HEINZ MACK PRESENTS SPECTRUM MUNDI | A SOLO EXHIBITION AT THE ST. MATTHÄUS-CHURCH DURING BERLIN ART WEEK 2026

Press Preview: September 2, 2026 | 11 AM
Private Preview: September 2, 2026 | 7 PM
On View: September 3 – 13, 2026

July 6, 2026 (Berlin, Germany) – Heinz Mack will present Spectrum Mundi, a solo exhibition at the St. Matthäus-Church on view during Berlin Art Week from September 3 – 13, 2026. Developed through a collaboration between the MACK FOUNDATION and the PArt Foundation / Spiegelberger Stiftung, the exhibition brings together 24 new Chromatic Constellation paintings created over the course of the last year. It takes its title from the Latin word ‘spectrum’, referring both to a multifaceted spectrum of color and to the image that takes shape within our imagination.

Encapsulating Mack’s enduring exploration of color, perception, and the immaterial qualities of light, this unified suite of 24 paintings are deliberately aligned in scale and dimension. They correspond to the 24-hour cycle of the day, mapping its shifting rhythms from the brightness of morning light to the darker tones of the evening. While linked by their shared format, each painting retains its own distinct chromatic identity. Their structure arises not from a predetermined compositional system but from the relationships between the colors themselves. Throughout his career, Mack has regarded color as an essential element of human experience, drawn to the tension between its material presence and its intangible effects on perception.

The 24-hour structure of the works reflects Mack’s broader meditation on cycles of time and permanence. As he explains: “As is well known, art captures people’s interest only “temporarily,” and art-historical movements also give rise to a sort of “tempi passati,” typical of our fast-paced times. The 24-hour aspect, of course, has been true since time immemorial. The sun’s daily cycle lasts 24 hours.”

After largely abandoning painting in 1966 in favor of reliefs, sculpture, and Land-Art, Mack returned to the medium twenty-five years later, initiating an expansive body of work that reaffirmed color as a primary field of artistic inquiry. Central to this renewed practice are the Chromatic Constellations, begun in 1991, in which color itself becomes both subject and structure after decades focused on a primarily monochromatic palette. Through subtle interactions between pigment, transparency, and light, these works generate a sense of movement, depth, and spatial complexity.

Across more than seven decades, Mack has shaped the course of post-war European art through his pioneering exploration of light as both material and medium. In 1957, together with Otto Piene, he co-founded the avant-garde ZERO movement, which proposed an art grounded in universal elements, challenging established conventions and fundamentally reshaping the visual language and philosophical discourse of its time. Presented in the year of the artist’s 95th birthday, Spectrum Mundi extends this radical vision into the present, celebrating the continued evolution and significance of his artistic practice.

NOTES TO EDITORS:

Address

St. Matthäus-Kirche

Matthäikirchplatz

10785 Berlin

Opening Hours

Tuesday – Sunday | 11 AM – 6 PM

Press Preview

September 2, 2026 | 11 AM

Private Preview

September 2, 2026 | 7 PM

About Heinz Mack

Heinz Mack, born in 1931 in Lollar (Hesse, Germany), attended the Academy of Arts Düsseldorf during the 1950s. In 1956 he also earned a state examination in philosophy at the University of Cologne. Together with Otto Piene he founded the group ZERO in 1957 in Düsseldorf. Besides his participation at Documenta II (1959) and Documenta III (1964), he also represented The Federal Republic of Germany at the XXXVth Venice Biennale in 1970. In the same year he was invited to Osaka (Japan) as a visiting professor. He also became a full member of the Berlin Academy of Arts, to which he belonged until 1992. Heinz Mack has been honored with major awards including the Art Prize of the City of Krefeld (1958), the Premio Marzotto (1963), the 1st Prix arts plastiques at the 4th Paris Biennale (1965), 1st prize in the international competition Licht 79 in the Netherlands (1979), the Großer Kulturpreis des Rheinischen Sparkassen-Verbands (1992) and the Cultural Prize of the city of Dortmund’s arts council (2012). He also received the Grand Federal Cross of Merit with Star of the Federal Republic of Germany in 2011. In 2015, Heinz Mack was unanimously voted an honorary member of the Kunstakademie Düsseldorf by the academy's senate. In 2016, the city of Düsseldorf bestowed the Jan-Wellem-Ring upon Heinz Mack. He received the Moses Mendelssohn Medal in 2017. The central theme of Heinz Mack’s art is light. Sculptures and pictures are the media of his multifaceted oeuvre. The exceptionally diverse complete works include sculptures made of different materials: light-stelae, light-rotors, light-reliefs and light-cubes. His oeuvre also involves paintings, drawings, India ink, pastels, graphics, photography and bibliophilic works. Another important aspect of Mack’s work is the design of public spaces, church interiors, stage settings and mosaics. His works have been shown in nearly 300 solo exhibitions and numerous other group exhibitions. They are also found in over 170 public collections. Numerous books and two films document his work. Heinz Mack lives and works in Mönchengladbach and Ibiza.

