
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
Lisbon, Portugal / 2025
PADA Studios / George Turner

Across The Stages of Grief, a single gravitational field holds the exhibition together: a meditation on how matter carries history, how the residues of colonialism and industrial extraction persist within the world long after their initial systems collapse, and how nonhuman life responds with its own slow, corrective intelligence. Each object—ladder, desk, cane, triptych, and sunflower—functions as a site where the human and more-than-human encounter one another as forces rather than symbols. This is a world in which phytoremediation becomes more than a horticultural process; it becomes a dark ecological condition, where growth and decay operate simultaneously, and where the materials themselves—charred pine, iron pellets, invasive cane, fungal bodies—speak with the gravity of long histories. The works’ burned surfaces and warped forms register the violence of extraction and the exhaustion of human systems, while their emergent plants and spores enact quiet counterforces, subtle resistances against the weight of anthropocentric time. Each work stages a different articulation of material agency. The Shape of the Fall extends from floor to ceiling like an inverted geological record, the heaviest contamination settling at the base, the iron pellets collapsing its rungs as though gravity were a political force. A Place to Watch the World Rot converts the domesticity of a desk into a posthuman workstation, where mushrooms breach its surface not as whimsical intruders but as evidence of infrastructural failure and ecological return. Inherited From the Wound scatters burnt canes across the gallery, reconstructing the invasive geometry of colonial agriculture—an architecture that continues to grow, uninvited, long after its originating empire has vanished. These works operate less as metaphors and more as material enactments of what some describe as “slow violence”: temporalities in which contamination, labour, and ecological adaptation remain inseparable. The final works—Unintended Return (A Whisper) and The Weight of Gravity on the Surface of the Sun—fold these registers back onto the figure of the sunflower, a plant historically mobilised for phytoremediation and here rendered as both sentinel and witness. In the triptych, one unburnt bloom holds open the possibility of renewal while its scorched flanks register collapse; the 1.4-metre sunflower rising from the floor, pulled by an uncanny gravitational force, stands as a posthuman effigy of the Anthropocene—a body stretched between light, labour, and the toxic soils from which it grows. Together, the works propose a cosmology in which human significance is displaced by material entanglement: the sun’s pull, the weight of metals in the earth, the persistence of invasive species, the labour encoded in wooden surfaces, the slow intelligence of fungi. This is not a narrative of redemption but of entanglement—an acknowledgment that the world does not end but mutates, and that the future will be shaped as much by the dark growth beneath our feet as by the structures we once believed we controlled.








