Der Kopf ist rund exhibition installation view

Klaus in Vorarlberg / 2026

Der Kopf ist rund, damit das Denken die Richtung wechseln kann

Galerie Brugger

May 22 — June 01, 2026

Axial-Core

Leo Pum @La Térmica, Málaga KRVCE festival

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Santiago / 2026

RAMA TORCIDA

MAC — Museo de Arte Contemporáneo

Features

/ 2026

BUNNY BUNKER NO.1

Berlin / 2026

FIGHT OR FLIGHT: SEX

Kunstquartier Bethanien

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TECHNO WORLDS — FINAL SAMPLING

Power Station of Art

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WHAT WE SEE, WHAT LOOKS BACK AT US

Emergency Space

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IMPOTENZA

Palazzo Monti

Triangle reshapes the O of my mouth exhibition view

Munich / 2026

TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling

Lima / 2026

YOU CAN'T STOP THE WORLD FROM BEING BAD

Galería Gato

KIM MYUNGCHAN

@kim.myungchan

Cergy / Paris / 2026

NIKE, TA MÈRE (WILL FALL ON YOU)

ENSAPC / CROUS Paris

Istanbul / 2026

ROOTKIT

BENTA

Düsseldorf / 2026

DON'T TRUST THE RABBIT

SSK Düsseldorf

Montpellier / 2025

METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

Brno / 2025

LOVE

Zaazrak|Dornych

Lisbon / 2025

THE STAGES OF GRIEF

PADA Studios

/ 2024

EXTERNAL CRYOGENICS

Hyperlink Athens

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CONTEMPT

Capsule Shanghai

EMMA BEATREZ

@emma.beatrez

/ 2025

DEEP SEA FISH

Diesel Art Gallery

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THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

ACUD Galerie

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SWEET GARDEN OF VANISHED PLEASURES

dieAngewandte

Arnsberg / 2025

VITALS VAPORS

Kunstverein Arnsberg

Hamburg / 2025

DIE SPRACHE DER VÖGEL

Westwerk Hamburg

Prague / 2025

WITH FEATHERS AND FLESH

Holešovická Šachta

Seoul / 2026

THE LANGUAGE OF THE ENEMY

Artsonje Center

London / 2025

THE SIGNAL. THE NOICE

Greatorex Street E1

NATHAN CARÊME

@nadaecc

Dortmund / 2026

CALL ME WE

SUPERRAUM

Dornbirn / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

Lisbon / 2026

LULLABY BLOSSOMS

Cosmos CAC

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CHEWING GUM IN THE MOTHERBOARD

La Volonte 93

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PULSES WITHIN

Ds Galerie

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THIRD SKIN

Dive Seoul Art

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SUBSURFACE

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ANCIENT GIRL STARTER PACK

Galerie Mladých, TIC

Tisbury / 2026

FLOOD

Messums West

Shanghai / 2026

THE ROOM IS EMPTY, BUT PREGNANT

Capsule Shanghai

Málaga / 2026

AXIAL-CORE

La Térmica (KRVCE festival)

Ciudad de México / 2026

TÁNTALO

Biblioteca Vasconcelos

Klaus in Vorarlberg / 2026

DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

Galerie Brugger

KOESY

@koesysaga

Turin / 2026

OLD SNAG

Société Interludio

Mexico City / 2026

AXES

Alvarez Chida

Oslo / 2026

STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

Kunstnernes Hus (Rothaus)

New York / 2026

ACTUALIZATION MACHINE

Silke Lindner

PROFUSION ANTAGONIST WISHLIST exhibition view

Düsseldorf / 2026

PROFUSION ANTAGONIST WISHLIST

PAW

Kraków / 2025

WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

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A BLADE UNHELD

Galerie Dengyun

Brussels / 2025-2026

WORK OF PROOF

FLⒶT$

YIHAN PAN

@pyhii

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

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TOTAL INTERNAL REFLECTION

Zerui G

Stockholm / 2024-2025

DIALECTS OF THE DEEP

Bonniers Konsthall

Innsbruck / 2025

TIPPING POINT PHANTOMS

Künstlerinnenvereinigung Tirol

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TISSU EXPANSÉ

Europa NYC

New York / 2025

LUCA

Management NYC

Warsaw / 2025

THE LAST DRAWER ON THE LEFT

Przeciag Galeria

Busan / 2025

AFTERLIFES

Hongti Artcenter

YEON GYEONG-SEOK

@camelostrich

Munich / 2026

MOTIONS TO UNFURL

Gallery Thetigerroom

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

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MAIN DE FER, GANT DE VELOURS