About the St. Matthäus Church

St. Matthew's Church stands today in the heart of the Kulturforum, which has become a prominent center for national and international art and culture. The church is surrounded by significant 20th-century buildings: the New National Gallery (Mies van der Rohe), the Philharmonie and the New State Library (Hans Scharoun), the Picture Gallery and the Print Room (Hilmer and Sattler). The church, designed by Friedrich August Stüler, a student of Schinkel, thus forms a link to the 19th century.

About the MACK Foundation

The MACK FOUNDATION, a non-profit organization founded by Heinz Mack in 2024, is dedicated to the collection, exhibition and preservation of Heinz Mack’s art and archive. The Foundation holds a substantial collection of artworks, covering all groups of works from his artistic oeuvre. It also preserves an extensive archive of original documents, notes and publications on the artist’s life and work.

About the PArt Foundation / Spiegelberger Stiftung

The PArt.foundation/Spiegelberger Stiftung promotes art and its dissemination. The foundation achieves its objectives primarily by supporting young artists with exhibitions and publications. They promote contemporary art through classroom support in schools, project work with works from the foundation's collection, lectures and seminars, and the provision of free teaching materials or via their learning platform part.education. Furthermore, the foundation advises art enthusiasts on all aspects of the art market and on building their own collections.

Image credits:

1.  Heinz Mack, Untitled (Chromatic Constellation), 2025. 143 x 160 cm. Heinz Mack © VG Bildkunst, Bonn 2026. Photo: Studio Mack

2. Heinz Mack, Untitled (Chromatic Constellation), 2025. 143 x 160 cm. Heinz Mack © VG Bildkunst, Bonn 2026. Photo: Studio Mack

3.  Heinz Mack, Spektrum el Mundi (Chromatic Constellation), 2026. 143 x 160 cm. Heinz Mack © VG Bildkunst, Bonn 2026. Photo: Studio Mack

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SOCIÉTÉ PRESENTS BOUTIQUE SOCIÉTÉ × TREASURES OF MEMORY 2 | A SOLO EXHIBITION BY KASPAR MÜLLER

Opening Reception: July 2, 2026 | 6 – 8 PM 
On View: July 3 – August 29, 2026  

July 2, 2026 (Berlin, Germany) – SOCIÉTÉ is delighted to present Kaspar Müller’s solo exhibition Boutique SOCIÉTÉ × Treasures of Memory 2, on view from July 3 – August 29, 2026. The exhibition brings together objects with a past and a price: things that have absorbed, over time, the projections, desires, and contradictions of the cultures that made them. Müller has long been drawn to the gap between what something appears to be and what it withholds, staging quotidian items in playful constellations that animate the material tension between their social lives and inner opacities: the interplay between an object’s “sensual surface” where meaning accrues and its inaccessible dimensions, which in Graham Harman’s words “resonate in cellars of being where no relation reaches.”

