
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
Seoul, South Korea / 2025
Shower / Sojung park and Yorgos Agrotes

Relaxation is difficult to pin down. Even in those rare moments when we believe ourselves to have experienced it, it remains merely fleeting. At those times when we sense ourselves relaxing briefly amid profound tension, there is a different layer of tension that pervades. The relaxation that once seemed granted to us as naturally as breathing now feels strange and unfamiliar. No longer something that visits us on its own, it is a state that can just barely be achieved through conscious training and repeated practice - drifting off toward a horizon of complete unattainability.
Today’s massage industry bills that receded sensation as a product available for immediate consumption. Expensive massage chairs and various other massage devices confidently promise us relaxation, but even that pledge remains trapped in a cyclical equation of “tension > resolution > returning.” The underlying assumption is that there is a predetermined “original” state that we should return to, where relaxation operates not as liberation but as a returning mechanism. The origin in question is a body capable of working, and “relaxation” is standardized amid the demands of the capitalist timetable and productivity.
The exhibition Massage Platz aspires to the deconstruction of this narrow pathway. The “Platz” is a place where the individual can briefly set themselves down, as well as a provisional place for people to gather and scatter without purpose. Stripped of function and goals, this empty space harbors a sense of indeterminacy and pure potential, seeking a way of sliding outside the familiar order and stripping away the surfaces of schematized relaxation.
Rather than sidestepping the layers of tension and oppression that inhibit relaxation, Yorgos Agrotes confronts them directly. He looks at discomfort and pain not as things to be removed but as signs whose weight the living being is obliged to shoulder. His canvases are psychological landscapes formed through the layers left behind by the clashing of emotions, memories, and materials. Rejecting an immediate resolution of the tension here, he lingers instead in an indeterminate moment where choice, regret, bitterness, hesitation, and irony all intersect. This represents an act of observing the possibilities for change that are in the loose spaces formed by disorder. As Agrotes searches through the unfamiliar world pervading those spaces, he seeks out the new sense of relaxation that only emerges on the structure’s edges.
Park Sojeong experiences relaxation as an event amid flows that are revealed by materials themselves. She hangs her materials and then spends a long time observing the process as they flow, twist, and swell, perceiving the alternation between balance and imbalance. Materiality manifests here not through simple objects but through unpredictable events that unfold across time and space. In her encounters with these materials, the artist yields the place of the subject and summons inner memories and images based on sensory strata that cannot be captured in language. In this exhibition, she makes active use of machine devices and pressure-generating mechanisms. Instruments designed to pressure the body at regular intervals are decontextualized and transformed into media where the materials define their own rhythms. Through this approach, she experiments with relaxation as an event that expands through repeated connections and changes.
Agrotes and Park share similarities in that they do not strip away tension or instability but instead trace the trembling and flows that emerge through them. One of them explores the signs of relaxation that appear with trembling under the weight of pressure; the other welcomes relaxation as an event as she yields herself to matter’s indeterminate flows. Their work rejects restoration to a better functional existence, as it inquires into the meaning of life that only arises amid tension and transformation. This shakes our trust in fixed forms and defined subjects, revealing the conditions of a world that is constantly forming and disappearing.
As a result, relaxation is no longer simply a moment of rest or recovery. As familiar orders are upended, fixed boundaries are loosened, and unfamiliar rhythms permeate us, we find ourselves at the threshold to a different way of being. What Massage Platz ultimately seeks to show is not a frozen moment of relaxation but relaxation as a liberating and transformative experience. These are the foundations for a new life that blossoms amid indeterminacy - the possibility of encountering the truest self while straying the farthest.