Association NOEMI — Espace Brownstone

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

Nurnberg / 2026

LIMINALITY

Adbk Nuernberg

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

/ 2025

SWEET WORLD 1

Sweet World Gallery

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

/ 2026

MOUTH

Warsaw / 2026

A FLOWER IS GROWING INSIDE ME

Piktogram

Avigliana / 2026

I SEE YOU FALLING IN MY DEN

Una Boccata d'Arte 2026

Brussels / 2026

CALL ME GRAVITY

WIELS Contemporary Art Centre

Copenhagen / 2026

AFTER THE OFFERINGS

inter.pblc

ISABELLE ALBUQUERQUE

@isabellealbuquerque

Angers / 2026

THE STASIS GARDEN (OR PIXIES MEMORIES)

Ville d'Angers (Château d'Angers)

Genk / 2026

JOY RIDE

Jester

Kraków / 2026

PASSENGER

Szaber Gallery, Kraków, Poland

Vienna / 2026

TERRITORIES OF EXTRACTION

Arka Arka

Poznań / 2026

TANGLED IN SHADOWS FROM AN OLD DRAWER

Łęctwo

Warsaw / 2026

HAUS DER LÜGE

Przeciąg Gallery

Tokyo / 2026

THE BEAUTIFUL REMAINS

Kohtoh

Edges that blur, bodies that fold into something other exhibition view

Berlin / 2025

EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

00 ZHANG

@aio0o0o0

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KASSANDRA

Kunsthalle Ost

/ 2024

METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

Schinkel Pavillon

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KETEROS

Meduza Fyi

Wroclaw / 2024

EUTROPHY

Bulvary

Jung-gu, Seoul / 2025

FARM

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Geneva / 2024

DOWN THE RABBIT HOLE, 2024

Halle Nord Geneve

Bratislava / 2025

DISTANT, ENDLESS HUM

Vunugallery

Santiago / 2025

ENCUENTRO

Sagradamercancia

DORIS SALCEDO

#DorisSalcedo

FANTASY VANISHES IN FLESH exhibition view

Milan / 2025

FANTASY VANISHES IN FLESH

Francesca Minini

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS

ACUD Galerie

Dornbirn / 2026

BUCOLICA

Kunstraumdornbirn

Seoul / 2025-2026

GROWING BODY

Studiya Gallery

Seoul / 2025

MASSAGE PLATZ

Shower

Warsaw / 2026

PARACHUTE

Przeciag Galeria

Seoul / 2026

MIMICKING ETERNITY

Studiya Gallery

Offenbach am Main / 2026

CALL SOMEONE

Ayayay

TAEWON AHN

@ppuri_

Hurup / 2026

THE JEWEL BOX

Kunsthal Thy

/ 2026

FROM AN UPCOMING SERIES

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BETWEEN REALITY AND THE VIRTUAL

DEW KIM

@dew_needs_you

Seoul / 2026

TANGERINE REVERIE

Bangdo

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NYMPHENBRUNNEN

Espace Nonono

24 Preludes, Op. 34: No. 22 in G minor (Adagio) exhibition view

Seoul / 2026

24 PRELUDES, OP. 34: NO. 22 IN G MINOR (ADAGIO)

Studiya Gallery

London / 2026

FAULT LINES

Public Gallery

Everything comes together while pushing all apart exhibition view

Vienna / 2026

EVERYTHING COMES TOGETHER WHILE PUSHING ALL APART

Reaktor Wien

WHO COMPOSES THE SONG OF THE CRICKETS? exhibition view

Paris / 2026

WHO COMPOSES THE SONG OF THE CRICKETS?

Galerie Suzanne Tarasieve

Munich / 2026

DOUBLE STAR

nouveaux deuxdeux

Bucharest / 2026

DISLOCATION

Arsmonitor

ANNA UDDENBERG

@filet_minion_thong

New York City (NY) / 2025

EXUVIAE

Management

Göteborg / 2025

TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

Galleri Box

/ 2024

BIDIM BLO!