In Boutique SOCIÉTÉ, objects step out of the cellar and into the boutique. Two tents stand at the center of the exhibition. Provisional and portable, such humble constructions turn up everywhere from street markets and trade fairs to birthday parties and black-tie events. Installed indoors, these aluminum-framed structures become precarious rooms, aspirational stage sets dressed in new clothes: hand-painted transparent fabrics in cheerful dots and stripes cosplay as vernacular architectural couture. Display does not operate as a neutral frame here, but as an active force that reveals the object’s sensual surface while deepening the sense of what it withholds. Within these structures, lamp sculptures cast the warm light of a showroom or a home, their exuberant, discordant constellations of bulbs recycling the image of the old to fabricate the new. Hand-blown glass bongs, arranged on a slowly rotating pedestal, are singular in their making, yet ubiquitous in their use. Positioned at the intersection of craft and mass production, they are, as Müller suggests, vehicles for transformation of a state of mind. Cast aluminum tulips rest on miniature, 3D-printed paint-splattered chairs. This conflation of classical iconography with new materials invokes both the history of flower painting and the artist’s studio as well as the original financial bubble: seventeenth-century Dutch “tulip mania,” when flower bulbs became objects of delirious speculation. Suspended between sensuous surface and withdrawn essence, Müller’s scenography frames these objects as treasures of generalized memory, ubiquitous repositories of projected longing that circle the object without ever touching its core. 

Müller’s paintings enact a similar oscillation between the personal and the inaccessible, treating the world of personal anecdotes just like objects. Memories of his childhood neighborhood, stolen cigarettes, and his father’s antiquarian bookshop were fed into an AI image generator, resulting in images that are at once generic and oddly precise: intimate enough to sting, yet impersonal enough to estrange.

NOTES TO EDITORS

Boutique SOCIÉTÉ x Treasures of Memory 2 by Kaspar Müller will be on view at SOCIÉTÉ from July 3 – August 29, 2026.  

Address
Wielandstraße 26
10707 Berlin

Opening Reception
July 2, 2026 | 6 – 8 PM 

Opening Hours
Tuesday – Saturday | 11 AM – 6 PM 
Closed on Sundays and Mondays

About Kaspar Müller
Kaspar Müller (b. 1983, Schaffhausen) lives and works in Basel. His work is currently included in Hope as a Crutch, New Presentation of the Contemporary Art Collection at Museum zu Allerheiligen, Schaffhausen, and in Bocconi Art Gallery 2025 at Bocconi University, Milan. During Art Basel Parcours 2023 he showcased a large installation in Münsterplatz. Müller has had solo exhibitions at Atelier Amden, Vleeshal, Middelburg; Kunsthalle Bern; Museum im Bellpark, Kriens; Kunsthalle Zürich, Zurich; and Circuit, Centre d’Art Contemporain, Lausanne. He has participated in group exhibitions at Fondazione Prada, Venice; Casa Masaccio, San Giovanni Valdarno; Swiss Institute, New York; Istituto Svizzero di Roma, Rome; MAMCO, Geneva; and Aachener Kunstverein, Aachen, among other venues.

About SOCIÉTÉ:
SOCIÉTÉ is a Berlin-based contemporary art gallery with a global reach. The gallery’s bold curatorial approach plays a pivotal role in advancing its artists’ visions, supporting major museum exhibitions, biennials, and acquisitions by leading institutional collections worldwide. Operating in both the primary and secondary markets, SOCIÉTÉ provides curated advisory services to select clients.

Beyond its exhibitions, the gallery’s publishing initiative, EDITION SOCIÉTÉ, collaborates with prominent writers and graphic designers to produce artist books, catalogues, and, more recently, high-end artist editions.

SOCIÉTÉ is an active presence at major international art fairs, including Art Basel, Art Basel Paris, Art Basel Miami Beach, Frieze New York, Frieze London, ARCOmadrid, and Gallery Weekend Berlin.

Image credits:
1 – 2. Installation view of Kaspar Müller, Boutique SOCIÉTÉ x Treasures of Memory 2, at SOCIÉTÉ, Berlin. Courtesy of the artist and SOCIÉTÉ, Berlin. Photo: Trevor Good.

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RENDEZVOUS ANNOUNCES BRUSSELS ART WEEK 2026 | A CITYWIDE PROGRAMME BRINGING TOGETHER THE CAPITAL’S ART SCENE

Preview of Salon de RendezVous: September 9, 2026 | 7 PM
Opening Night: September 10, 2026 | 5 – 9 PM
On View: September 10 – 13, 2026 | 11 AM – 6 PM

June 11, 2026 (Brussels, Belgium) – Following a successful inaugural edition, Brussels Art Week by RendezVous returns from September 10 – 13, 2026, bringing together more than 80 participants, including galleries, artist-run spaces, institutions and private foundations from across the Belgian capital. Traversing multiple neighbourhoods through a curated programme of exhibitions and events, the second edition offers an opportunity to experience Brussels' cultural landscape in its full breadth. Conceived as an annual event through which Brussels presents itself to national and international audiences, Brussels Art Week highlights the diversity and interconnectedness of one of Europe's most dynamic artistic ecosystems. In addition to the programming taking place throughout the city, the 2026 edition’s new central Salon designed by collective Espace Aygo will house a bar, a pop-up bookstore, an intimate cinema and a stage for Salon Encounters, a space for talks and performances.

