germany
Lecturas de un territorio fracturado, Museum Amparo, Puebla, Mexico
While I was also Listening To…, La criée – centre d‘art contemporain, Rennes, France
The Politics of Archeology (working title), Kadist, Paris, France
Tamawuj, 13th Sharjah Biennale, Sharjah, United Arab Emirates
Universal History of Infamy, LACMA, Los Angeles, California, USA
2016
¿Cómo vivir mejor con menos?, Bienal FEMSA, Monterrey, Mexico
Incerteza Viva, 32nd São Paulo Biennale, Brazil
Proyecto líquido. Deseo, Alumnos 47, Mexico City, Mexico
rainbow caravan, Aichi Triennale, Nagoya City Art Museum, Nagoya, Japan
SITElines2016. Much wider than a line, SITE Santa Fe, New Mexico, USA
In The Belly of the Whale, Witte de With Center for Contemporary Art, Rotterdam, Netherlands
Liverpool Biennial, Liverpool, UK
30th Anniversary Grazer Kunstverein, Graz, Austria
Under the Same Sun, The South London Gallery, London, UK
Unresolved, De Appel Art Centre, Amsterdam, Netherlands
All Heritage is Poetry, Fórum Fundaçao Eugénio de Almeida, Portugal
Another Reality. After Lina Bo Bardi, Stroom Den Haag, Netherlands
Riddle of the Burial Grounds, Antwerp, Belgium
El orden Natural de las Cosas, Museo Jumex, Mexico City, Mexico
2015
The Art of Preservation, Draiflessen Collection, Mettingen, Germany
Under the Same Sun: Art from Latin America Today, Museo Jumex, Mexico City, Mexico
Objetos Frontera, CA2M, Madrid, Spain
Riddle of the Burial Ground, Project Arts Centre, Dublin, Ireland
Ce qui ne sert pas s’oublie, CAPC Musée d’Art Contemporain de Bordeaux, France
Sebald Variations, CCCB Centre de Cultura Contemporania de Barcelona, Spain
The Parliament of Things, Firstsite, Colchester, UK
Beyond Borders, 5th edition of Beaufort, Triennial of Contemporary Art by the Sea, Belgium
Biennial of the Americas, Denver, Colorado, USA
Panorama, The High Line, New York, USA
2014
¡Puro mexicano! Tres momentos de creación, MUNAL, Mexico City, Mexico
Under the Same Sun: Art from Latin America Today, Solomon R. Guggenheim Museum, New York, USA
Der Leone Have Sept Cabeças, CRAC Alsace, Altkirch, France
8th Berlin Biennale for Contemporary Art, Germany
Playgrounds Reinventar la plaza, Museo Reina Sofia, Madrid, Spain
Les Mots Bleus – Biennale de Belleville 3, Paris, France
TransVisible, 19 Bienal Paiz Guatemala – Artecentro Graciela Andrade de Paiz, Guatemala City, Guatemala
Post / Postminimal – Kunstmuseum St.Gallen, Switzerland
Future Perfect, Contemporary Art From Germany – Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland
Bibliologie – FRAC – Haute-Normandie, Sotteville-lès-Rouen, France
2013
Preis der Nationalgalerie für junge Kunst, Hamburger Bahnhof, Berlin, Germany
how to write II, Galerie Wien Lukatsch, Berlin, Germany
The Way of the Shovel, MCA Chicago, Illinois, USA
Future Perfect, Kunstverein Frankfurt, Frankfurt, Germany
Arqueológicas, Matadero, Madrid, Spain
2012
dOCUMENTA (13), Kassel, Germania
Serpentine Gallery Memory Marathon, London, UK
Lieber Aby Warburg, Was tun mit Bildern, Museum für Gegenwartskunst Siegen, Siegen, Germany
Olinka, or Where Movement Is Created, Museo Rufino Tamayo, Mexico City, Mexico
Life Is Elsewhere, Galerie im Körnerpark, Berlin-Neukölln, Germany
LA IDEA DE AMÉRICA LATINA, Centro Andaluz de Arte Contemporáneo, Seville, Spain
Nos hicimos la ilusión de avanzar directamente, Espai Cultural de Barcelona, Barcelona, Spain
Colección: el crimen fundacional, MUCA Roma, Mexico City, Mexico
Un ojo, dos ojos, tres ojos, Mariana Castillo Deball/Irene Kopelman (Uqbar), Casa Vecina, Mexico City, Mexico
Never odd or Even, Museum of contemporary art, Roskilde, Denmark
Printin’, curated by Ellen Gallagher and Sarah Suzuki, Museum of Modern Art, New York, USA
Resisting the present, Musée d’Art moderne de la Ville de Paris, France
Esquemas para una Oda Tropical, Galeria Luisa Strina, Rio de Janeiro, Brazil
2011
The Future Lasts Forever, Gävle Konstcentrum, Gävle, Sweden
Never odd or Even, Grimm Museum, Berlin, Germany
Section Folklorique / Cabinet de Curiosités, Zeeuws Museum, Zeeland, Netherlands
La Vie Mode d’Emploi (Life A User’s Manual), Meessen De Clercq, Brussels, Belgium
Homo Ludens, Motive Gallery, Amsterdam, Netherlands
Resisting the present, Museo Amparo, Puebla, Mexico
The Eye is a Lonely Hunter – Images of Humankind, 4. Fotofestival Mannheim Heidelberg Ludwigshafen, Germany
Inanimate beings, La Casa Encendida, Madrid, Spain
Magical Consciousness, Arnolfini, Bristol, UK
What about this, Galerie Andreas Huber, Vienna, Austria
INCIDENTES DE VIAJE ESPEJO EN YUCATÁN Y OTROS LUGARES, Museo Tamayo, Mexico City, Mexico
Fleeting Stories/Historias Fugaces, LABoral, Gijón, Spain
54th Venice Biennale Illuminations, Venice, Italy
Amikejo 2 – men-show, Mariana Castillo Deball/Irene Kopelman (Uqbar), MUSAC Museo de Arte Contemporaneo de Castilla y León, León, Spain
Shadowboxing, Royal College of Art: Curating Contemporary Art MA, London, UK
AEther – Une proposition de Christoph Keller, Centre Pompidou, Paris, France
2010
Ars viva award, History, Kölnischer Kunstverein, Cologne, Germany; Migros Museum, Zurich, Switzerland
No Soul For Sale, Festival of independents, presenting with Peep-Hole. Tate Modern, London, UK
Ginger Goodwin Way, OR gallery, Vancouver, Canada
For the blind man in the dark room looking for the black cat that isn’t there, Touring exhibition: Museum of Contemporary Art, Detroit, Michigan, USA; ICA, London, UK; de Appel, Amsterdam, Netherlands; Culturgest, Lisbon, Portugal
The Heart of the Thing Is the Thing We Don’t Know, James Galley, CUNY Graduate Center, New York, USA
2009
Ars viva award, History, Museum Wiesbaden, Germany
This place you see has no size at all…, Kadist Art Foundation, Paris, France
El Patio de mi casa, Cordoba, Spain
Biennale di Atene, Heaven, Athens, Greece
The Happy Interval, Tulips & Roses, Vilnius, Lithuania
What are we going to do after we’ve done what we’re doing to do next?, MACBA, Contemporary Art Museum, Barcelona, Spain
Paper exhibition, Artist space, New York, USA
The Malady of Writing, MACBA Contemporary Art Museum, Barcelona, Spain
A Fantasy for Allan Kaprow, Contemporary Image Collective, Cairo, Egypt
For the blind man in the dark room looking for the black cat that isn’t there, Contemporary art museum Saint Louis, Missouri, USA
Performa, Lectures and exhibition at Cabinet Magazine Space, New York, USA
Sequelism: Part 3, Arnolfini, Bristol, UK
Extranjeros en la cultura y en la tecnología, Espacio Fundación Telefónica, Buenos Aires, Argentina
Chapter 2 (the repetition), Parc Culturel de Rentilly, France
2008
22nd Ateliers Internationaux, Frac des Pays de la Loire, Carquefou, France
Galeria Sentimental, Tensta konsthall, Stockholm, Sweden
Salon of the revolution, 29th Youth Salon, Zagreb, Croatia
One of these things is not like the other things, 1/9 unosunove, Rome, Italy
Manifesta 7, Rovereto, Italy. In collaboration with Irene Kopelman, Uqbar
Shanghai Biennale, China
Blackboxing at artistspace, (screening) New York, USA
Master Humphrey’s Clock, De appel, Amsterdam, Netherlands
Sensitive Timelines, 26cc, Rome, Italy
Object, The Undeniable Success Of Operations, SMBA, Amsterdam, Netherlands
Seven Times Two or Three, CUBITT, London, UK
Selective Knowledge, The National Bank of Greece Cultural Foundation/MIET, Athens, Greece
2007
A for Alibi, De appel, Amsterdam, Netherlands
Transacciones Filosóficas, Historical Observatory, Córdoba, Argentina
The Book, Heidelberg Kunstverein, Heidelberg, Germany
Extraordinary Rendition, NoguerasBlachard, Barcelona, Spain
The last piece of John Fare, GB Agency, Paris, France
