In The Anatomy of Bureaucracy, the corporate space becomes an open framework, absorbing and gradually subordinating everyday experience to the logic of performance. These principles are not limited to the world of work, but extend into what we take home from the working day: the organisation of bodies, abilities, and capacity for attention.

"The artists position their Slavic and Baltic cultural background within a vision of “ancestrality”: Instead of indulging nostalgia, they endeavor to reactivate marginalized non-modern subjectivities through re-choreographed forms. Central to this constellation is the figure of the upiór, a vampire possessing dual souls, an Other lingering between life and death, human and non-human, which carries the whispering of the marginalized and nameless, embracing the fluid identities and multiple possibilities of narratives. In this sense, Spit and Image manifests a complex state of in-betweenness.

In Yield (twinning) (2025), the viewers confront their own sharp reflections in stainless steel flower mirrors. Disturbingly, these nostalgic objects, which are derived from a plastic make-up mirror once-ubiquitous in Eastern Europe, now function as surveillance cameras that rigidly scrutinize viewers who dare to come near - as if the flowers were performing a paradoxical dynamic of gazing and being gazed at, or offering sensorial testimony to the historical rupture between Nature and Culture and Self and Environment" - Yang Beichen.

Entering the first room, skeletons of welded steel and copper covered with oxidized textiles are presented. In these works, the process of mineral powders oxidizing on textile is something Marmy likens to a form of painting through and with time: a time that seems to extend beyond human measure, evoking a planetary dimension. - Maddalena Mora

The body is a subject exhaustively traversed in art history. Idealized, objectified, and stripped of its vulnerabilities, it has often been neutralized and discharged of its complexity. In the work of Marion Wagschal and Elisabeth Perrault, however, the body reclaims its weight and fragility as a vessel of memory and as a site of inheritance where desire, the grotesque, and the sacred coalesce. Their works lean toward one another—Perrault’s tactile assemblages and Wagschal’s painterly tableaux— each confronting intimacy and loss with disarming candor.
- Anaïs Castro

Weaving Back to Common Grounds marks the final stage of the two-year project Have We Passed Peak Collective by otc collective, developed in collaboration with Künstler:innenhaus Lauenburg and other institutions. The project has explored questions of collective practice, shared agency, and collaboration in times of social and cultural change, reflecting on the dynamics between individual and collective work and the conditions that make collaboration possible or strenuous.

- otc collective

"In his 1990 book E Unibus Pluram: Television and U.S. Fiction, David Foster Wallace noted that popular culture (primarily television, of course) had begun to shun seriousness. Instead, it was more willing to flirt with the absurd, repetition, self-quotation, and other postmodernist devices. Wallace provided examples: a sitcom in which the characters are aware they are in a sitcom; a commercial where a satisfied customer admits he is merely an actor paid to appear in the film. He argued that in a self-ironic culture, any display of sincerity and humanity can either be ridiculed or viewed with cynicism. Wallace feared that post-irony was gradually erasing the boundaries between humanism and cruelty, humanity and indifference, values and cruel jokes. Did he anticipate that in the quarter-century since, post-irony would become nearly the only way to cope with our surrounding reality?"
Alexander Burenkov

""Nerve cells that fire together wire together.” As neuroscientist Joe Dispenza suggests, what we learn and repeat becomes physically embedded in our neural architecture. Thought becomes structure and experience becomes circuitry" - Peter Bencze

“How much time, discomfort, and shared responsibility are we willing to bear so that empathy does not become a mere illusion”

- Michal Pěchouček

"They both work at an impossible scale and have become intimately familiar with industrial-grade production processes. There is something primeval, almost mythical, about Maija’s way of working: the small individual taking on colossal powers. And in Bianca’s work the level of difficulty – to produce, transport, store and install these huge, living, decomposing, flesh-like curtains – means that all aspects of her practice are working against her. This is then juxtaposed with the determination and relentlessness that comes through in everything she does." - Benjamin Orlow

Through the eponymous video as well as installations, the exhibition Made in Europe interrogates questions of belonging, economic constraints, and intergenerational conflict. For more than thirty years, the artist’s father traveled to Germany, Austria, and the Netherlands, primarily to purchase Mercedes Sprinter vans and loading them with bicycles, leather sofas, or chairs at a low cost, which he then sold at a profit in Georgia, 4,800 kilometers away. The video work Made in Europe documents this strenuous journey and the process of commodifying of the items that Zauri Matikashvili’s father had transported to the Caucasus by container.