Basisfrankfurt

Lisboa / 2023

A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

Budapest / 2024

SKELETAL SCENES

Ani Molnár Gallery

Prague / 2024

PETRICHOR

Prám

Milan / 2025

FALENE

Limbo Contemporary

Ljubljana / 2025

TAR STAR

Cukrarna Art

JACOPO PAGIN

@pax_aliena

/ 2025

THE ROOM I

Ifö Center

Bratislava / 2025

BEGONE ESTRONE

Medium Gallery

Kraków / 2025

CRASH PÆNDEMONIA

Jak Zapomniec

Milan / 2025

MYTHS FROM SMOLDERING SKIES

Limbo Contemporary

DOUBLED PRESENCE IN A DISEMBODIED SPACE exhibition view

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

Trost Spc

Prague / 2026

SOFT_SIGHS SYNTHESIS

Clauda Cz

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

Buenos Aires / 2026

COAGVLA

Acéfala Galería

QUE.FRESCA

@que.fresca

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

Schutzenverein

Białystok / 2025

PARADISE ROT

Galeria Arsenal

Paris / 2026

NEXUS, OPEN STUDIO

Cité internationale des arts

XOLO CUINTLE

@xolo_cuintle

Olomouc / 2026

SIGNAL V

Telegraph Gallery

Prague / 2026

ROT SUMMER

Holešovická šachta

Ethereal Robes of Vulnerability exhibition view

Vilnius District Municipality / 2026

ETHEREAL ROBES OF VULNERABILITY

Aikas Žado Laboratory (Žeimiai Manor House)

Słupsk / 2026

A GENTLE KISS ON A DOUBLE FOREHEAD

BGSW / Baszta

Poznań / 2026

WE ARE DEEPLY ALARMED AND EXPRESS OUR GRAVE CONCERN

DOMIE

Poznań / 2026

MAKE ME YOURS

Łęctwo

Brussels / 2026

FIRST DATE

Lodovico Corsini

Berlin / 2026

CAGED MOVEMENTS

NADAN Berlin

YUKINO YAMANAKA

@yukino_yamanaka

Ljubljana / 2026

ACCOMPLICE

Cukrarna

Warsaw / 2024-2025

GRASS ON ROADSIDE 4

Przeciąg Gallery

London / 2025

CHOICE DIRT

Xxijra Hii

Incommunicability is itself a source of pleasures exhibition view

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

/ 2024

TRANSPARENCY REPORT

/ 2023

THE WORM AT THE CORE

SET

Berlin / 2023

HUMAN IS

Schinkel Pavillion

London / 2024

LIMO

The Split Gallery

SOPHIA GATZKAN

@s_gatzkan

LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

Macba Barcelona

Milan / 2025

METAL MEMORY

Limbo Contemporary

Berlin / 2025

GREEN GROWTH

Kuenstlerhaus Bethanien

Århus / 2025

JUST ABOUT AND NEVER

SpLab

Paris / 2025

PARADE

Romeropaprocki

Berlin / 2025

THRESHOLDS

Carlier | Gebauer

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

Aod Museum

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

Jochen Hempel

ARGHAVAN KHOSRAVI

@arghavan_khosravi

Vorarlberg / 2026

SUPPORTED FILES

Galerie Brugger

Sardinia / 2026

BLUE BLOODED

Museo Nivola

/ 2025

LOST ENCOUNTERS, THEY CLING

PARALLEL VIENNA

Seoul / 2025

TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

BRESCIA, ITALY / 2026

IMPOTENZA

Palazzo Monti / Uffe Isolotto

Four years after representing Denmark at the Venice Biennale with We Walked the Earth—an ambitious and technically complex installation that transformed the Danish Pavilion into a speculative ecosystem inhabited by hyperreal hybrid beings—Uffe Isolotto returns with what might initially appear as its opposite.

If the Biennale project embodied a condition of overwhelming capability, a demonstration of what artistic production can achieve through the coordinated expertise of fabricators, artisans, technicians and specialists, Impotenza begins from a radically different premise. The title suggests not only the absence of power, but a state of insufficiency, vulnerability and frustrated aspiration. It names a condition familiar to every artist: the distance between imagination and execution, between what one hopes to create and what one's hands are actually capable of producing.

In many ways, Impotenza emerges from a conscious reversal of artistic progression. Contemporary art often measures success through expansion: larger productions, broader collaborations, increasingly sophisticated technologies and ever more specialised forms of labour. Isolotto himself has been deeply associated with this trajectory. His celebrated installations have relied on extraordinary networks of expertise to achieve their uncanny realism and emotional intensity. Yet here, rather than moving further toward mastery, he deliberately retreats from it.

At Palazzo Monti, the artist reclaims direct physical authorship over the works. Third-party intervention is reduced to a minimum. The sculptures bear the marks of a slower, less mediated process, one in which uncertainty and approximation are not hidden but exposed. The exhibition becomes a return—not to origins exactly, but to a more fragile relationship between artist and object, where making is once again entangled with limitation.

