Featured Events in Zurich in March, 2024 (June Updated)

Rockenschaub has been transforming spaces with minimalist multimedia installations for around forty years. With constantly changing shapes, colours, sizes, materials and technologies – sometimes abstract, sometimes simplified figurative, but always with radical reduction and laconic smoothness – his installations create visual sounds and rhythms that relate to the architecture in question, setting it in tension and vibration like a musical composition. Rockenschaub, who has also worked as a techno DJ, composes his art like musical tracks: empty spaces correspond to pauses, settings create sounds and beats. For this new exhibition, the artist has produced rectangular, monochrome lacquered MDF panels of varying colour and size, which he positions above and below a continuous horizontal line on the walls of the exhibition space. In this way he organizes the space and creates a pulsating atmosphere that feels like a soundscape – stimulating visually, physically and emotionally. The idea of painting evoked by the coloured MDF panels is completely removed: In their pointed interplay, the objects experience an enormous expansion and completely transform their surroundings. Instead of looking at pictures, we experience the whole space as a picture. Rockenschaub never thinks in terms of individual works. Each object has a specific function within the overall context of an exhibition. The precise placement of the elements in dialogue with the architecture is crucial to creating dynamism. Although the artist designs his installations precisely on the computer in advance, the final steps are ultimately spontaneous and playful. Despite their edgy coolness, playfulness and subtle humour are the parameters within which Rockenschaub’s works unfold their energy. This is precisely what his work, which emerged in the 1980s in the context of the Neo Geo movement, is all about: using radically reduced means to achieve powerful atmospheric effects that appeal to all the senses. In contrast to classical minimal or conceptual art, he creates a mixture of pop and primary structures that recall traditional genres of art history as well as our thoroughly designed everyday life. Rockenschaub nonchalantly disrupts both – and ends up somewhere between fun, funky and frivolous: with an art that defies any art historical categorization. Gesine Borcherdt Gerwald Rockenschaub was born in 1952 in Linz, Austria. He works and lives in Berlin, Germany. His most recent solo-exhibitions took place in museums such as Belvedere 21, Vienna, AT (2022-2023); Schlossmuseum Linz, Linz, AT (2023), Sammlung Goetz, Munich, DE (2017); Kunstmuseum St. Gallen, CH (2016); Neuer Berliner Kunstverein, Berlin, DE (2016); and The M Building, Miami, FL, US (2014). In 1993 he represented Austria together with Andrea Fraser and Christian Philipp Müller at the 45th Biennale of Venice. Group-shows in major museums include: Faking the Real, Kunsthaus Graz, AT (2022); Wände | Walls, Kunstmuseum Stuttgart, DE (2020); Abstract painting now!, Kunsthalle Krems, Krems an der Donau, AT (2017); Painting 2.0. Malerei im Informationszeitalter, MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, AT (2016); Unlimited, Art Basel, Basel, CH (2015); Künstler und Dichter, Secession, Vienna, AT (2015, curated by Ugo Rondinone); and Decorum Carpets & tapestries by artists, Power Station of Art, Shanghai, CN (2014).

Born in New York in 1956, Cathy Josefowitz spent her childhood and adolescence in Geneva, Switzerland. The artist’s lifelong fascination with the bodily experience was sparked in part by her study of stage design at the Théâtre National de Strasbourg from 1972 – 1973. After attending the École Nationale Supérieure des Beaux-Arts in Paris from 1973 – 1978, Josefowitz studied performing arts and new dance at the renowned Dartington College of Arts in Devon, England from 1979 to 1983 and later choreography at the SNND School for New Dance Development, Amsterdam from 1987 – 1988. During her time in England, Josefowitz became involved in political activism, taking part in demonstrations, marches and conferences supporting both the feminist movement and the gay and lesbian liberation movement. Mirroring the increase in her engagement in political activism and feminism, Josefowitz’s art intensified its representation of female sensation and feeling. The presentation takes its title from Josefowitz’s choreographic piece ‘Release’ (1988), a performance replete with fluid movements that is projected on the wall of the gallery. Drawing on the Anatomical Release technique pioneered by dance teacher and choreographer Mary Fulkerson, Josefowitz falls, twists and rolls in order to let go of tension and cultivate creativity, liberating her body and mind. This feeling of liberation is translated into her later works through the gradual shift from figuration to abstraction. Her relentless and personal quest for expression unites the various works on view in Zurich, with some