Structured around a series of focus days, Brussels Art Week reveals the distinct character of the city's neighbourhoods and their artistic ecosystems, guiding visitors to Molenbeek, Anderlecht, Forest, Downtown, Sablon, Ixelles, Saint-Gilles and Uccle. International galleries including Mendes Wood DM, Nosbaum Reding, Bernier/Eliades, Nino Mier, Almine Rech and Martins&Montero, all of which have established a presence in Brussels, will participate alongside long-standing local galleries such as Xavier Hufkens, Maruani Mercier, Spazio Nobile, rodolphe janssen, Sorry We're Closed and STEMS. 

What distinguishes Brussels is the close proximity of different artistic models and communities. Alongside internationally recognised galleries, the city continues to sustain younger and more experimental spaces, including Damien & The Love Guru, KIN, IN-GATE and the nomadic initiative SYBIL. Recent additions to the city’s gallery landscape include Lodovico Corsini’s new space in Saint-Gilles, as well as Galerie Emilie Dujat, Colnaghi, Branche & Lebrun and Chiquita Room. This ecosystem extends beyond the commercial sphere to encompass institutions, private foundations, artist-run initiatives and temporary projects, reflecting a dense network of exchange and collaboration. Selected residencies and collective artist studios will also open their doors as part of the Open Studios programme, for which professionals, journalists, and members of the public will be able to schedule studio visits upon request.

This year, the Salon de RendezVous is situated in Forest, just steps away from WIELS. "The Salon is both a central meeting hub and a space of experimentation where a yearly selected artist can develop an ambitious, large-scale and site-specific project to engage in dialogue with other disciplines and audiences," explain RendezVous founders Evelyn Simons and Laure Decock. This year, artist collective Espace Aygo, recipient of a Dutch Design Award and known for its focus on recycling and circular design, will conceive an immersive installation that serves as the setting for a multidisciplinary programme free and open to the public. The project also marks the culmination of the collective's four-year presence in Brussels and their final presentation in the city before relocating. Co-produced with Jester in Genk, the installation will travel there following RendezVous, where it will remain on view as an exhibition from October 10, 2026 – January 10, 2027.

Expanding its role as a gathering place for exchange and discovery, the Salon de RendezVous will bring together a programme of talks, performances, screenings and artist conversations developed in collaboration with various stakeholders such as NW, WIELS, Bozar, Belgian Art Prize and La Loge. RendezVous also invites international performers Stina Fors, Teo Ala-Ruona and Ivan Cheng to engage with Espace Aygo’s installation through a series of performative interventions inspired by the cabaret tradition. A newly introduced cinema dedicated to The Artist Moving Image programme will present a selection of artists' films curated in partnership with Argos Centre for Audiovisual Arts, as well as with participating galleries and graduation projects selected by film curator Max Ferguson. The hub will further host a bookshop featuring publications by participating galleries alongside the Brussels City Guide for Art Lovers, published by MER. Books / Borgerhoff & Lamberigts, as well as a bar designed as a space for informal encounters throughout the week. Extending beyond the venue itself, Park Poétik will activate the surrounding neighbourhood through a series of projects and events in the public realm.

Founded in 2024 by Laure Decock and Evelyn Simons, Brussels Art Week – RendezVous emerged from a desire to create a shared framework through which the city's diverse art community could be experienced as a whole, offering a moment of collective visibility for the cultural scene. The founders expand: “The aim is to understand the needs and ambitions of the city’s art scene, foster synergies, and create a platform that is greater than the sum of its parts. Brussels remains one of the European capitals where artists can still build sustainable practices, supported by its renowned institutions, galleries and independent initiatives. Through RendezVous, we want to celebrate that ecosystem while contributing to its international visibility." As Brussels Art Week enters its second edition, the founders see the initiative as both a platform for discovery and an opportunity to bring greater international visibility to the artists, spaces and initiatives that shape Brussels' contemporary art landscape.

