










Klaus in Vorarlberg / 2026
Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

Santiago / 2026




Features
/ 2026

Berlin / 2026

Shanghai / 2026

Paris / 2026

Brescia / 2026









Munich / 2026

Lima / 2026










@kim.myungchan
.webp&w=1200&q=75)
Cergy / Paris / 2026















Istanbul / 2026

Düsseldorf / 2026

Montpellier / 2025






Brno / 2025

Lisbon / 2025

/ 2024










Shanghai / 2024

@emma.beatrez

/ 2025
%2Fphoto_1_2026-05-24_00-41-28.jpg&w=1200&q=75)
Berlin / 2025

Vienna / 2025

Arnsberg / 2025

Hamburg / 2025

Prague / 2025

Seoul / 2026
%2Fphoto_1_2026-05-23_19-24-35.jpg&w=1200&q=75)
London / 2025

@nadaecc














Dortmund / 2026

Dornbirn / 2026









Lisbon / 2026

Paris / 2026

Paris / 2025

Seoul / 2025

Vilnius / 2026

Brno / 2026

Tisbury / 2026

Shanghai / 2026

Málaga / 2026

Ciudad de México / 2026

Klaus in Vorarlberg / 2026

@koesysaga

Turin / 2026








Mexico City / 2026

Oslo / 2026



New York / 2026









Düsseldorf / 2026

Kraków / 2025

Shanghai / 2025

Brussels / 2025-2026









@pyhii








Tartu / 2024

London / 2024

Stockholm / 2024-2025

Innsbruck / 2025

Paris / 2025











New York / 2025

Warsaw / 2025

Busan / 2025

@camelostrich
%2Fphoto_1_2026-05-23_19-23-24.jpg&w=1200&q=75)
Munich / 2026
%20(GROUP%20SHOW).webp&w=1200&q=75)
Berlin / 2026

Paris / 2026

Kraków / 2026

Nurnberg / 2026














New York City / 2026








/ 2025

Madrid / 2025

/ 2026

Warsaw / 2026

Avigliana / 2026

Brussels / 2026













Copenhagen / 2026









@isabellealbuquerque

Angers / 2026

Genk / 2026

Kraków / 2026

Vienna / 2026

Poznań / 2026

Warsaw / 2026

Tokyo / 2026













Berlin / 2025

@aio0o0o0










/ 2023

/ 2024

Vilnius / 2024

Wroclaw / 2024














Jung-gu, Seoul / 2025

Geneva / 2024





Bratislava / 2025

Santiago / 2025

#DorisSalcedo






Milan / 2025
%2Fphoto_1_2026-05-23_19-28-57.jpg&w=1200&q=75)
Berlin / 2025

Dornbirn / 2026

Seoul / 2025-2026








Seoul / 2025









Warsaw / 2026

Seoul / 2026

Offenbach am Main / 2026

@ppuri_

Hurup / 2026

/ 2026

Seoul / 2026

@dew_needs_you

Seoul / 2026

Paris / 2026











Seoul / 2026

London / 2026

.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
.webp&w=1200&q=75)
Vienna / 2026






Paris / 2026

Munich / 2026

Bucharest / 2026









@filet_minion_thong

New York City (NY) / 2025

Göteborg / 2025










/ 2024

Lisboa / 2023








Budapest / 2024

Prague / 2024
%2Fphoto_1_2026-05-24_00-42-04.jpg&w=1200&q=75)
Milan / 2025

Ljubljana / 2025

@pax_aliena










/ 2025

Bratislava / 2025

Kraków / 2025
%2Fphoto_1_2026-05-23_19-26-42.jpg&w=1200&q=75)
Milan / 2025








Graz / 2026

Prague / 2026

London / 2026

Buenos Aires / 2026

@que.fresca









Berlin-Schöneberg / 2025

Białystok / 2025

Paris / 2026

@xolo_cuintle

Olomouc / 2026
















Prague / 2026




Vilnius District Municipality / 2026

Słupsk / 2026

Poznań / 2026






Poznań / 2026

Brussels / 2026

Berlin / 2026

@yukino_yamanaka

Ljubljana / 2026














Warsaw / 2024-2025

London / 2025
















Brescia / 2025-2026

/ 2024
%2Fphoto_1_2026-05-24_00-50-58.jpg&w=1200&q=75)
/ 2023
%2Fphoto_1_2026-05-24_00-47-49.jpg&w=1200&q=75)
Berlin / 2023






London / 2024

@s_gatzkan





Barcelona / 2024-2025







Milan / 2025

Berlin / 2025

Århus / 2025










Paris / 2025

Berlin / 2025
%2Fphoto_1_2026-05-23_19-20-38.jpg&w=1200&q=75)
Seoul / 2026

Leipzig / 2026

@arghavan_khosravi

Vorarlberg / 2026

Sardinia / 2026

/ 2025
.webp&w=1200&q=75)
Seoul / 2025
Galería Gato / Andrea Ferrero

Extending earlier investigations into fortresses, architectures of security, and imperial gardens, You Can’t Stop the World from Being Bad traces spatial logics of power back to an intimate terrain shaped by childhood imagination, personal memory, and acts of world-building, where systems of control are first encountered at a miniature scale. Castle towers, gates, ornamental details, and protective elements oscillate between the intimate and the architectural, recalling Little Tikes play castles, dollhouses and tiny Polly Pocket environments —contained worlds designed to be held, arranged and governed. Referencing these softened versions of defense architecture that reproduce the language of the fortress, Ferrero returns to an early encounter with space as something magical yet clinically staged.
Borrowing from the structure of fairy tales and early videogame logic, the exhibition unfolds as a sequence of thresholds, turning the gallery into a fragmented castle interior where each room reveals a new level, obstacle, or reward. Tracing architectures of power back to their earliest forms of rehearsal, Ferrero draws from nursery rhymes and early encounters with fiction to consider play as a formative site. Sheer curtains veil the gallery walls, partially revealing what’s hidden behind them and drawing us inward into a private, constructed world where power operates through pretend play. Drawing from narrative structures tied to conquest, weaponry, and “masculine”-coded forms of play so often encountered in children’s stories, protection here takes form through small prosthetics to fantasy: armour, collars, and love padlocks. Gestures of intimacy merge with mechanisms of restriction; while attachment and possession become difficult to detangle. Collapsing childhood fantasy with contemporary systems of surveillance and control, the work returns to a moment when our understanding of the world remains open, unstable, and deeply permeable.





















Artists in this exhibition
More at Galería Gato
More in Lima
Related topics