exhibiting elements of self-portraiture. Josefowitz’s exploration of the corporeal manifests in works from the 1970s that are filled with figures, predominately female, reclining or in varying states of repose. Her oils on cardboard, such as ‘Untitled’ (ca. 1974), are characterised by colourful backgrounds portraying domestic interiors, influenced by the artist’s exploration of stage design. The unnaturalistic colour and vivid brushstrokes of this period, particularly apparent in Josefowitz’s gouches on paper, recall the work of fauvists Henri Matisse and André Derain, who rejected three-dimensionality in their painting practice. Similarly, Josefowitz flattens the body by using a black contour line upon the solid color plane to portray the profile of the nude figure; yet, Josefowitz challenges the traditional depiction of the reclining nude through her female gaze and contemporary position. The simplification of the subjects’ form makes the work appear abstract and demonstrates the ever-evolving nature of her practice. These paintings are complemented by figurative works from the early 1990s in which Josefowitz’s visual language enters a new phase, revealing a different way of working with the body through a shift in pattern, style and form. Using various combinations of oil, gouache, charcoal, pastel or chalk, the artist’s biomorphic subjects reached a new level of simplification, becoming indistinguishable from the chairs on which they rest. ‘Untitled’ (1993) exemplifies this movement towards a more non-representational style, achieved by a focus on shape of the figure and bold planes of color. Releasing her subjects from historic depictions of the female body, Josefowitz reveals a unique awareness of and sensitivity to the physical forms of the self. The backgrounds of the works have also entered a transformation, characterised by geometric patterns and curvilinear forms, resulting in the isolation of the figure in space. This development is also charted in her series of watercolour paintings on receipts (1988 – 1992) exploring the female nude on a more intimate scale. A travelogue of her trip from Parma to Vienna in the summer of 1988, these works exhibit elements of autobiography. Using watercolor and ink, the contorted limbs and fluid brushstrokes in ‘Le Vieux Bistrot - Paris’ (1991) evoke Josefowitz’s flexible movements in ‘Release,’ whilst the checkered background of ‘Trattoria dall’Amelia – Mestre’ (1992) alludes to her stylized domestic interiors from the 1970s and geometric patterns from the 1990s. The figurative realm soon gave way to increasing abstraction with Josefowitz’s Prayers series (1998 – 2001). Depicting prayer shawls and mats, the artist uses a freedom of expression beyond the constraints of the figurative and the abstract. Often named after family members or a place she loved, such as ‘Parme’ (c 2001) or ‘Patisserie Égyptienne’ (1999), these large-format paintings see Josefowitz using a reduced color palette. These are placed in tandem with the similarly monumental Venus series (2004 – 2006). Josefowitz became increasingly engaged in the physicality of creation, intersecting her performative and pictorial practices by working on the floor of her studio instead of the wall. For these works, the artist placed fabric on the canvas in a dynamic position and traced around it; the resulting abstracted forms, painted in blocks of colour, express the body’s presence and represent self-portraits. The freedom and movement of these forms are juxtaposed with depictions of static reclining nudes that revist tropes of womanhood from classicism, referenced through titles such as ‘D’après I’Olympia de Manet’ (2004 – 2005) and ‘D’Après la Vénus de Titien’ (2004 – 2006). Harking back to her work of the 1970s that challenged the traditional male gaze of art history, the Venus series articulates the different configurations a human body can take as a form of both resilience and liberation. In surveying the development and revisitations of the artist’s visual language, this exhibition attests to Josefowitz’s enduring determination to depict the figure in both its anatomical and metaphysical dimensions.

His photographs demonstrate an innate understanding of how forms, colours, textures and depth translate to the pictorial plane. He is working with a visual vocabulary that has been well established by the work of many contemporary photographers. Mizutani’s work serves as a good gauge of the visual tropes and photographic styles that are prevalent among young photographers in Japan. Yoshinori Mizutani lives and works in Tokyo. Mizutani graduated from the Tokyo College of Photography in 2012. He has won a number of prestigious awards including Japan Photo Award in 2013 as well as Foam Talent Call and Lens Culture Emerging Talents Top 50 in 2014. Since 2012 he has exhibited in many international institutions in Japan, China, Belgium, Great Britain, Italy, and Switzerland, and has published, among others, ‘Tokyo Parrots’, Colors’, ‘Yusurika’ and ‘Hanon’.

Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee's artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich 1977 representation at documenta 6 in Kassel 1981 exhibition at the Royal Academy, London 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller 1997 exhibition at the Albertina in Vienna 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna 2008 direction of the opera “Salome” by Richard Strauss in Bremen 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian Juliano-Villani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

Galerie Gmurzynska announces a career-spanning solo exhibition of the legendary Austrian artist, Christian Ludwig Attersee in both of its Zürich spaces. The exhibition brings together paintings and sculptures from 1960s through his most recent genre-defying paintings of today. Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee’s artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee • 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake • 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich • 1977 representation at documenta 6 in Kassel • 1981 exhibition at the Royal Academy, London • 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs • 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein • 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller • 1997 exhibition at the Albertina in Vienna • 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna • 2008 direction of the opera “Salome” by Richard Strauss in Bremen • 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian JulianoVillani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

For Luigi Ghirri the phrase encloses many of the meanings and motivations that have always accompanied his work. The exhibition encompasses a precious selection of photographs spanning multiple series by the artist, the earliest of which is from 1974: the most recent from 1990: . Walking the streets of Modena, the small town where the artist had lived since the early 1970s, or driving around the surrounding countryside; Ghirri was interested in capturing Italian life and landscape in its various articulations: piazzas, facades of ordinary houses and ruins; their doors, windows, wall colors, tiles; in short – parts of the everyday – which, to him, precisely because they appeared so anonymous and forlorn at times, seemed to be waiting for someone to give them an identity. In his quest, Ghirri visited many popular places such as urban parks or seaside resorts – a fairground in Modena, Capri, an island in the Tyrrhenian Sea, as well as many beaches along the Adriatic coast. Ghirri's formative years as a topographer brought an essential quality in terms of scale and measurement to his photographic work, a subtle interplay between the immediate, the intermediate and the infinite, that raised the question of what photography stands for when it's not about focusing, the essential decision about what is part of the picture and what is not. Views of views, snippets within snippets, pictures within pictures. Through time, Ghirri became increasingly concerned with this dual reality. Putting us face to face with the reality of familiar environments, that which our eyes encounter, and seeing it with the astonishment of those viewing it for the first time. Ghirri’s view is a complex one, telling the tale of a remaining world that does not elude him. While apparently recording the visible, Luigi Ghirri’s photographs – from the conceptual to ‘magic realism’ – reveal a plurality of languages. This perhaps stems from an ingenuous desire for a return to a state of purity, a ground zero of vision that challenges and suggests a new way for us to read and interpret everything we encounter. Born in Scandiano in 1943, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most layered bodies of work – marking the start of something entirely new in the history of photography and the visual culture. Luigi Ghirri was at the height of his career when he passed away in 1992. To this day, his photographs are exhibited extensively both in Italy and abroad. Some of the most notable museum exhibitions in recent years were held at the Castello di Rivoli in Turin (2012), the MAXXI Museum in Rome (2013), and the Instituto Moreira Salles in São Paulo and Rio de Janeiro (2013). In 2018 the first major retrospective of his work outside of Italy opened at the Museum Folkwang in Essen and later traveled to the Museo Reina Sofía in Madrid and the Jeu de Paume in Paris. Luigi Ghirri’s work can also be found in many public collections: The Museum of Modern Art, New York, the Stedelijk Museum, Amsterdam, the Museum of Photography at the University of Parma, the Musée Reattu of Arles as well as the Fotomuseum, Winterthur. For autumn 2024 a retrospective of his work is planned at the MASI Lugano.