Blackboxing, Project, Dublin, Ireland
24th Memorial Nadežda Petrovic, Cacak, Serbia
2006
Just in Time, Stedelijk Museum, Amsterdam, Netherlands
10 Defining Experiments, Cisneros Fontanals Art Foundation, Miami, USA
Concerning knowledge, BAK, Utrecht, Netherlands
Resonances, Stuk, Leuven, Belgium, and Artis, Den Bosch, Netherlands
A place in Time, Campr Street, City of San Antonio, Texas, USA
Redo/Undo, Kunsthalle Fridericianum, Kassel, Germany
Mercury in Retrograde, De Appel, Amsterdam, Netherlands
Friends and Enemies, Gagosian Gallery, Berlin, Germany
2005
“Today, November 20”, If I can’t dance – I don’t want to be part of your revolution. Production in sequences Leiden, Netherlands
Tropical Abstraction, Stedelijk Bureau, Amsterdam, Netherlands
BMW, 9th Baltic Triennial of Art, Contemporary art center Vilnius, Lithuania
“Blackboxing”, If I can’t dance – I don’t want to be part of your revolution. Production in sequences, Utrecht, Netherlands
5ª Bienal de Artes Visuales del Mercosur, Porto Alegre, Brazil
2004
Bucket Brigade. Firehouse Center for Contemporary art, Burlington, USA
Black Friday. Galerie Kamm, Berlin, Germany
GPB 2004, Galeri Pastor Bonus. Exteresa Arte Actual, Mexico City, Mexico
Valenzuela y Klenner Arte Contemporaneo, Bogotá, Colombia
Fotogalleriet, Oslo, Norway
2003
Outside of a Dog: Paperbacks and Other Books by Artists, Baltic, International center for contemporary art Gateshead, UK
“24/7”. New York – Vilnius, CAC, Vilnus, Lithuania
20 million mexicans can’t be wrong, Southampton gallery, UK
En un mar en el que no se nada. Paris Photo, Project Room, Paris, France
Aparentemente Sublime. Museum of Modern art, Mexico City, Mexico
every piece is the show luxe projects, New York, USA
2002
PULPA. Arte, literatura, moda, diseño y algo más Centro de Arte Contemporáneo Wifredo Lam, La Habana, Cuba
Titel folgt Neuer Aachener Kunstverein, Aachen, Germany
Volkskrant Regular (True Type) de Volkskrant, Amsterdam, Netherlands
Bonnefanten magazine, Maastricht, Netherlands
A to Z. Museum in progress. Vienna, Austria
2001
Registro/Registre, Galeria Banyoles, Spain
Se rendre a l’evidence, Centre Culturel du Mexique, Paris, France
XI Bienal Internacional, Vila Nova de Cerveira, Portugal
2000
Los libros de otros, Museo de la ciudad de Mexico City, Mexico
Gráfica actual, Instituto de artes gráficas de Oaxaca, Mexico
Exposición colectiva, MUCA, Rome, Italy
1999
City editings. ZMVM: Zona Metropolitana del valle de México, Instituto Goethe, Buenos Aires, Argentina
El arte de los libros de artista: Homenaje a Ulises Carrión, Biblioteca México, Messico
Exhibición de cortometrajes, Centro de la imagen, Mexico City, Mexico
Mariana Castillo Deball
Ixiptla Volume V Amarantus, 2023
Bom Dia Boa Tarde Boa Noite
Pages: 208
Language: English
ISBN: 978-3-96436-046-5
Udo Kittelmann
Parergon, 2014
Verlag der Buchhandlung Walther Konig
Curated by Kirsty Bell, Dario Gamboni, Melanie Roumiguière
Pages: 352
Language: English
ISBN: 978-3863356460
Mariana Castillo Deball
Ixiptla volume I, 2014
Bom Dia Boe Tarde Boa Noite
Curated by Mariana Castillo Deball, Kythzia Barrera, Maria Gaida, Moosje M. Goosen, Pablo Katchadjian, Paula López Caballero, Federico Navarrete Linares, Victoria Novelo Oppenheim, Sandra Rozental, Carlos Sandoval, Adam T. Sellen, Anna Szaflarski
Pages: 180
Language: English
ISBN: 978-3-943514-25-4
Mariana Castillo Deball
Finding Oneself Outside: Uncomfortable Objects, 2012
Bom Dia Boa Tarde Boa Noite
Pages: 32
Language: English
ISBN: 978-3-943514-05-6
Mariana Castillo Deball
Uncomfortable Objects, 2012
Bom Dia Bom Tarde Bom Noite
Curated by Mariana Castillo Deball, Jimena Canales, Laurent Bartholdi, Abraham Cruzvillegas, Mario Bellatin, Daniel Saldaña, Victoria Cirlot
Pages: 168
Language: English
ISBN: 978-3-943514-10-0
Published on occasion of the exhibition of the Zurich Art Prize 2012: Mariana Castillo Deball Museum Haus Konstruktiv, Zurich, 27.09.12 – 18.11.12
Mariana Castillo Deball
Never Odd or Even Vol. II , 2011
Bom Dia Boa Tarde Boa Noite
Pagine: 30 overlapped dust jackets
Language: English
ISBN: 978-3-00-035970-5
Mariana Castillo Deball, Roy Wagner
Mariana Castillo Deball & Roy Wagner: Coyote Anthropology, A Conversation in Words and Drawings, 2011
Hatje Cantz
Language: English
Pages: 24
ISBN: 978-3-7757-2873-7
Mariana Castillo Deball, Dario Gamboni
Kaleidoscopic eye, 2009
Kunst Halle Sankt Gallen
Pages: 120
Language: English
ISBN: 978-3-96436-000-7
Mariana Castillo Deball
Estas Ruinas que ves / These Ruins you see, 2008
Sternberg Press
Pages: 272
Language: English
ISBN: 978-1933128467
Escape Artists
Soundtrack
Second Nature
Stealing Beauty
I’d give it to you if I could but..
Wild Boy
Elia – Story of an Ostrich Chick
Moby Dick
House Hold
Berkeley’s Island
Demolire Genova
Demolire Genova
It has been a pleasure for us to accept Ilaria Bozzi Ferri and Flavio Ferri invitation to occupy for a season their space at Via del Vantaggio 17/A in Rome, within the gallery residence program called Gate.
The Gate program, started in 2015 with Viennese gallery Emanuel Layr, with which we have in common the artist Plamen Dejanoff, was conceived by the collectors couple, already supporting contemporary art through Fondazione per l’Arte, active in Rome at via del Mandrione, aiming to help making the local contemporary art scene international by inviting in Rome some international research galleries, not working with any artist already represented by local galleries in Rome.
As a matter of fact, pinksummer does not feel like being “international” in Rome. Indeed, being from Genoa, a city with a more and more stubborn insular attitude, not in terms of cultural scene per se, but more for what concerns transports and infrastructures, we wish the Capital do not make us feel too disoriented and “foreigner”. However, a daily flight connection Genoa – Rome is guaranteed by Alitalia, even though at a cost that would allow you to fly over Machu Picchu with the modern advantages of low cost flights, almost unknown within the Ligurian administrative center. Therefore, with the hope to meet at least the requirement of being a research gallery, Pinksummer Goes To Rome will start in October with a solo show by Tomas Saraceno, of which we will tell in an upcoming press release.
Pinksummer’s season in its venue at Palazzo Ducale in Genoa will keep its course as usual.
Alieno
eud
Senza titolo
Senza titolo
Senza titolo
Senza titolo
Senza titolo
Senza titolo
Senza titolo
Jir
Mofo
Mofocracy
Mofobog
Almost Human
Almost Human
Alieno
The Family (Barbuto)
Fusione a neve persa VI
Fratelli
The Family (il pasto)
Cane (The Family)
Fuoco (The Family)
Scraper
Alieno
Koo Jeong A lives & works everywhere.
Her work incorporates intersubjective phenomena, digital features and timely imaginaries with the capacity to transform into large-scale sculpture and painting, as well as film, animation, sound and scent, to reinvent the architectural space. The artist’s site-specific reconfigurations open up narrative portals, where the various media are combined with natural elements such as wind or gravity and the electromagnetic field. In this way, alternative realities are conjured not only geographically but also in an astral sense, tracing the poetry that permeates their unique universe.
As Frank Boehm has pointed out, Koo Jeong A works with a wide range of varying expressions and characters, who are part of an ongoing narrative that calls into play the idea of the ‘correlations’ of Friedrich Kiesler, relations between works, ideas and projects in various disciplines that are so close as to become interdependent.
