
Paris / 2026
MAIN DE FER, GANT DE VELOURS
Association NOEMI- Espace Brownstone



Exhibition of the Week
@cosmos.cac
Lisbon, Portugal
14 April - 12 May 2026
View Exhibition
Paris / 2026
Association NOEMI- Espace Brownstone

Kraków / 2026
Bonifraterska3/1

Warsaw / 2026
@przeciag_galeria

Lisbon / 2026
@cosmos.cac

Paris / 2026
@lavolonte93

Vorarlberg / 2026
@galeriebrugger

London / 2026
Xxijra Hii

Seoul / 2026
@studiya.gallery

Dornbirn / 2026
Kunstraum Dornbirn

Dortmund / 2026
SUPERRAUM

Buenos Aires / 2026
@acefalagaleria

Offenbach am Main / 2026
@ayayay_________

Prague / 2026
@clauda.cz

Nurnberg / 2026
@adbk_nuernberg

New York City / 2026
@management.nyc
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Berlin / 2026
@acudgalerie

Leipzig / 2026
@jochenhempel

Sardinia / 2026
@museo_nivola

Seoul / 2025-2026
@studiya.gallery
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Seoul / 2026
@aodmuseum

Graz / 2026
@trost.spc

Seoul / 2025
Shower

Brussels / 2025-2026
FLⒶT$
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Munich / 2026
@gallery_thetigerroom

Lisbon / 2025
PADA Studios

Dornbirn / 2026
@kunstraumdornbirn

Brescia / 2025-2026
The Address
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Berlin / 2025
@acudgalerie
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Milan / 2025
@limbo.contemporary

Berlin / 2025
@carliergebauer

Berlin-Schöneberg / 2025
@schuetzenverein_

Paris / 2025
@europa.nyc

Paris / 2025
@ds_galerie

Paris / 2025
@romeropaprocki

Göteborg / 2025
Galleri Box

Kraków / 2025
@_jak_zapomniec_

Shanghai / 2025
Galerie Dengyun

Milan / 2025
@francesca_minini

Seoul / 2025
@dive.seoul.art

Madrid / 2025
@riomenaka

Białystok / 2025
@galeria_arsenal

Seoul / 2026
@artsonje_center

Prague / 2025
@holesovickasachta

Seoul / 2025
K&L Museum

Busan / 2025
@hongtiartcenter
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London / 2025
@greatorexstreet_e1

/ 2025
@sweet.world.gallery

Bratislava / 2025
MEDIUM

Bratislava / 2025
@medium_gallery

London / 2025
Xxijra Hii

Hamburg / 2025
@westwerk_hamburg

Brno / 2025
Zaazrak|Dornych

New York City (NY) / 2025
Management

Berlin / 2025
ACUD

Warsaw / 2025
@przeciag_galeria

Århus / 2025
SpLab

/ 2025
@ifocenter

Santiago / 2025
@sagradamercancia

Arnsberg / 2025
@kunstverein_arnsberg

New York / 2025
@management.nyc

Bratislava / 2025
@vunugallery

Milan / 2025
@limbo.contemporary

Kraków / 2025
Jak Zapomnieć Gallery

Berlin / 2025
@kuenstlerhaus.bethanien

Vienna / 2025
@dieangewandte
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Milan / 2025
@limbo.contemporary
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Berlin / 2025
@acudgalerie

Montpellier / 2025
MO.CO. Montpellier Contemporain

Ljubljana / 2025
@cukrarna.art

Jung-gu, Seoul / 2025
@biogalleryseoul

/ 2025
@dieselartgallery

Innsbruck / 2025
@kunstlerinnenvereinigung_tirol

/ 2025
@parallelvienna

Stockholm / 2024-2025
@bonnierskonsthall

Warsaw / 2024-2025
Przeciąg Gallery

London / 2024
The Split Gallery

Prague / 2024
Prám

Wroclaw / 2024
Bulvary

Geneva / 2024
@halle_nord_geneve
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Berlin / 2023
Schinkel Pavillion

Barcelona / 2024-2025
@macba_barcelona

London / 2024
@zerui.g

Shanghai / 2024
@capsuleshanghai

Tartu / 2024
Estonian Literary Museum and the University of Tartu Natural History Museum

Budapest / 2024
@amprojects_byanimolnar

/ 2024
@schinkelpavillon

Vilnius / 2024
@meduza.fyi

/ 2024
@hyperlink_athens

/ 2024

/ 2024
@basisfrankfurt

/ 2023
@kunsthalle.ost
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/ 2023
@setsetsetsetsetset

Lisboa / 2023
Leal Rios Foundation
Paris, France / 2026
Association NOEMI- Espace Brownstone / Katherinne Fiedler and Marinés Agurto

The body of work by Marinés Agurto and Katherinne Fiedler continues the research process developed during their residencies in Paris, with the support of the Cité internationale des arts and the Culture Moves Europe programme of the Goethe-Institut.
The project is structured around the relationship between local materials - natural, urban, and reclaimed in Paris - and industrial materials, generating a space of friction, translation, and continuity. Under the title Main de fer, gant de velours, taken from the French expression une main de fer dans un gant de velours, the proposal explores the tension between what sustains and what overflows as a system of forces that runs through matter.
In Marinés' work, the pieces investigate the construction materials of the Paris basin and their processes of transformation. Using reclaimed plaster blocks and pigments obtained from recovered tomettes, the works explore how matter can be fragmented, displaced, and reorganised beyond its original function. The elements are configured through visible assemblages - metal brackets, threaded rods, hinges, and screws - that make explicit the structural logic and the tensions that hold them together. Some pieces are anchored to the wall, while others balance or traverse the space, activating it as a field of relations.
The works made with tomette pigment introduce another temporality of the material, as deposits of origin and forms of permanence. They dialogue with Suelo Suspendido, an installation presented in parallel at the Petit Galerie of the Cité internationale des arts, where the tomettes become a suspended structure. In both cases, matter undergoes processes of change and reconfiguration.
Katherinne's work approaches water as a material, symbolic, and political element, taking as its starting point the Bièvre River in Paris, historically linked to tanneries, the textile manufacture of the Gobelins, and the city's hydraulic systems. Her works employ materials associated with this history, such as leather, together with elements that refer to the materiality of water itself. Held through punctual anchoring systems, they propose a reflection on the ways territory, water, and bodies have been channelled and controlled, as well as on the possibility of imagining more open relationships with the environment.
In Caudal, a metal mesh generates translucent volumes through folds and tensions sustained in an unstable equilibrium. In Garúa, suspended chains evoke both stretched threads and falling water, oscillating between rigidity and fluidity. In Fer, Velours compact structures coexist with flexible elements, where metal refers to containment while velvet introduces a subtle dimension. The project situates itself within this tension between precision and vulnerability.



