Nielsen is known for hybrid paintings and applies latex, leather, silk, and screen-print, which reveal a complex and unexpected dimension to her unique compositions. The works contain a multitude of successive and immersive layers and fictional landscapes. The ‘photo–painter–-artist’ takes photographs of random places and draws from family archives - they are her sources of inspiration and her iconography. The landscapes also inspired two new wallpapers created for the exhibition. The slayers often overlap and create ambiguity about the production process. This mental and technical ambiguity is according to Nielsen the primary path of allowing the viewer to decipher the work. Any viewer who immerses in the landscape experiences distinct colors, light, sound, and scent, which immediately weave a complex network of memories. The series (170 x 120 cm) is the first in which the brush or paint does not have an impact. Karst is a geomorphological structure resulting from the hydro-chemical and hydraulic erosion of soluble rocks. The works were made with scraps of leather from the Roux tannery, with which Nielsen is collaborating as part of her residency at LVMH in 2021. The artist enthusiastically assembled the cuts made by this particular tannery. The random shapes, sewn together by the artisans (from Mains d’oeuvre), create puzzle-like landscapes that are reminiscent of the way rocks clump together. On the sturdy leather Nielsen deploys printed organza sails which act like an illusion making houses appear as if they were on the edge of a cliff. Silk and leather are materials with almost contradictory properties and the cutouts underline this contrast. Something seems both solid, immutable (leather) and fragile, unexpected, elusive (silk). In the artist’s landscapes, the concept of cropping and cutting out the horizon and redefining the environment are structuring elements. Their motifs are constant elements and serve as catalysts to create a contradiction, a tension between the printed trace and the pictorial gesture. The direct experience of the horizon is rare, made even more laborious in urban areas where obstacles to the view, made of steel frames and grilles, sabotage the experience. This is particularly apparent in and (230 x 190 cm each). During her stay in Arles, the artist was captivated by these ornate, vernacular grids. These radial, net-like motifs serve as a filter between the landscape and the viewer, blocked or fragmenting their vision. The Camargue provides a horizontal territory and the disruptive, geometric property of these grids allowed the artist to apply the format of the canvas like a window. It creates a tangible frontier between the corporeality of the observer and the reality of the landscape. (200 x 250 cm, ascian: one that has no shadow. specifically: an inhabitant of the torrid zone where the sun is vertical at noon for a few days every year.), is a utopian vision which is part of Nielsen's research exhibited among others at the Lyon Biennale in 2022. Two fragmentary structures inspired by architecture, indicated by their rocky color, seem to float on a panoramic view at a time at which we do not know if it marks the beginning or the end of the day. These tunnels or underground water conduits that are in the foreground and the black and white screen prints are applied to the bare canvas in both and . The paint is placed on the surface, between masking tapes covering the screen-printed elements. In successive layers, the work is only revealed in its ultimate proposition once the ribbons are removed, usually in a radical motion. These arrangements act by creating an appearance, almost like a mirage, both for the painter, who only discovers the final result at the end, and the viewer is potentially disturbed by these retinal expectations. According to Nielsen, “talking about houses, architecture, landscapes is talking about humans. Moreover, this is only talking about human beings as we are linked to the ecosystem that we interpret, shape, destroy, fantasize about. Our worlds are inhabited by our desires. Habitat, shelter, and construction are linked to this projection”. The series consecrates marsh cabins as spaces of passage, border zones, limbos between land and sea. Shifting territories, whose soaked or cracked soils offer unprecedented effects of textures and reliefs, they inspire the artist to come and deploy the motif of a crumpled mosquito net screen-printed on the canvas or paper depending. This gauze is an additional frame that further blurs the gaze and ultimately embodies the ambiguity of these uncertain and enigmatic landscapes. To Nielsen, the landscape is never neutral. Space, sedimented, is made up of multiple strata; they are all at the same time and simultaneously, geological, political, and social. They are superimposed on the landscape at the same time as they make up its complexity. Accordingly, our experience of the landscape is never neutral. For (80 x 60 cm) and (73 x 55 cm) Nielsen borrows female silhouettes from the family photographic archives. Ink and acrylic are first applied on the canvas. The screen printing follows in a second step to screen the image and creates a grid that prevents the gaze and the gaps between which to observe. Then the printed silk organza is deposited as a transparent veil, a film, a plasma, or an organic hologram. The process is the same for and , in which cabins in the background were photographed in the Camargue on the edges of the marshes. The use of silk makes this admitted ambiguity of the images much more concrete. The lamination mirrors them and offers a unique visual experience, everything appears to be moving and transitioning depending on the point of view adopted by the viewer. Silk is also a distant relative of silkscreen, with which it has a historical link since it was the material originally used to transfer images. Between appearance and