The artist’s projects refract the viewer into different continents, states, personalities, and other forms of intelligence, drawing from a wide spectrum of concerns that has developed over the years, ranging from the human cognition that underpins our transient approach to our earthly environments and cosmic constellations that simultaneously connect and expand.
Koo Jeong A’s installation works trigger a regeneration and dynamism in the area in which they are situated. Projects like the Glow in the Dark Skatepark series are situated in the public arena and become part of the infrastructure of the city or the cultural destination in a wide collaboration with local citizens and governments that encourages different generations to create various communal events or attractions through autonomous self-organisation.
Koo Jeong A’s interest in the concept of the void also plays an important role. Installed in a site without the interaction of human beings, and affected only by the changing light of day and night, the large-scale sculptures still have depth of meaning, as if they are characters in time and space.
Art is seen by Koo Jeong A as a convergence with collective knowledge, and with the natural activities of life. To the artist, art is an act of reverence that constantly incites the surprise of discovery, extending towards an unstoppable state of dynamism, a perpetual becoming that is always oscillating, trembling and vibrating.
Koo Jeong A, OooOoO, The Tower terrace, LUMA Arles, France, 2021
Koo Jeong A, OooOoO, Triennale di Milano, 2019-2020
Koo Jeong A, Prerequisites 7, Acute Art, 2019
Koo Jeong A, Enigma Of Beginning, Pinksummer, 2016
Koo Jeong A, 16:07, Kunsthalle, Dusseldorf, Germany, 2012
Koo Jeong A, Oussser, Fondazione La Raia, Novi Ligure, Alessandria, Italy, 2014
Koo Jeong A, OTRO, Ile de vassiviere, Vassiviere, France, 2012
Koo Jeong A, Nine, CAM- Centro De Arte Moderna- Lisbon, Portugal, 2011
Koo Jeong A, Constellation Congress, DIA Beacon, New York, USA, 2010 – 2011
Koo Jeong A, A Reality Upgrade & End Alone, 2003/2010
© Koo Jeong A. Photo: Cathy Carver
Koo Jeong A, Fantasissima&Fantasissimousss, 53 Biennale di Venezia, Fare Mondi, Arsenale, 2009
Installation view C(to the power of)4, Kunstmuseum Liechtenstein, 20.5.–4.9.2022
Invernomuto, Wax, Relax, 2011–2022; Rimini Capitale Afro, 2021; Pino Pascali, Ponte levatoio, 1968, Collection Kunstmuseum Liechtenstein
Photo: Stefan Altenburger Photography, Zurich
© Invernomuto / Kunstmuseum Liechtenstein
Invernomuto, 4 Studi sull’Increspatura del Mare, 2021
Antonio’s Dream: A Journey Through Art and Textile, Fondazione Ratti, Como, 2021
Photo: Agostino Iosio
Invernomuto, 4 Studi sull’Increspatura del Mare, 2021
Antonio’s Dream: A Journey Through Art and Textile, Fondazione Ratti, Como, 2021
Photo: Agostino Iosio
Invernomuto & Jim C. Nedd, Grito – Las Brisas de Febrero, 2021, audio-visual installation, Liverpool Biennial
Invernomuto & Jim C. Nedd, Grito – Las Brisas de Febrero, 2021, audio-visual installation, Liverpool Biennial
Invernomuto, BLACK MED, POMPEII, 2021, audio installation
Invernomuto, BLACK MED, POMPEII, 2021, audio installation
Prima delle Sabbie, GNAM, Roma, 2019/2020
Photo credit: Giulio Boem
Prima delle Sabbie, GNAM, Roma, 2019/2020
Photo credit: Giulio Boem
MED-T 1000, Pinksummer, Genova, 2019
MED-T 1000, Pinksummer, Genova, 2019
Negus
Negus
Ngati Dread
Untitled
Malù – Lo Stereotipo della Venere Nera
Negus – Far Eye
Black Ark
Negus – Duppy Conquerors
Wax, Relax
Dungeons and Dregs
B.O.B
Thunderstruck
Holedigger – Riduzione di Fango
Perspectives on Archive Check-In Architecture
Second Path, Migrant Song
Rosequeens
Rosequeens
Untitled
Untitled
The Organ
Mudflaps
Victory Sandbag Bench
Deconstructing 13 Stripes and Rectangle #8
Press Ganesh
Love Bug
Defense Bonds
Baseball (#2)
Telegraph
V
Baseball
Stomp
Tank
Triptych
Welcome
Pantyhose Wall
Reciprocal Space
Black Brain
Chemistry
Crystal Carpet
Gravity
In between
Drawing Blood
Drawing Blood
Think Less – Feel More
Heart of Glass
Cesare Viel (1964 Chivasso, Italy), lives and works in Genoa.
Since his debut in the late 1980s, his research has revolved around the practices of installation and performance, weaving together various techniques and expressive media such as video, photography, drawing, writing, and orality.
Over the years, Cesare Viel has exhibited his works in institutional spaces such as the 48th Venice Biennale (1999), the Villa Croce Museum of Contemporary Art (2008), and the PAC in Milan, which dedicated a solo exhibition and a monographic catalog to him in 2019, published by Silvana Editoriale. In 2021, the artist was among the winners of the tenth edition of the Italian Council.
Cesare Viel
The Monster
2025
Ink, graphite, and coloured pencils on paper
50 x 70 cm
Unique
Cesare Viel
Una lettera a Emily Dickinson
2024
Graphite, charcoal, and colored pencils on paper
108 x 148 cm (framed)
Unique edition
Cesare Viel, L’Inaspettato, Pinksummer – Sanfermosette, 2023. Exhibition view. Photo © Alice Moschin.
Cesare Viel, Corpi estranei: toccare un tesoro, Fondazione Sicilia, 2023. Exhibition view. Photo © Fausto Brigantino.
Cesare Viel, Corpi estranei: toccare un tesoro, Fondazione Sicilia, 2023. Exhibition view. Photo © Fausto Brigantino.
Cesare Viel
Corpi estranei
2022
Carpet with lettering
200 x 300 cm
Unique edition
Cesare Viel
Toccare un tesoro o un mistero
2022
Ink, graphite, charcoal, and pencils on paper
108 x 148 cm (framed)
Unique edition
Cesare Viel, Corpi estranei: in un punto del mondo, Centre Pompidou, Málaga, 2022. Performance view. Photo © Alberto Cajigal.
Cesare Viel, Corpi estranei: in un punto del mondo, Centre Pompidou, Málaga, 2022. Performance view. Photo © Alberto Cajigal.
Cesare Viel, Corpi estranei: in un punto del mondo, Centre Pompidou, Málaga, 2022. Performance view. Photo © Alberto Cajigal.
Cesare Viel
Frasi nell’aria
2022
Performance at Fondazione Pietro e Alberto Rossini, Briosco (Monza Brianza)
3 PVC banners printed on both sides
130 x 650 cm
Photo © Sofia Brogi
Cesare Viel
Frasi nell’aria
2022
Performance at Fondazione Pietro e Alberto Rossini, Briosco (Monza Brianza)
3 PVC banners printed on both sides
130 x 650 cm
Photo © Sofia Brogi
Cesare Viel
Massi da scogliera 1
2021
Coloured pencils and graphite on paper
56 x 76 cm (framed)
Unique edition
Cesare Viel, Scrivere il giardino, Pinksummer, 2020. Exhibition view. Photo © Alice Moschin.
Cesare Viel, Scrivere il giardino, Pinksummer, 2020. Exhibition view. Photo © Alice Moschin.
Cesare Viel, Lost in Meditation, PAC, 2019. Exhibition view. Photo © Nico Covre.
Cesare Viel, Il giardino di mio padre, PAC, 2019. Performance view. Photo © Lorenzo Palmieri.
Cesare Viel, Luca Vitone, Ab Urbe Genua Duo Lykanthropi Romae, 2017. Exhibition view. Photo © Francesco Cardarelli.
Cesare Viel, Luca Vitone, Ab Urbe Genua Duo Lykanthropi Romae, 2017. Exhibition view. Photo © Francesco Cardarelli.
Cesare Viel, Luca Vitone, Ab Urbe Genua Duo Lykanthropi Romae, 2017. Exhibition view. Photo © Francesco Cardarelli.
Cesare Viel, Infinita ricomposizione, Pinksummer, 2015. Exhibition view. Photo © Alice Moschin.
Cesare Viel
Infinita ricomposizione 3
2015
Collage
52,9 x 43 cm
Unique edition
Cesare Viel
Infinita ricomposizione 4
2015
Collage
52,9 x 43 cm
Unique edition
Cesare Viel
Infinita ricomposizione 5
2015
Collage
52,9 x 43 cm
Unique edition
Cesare Viel
Qui ancora presenti
2012
Silkscreened lettering on sandblasted glass, metal supports (1960s)
39 x 90 x 90 cm
Unique edition
Cesare Viel
Solo ciò che accade
2010
Amrapur carpet, hand-woven Himalayan wool (made in Rajasthan, India)
170 x 300 cm
Unique edition
Cesare Viel
Alluvioni Universali
2010
Print on TNT
15 x 245 cm
Edition of 3
Cesare Viel
Echi di Rumori scomparsi
2010
Audio cd
9’19”
Edition of 10
Cesare Viel, Pinksummer, 2008. Exhibition view. Photo © Alice Moschin.
