










Klaus in Vorarlberg / 2026
Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

Santiago / 2026




Features
/ 2026

Berlin / 2026

Shanghai / 2026

Paris / 2026

Brescia / 2026









Munich / 2026

Lima / 2026










@kim.myungchan
.webp&w=1200&q=75)
Cergy / Paris / 2026















Istanbul / 2026

Düsseldorf / 2026

Montpellier / 2025






Brno / 2025

Lisbon / 2025

/ 2024










Shanghai / 2024

@emma.beatrez

/ 2025
%2Fphoto_1_2026-05-24_00-41-28.jpg&w=1200&q=75)
Berlin / 2025

Vienna / 2025

Arnsberg / 2025

Hamburg / 2025

Prague / 2025

Seoul / 2026
%2Fphoto_1_2026-05-23_19-24-35.jpg&w=1200&q=75)
London / 2025

@nadaecc














Dortmund / 2026

Dornbirn / 2026









Lisbon / 2026

Paris / 2026

Paris / 2025

Seoul / 2025

Vilnius / 2026

Brno / 2026

Tisbury / 2026

Shanghai / 2026

Málaga / 2026

Ciudad de México / 2026

Klaus in Vorarlberg / 2026

@koesysaga

Turin / 2026








Mexico City / 2026

Oslo / 2026



New York / 2026









Düsseldorf / 2026

Kraków / 2025

Shanghai / 2025

Brussels / 2025-2026









@pyhii








Tartu / 2024

London / 2024

Stockholm / 2024-2025

Innsbruck / 2025

Paris / 2025











New York / 2025

Warsaw / 2025

Busan / 2025

@camelostrich
%2Fphoto_1_2026-05-23_19-23-24.jpg&w=1200&q=75)
Munich / 2026
%20(GROUP%20SHOW).webp&w=1200&q=75)
Berlin / 2026

Paris / 2026

Kraków / 2026

Nurnberg / 2026














New York City / 2026








/ 2025

Madrid / 2025

/ 2026

Warsaw / 2026

Avigliana / 2026

Brussels / 2026













Copenhagen / 2026









@isabellealbuquerque

Angers / 2026

Genk / 2026

Kraków / 2026

Vienna / 2026

Poznań / 2026

Warsaw / 2026

Tokyo / 2026













Berlin / 2025

@aio0o0o0










/ 2023

/ 2024

Vilnius / 2024

Wroclaw / 2024














Jung-gu, Seoul / 2025

Geneva / 2024





Bratislava / 2025

Santiago / 2025

#DorisSalcedo






Milan / 2025
%2Fphoto_1_2026-05-23_19-28-57.jpg&w=1200&q=75)
Berlin / 2025

Dornbirn / 2026

Seoul / 2025-2026








Seoul / 2025









Warsaw / 2026

Seoul / 2026

Offenbach am Main / 2026

@ppuri_

Hurup / 2026

/ 2026

Seoul / 2026

@dew_needs_you

Seoul / 2026

Paris / 2026











Seoul / 2026

London / 2026

.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
Vienna / 2026






Paris / 2026

Munich / 2026

Bucharest / 2026









@filet_minion_thong

New York City (NY) / 2025

Göteborg / 2025










/ 2024

Lisboa / 2023








Budapest / 2024

Prague / 2024
%2Fphoto_1_2026-05-24_00-42-04.jpg&w=1200&q=75)
Milan / 2025

Ljubljana / 2025

@pax_aliena










/ 2025

Bratislava / 2025

Kraków / 2025
%2Fphoto_1_2026-05-23_19-26-42.jpg&w=1200&q=75)
Milan / 2025








Graz / 2026

Prague / 2026

London / 2026

Buenos Aires / 2026

@que.fresca









Berlin-Schöneberg / 2025

Białystok / 2025

Paris / 2026

@xolo_cuintle

Olomouc / 2026
















Prague / 2026




Vilnius District Municipality / 2026

Słupsk / 2026

Poznań / 2026






Poznań / 2026

Brussels / 2026

Berlin / 2026

@yukino_yamanaka

Ljubljana / 2026














Warsaw / 2024-2025

London / 2025
















Brescia / 2025-2026

/ 2024
%2Fphoto_1_2026-05-24_00-50-58.jpg&w=1200&q=75)
/ 2023
%2Fphoto_1_2026-05-24_00-47-49.jpg&w=1200&q=75)
Berlin / 2023






London / 2024

@s_gatzkan





Barcelona / 2024-2025







Milan / 2025

Berlin / 2025

Århus / 2025










Paris / 2025

Berlin / 2025
%2Fphoto_1_2026-05-23_19-20-38.jpg&w=1200&q=75)
Seoul / 2026

Leipzig / 2026

@arghavan_khosravi

Vorarlberg / 2026

Sardinia / 2026

/ 2025
.webp&w=1200&q=75)
Seoul / 2025
nouveaux deuxdeux / Paola Siri Renard

Paola Siri Renard's sculptures emerge from fragments, from architectural ornaments, equestrian monuments, industrial display systems, membranes, and skeletal forms that are extracted from historical structures and reassembled into unstable constellations. Her practice begins with research into architectural languages, from Gothic and Greco-Roman forms to Art Nouveau, not in order to reconstruct them, but to isolate details that reveal how histories of power become embedded within material surfaces. Ornament, in her work, is never merely decorative but rather evidence.
For her exhibition, Renard continues her investigation into monuments and the political symbolism of the horse. Public equestrian monuments have historically functioned as instruments of domination. They monumentalize military authority, colonial conquest, and heroic masculinity while naturalizing these narratives within urban space. Yet the horse itself occupies an ambiguous role within these structures, being both an emblem of power and suppressed body, vehicle of control and living instrument of labour, war, and extraction.
Rather than representing the whole monumental figure, the artist removes the rider and fragments the horse, dismantling the monument from below and isolating its legs - exposing their internal anatomies. Bones, membranes, and organic structures emerge beneath metallic skins, as though the sculptures were caught in a state of mutation. Seven aluminum cast sculptures derived from preparatory maquettes oscillate between archive and specimen. Dispersed individually, these entities form a fictive constellation. Each leg is divided into two distinct faces - one exaggerated and muscular, the other architectural and ornamental - generating a specular image. The cut creates a mirrored interstice from which a second identity emerges. The works suggest that something continues to grow underneath the surface, a latent violence embedded within architecture, monuments, and historical memory itself.
The artist's engagement with Art Nouveau and colonial history is informed in part by the writings of art historian Debora Silverman, whose research traces how vegetal and ornamental motifs in fin-de-siècle architecture were entangled with colonial expansion and the circulation of exoticized forms. Renard extends this reading into the present, approaching architecture as a living political body that absorbs systems of domination into its decorative skin. In her sculptures, architectural forms become porous, unstable, and bodily.
A central installation culminates this research. Conceived as a recomposed body that merges details drawn from the seven preceding models, the sculpture is fragmented into twelve elements arranged in a circular formation, evoking cyclical time and orbital motion. Suspended from modular stainless-steel structures reminiscent of slaughterhouse hangings, the fragments can either be assembled into a recognizable figure or dispersed throughout the space, oscillating between figuration and abstraction. Echoing the motif of the zipper, the structures present each configuration as a provisional and transitional state.
The title Double Star refers to the astronomical phenomenon in which two celestial bodies orbit around a shared centre. Renard uses this idea as a metaphor for history and perception - meanings change depending on perspective, distance, and position. What appears stable or coherent from one viewpoint may crumble from another.























Artists in this exhibition
More at nouveaux deuxdeux
More in Munich
Related topics