disappearance, the experience of this slow fragmented perception is sensitive, impactful, and almost spiritual. In this regard, and (180 x 130 cm each) offer a more disruptive experience. The oil is deposited in gradients, according to the classic sfumato technique. Printed latex is stretched over the background. The work appears like skin heated by the sun, incandescent. The viewer almost feels the warmth of the strange but seductive territories of the Camargue radiating. The very title of this series is rooted in the technique of the underlying photography. Nielsen, as an alchemist accumulates views, superimposes them, adds them, lets them contradict each other, and lets them develop, to finally restore something that echoes the sublime. According to Burke writes about a "terror delicious”: it is the intense feeling of being alive in a landscape that is also alive. The artist translates the experience of life into plural visual propositions. She reveals her obsession with a fragmentary vision and a fragmented, insoluble, imperfect, captivating relationship with the world we experience. To the viewer, the journey is as physical as it is conceptual and their relationship to Nielsen’s work seems to be in its depth and counter-form, to be of an existentialist nature. Eva Nielsen’s work has been exhibited in the following public institutions: Mac/Val, France; LACE, Los Angeles; Plataforma Revolver, Portugal; BNKR, Munich; Perm Museum, Russia; Kunsthal Charlottenborg, Denmark and Palais Pisztory, Bratislava among others. In 2009, she was awarded the Prix des Amis des Beaux-Arts Prize and in 2014 the Art Collector Prize (both in France). Her work is featured in numerous public and private collections including: the Mac/Val, the Musée de Rochechouart, the Musée des Beaux-arts de Paris, The Fiminco Fondation, The Société Générale Collection, the FMAC, the FRAC Auvergne, the Fondation Schneider, the Emerige Collection (all in France), as well as in the MOCA, Los Angeles, USA and the Fondation Thalie, Belgium. In 2021, Eva Nielsen was the laureate of the LVMH Métiers d'Arts prize. In 2022, she was nominated for the 23rd Fondation Pernod Ricard Prize "Horizones" and participated in the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility in Lyon, France. In 2023, she is the laureate with Marianne Derrien of the BMW Art Makers Prize with the Insolare Project, exhibited in Les Rencontres d’Arles in 2023.

Isabel Nuño de Buen's works appear like enigmatic relics from an unknown civilization. Their material composition and sculptural versatility convey a complex system of references, weaving motifs from the present as well as the past into poetic allusions that pivot around the artist’s personal disposition and the complexities of human experience. For her first solo exhibition at Mai 36 Galerie, Isabel Nuño de Buen (*1985, Mexico City, lives and works in Hannover) presents a selection of six unique reliefs from her ongoing series as well as two large-scale wall pieces that she personally likes to refer to as drawings. As a whole, these works provide us with a fascinating insight into her artistic journey. Besides the fluctuating, ever-evolving process of creation, it is the hybrid nature of a work of art that interests Isabel Nuño de Buen. Presented in the style of a wall tapestry, her work originates from numerous drawings that the artist executed on tracing paper, using charcoal, graphite, and watercolor. Subsequently the drawings were torn, cut, and reconfigured, until patched and sewn together into a fragmented three-dimensional wall piece, distinguished by its textural diversity and extraordinary materiality. Uniting bold imagery and organic depictions, the piece itself resembles a fragment of something larger, like a surviving piece of a historical artifact or manuscript. Characterized by gaping voids that defy clear topographical identification, the work carries a metaphorical potential and timelessness. It appeals to a transhistorical and -cultural view of human creativity in which practices like drawing and sewing are ancient art forms, which at different moments in history served to preserve knowledge and experience. Isabel Nuño de Buen’s intricately crafted are evocative and mysterious wall reliefs that remain open to speculation. It is possible to find formal connections between her work and these reliefs. Not only do they allude to the fragments and drawings at play in , but are similarly articulated by layers of materials that here pile on top of each other: papier maché armatures, segments of glazed ceramics and dyed textiles, including documents or small letters as well as drawings on transparent paper. Tied together with hand-made yarn, string or gauze, they appear like little outlandish gifts or ancient talismans. Indecipherable yet complete, these diffuse formations display a determination and precision in their form and material sensitivity, paralleled only by their intent to encode. They invite close observation but, as fragments, refuse complete clarification. With her distinctive blend of traditional techniques and innovative conceptual approaches, Nuño de Buen's work has garnered critical acclaim for its depth, complexity, and emotional resonance. With its many possible meanings, it dances around the edges of our comprehension, much like former civilizations that exist on the threshold of our understanding, yet somehow remain beyond our grasp. Isabel Nuño de Buen was born in Mexico City in 1985. She completed her studies at the HBK Braunschweig under Bogomir Ecker in 2014. In 2020 she received the Sprengel Prize from Sprengel Museum Hannover. Her works have been featured in galleries, museums and private collections across the globe. Most recently, she has had solo exhibitions at the Kunstverein Hannover, Chris Sharp Gallery LA and Sprengel Museum Hannover. In 2024, she will have a solo exhibition at ICA, Milano.⁠