Cesare Viel
Mi trovavo a casa
2008
MP3 recording, grey iPod Shuffle
Edition of 3
Cesare Viel
Progetto Bachmann
2006
Marker on paper
100 x 200 cm
Unique edition
Cesare Viel, To the Lighthouse. Cesare Viel as Virginia Woolf, 2005. Performance view.
Cesare Viel
To the Lighthouse. Cesare Viel as Virginia Woolf
2005
Digital colour print framed in plexiglass
114 x 103 cm
Unique edition
Cesare Viel
Sogno campana
2005
Digital colour print framed in plexiglass
163 x 124 cm
Unique edition
Cesare Viel
Operazione Bufera
2003
Colour photo print framed in plexiglass
124 x 87 cm (framed)
Edition of 3
Cesare Viel (1964 Chivasso, Italy), lives and works in Genoa.
SOLO SHOWS AND PERFORMANCES
2023
L’inaspettato, Pinksummer Contemporary Art – Mr Lawrence, Milan, Italy
Corpi estranei, curated by Elisa Fulco and Giulia Ingarao, Villa Zito, Palermo, Italy
In un punto del mondo, curated by Maria Jesus Silvente and Giulia Ingarao, Centre Pompidou, Málaga, Spain
Frasi nell’aria, curated by Francesca Guerisoli, Fondazione Pietro e Alberto Rossini, 10th edition of the Italian Council, Briosco (Monza Brianza), Italy
2022
Corpi estranei (workshop, performance and new models of artistic production), Fondazione Pietro e Alberto Rossini, Briosco (MB), Italy / Centre Pompidou, Málaga, Spain / Villa Zito – Fondazione Sicilia, Palermo, Italy
Condividere frasi in un campo allargato, Galleria Milano, Milan, in collaboration with Pinksummer, Genoa, Italy
2021
Fuori base dentro base, Base/Progetti per l’arte, Florence, Italy
2020
Scrivere il giardino, Pinksummer, Genoa, Italy
2019
Più nessuno da nessuna parte, curated by Diego Sileo, PAC, Padiglione d’Arte Contemporanea, Milan, Italy
2017
Dar conto di sé. Figure, corpi, parole nell’opera di Cesare Viel, curated by Francesca Pasini, Fondazione Pier Luigi e Natalina Remotti, Camogli, Italy
A passage to Camogli with Virginia Woolf, with Francesca Pasini, Teatro Sociale, Camogli, Italy
Ab urbe Genua duo lykanthropi Romae (with Luca Vitone), Pinksummer goes to Rome, Rome, Italy
2016
Verso Jorn, curated by Paola Valenti, Casa Museo Asger Jorn, Albissola Mare, Italy
2015
Infinita Ricomposizione, Pinksummer, Genoa, Italy
Gropius-Wittgenstein, in the context of Performance-Architecture, curated by Barbara Fassler and Domenico Lucchini, Teatro San Materno, Ascona, Italy
2014
Nel nome del Padre (with Luca Vitone), Istituto Italiano di Cultura, Montevideo, Uruguay
Virginia ai panni vecchi, curated by Antonio Leone, Palazzo Branciforte, Palermo, Italy
Tirandosi in disparte il più possibile, cacciandosi il più possibile in un punto nascosto (lecture/performance), curated by Paola Valenti, in collaboration with Villa Croce-Museo d’Arte
Contemporanea e Università di Genova, Aula Magna, Faculty of Literature, Genoa, Italy
2013
Il sogno di una cena (performance), curated by Ilaria Bonacossa, Villa Croce-Museo d’Arte Contemporanea, Genoa, Italy
Tales and Things (with Donatella Landi), curated by Martina Adami and Maura Favero, Museo Laboratorio d’Arte Contemporanea, Università La Sapienza, Rome, Italy
2011
Facciamo fluire via le nostre frasi, curated by Francesca Guerisoli, Fondazione Pietro Rossini, Briosco, Italy
2010
Solo ciò che accade, curated by a.titolo, CeSAC-Il Filatoio di Caraglio, Caraglio, Italy
Giorno e notte, Casabianca, Bologna, Italy
2009
Cul de sac (performance in the context of a project curated by Eva Marisaldi), Fondazione Galleria Civica, Trento, Italy
2008
Cesare Viel, Pinksummer, Genoa, Italy
Cesare Viel. Mi gioco fino in fondo. Performance e installazioni, Museo d’Arte Contemporanea-Villa Croce, Genoa, Italy
2007
Un appuntamento (performance), Public gardens, rue des Ecoles, Paris, France
Di nuovo una voce persiste (performance), Nuovo Teatro Colosseo, Fondazione Baruchello, Rome, Italy
2006
Progetto Bachmann (performance), curated by Carla Subrizi, Fondazione Baruchello, Rome, Italy
2005
Sogno Campana (performance and installation), curated by Roberto Daolio, Rocca Sforzesca, Imola, Italy
2004
Cesare Viel, Pinksummer, Genoa, Italy
Tu che mi hai disegnato, curated by Guido Curto, Fondazione Palazzo Bricherasio, Turin, Italy
To the Lighthouse. Cesare Viel as Virginia Woolf (performance and installation), curated by Mario Lupano and Daniela Lotta, Teatro degli Atti, Rimini, Italy
2003
Accendere una lampada e sparire (performance), Galleria Emi Fontana, Milan, Italy
Operazione Bufera (performance), KleinKunstTheater, Bozen, and Fondazione Baruchello, Rome, Italy
2001
VIM. Very Italian Macho (with Luca Vitone), Galleria Emi Fontana, Milan, Italy
Didascalies (with Delphine Coindet and Samy Engramer), curated by Hélène Chouteau, La Galerie, Noisy-le-Sec, France
Cesare Viel, Galleria Il Graffio, Bologna, Italy
1999
Lost in meditation (performance), Palazzo Nervi, Turin, Italy
Una frase per lo specchio di Hyperion e altri lavori, Galleria Antonella Nicola, Turin, Italy
Ritratto di un amico (performance), Hotel Roma, Turin, Italy
Trois artistes italiens (with Stefano Arienti and Annalisa Cattani), curated by Gabi Scardi, Istituto Italiano di Cultura, Paris, France
1998
Seasonal Affective Disorder, curated by Giorgio Verzotti, Galleria Artra, Milan, Italy
Le canzoni liberano la testa, Galleria Il Graffio, Bologna, Italy
1997
Una stanza per sé, Galleria Paolo Vitolo, Milan, Italy
1996
I folletti irritati (performance), Arte Fiera, Bologna, Italy
1994
Viaggiatori/Viaggiatrici, curated by Francesca Pasini, Galleria Paolo Vitolo, Milan, Italy
1992
La comunità sintattica, Galleria Paolo Vitolo, Rome, Italy
1993
Esecuzioni comunicative, Galleria Paolo Vitolo, Milan, Italy
1991
Fra teatro e autografia, Galleria Neon, Bologna, Italy
1990
Noi gestiamo il disordine quotidiano del pensiero, Galleria Paolo Vitolo, Rome, Italy
1989
L’arte di fare facciate, Studio Oggetto, Milan, Italy
GROUP SHOWS
2024
I’m gone. Do you remember me?, curated by Zasha Colah e Francesca Verga, AR/GE Kunst, Bozen, Italy
2019
Artissima Telephone, curated by Ilaria Bonacossa and Vittoria Martini, OGR, Officine Grandi Riparazioni, Turin, Italy
Iniziamo da qui, curated by Lorenzo Bruni, Galleria Frediano Farsetti, Milan, Italy
Insomnia Cookies, curated by Antonio Leone and Paola Nicita, Museo Internazionale delle marionette, Palermo, Italy
L’Ultimo Espaliù e il contesto italiano, curated by Raffaele Quattrone, Rosalia Banet, Prieto Soutu, Real Academia de España, Madrid, Spain
Artworks that ideas can buy, curated by Cesare Pietroiusti, Oplà-Performings activities, Arte Fiera, Bologna, Italy
Esercizi quotidiani, curated by Luca Vitone, MoRE, Museum of refused and unrealised art projects
2018
100% Italia. Cent’anni di capolavori, Museo Ettore Fico, Turin, Italy
Pictorial Goose Turn, Pinksummer goes to Palermo, Galleria Pinksummer, Palermo, Italy
2017
Deposito d’Arte Italiana Presente, curated by Ilaria Bonacossa and Vittoria Martini, Artissima 2017, Oval, Turin, Italy
Per una lezione di meno. Performative Lecture no. 1, curated by Rachele Palma, Ca’ Tron, IUAV, Venice, Italy
2016
Frammenti di storie all’ascolto, curated by RAM radioartemobile and Zerynthia, Casa di Reclusione di Paliano, Paliano, Italy
Studi Aperti, curated by Francesca Gattoni and Andrea Grotteschi, various venues, Ameno, Lago d’Orta, Italy
