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

New York City (NY), United States / 2025

exuviae

Management / Stine Deja and Mary-Audrey Ramirez

While exuviae doesn’t care much for linear time, it responds directly to the moment we’re in: one where human centrality is dissolving under ecological pressure and technological acceleration. As a viewer, you are thrown into a timeline where human history - on a species scale - has already fractured. Stepping into this world feels like studying the past from a far future, trying to piece together a cohesive narrative. Everything’s a little off, a little funny – but the kind of funny that leaves a pit in your stomach.

Artists Stine Deja and Mary-Audrey Ramirez, bring together two different species of speculation: Deja through suspended, digitized stasis; Ramirez through organic, erratic evolution. A dark thread of humor runs through both. Neither of them takes itself too seriously but both worlds seem to unfold in the long shadow of a humanity that no longer feels central, or even intact.

In what Claire Colebrook calls “twilight of the Anthropocene idols,” we face the crumbling of our species’ self-image - not as apex thinkers but as one adaptive system among others. Both artists work with this collapse, extending the legacy of post-internet aesthetics towards a kind of speculative anthropology, one that navigates the disorientation of non-centrality through hyper-rendered bodies and looping simulations.

Deja’s work imagines a future where humanity decided to hit pause on life. Not completely stopped, just suspended. In Tomorrow’s Heads, made with Danish author Ida Marie Hede, human heads are stored for future use, cryogenically frozen, waiting for their second act. They are like any other organs in a freezer except they hold on to their consciousness.

This dream is as old as human civilization: cheat death. But Deja draws attention to the logistics of this fantasy: what is the way to get there? Who does the freezing? Who is cleaning the tanks? Who is paying the power bill? The tone is clinical and eerie, evoking a theatrical absurdity found in an Ionesco play. Deja’s world highlights the sleek contrasts between human and technological evolution. These aesthetic choices reflect a nervousness about how much we want to control and preserve.

On the other hand, Ramirez’s world couldn’t care less about preservation or control. Her blobby, insectoid creatures - some recognizably cute, some totally unplaceable - aren’t waiting for any human timeline to fulfill their purpose. They’re constantly becoming. Their names – like Schminkie or Baby Jesus – suggest an anthropomorphic presence, but any sense of meaning dissolves just as quickly.

While they have strong cryptid energy, these creatures also echo real-world biological organisms: the indestructible Tardigrades, who can suspend their metabolism for years and survive exposure to space, yet otherwise live peacefully in mosses and lichens; or the Demodex mites—tiny worm-like beings buried in our pores and lashes, crawling out at night to mate, feast on sebum, and vanish before morning.

Ramirez’s creatures seem to be pulled from a dream, or from a footnote in a speculative biology journal. In this context, they appear as if they’ve been evolving alongside humanity the entire time, indifferent to its obsession with preserving and sustaining these cryogenic businesses. It’s implied that these creatures’ evolution remained unnoticeable, and perhaps took over completely when humans succumbed to their obsessive myth of self-preservation. Completely indifferent to us, they continued thriving in the margins, slowly taking over.

The works construct this exhibition like a mirror house built from broken glass, distorting a reflection just enough to feel familiar but awfully uncanny, a little grotesque, and strangely funny. Ramirez ripples where Deja freezes. If one holds time still, the other lets it slide sideways. Both seem to be asking the same core question: how do we relate to the unknown?

Forget monuments, archives, or passed-down stories. The future isn’t elsewhere - it’s already here, between these gallery walls, rendered in digital processes. Here, screens flicker, files are loading, and bodies do not breathe - they loop.

Stine Deja (b. 1986 in Denmark). Lives and works in Copenhagen) received an MA from Royal College of Art. Solo exhibitions include Grave Matter at Ringsted Galleriet, Ringsted, Full Circle at Florit Florit, Palma; Heavy Render at OTP Copenhagen; Dawn Chorus, Vestjyllands Kunstpavillion, Videbæk, Denmark Cold Sleep at Tranen, Gentofte; Last Resort at kim? Contemporary Art Centre, Riga; Hard Core, Soft Bodies at Schimmel Projects, Dresden, and has executed several site-specific projects internationally. Deja’s work has been published in Cura, Nasty Magazine, Coeval Magazine, Kunstforum, Overstandard and many other publications. Her work is included in the collections of Arken, The New Carlsberg Foundation, The Danish Arts Foundation, Esbjerg Art Museum.

Mary-Audrey Ramirez (b. 1990 Luxembourg-City, Luxembourg. Lives and works in Berlin) studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg - forum d’art contemporain, Luxembourg, Triennale für Kleinplastik, Fellbach, Max-Ernst-Museum, Brühl, Kunsthalle Gießen, Gießen, Kunstpalast, Düsseldorf, Dortmunder Kunstverein, Dortmund, TRAUMA, Berlin, Kai10, Arthena Foundation, Düsseldorf, Haus Mödrath, Kerpen Polansky Gallery, Prag und MARTINETZ, Cologne, Esch2022+ARS ELECTRONICA, Luxembourg/Linz. Her work is included in the collections of Kunstpalais Erlangen, Kunstmuseum Heidenheim, LBBW Bank, and the Kai10/Arthena Foundation. Her public commissions include the Grundschule, Fehrbelliner Tor, Berlin, and GEOMAR, Centre for Ocean Research, Kiel, Germany. Ramirez’s work has been published in Cura, Kunstforum, Monopol, Artforum, Sleek Magazine, Kaleidoscope Magazine, and her monograph have been published by Distanz.

exuviae installation view 2 — Installation view.

exuviae installation view 3 — Installation view.

exuviae installation view 4 — Installation view.

exuviae installation view 5 — Installation view.

exuviae installation view 6 — Installation view.

exuviae installation view 7 — Installation view.

exuviae installation view 8 — Installation view.

exuviae installation view 9 — Installation view.

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