Heimo Zobernig’s contribution to the Venice Biennial responded directly to the existing exhibition situation in the Austrian Pavilion, built in 1934 based on plans by Josef Hoffmann and Robert Kramreiter. The Pavilion’s structure, with its rounded classical arches and majestic visual axes, on the one hand, and clear, rational forms and modern construction materials, on the other, moves between the poles of historicism and modernism. At the same time, Zobernig’s intervention connected inside and outside, to create an enclosed site where one can linger and reflect on human presence in space.

Edited by Yilmaz Dziewior.

Produced on the occasion of Heimo Zobernig’s exhibition at Micheline Szwajcer Gallery, Antwerp, 13 March–15 April, 2020

Produced on the occasion of the exhibition Forrest Bess at Fridericianum, Kassel, 15 February–6 September, 2020.

Forrest Bess was one of the most interesting figures in US-American post-war art. Starting in the 1940s, he lived in isolation in Texas and created small, biomorphic abstractions that reflected his visionary experiences between wakefulness and sleep. Bess combined art with an intense exploration of mythology, psychology, and sexology, believing that the path to completeness and immortality could only be achieved through what he called hermaphroditism. His unconventional works received posthumous recognition in international exhibitions and influenced many contemporary artists such as Amy Sillman, Richard Hawkins and James Benning.

With texts from Tomma Abts, Dieter Schwarz, Amy Sillman & Moritz Wesseler.

Produced on the occasion of Roulette, a multi-year sculpture project in Leidsche Rijn, Utrecht by Manfred Pernice, where a collection of sculptures from the Municipality of Utrecht’s collection was temporarily displayed on the Koehoornplein roundabout.

Produced on the occasion of Manfred Pernice’s exhibition 1A – Dosenfeld’00, at Portikus, Frankfurt am Main, 11 March–30 April, 2000.

Since the early 1990s, Berlin-based artist Manfred Pernice has created sculptural vessels with scales, materials, and aesthetics derived from the worlds of architecture, shipping cargo, and mass packaging—these works serve as complex, open-ended meditations on the increased segmentation, containment, and, to use Pernice’s term, “canning” of objects and space. His seemingly slapdash sculptures are often juxtaposed with sketches, maquettes, photographs, text and, more recently, video to create systems of meaning.

With texts by Kasper König, Angelika Nollert, Harald Fricke, Peter Herbstreuth, Angelika Nollert, Isabel Podeschwa.

Produced on the occasion of Kazuna Taguchi’s exhibition In Anticipation at Brunette Coleman, London, 7 March–18 April, 2026.

Taguchi’s meticulously composed monochrome photographs convey body fragments, gestures, and gazes that resonate with the surrealist tradition concerning the questioning of the photographic representation of the female body. This can be moments of the phantomic or Yūgen*-like, images that capture a figure in a state between appearance and disappearance.

*According to the Japanese poet Kamo no Chōmei (1155–1216), yūgen is a feeling that is not openly expressed in words, but symbolically indicated by images.