Start Up. Quattro agenzie per la produzione del possibile, curated by Maria Alicata and Carla Subrizi, Fondazione Baruchello, Rome, Italy
2015
Collezionare il futuro. 40 anni della collezione di Sergio Bertola, curated by Chiara Oliveri Bertola and Ilaria Bonacossa, Villa Croce, Genoa, Italy
Zoom. Fotografia italiana dalla collezione Remotti, curated by Francesca Pasini, Fondazione Remotti, Camogli, Italy
2014
Apulia Land Art Festival, curated by Francesca Guerisoli, Bosco di Cardigliano, Specchia, Italy
Ha visto i colori divini del lago di Costanza?, curated by Caterina Benvegnù, Spazio Thetis, Venice, Italy
Calcio d’autore, curated by Cecilia Casorati and Anna Cestelli Guidi, Auditorium Parco della Musica, Rome, Italy
2013
Les Oiseaux, curated by RAM, Nuit Blanche, Gaité Lyrique, Paris, France
2012
Forte Piano. Le forme del suono, curated by Achille Bonito Oliva and Anna Cestelli Guidi, Auditorium Parco della Musica, Rome, Italy
2011
Hear me out, curated by Cecilia Casorati and Claudio Libero Pisano, CIAC, Castello Colonna, Genazzano, Italy
Il Belpaese dell’Arte, curated by Giacinto Di Pietrantonio and Cristina Rodeschini, GAMEC, Bergamo, Italy
2009
Living with, Galleria Raffaella Cortese, Milan, Italy
Archetime, curated by Cecilia Guida, Tank Space, New York, United States of America
Camuflajes, curated by Maite Méndez Baiges, Pedro Pizarro, Carla Subrizi, La Casa Encendida, Madrid, Spain
2008
Per adesso noi siamo qua, curated by Lorenzo Bruni, Villa Romana, Florence, Italy
2007
La parola nell’arte, MART, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy
2006
Il vuoto al centro, curated by Emanuela De Cecco, Municipality of Montesilvano, Italy
Natura e metamorfosi, curated by Marisa Vescovo,Urban Planning Exibition Center, Shanghai; Millenium Art Museum, Beijing, China
2005
Aperto per lavori in corso, curated by Francesca Pasini and Lucia Matino, PAC, Milan, Italy
The Gesture, curated by Sergio Risaliti, Marina Fokidis, Dafne Vitali, Quarter, Florence, Italy
2004
Dimensione follia, curated by Roberto Pinto, Galleria Civica d’Arte Contemporanea, Trento, Italy
The Mythological Machine, curated by Francesco Manacorda, Warwick Arts Centre, Coventry, United Kingdom
2003
Imperfect Marriages, Galleria Emi Fontana, Milan, Italy
Fragments d’un discours italien, Mamco, Geneva, Switzerland
Moltitudini/Solitudini, curated by Ginevra Sergio Risaliti, Museion, Bozen, Italy
2002
Vis à vis. Autoritrarsi d’artista, curated by Saretto Cincinelli and Cristiana Collu, MAN, Nuoro, Italy
2001
Short Stories, curated by Roberto Pinto, La Fabbrica del Vapore, Milan, Italy
My Opinion, curated by Francesca Pasini, Palazzo Lanfranchi, Fondazione Teseco per l’Arte, Pisa, Italy
2000
Fuori Uso 2000 – The Bridges, curated by Emanuela De Cecco, Hou Hanru, Helena Kontova, Andreas Schlaegel & Angela Rosemberg, Lungo Fiume Sud, Pescara, Italy
1999
Oreste alla Biennale, curated by Harald Szeemann, 48th Venice Biennale, Venice, Italy
Luogo Comune. Luoghi, storie e memorie nella e della città, curated by Gabi Scardi and Alessandra Pioselli, Openspace, Milan, Italy
1998
Subway, curated by Roberto Pinto, Metropolitana Milanese, Milan, Italy
La Ville, le Jardin, la Mémoire, curated by Carolyn Christov Bakargiev, Hans Ulrich Obrist, Laurence Bossé, Villa Medici, Accademia di Francia, Rome, Italy
Bù, curated by Sergio Risaliti, Palazzo delle Papesse, Centro Arte Contemporanea, Siena, Italy
Disidentico, maschile femminile e oltre, curated by Achille Bonito Oliva, Palazzo Branciforte, Palermo, Italy
1997
Des Histoires en Formes, curated by Gabi Scardi, Mari Linnman, Ingrid Martraix, Le Magasin, CNAC, Grenoble, France
Modi e luoghi, curated by Roberto Pinto, La Posteria, Milan, Italy
Officina Italia, curated by Renato Barilli, Galleria d’Arte Moderna, Bologna and other venues, Italy
1996
Ultime generazioni, 12th Quadriennale d’Arte, Palazzo delle Esposizioni, Rome, Italy
1995
Aperto Italia ’95, curated by Francesco Bonami, Emanuela De Cecco, Helena Kontova, Gabriele Perretta, Sergio Risaliti, Marco Senaldi, Trevi Flash Art Museum, Trevi, Italy
1994
Soggetto/Soggetto, curated by Francesca Pasini and Giorgio Verzotti, Castello di Rivoli, Museum of Contemporary Art, Rivoli, Turin, Italy
Europa ’94. Junge europäische Kunst in München, Galerie Gögger, Munich, Germany
1993
June, curated by Olivier Zahm, Galerie Thaddaeus Ropac, Paris, France
Nuova ingegneria per l’osservazione e lampi di genio, curated by Sergio Risaliti, Villa Montalvo, Campi Bisenzio, Italy
1992
Molteplici Culture, curated by Carolyn Christov Bakargiev, Ludovico Pratesi, Museo del Folklore-Convento di Sant’ Egidio, Rome, Italy
D’ora in avanti, curated by Renato Barilli, Fondazione Michetti, Francavilla al Mare, Italy
1991
Medialismo, curated by Gabriele Perretta, Galleria Paolo Vitolo, Rome, Italy
1990
Italia ’90, ipotesi arte giovane, La Fabbrica del Vapore, Milan, Italy
1989
Yuppara, curated by Elio Grazioli, Enrico Pedrini, Gabriele Perretta, Ex Ospedale Psichiatrico, Genoa, Italy
Metessi, curated by Gabriele Perretta, Galleria Lidia Carrieri, Rome, Italy
1988
Gallery as artwork, Galleria Diagramma-Luciano Inga-Pin, Milan, Italy
Agire il mondo, curated by Chiara Guidi, Palazzo Mediceo, Seravezza, Italy
Cesare Viel
Si può tremare per una frase. Testi performativi 1990-2024, 2026
Postmediabooks
Language: Italian
Pages: 192 (51 ill.)
ISBN: 9788874904400
Cesare Viel
Corpi estranei, 2023
Silvana Editoriale
Edited by Elisa Fulco, Giulia Ingarao, Antonio Leone
Pages: 64
Language: Italian/English
ISBN: 9788836654345
Cesare Viel
Più nessuno da nessuna parte, 2019
Silvana Editoriale
Edited by Diego Sileo
Pages: 224
Language: Italian/English
ISBN: 9788836643769
Cesare Viel
Azioni (1996 – 2007), 2008
Silvana Editoriale
Edited by Carla Subrizi
Pages: 141
Language: Italian
ISBN: 9788836608928
Plamen Dejanoff (1970 Sofia, Bulgaria) lives and works in Vienna.
His research critically analyzes the intersections between artistic creation, branding strategies, and industrial production systems. In particular, Plamen Dejanoff is distinguished by the realization of complex, multi-year projects in which the work of art is not merely an aesthetic object, but a vehicle for exploring concepts of value, cultural property, and commercial identity. Through the use of manual techniques rooted in craftsmanship, his practice raises questions about the function of the artist in consumer society, going as far as transforming entire exhibition projects into platforms for exchange between different economic sectors. This multidisciplinary approach often leads him to collaborate with architects and specialists, making the boundary between the world of art and that of corporate communication intentionally ambiguous and provocative.
Throughout his career, Dejanoff has exhibited in international institutions such as the MUMOK in Vienna, the Palais de Tokyo in Paris, and the MAMbo in Bologna, in addition to participating in major periodic exhibitions such as the Venice, Berlin, and Prague biennials.
Plamen Dejanoff, Heritage Project private view (Stephan Stoyanov Collection), Art Agency Ltd, Sofia, 2026. Exhibition view.
