Exhibition of the Week

LULLABY BLOSSOMS

@cosmos.cac

Lisbon, Portugal

14 April - 12 May 2026

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Paris / 2026

MAIN DE FER, GANT DE VELOURS

Association NOEMI- Espace Brownstone

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska3/1

Warsaw / 2026

PARACHUTE (GROUP EXHIBITION)

@przeciag_galeria

Lisbon / 2026

LULLABY BLOSSOMS

@cosmos.cac

Paris / 2026

CHEWING GUM IN THE MOTHERBOARD (GROUP EXHIBITION)

@lavolonte93

Vorarlberg / 2026

SUPPORTED FILES

@galeriebrugger

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

Seoul / 2026

MIMICKING ETERNITY

@studiya.gallery

Dornbirn / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

Dortmund / 2026

CALL ME WE

SUPERRAUM

Buenos Aires / 2026

COAGVLA

@acefalagaleria

Offenbach am Main / 2026

CALL SOMEONE (GROUP EXHIBITION)

@ayayay_________

Prague / 2026

SOFT_SIGHS SYNTHESIS

@clauda.cz

Nurnberg / 2026

LIMINALITY

@adbk_nuernberg

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

@management.nyc

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

@acudgalerie

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

@jochenhempel

Sardinia / 2026

BLUE BLOODED

@museo_nivola

Seoul / 2025-2026

GROWING BODY

@studiya.gallery

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

@aodmuseum

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

@trost.spc

Seoul / 2025

MASSAGE PLATZ

Shower

Brussels / 2025-2026

WORK OF PROOF

FLⒶT$

Munich / 2026

MOTIONS TO UNFURL (GROUP EXHIBITION)

@gallery_thetigerroom

Lisbon / 2025

THE STAGES OF GRIEF

PADA Studios

Dornbirn / 2026

BUCOLICA

@kunstraumdornbirn

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS (GROUP EXHIBITION)

@acudgalerie

Milan / 2025

MYTHS FROM SMOLDERING SKIES (GROUP EXHIBITION)

@limbo.contemporary

Berlin / 2025

THRESHOLDS

@carliergebauer

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

@schuetzenverein_

Paris / 2025

TISSU EXPANSÉ

@europa.nyc

Paris / 2025

PULSES WITHIN

@ds_galerie

Paris / 2025

PARADE

@romeropaprocki

Göteborg / 2025

TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

Galleri Box

Kraków / 2025

CRASH PÆNDEMONIA

@_jak_zapomniec_

Shanghai / 2025

A BLADE UNHELD

Galerie Dengyun

Milan / 2025

FANTASY VANISHES IN FLESH

@francesca_minini

Seoul / 2025

THIRD SKIN

@dive.seoul.art

Madrid / 2025

DESIRING MACHINES

@riomenaka

Białystok / 2025

PARADISE ROT

@galeria_arsenal

Seoul / 2026

THE LANGUAGE OF THE ENEMY

@artsonje_center

Prague / 2025

WITH FEATHERS AND FLESH

@holesovickasachta

Seoul / 2025

TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

Busan / 2025

AFTERLIFES

@hongtiartcenter

London / 2025

THE SIGNAL. THE NOICE (GROUP EXHIBITION)

@greatorexstreet_e1

/ 2025

SWEET WORLD 1

@sweet.world.gallery

Bratislava / 2025

BEGONE ESTRONE

MEDIUM

Bratislava / 2025

BEGONE ESTRONE

@medium_gallery

London / 2025

CHOICE DIRT

Xxijra Hii

Hamburg / 2025

DIE SPRACHE DER VÖGEL

@westwerk_hamburg

Brno / 2025

LOVE

Zaazrak|Dornych

New York City (NY) / 2025

EXUVIAE

Management

Berlin / 2025

EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

Warsaw / 2025

THE LAST DRAWER ON THE LEFT

@przeciag_galeria

Århus / 2025

JUST ABOUT AND NEVER

SpLab

/ 2025

THE ROOM I

@ifocenter

Santiago / 2025

ENCUENTRO

@sagradamercancia

Arnsberg / 2025

VITALS VAPORS

@kunstverein_arnsberg

New York / 2025

LUCA

@management.nyc

Bratislava / 2025

DISTANT, ENDLESS HUM

@vunugallery

Milan / 2025

METAL MEMORY

@limbo.contemporary

Kraków / 2025

WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

Berlin / 2025

GREEN GROWTH

@kuenstlerhaus.bethanien

Vienna / 2025

SWEET GARDEN OF VANISHED PLEASURES

@dieangewandte

Milan / 2025

FALENE

@limbo.contemporary

Berlin / 2025

THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

@acudgalerie

Montpellier / 2025

METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

Ljubljana / 2025

TAR STAR

@cukrarna.art

Jung-gu, Seoul / 2025

FARM

@biogalleryseoul

/ 2025

DEEP SEA FISH

@dieselartgallery

Innsbruck / 2025

TIPPING POINT PHANTOMS

@kunstlerinnenvereinigung_tirol

/ 2025

LOST ENCOUNTERS, THEY CLING

@parallelvienna

Stockholm / 2024-2025

DIALECTS OF THE DEEP

@bonnierskonsthall

Warsaw / 2024-2025

GRASS ON ROADSIDE 4

Przeciąg Gallery

London / 2024

LIMO

The Split Gallery

Prague / 2024

PETRICHOR

Prám

Wroclaw / 2024

EUTROPHY

Bulvary

Geneva / 2024

DOWN THE RABBIT HOLE, 2024

@halle_nord_geneve

Berlin / 2023

HUMAN IS

Schinkel Pavillion

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

@macba_barcelona

London / 2024

TOTAL INTERNAL REFLECTION

@zerui.g

Shanghai / 2024

CONTEMPT

@capsuleshanghai

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

Budapest / 2024

SKELETAL SCENES

@amprojects_byanimolnar

/ 2024

METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

@schinkelpavillon

Vilnius / 2024

KETEROS

@meduza.fyi

/ 2024

EXTERNAL CRYOGENICS

@hyperlink_athens

/ 2024

TRANSPARENCY REPORT

/ 2024

BIDIM BLO!