This condition of incompleteness extends beyond the artist's process and into the status of the works themselves. Several sculptures derive from earlier works by Isolotto or function as models for future realisations in bronze or marble. Rather than presenting finished objects, Impotenza inhabits a space between what has been and what might yet become. The works remain open, provisional and unresolved, suggesting that impotence is not only a condition of limitation, but also one of potentiality.

The contrast becomes particularly striking when considered alongside We Walked the Earth. There, potency appeared as an active force: generative, expansive, capable of transforming desire into form. Impotenza, by contrast, inhabits the moment when such confidence begins to falter. Yet rather than presenting impotence as mere failure, Isolotto approaches it as a productive state—a condition from which new forms of artistic sincerity might emerge.

If potency concerns the capacity to act, impotence concerns the awareness of one's inability to fully realise that capacity. The two conditions are less opposites than interdependent forces, each revealing the limits and possibilities of the other.

Throughout the exhibition, bodies appear caught between aspiration and inadequacy. A headless centaur-like figure carries two human heads in a sling across its torso, as if burdened by multiple identities, histories or consciousnesses. These soft silicone appendages hang where virility, authority or mythological power might traditionally be asserted, transforming heroic symbolism into something vulnerable, ambiguous and faintly absurd. Nearby, a young boy balances precariously on his toes, his body traversed by a crude wooden rod that enters through his jaw, passes through his skull, and continues upward toward the frescoed ceilings above. The same rod anchors him to the floor, functioning simultaneously as support, spine and conduit. The gesture oscillates between aspiration and dependence: the child reaches toward centuries of artistic achievement only by means of the very structure that holds him upright. The work stages ambition as an inherently unstable condition, suggesting that elevation is inseparable from vulnerability. Yet the figure is not defeated.

Suspended between effort and collapse, it remains animated by the stubborn persistence of desire itself.

Installed within the historic interiors of Palazzo Monti, these figures enter into dialogue with a building shaped by generations of patronage, cultivation and artistic inheritance. Frescoes, marble surfaces and architectural grandeur become active participants in the exhibition, embodying standards of excellence accumulated across centuries. Against this backdrop, Isolotto's sculptures appear intentionally precarious. Bronze, marble and fresco encounter silicone, readymades and provisional interventions. Mastery meets hesitation. Permanence confronts experimentation.

The works unfold less as stable allegories than as uncertain propositions. Meaning emerges through proximity, association and emotional resonance rather than through symbolic clarity. Their language is bodily, theatrical and archaic, yet somehow unable—or unwilling—to fully stabilise into narrative. They seem to speak from a place just beyond certainty, where symbols continue to function despite the erosion of their authority.

What emerges is not a rejection of ambition but a reconsideration of its conditions. The exhibition suggests that artistic maturity may not consist in expanding one's means indefinitely, but in confronting the limits that remain regardless of success.

The artist who once mobilised an entire ecosystem of expertise now returns to the vulnerability of direct making, exposing the gap between intention and execution rather than attempting to erase it.

In Impotenza, gestures of mastery persist precisely where mastery appears impossible. Ambition survives beyond certainty. Desire continues after authority has begun to dissolve. Impotence is not romanticised as innocence, nor celebrated as failure. Instead, it is presented as a risky and profoundly human condition: the recognition that one may never fully achieve what one imagines, and the decision to continue nonetheless.

Impotenza installation view 2 — Installation view. Photo: Palazzo Monti

Impotenza installation view 3 — Installation view. Photo: Palazzo Monti

Impotenza installation view 4 — Installation view. Photo: Palazzo Monti

Impotenza installation view 5 — Installation view. Photo: Palazzo Monti

Impotenza installation view 6 — Installation view. Photo: Palazzo Monti

Impotenza installation view 7 — Installation view. Photo: Palazzo Monti

Impotenza installation view 8 — Installation view. Photo: Palazzo Monti

Impotenza installation view 9 — Installation view. Photo: Palazzo Monti

Impotenza installation view 10 — Installation view. Photo: Palazzo Monti

Impotenza installation view 11 — Installation view. Photo: Palazzo Monti

Impotenza installation view 12 — Installation view. Photo: Palazzo Monti

Impotenza installation view 13 — Installation view. Photo: Palazzo Monti

Impotenza installation view 14 — Installation view. Photo: Palazzo Monti

Impotenza installation view 15 — Installation view. Photo: Palazzo Monti

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