Plamen Dejanoff, Heritage Project private view (Stephan Stoyanov Collection), Art Agency Ltd, Sofia, 2026. Exhibition view.
Plamen Dejanoff, Heritage Project private view (Stephan Stoyanov Collection), Art Agency Ltd, Sofia, 2026. Exhibition view.
Plamen Dejanoff, Heritage Project (United), Credo Bonum Foundation, Sofia, 2026. Exhibition view. Photo © Kalin Serapionov.
Plamen Dejanoff, Heritage Project (United), Credo Bonum Foundation, Sofia, 2026. Exhibition view. Photo © Kalin Serapionov.
Plamen Dejanoff, Heritage Project (United), Credo Bonum Foundation, Sofia, 2026. Exhibition view. Photo © Kalin Serapionov.
Plamen Dejanoff, Heritage Project (United), Credo Bonum Foundation, Sofia, 2026. Exhibition view. Photo © Kalin Serapionov.
Plamen Dejanoff, Heritage Project (United), Credo Bonum Foundation, Sofia, 2026. Exhibition view. Photo © Kalin Serapionov.
Plamen Dejanoff, Heritage Project II, Kunsthaus Graz, 2023. Exhibition view. Photo © M. Grabner/Kunsthaus Graz.
Plamen Dejanoff, Heritage Project II, Kunsthaus Graz, 2023. Exhibition view. Photo © M. Grabner/Kunsthaus Graz.
Plamen Dejanoff (1970 Sofia, Bulgaria) lives and works in Vienna.
EDUCATION
1989-1991
Academy of Fine Arts, Sofia, Bulgaria
1992-1997
Academy of Fine Arts, Vienna, Austria
1995-1996
MAK Center For Art & Architecture, Los Angeles, USA
1997-1998
Monbusho, Musashino Art University, Tokyo, Japan
1999-2000
Iaspis, Stockholm, Sweden
SOLO SHOWS
2026
Heritage Project (United), Credo Bonum Foundation, Sofia, Bulgaria
Heritage Project (Stephan Stoyanov Collection), private view, Art Agency Ltd, Sofia, Bulgaria
Heritage Project (United), Kunsthaus Graz & Credo Bonum Foundation, Sofia, Bulgaria
2024
Plamen Dejanoff, Trifon Ivanov Museum, Pinksummer, Milano, Italia
Plamen Dejanoff, Heritage Project, Pinksummer, Genoa, Italy
Plamen Dejanoff, Heritage Project (Collection & Webstage), Universalmuseum Joanneum, Graz, Austria
Heritage Project (Construction & General Rehearsal), Plamen Dejanoff Foundation, Veliko Tarnovo, Bulgaria
2023
Plamen Dejanoff, Heritage Project II, Kunsthaus Graz, Austria
Heritage Project, Plamen Dejanoff Foundation, Arbanasi, Bulgaria
2022
Home Exhibition I-XII, Plamen Dejanoff Foundation, Vienna, Austria
2021
Home Exhibition I-XII, Plamen Dejanoff Foundation, Vienna, Austria
2020
Home Exhibition I-X, Plamen Dejanoff Foundation, Vienna, Austria
2019
Plamen Dejanoff, Layr, Rome, Italy
The Bronze House, Plamen Dejanoff Foundation, Arbanasi, Bulgaria
2018
Plamen Dejanoff, The Bronze House, Kunsthalle, Vienna, Austria
Plamen Dejanoff, The Bronze House, SGHG Sofia City Art Gallery, Sofia, Bulgaria
The Bronze House, Plamen Dejanoff Foundation, Sofia, Bulgaria
2017
Plamen Dejanoff, NAK Neuer Aachener Kunstverein, Aachen, Germany
Plamen Dejanoff, Foundation Requirement, FLUCA Austrian Cultural Pavilion, Plovdiv, Bulgaria
Plamen Dejanoff, Austrian Sculpture Park, Unterpremstätten, Austria
Plamen Dejanoff, SGHG Sofia City Art Gallery, Sofia, Bulgaria
Plamen Dejanoff, The Bronze House, National Academy of Art, Sofia, Bulgaria
Plamen Dejanoff, The Bronze House, Layr, Rome, Italy
2016
Plamen Dejanoff, Galerie Emanuel Layr, Vienna, Austria
Plamen Dejanoff, Foundation Requirement, Galerie Nicola von Senger, Zurich, Switzerland
Plamen Dejanoff, MAM Mario Mauroner Contemporary Art, Vienna, Austria
Plamen Dejanoff, LAUBA Center for Contemporary Art, Zagreb, Croatia
2015
Foundation Requirement , 21er Haus Museum für zeitgenössische Kunst, Vienna, Austria
Foundation Requirements, Pinksummer, Genoa, Italy
Foundation Requirement, ICA Institut fo Contemporary Art, Sofia, Bulgaria
Artelier Collection, Graz, Austria
Gallery Emanuel Layr, Vienna, Austria
2014
Ursula Blickle Foundation, Kraichtal, Germany
2013
Galerie Emanuel Layr, Vienna, Austria
CMS, Sofia, Bulgaria
2012
MAMBO Bologna Museum of Modern Art, Italy
FRAC Fonds régional d’art contemporain Champagne-Ardenne, Reims, France
Galerie Emanuel Layr, Vienna, Austria
2011
Kunstverein in Hamburg, Hamburg, Germany
CMS, Vienna, Austria
HafenCity, Hamburg, Germany
2010
MAK Österreichisches Museum für angewandte Kunst in Wien, Vienna, Austria
Pinksummer, Genoa, Italy
2009
Firma London, Berlin, Germany
2008
Galerie Nicola Von Senger, Zurich, Switzerland
Uszynska Schaufenster, Vienna, Austria
2007
Michelle Nicole Fine Arts, Zurich, Switzerland
Jan Winkelmann, Berlin, Germany
Izola Art Center, Milan, Italy
Schloss Wendlinghausen, Dörentrup, Germany
2006
MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria
ESAD/La Shaufferie, Strasbourg, France
Galerie Meyer Kainer, Vienna, Austria
Pinksummer, Genoa, Italy
2005
Jan Winkelmann, Berlin, Germany
Villa Croce Museum of Contemporary Art, Genoa, Italy
Galeria Miroslav Kraljavic, Zagreb, Croatia
Gallery Space for Contemporary Arts, Bratislava, Slovakia
2004
La Salle de Bains, Lyon, France
2003
Quarantine Series, Amsterdam, The Netherlands
Jan Winkelmann, Düsseldorf, Germany
JRP Editions, Geneva, Switzerland
2002
Palais de Tokyo, Paris, France
Tomato S.A., Lugano, Switzerland
Galería Javier López, Madrid, Spain
Pinksummer, Genoa, Italy
2001
MAK Galerie, Museum für Angewandte Kunst, Vienna, Austria
Siemens Arts Program, Munich, Germany
Air de Paris, Paris, France
Tomio Koyama Gallery, Tokyo, Japan
2000
Galerie Meyer Kainer, Vienna, Austria
Projectroom, Museum of Contemporary Art, Zagreb, Croatia
1999
Ynglingagatan 1, Stockholm, Sweden
Galerie Mehdi Chouakri, Berlin, Germany
L’ELAC, l’espace lausannois d’art contemporaine, Lausanne, Switzerland
1998
Tomio Koyama Gallery, Tokyo, Japan
Galerie der Stadt Wels, Wels, Austria
Le Consortium, Dijon, France
1997
Air de Paris, Paris, France
Raum Aktueller Kunst, Vienna, Austria
Kunstverein/Villa Franck, Ludwigsburg, Germany
GROUP SHOWS
2025
TURNING PAGES: Artists’ Books of the Present, MAK – Museum of Applied Arts, Vienna, Austria
2024
NAK Annual Editions 1992-2024, Neuer Aachener Kunstverein, Aachen, Germany
2023
Im Zeitraffer. Ein Blick ins Archiv des Kunsthauses, Kunsthaus Graz, Austria
2022
New Space Show, Layr, Vienna, Austria
Café Del Mar, Galerie Gabriele Senn, Vienna, Austria
Collection I-II, Plamen Dejanoff Foundation, Vienna, Austria
3rd International Home Biennial, Plamen Dejanoff Foundation, Vienna, Austria
2021
Was sein wird. Von der Zukunft zu den Zukünften, Kunsthaus Graz, Austria
Threesome #6, FPAC Francesco Pantaleone Arte Contemporanea, Palermo, Italy
Collection I-XII, Plamen Dejanoff Foundation, Vienna, Austria
2nd International Home Biennial, Plamen Dejanoff Foundation, Vienna, Austria
2020
Kunst_Handwerk Zwischen Tradition, Diskurs Und Technologien, Kestner Gesellschaft, Hannover, Germany
Collection I-IX, Plamen Dejanoff Foundation, Vienna, Austria
Kunst_Handwerk Zwischen Tradition, Diskurs Und Technologien, GfZK, Leipzig, Germany
Light After Darkness, MAM Mario Mauroner Contemporary Art, Salzburg, Austria