@basisfrankfurt

/ 2023

KASSANDRA

@kunsthalle.ost

/ 2023

THE WORM AT THE CORE

@setsetsetsetsetset

Lisboa / 2023

A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

Dornbirn, Austria / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn / Davide Allieri

47°24’35’’N / 9°44’20’’E - coordinates that mark a real location while at the same time resembling an encrypted message. Whoever follows them arrives at Kunstraum Dornbirn. Yet what unfolds here is not a clearly mappable site, but rather a liminal state. Davide Allieri transforms the historic industrial hall into the point of departure for an enigmatic environment: in the pale haze of a hostile landscape, a luminous portal appears in the form of a large circular sculpture - a possible passage, a technological relic, or a metaphysical sign. Nearby rises a figure approximately four metres long, reminiscent of a drone or a mech. Countless cables run through the space, stretching across floor and architecture to form a network of technical infrastructures whose function remains unclear. Loose ends suggest energy and connection, yet nothing appears to be activated. Emanating from the portal, a pervasive sound settles over the scene like an invisible layer. Sound, light and darkness intensify the feeling of a permanent in-between - a condition in which possibilities remain open yet undetermined. Are we at the beginning of a new epoch - or at the end of a former one?

The immersive installation evokes the atmosphere of an apocalyptic science-fiction narrative, but without narrative clarity. Reality and fiction, past and future, collapse and possibility do not exist as opposites but as overlapping layers. Allieri does not present a conventional dystopian space; he is not interested in romantic ruins or familiar end-of-the-world clichés. What stands at the centre is not catastrophe itself, but what remains afterwards: a present in suspension. Forms persist, yet their original function appears suspended. The bodies are absent. Movement is halted - and yet physically perceptible: Francesco Peccolo develops a specially composed sound design, a low-frequency, vibrating drone interrupted by metallic resonances and fragmented impulses that recall distant signals or the echo of an autonomous machine. The sound oscillates between mechanical precision and atmospheric vastness. It creates an acoustic suspension in which time stretches, orientation dissolves, and space becomes perceptible as a resonating body of potential that evokes uncertain expectation. Installation, sculpture, architecture and sound intertwine into a dense, bodily experience.

What manifests within this environment can be read as the trace of a broken promise. The grand narratives of modern progress have lost their binding force - and with them the memory of the origins of those visions of the future that once provided orientation. A present unfolds that lacks any clear direction. The future loses its function as a projection surface for hope or action; it remains indeterminate. For Allieri, this constellation resonates with Marc Augé’s concept of the non-place, which he shifts into a speculative dimension. His spaces are precisely located and yet neither temporally fixed nor narratively conclusive. Time does not appear cyclical but linearly extended - an elongation of the present without clearly defined origin and without discernible goal. Within this non-time and non-place, a peculiar tension emerges: one finds oneself on a threshold, neither completely inside nor outside the event. It is precisely here that Allieri positions his work - not as dystopia, but as a simulacrum of a possible reality, subtly displaced and decoupled.

The entire environment is conceived specifically for the architecture of Kunstraum Dornbirn, which is shaped by the history of the Vorarlberg metal industry. It forms a resonant framework for Allieri’s narrative, in which the past remains present as a material trace. The monumental sculptures are fabricated from fibreglass - the artist’s preferred material. What is decisive is not only their aesthetic appearance but their inner condition. Allieri conceives his sculptures as shells, as containers. They are not solid but hollow. Within this emptiness lies their conceptual core. A solid sculpture remains an object; an empty one contains space. It preserves enclosure and protection while carrying both memory and potential. Fibreglass allows for extremely thin yet resilient surfaces. The bodies appear technically precise and almost ghostlike - present and yet dematerialised. Form endures, while the interior appears as an indeterminate field of possibility.

Formally, the works oscillate between machine, organism and architectural fragment. They are at once alluring and uncanny, beautiful and threatening, dead and yet charged with latent energy. Their aesthetic draws on references to animated, human-operated drones as well as fragments of contemporary motorcycle and car body parts. Through spatial collage, dysfunctional structures emerge that resemble autonomous creatures. They point to an invisible human presence - a subject that is absent and only reimagined in the act of observation.

By shielding the space from daylight and installing an artificial atmosphere of light and sound, Allieri fundamentally transforms the hall. From the springlike municipal garden, one steps into another sphere - perhaps into an “afterwards” whose meaning remains open. The precise coordinates of the exhibition title anchor this environment firmly in reality, while simultaneously withdrawing it from any clear temporal determination. Whether the portal marks the beginning of a new narrative or the echo of a fallen civilisation remains undecided. The exhibition deliberately leaves this question to its visitors - confronting them with perhaps the most fundamental one of all: What does the future mean when it has lost its direction and the memory of its own promise?

47°24’35’’N / 9°44’20’’E installation view 2 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 3 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 4 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 5 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 6 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 7 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 8 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 9 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 10 — Installation view. Photo: Günter Richard Wett

47°24’35’’N / 9°44’20’’E installation view 11 — Installation view. Photo: Günter Richard Wett

Related Exhibitions

Busan / 2025