1st International Home Biennial, Plamen Dejanoff Foundation, Vienna, Austria
2019
Kunst_Handwerk Zwischen Tradition, Diskurs Und Technologien, Kunsthaus Graz, Austria
Zu viel ist nicht genug! Die Schenkung “Sammlung Artelier” – Universalmuseum Joanneum, Graz, Austria
2018
Collection – Musée d’Art Contemporain Lyon, France
kunst.porzellan.kunst, Palais Dorotheum & Augarten Museum Vienna, Austria
Black Mirror, MAM Mario Mauroner Contemporary Art, Salisburgo, Austria
Pinksummer goes to Palermo, Pinksummer, Palermo, Italy
Black Mirror Part II, MAM Mario Mauroner Contemporary Art, Vienna, Austria
2017
In/On the Way: Migrations of Fear, KGLU, Grado, Slovenia
Oh…, MUMOK Museum moderner Kunst Stiftung Ludwig Wien, Vienna, Austria
Les Objets Domestiquent, FRAC Nord-Pas de Calais, Dunkerque, France
The Present Order Part Three – GfZK Galerie für Zeitgenössische Kunst, Leipzig, Germany
La décroissance, pour une économie esthétique – CAP Le Centre d’Arts Plastiques Saint-Fons, France
The Present Order Part Two – GfZK Galerie für Zeitgenössische Kunst, Leipzig, Germany
A Show Without A Title But In The Holiday Spirit, ICA The Institute of Contemporary Art, Sofia, Bulgaria
NAK Benefiz Auktion, Neuer Aachener Kunstverein, Aachen, Germany
Beyond the Box. Sammlung Dohmen, Leopold Hoesch Museum, Düren, Germany
Balak #7, Balak Espace Temporaire d’Art Contemporain, Charleville Mézières, France
Publishing as an Artistic Toolbox: 1989–2017, Kunsthalle Wien Museumsquartier, Vienna, Austria
Don’t Look Like A Line, Pinksummer, Genoa, Italy
Le travail à l’œuvre / L’alternative, FRAC Champagne-Ardenne, Reims, France
Migrations of Fear, Forum Stadtpark, Graz, Austria
2016
Manifesta 11. European Biennial of Contemporary Art, Zurich, Switzerland
Franz West Artist Club, 21er Haus, Vienna, Austria
The Present Order, GfZK, Leipzig, Germany
La Ville, Au Loin, FRAC Centre Fonds Régional d‘Art Contemporain de la Region Centre, Orleans, France
Anti-musée Rétrospective des galeries fermées, Fri Art, Freiburg, Switzerland
The Peacock, Grazer Kunstverein, Graz, Austria
NAK Benefizauktion, Neuer Aachener Kunstverein, Aachen, Germany
Collection Gallery & Friends (20 Years), Galerie Mirko Mayer / m-projects, Cologne, Germany
Cabaret der Künstler, Zunfthaus Voltaire / Cabaret Voltaire, Zurich, Switzerland
2015
Andy Warhol sul comò, Villa Croce Museum of Contemporary Art, Genoa, Italy
Flirting with Strangers, Belvedere 21, Vienna, Austria
48 Drawings, Spike Berlin, Berlin, Germany
The Vacancy, Crone Berlin, Berlin, Germany
2014
Special Guest (Parabol) Kunstverein in Hamburg, Germany
We Fragment, Collect and Narrate, Leopold Hoesch Museum, Düren, Germany
Ökonomie der Aufmerksamkeit, Kunsthalle Wien, Vienna, Austria
Sammlung Lenikus, Kunstraum Innsbruck, Innsbruck, Austria
Bildmeister, Altes Zollamt, Vienna, Austria
Les éditions, FRAC Champagne-Ardenne, Reims, France
Lotte Sonnenstein: BILDMEISTER extended, Temporäre Halle für Kunst, Linz, Austria
A Stone, A Word Activated By, Bickle Raum, Vienna, Austria
Cover-Up, Galerie Krinzinger, Vienna, Austria
2013
Le Futur commence ici, Frac Nord-Pas de Calais, Dunkerque, France
Experience Pommery, Une Odyssee: 30 ans du FRAC Champagen-Ardenne, Reims, France
Curated by, Why Painting Now, Galerie Krinzinger, Vienna, Austria
Plamen Dejanoff / Karen Kilimnik / Hans Peter Feldmann, Windsor Collection, Windsor, Vienna, Austria
Contemporary Practices at the Beginning of the 21st Century, SGHG Sofia City Art Gallery, Sofia, Bulgaria
Fotos – Österreichische Fotografien von 1930ern bis heute, 21er Haus, Vienna, Austria
2012
Moment Ynglingagatan 1, Moderna Museet, Stockholm, Sweden
Nuove Acquisizioni – Matthew Day Jackson, Plamen Dejanoff & de Rijke deRooij, MAMBO Bologna Museum of Modern Art, Bologna, Italy
Jahresgaben, Grazer Kunstverein, Graz, Austria
Editionen, MUMOK Museum moderner Kunst Stiftung Ludwig, Vienna, Austria
Post Tenebras Lux – Eine Übersichtsausstellung, Galerie Nicola von Senger, Zurich, Switzerland
2011
54th Venice Biennale, Italy
The Avantgarde: Specters of the Nineties, Marres – Centre for Contemporary Culture, Maastricht, The Netherlands
Hirschfaktor. Die Kunst des Zitierens, ZKM Museum für Neue Kunst, Karlsruhe, Germany
Sequel 2, Artelier Collection, Graz, Austria
Car Cculture – Meiden der Mobilität, ZKM Museum für Neue Kunst, Karlsruhe, Germany
2010
Erased Walls – Mediation Biennale, Poznan, Poland
Konstellationen – Sammeln für ein neues jahrhundert, MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Destrøy Design – Aarhus Kunstbygning – Center for Contemporary Art, Aarhus, Denmark
PUZZLE – Die Sammlungsausstellung 2010 – Galerie für Zeitgenössische Kunst, GfZK, Leipzig, Germany
Destroy Design – MUDAC – Musée de design es d’arts appliques contemporains, Lausanne, Switzerland
LA PUNTA DELL´ICEBERG – Villa Croce, Museum of Contemporary Art, Genoa, Italy
Sequel 1, Artelier Collection, Graz, Austria
Originalfunktional – Wiener Art Foundation, Vienna, Austria
2009
SOCIAL CRITICISM 1993-2005, an Art Historical Exposé, Kalmar Konstmuseum, Kalmar, Sweden
Sehnsucht nach dem Abbild, Das Portrait im Wandel der Zeit, Kunsthalle Krems, Austria
“The Artist” WDW Witte de With, Center for Contemporary Art, Rotterdam, The Netherlands
2008
Art & Entrepreneurship, Phillips de Pury & Company, London, UK
Design’In présente Living Box, Hangar à bananes, Nantes / Frac des Pays de la Loire, Carquefou, France
Art & Entrepreneurship, Chelsea Art Museum New York, USA
IMAGES, FORDE Espace d’art contemporain, Geneva, Switzerland
Art & Entrepreneurship, Global Art Forum/Art Dubai, Dubai, United Arab Emirates
Art & Entrepreneurship, Center for Contemporary Art, Moscow, Russia
2007
Meisterwerke aus der Sammlung, Kunsthalle zu Kiel, Kiel, Germany
Deutsche Geschichten, GFZK Galerie für Zeitgenössische Kunst, Leipzig, Germany
M.tel Award NDK, Sofia, Bulgaria
Souffle, Kunstraum Innsbruck, Austria
Black Star, Pinacoteca di Savona, Savona, Italy
Images, Spike/Into Positions, Vienna, Austria
Made In – Assab One, Milan, Italy
2006
6th Shanghai Biennale, Museum of Modern Art, Shanghai, China
SEE History 2006. Schätze bilden, Kunsthalle zu Kiel, Kiel, Germany
FASTER! BIGGER! BETTER!, ZKM, Karlsruhe, Germany
Capolavoro, Palazzo di Primavera Center for Contemporary Arts, Terni, Italy
Prospective Sites, Roaling Boards, Vienna, Austria
Runaway, Gallery Priestor for Contemporary Arts, Bratislava, Slovakia
Nefertiti, 2nd Contemporary Art Biennale, Shumen, Bulgaria
Jrp|Ringier, Christophe Daviet-Thery, Paris, France
Let’s Paint, MQ Museums Quartier Arena 21, Vienna, Austria
2005
Cochabitats, Gallery Ghislaine Hussenot, Paris, France
Criss-Cross-Alphabet, MSU Museum of Contemporary Art, Zagreb, Croatia
Drive, GAM Modern Art Gallery, Bologna, Italy
Exit, Ausstieg aus dem Bild, ZKM Museum für Neue Kunst, Karlsruhe, Germany
Slices Of Life (Blueprints Of The Self In Painting), Austrian Cultural Forum, New York, USA
The Quarantine Series Book, Quarantine Series, Amsterdam, The Netherlands
Among Global Players, Fox Academy, Copenhagen, Denmark
Portraits, Galerie Meyer Kainer, Vienna, Austria
Coloured Environmental Design (Art & Design in The Daily Life), Stedelijk Museum, Aalst, Belgium
2004
Stock Zero – Opera, MNAC Museum National de Arta Contemporana, Bucharest, Romania
Noch Einen Wunsch, Galerie für Zeitgenössische Kunst, Leipzig, Germany
Arredare la casa abitare il museo, Villa Croce Contemporary Art Museum, Genoa, Italy
Europas Zukunft, Galerie für Zeitgenössische Kunst/B.V.K./alpha 2000, Leipzig, Germany
Challenge, Gallery Priestor, Bratislava, Slovakia
Who’s to follow?, De Appel Foundation, Amsterdam, The Netherlands
Trafic d’influences, Tri Postal, Lille, France
2003
Money for Nothing, Artspace, Auckland, New Zealand
1st Prague Biennale, Czech Republic
Deluxe, Monasterio de Prado, Valladolid, Spain
Dessinez avec Desiree, Galerie Meyer-Keiner, Vienna, Austria
2nd Ceramic Biennale, Albissola Superiore, Italy
The Collection, Centro de Arte Contemporaneo, Málaga, Spain
Money for Nothing, City Gallery Wellington, Wellington, New Zealand
2002
Art & Economy, Deichtorhallen, Hamburg, Germany
Uncommon Denominator, MASS MoCA, North Adams, Massachusetts, USA
Deluxe, Sala de Exposiciones de Plaza de España, Madrid, Spain
windsor.collection, Stazione Leopolda, Florence, Italy
JRP Editions, Galerie Choakri Brahms, Berlin, Germany
Die Sammlung als Labor, Galerie für Zeitgenössische Kunst, Leipzig, Germany
There is a Light that never goes out, Villa Galvani, Pordenone, Italy
Ideas for Living, Inkijk, Amsterdam, The Netherlands
S.O.S, MAK Museum für Angewandte Kunst, Vienna, Austria
JRP Editions, Gallery Joao Graca, Lisbon, Portugal
TRANS-POSITIONS – Centre d’Art Passerelle, Brest, France
2001
2nd Berlin Biennale, KW, Berlin, Germany
1st International Biennale, National Gallery, Tirana, Albania
Encounters, Tokyo Opera City Art Gallery, Tokyo, Japan
The Constructing of an Image (Germany), Palazzo delle Papesse, Siena, Italy
Windsor Collection, NRW Forum Kultur und Wirtchaft, Düsseldorf, Germany
Social Hackers, Centre d’edition contemporain, Geneva, Switzerland
Objekte, Österreichische Galerie Belvedere, Vienna, Austria
Das Diskursive Museum, MAK Museum für Angewandte Kunst, Vienna, Austria
Black Silver & Gold, Galerie du Bellay, Mont Saint Aignan, France
Home Sweet Home, Kunsthaus /Jahresmuseum, Mürzzuschlag, Austria
Test The World, MAK Museum für Angewandte Kunst, Vienna, Austria
2000
Worthless (Invaluable), Moderna Galerija, Ljubljana, Slovenia
Contacts, FRI-ART Centre d’Art Contemporain, Freiburg, Switzerland
Democracy, Royal College of Art, London, UK
Plan B, De Appel Foundation, Amsterdam, The Netherlands
Trance_actions, Gallery Art & Essai, Rennes, France
windsor.collection, Philomene Magers Monika Sprüth, Munich, Germany
Unhomely Home, Kunstverein, Wolfsburg, Germany
Aussendienst, Kunstverein/Stadt Hamburg, Hamburg, Germany
The World is Not Enough, Galerie Mehdi Chouakri, Berlin, Germany
Thanks, Air de Paris, Paris, France
Fuori Uso. Under the Bridges, Pescara, Italy
Milch von Ultrablauen Strom, Kunsthalle Krems, Krems, Austria
Zeitwenden – Ausblick, Museum Moderne Kunst, 20er Haus, Vienna, Austria
After the Wall, Museum Ludwig, Budapest, Hungary
Acquisitions 96-98, FRAC Nord Pas-de-Calais, Dunkerque, France
Bonjour Chez Vous, Espace Jules Verne, Bretigny sur Orge, France
Sabotage, Verein Shed im Eisenwerk, Frauenfeld, Switzerland
Social Hackers, Gallery MUU, Helsinki, Finland
Négociations, CRAC Centre Régional d’Art Contemporain, Sète, France
After the Wall, Hamburger Bahnhof, Berlin, Germany
Collection 2000, Galerie für Zeitgenössische Kunst, Leipzig, Germany
Project #0004, Friedrich Petzel Gallery, New York, USA
1999
1st International Biennale, Melbourne, Australia
Ideas For Living, Gallery Micheline Szwajcer, Antwerp, Belgium
This is Yesterday, Centro Andaluz de Arte Contemporaneo, Seville, Spain
Expanded Design, Salzburger Kunstverein, Salzburg, Austria
Dream City, Kunstverein München, Munich, Germany
And/Or, Grazer Kunstverein, Graz, Austria
Publi©Domain 3, Vienna, Austria
Triennale zur Fotografie, Graz, Austria
Hinter dem Lärm – Galerie Grita Insam, Vienna, Austria
Oficina Europea, GAM Modern Art Gallery, Bologna, Italia
Zeitwenden – Ausblick, Kunstmuseum, Bonne, Germany
Neuerwerbungen, Österreichische Galerie Belvedere, Vienna, Austria
Le Capital: tableaux, diagrammes & bureaux d ́études, CRAC Centre Régional d’Art Contemporain, Sète, France
I know what you did last summer, Air de Paris, Paris, France
After the Wall, Moderna Museet, Stockholm, Sweden
Rue Louise Weiss – Abbaye St André – Centre d’art contemporain Meymac, Meymac, France
1998
Fast Forward 2: Trade Marks, Kunstverein Hamburg, Germany
Ontom, Galerie für Zeitgenössische Kunst, Leipzig, Germany
Maxis Midis & Minis, Künstlerhaus Palais Thurn & Taxis, Bregenz, Austria
Remarks on Interventive Tendencies, DCA Danish Contemporary Art, Copenhagen, Denmark
Life Style, KUB Kunsthaus, Bregenz, Austria
Weather Everything, Galerie für Zeitgenössische Kunst, Leipzig, Germany
Kunst ohne Unikat – Artelier Contemporary, Graz, Austria
La Tabla, Air de Paris, Paris, France
Kunst ohne Unikat – Neue Galerie Graz – Joanneum, Graz, Austria
Le Consortium.Coll, Centre Georges Pompidou, Paris, France
1997
Enter: Audience/Artist/Institution, Kunstmuseum Lucerne, Lucerna, Switzerland
x-squared, Wiener Secession, Vienna, Austria
Dramatically Different, Le Magasin, Grenoble, France
Medium of Exchange, CCH Congress Center Hamburg, Germany
Bon Année, Air de Paris, France
6th International Cairo Biennale, Egypt
1996
The Garage Project, MAK Center for Art and Architecture, Los Angeles, USA
Junge Szene, Wiener Secession, Vienna, Austria
East International, Sainsbury Center for Visual Arts/Norwich Gallery, Norwich, UK
Chance (3 Days in the Desert with Jean Baudrillard), Whiskey Pete’s Casino, Las Vegas, USA
Affairs, Institut für Gegenwartskunst, Vienna, Austria
1995
Final Projects, Schindler House MAK Center for Art and Architecture, Los Angeles, USA
Werkstatquartier, OK Offenes Kulturhaus, Linz, Austria
Plamen Dejanoff
plamen. Literatur kunst leben , 2015
21er Haus
Edited by Agnes Husslein-Arco, Maximilian Geymüller, Plamen Dejanoff
Pages: 232
Languages: German/English
ISBN: 978-3-902805-84-3
Nicolas Bourriaud, Antonia Majaca, Minhea Mircan
Plamen Dejanoff, 2008
JRP|Editions
Pages: 160
Languages: English
ISBN: 978-3-905701-58-6
Plamen Dejanoff
The Quarantine Series Book, 2005
Artimo
Edited by Jan Christensen, Alain Declercq and Juul Hondius
Pages: 168
Languages: English
ISBN: 978-9085460251
Plamen Dejanoff
Planets of Comparison, 2005
Revolver
Edited by Antonia Majača, Eldbert Kob, Kuhn/Malvezzi, Mazelaygue/Vadriìot, Wiederin/Konzett, Jan Winkelmann
Lingue: English
Luca De Leva
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