NOTES TO EDITORS
The full list of participating venues can be found at www.rendezvousbxl.com. The complete programme and venue list will be available from July 9, 2026.
 
Address of Salon de RendezVous
Av. Van Volxem 311
1190 Forest
Belgium

Schedule Overview
Preview of Salon de RendezVous with Espace Aygo
September 9, 2026 | 7 PM

Collective Opening Night at all participating galleries
September 10, 2026 | 5 – 9 PM

Brussels Art Week — Focus Days
September 11, 2026 (Molenbeek, Anderlecht and Forest) | 11 AM – 6 PM
Participating venues open for visits

September 12, 2026 (Sablon and City Center) | 11 AM – 6 PM
Participating venues open for visits

September 13, 2026 (Ixelles, Saint-Gilles and Uccle) | 11 AM – 6 PM
Participating venues open for visits

Participating Galleries
Alice Gallery, Almine Rech, Ancienne Nonciature, Berlin Brussels Art Projects, Bernier/Eliades, Branche & Lebrun, BS Galleria, Chiquita Room, Christie's Belgium, Colnaghi, Damien & The Love Guru, Dorotheum, Émilie Dujat, Esther Verhaeghe – Art Concepts, Galerie Christophe Gaillard, Galerie de la Béraudière, Galerie Eric Mouchet, Galerie Greta Meert, Galerie La Forest Divonne, Galerie Nathalie Obadia, Gladstone, IN-GATE Gallery, Irène Laub Gallery, KIN, Lodovico Corsini, Martins & Montero, Maruani Mercier, Mendes Wood DM, Nino Mier Gallery, Nosbaum Reding, Pierre Marie Giraud, Rodolphe Janssen, Schönfeld Gallery, SEPT, Sorry We're Closed, Sotheby's Belgium, Spazio Nobile, Stems Gallery, SYBIL, Wouters Gallery, Xavier Hufkens.

Participating Museums, Institutions and Private Collections
Art Contest, Boghossian Foundation, Cloud Seven, Fondation CAB, Fondation Walter & Nicole Leblanc, Jewish Museum of Belgium, La Loge, MAD Brussels, TheMerode, Vanhaerents Art Collection, WIELS.
 
Participating Artist-run Initiatives
CCINQ, Celador, Gilbard, Hectolitre, Komplot, Level Five, MINERVE, Pepper's Ghost & Mennowski, SB34, SPASSS, Superdeals, The Green Corridor, The Smoking Room - Chez Michel, URBAN SOCIETIES, WIELS - Affiliate, Winona.
 
Brussels City Guide for Art Lovers and All-Access Pass
The Brussels City Guide for Art Lovers, published by MER. Books / Borgerhoff & Lamberigts in collaboration with Glean, offers visitors an introduction to Brussels' art scene through four walking routes and two cycling itineraries. These curated journeys lead readers through a selection of essential destinations, highlighting art, culture, and independent initiatives throughout the city. The guide will officially launch on September 9, 2026 and will be available from the RendezVous bookshop as well as bookstores across Belgium. Whilst most of RendezVous’ activities are free of entry, an all-access pass will offer discounted entry for one week to all participating ticketed institutions.

About RendezVous – Brussels Art Week
RendezVous — Brussels Art Week is a yearly recurring event, celebrating the richness and variety of the Brussels contemporary art scene, connecting galleries, institutions, artist-run spaces, and collective artist studios. Each September, after the summer pause, RendezVous demarcates the starting point for all these dynamic art forces to come into play again.
 
Website | Instagram | https://rendezvousbxl.com/ @rendezvousbxl

About the Founders
Founders Laure Decock and Evelyn Simons have both been operating in the Brussels’ art field and beyond for the past 10 years. Laure has worked for galleries such as Almine Rech Gallery, Albert Baronian and Axel Vervoordt, and served as a consultant with focus on fundraising for WIELS, La Loge and Netwerk Aalst. She was a founding member of Elders Collectief, and managed the Friends & Patrons Programme for the Belgian Pavilion in Venice with Miet Warlop. Evelyn has been active as a curator, both freelance (for Fondazione Prada, Casino Luxembourg, KANAL, FOMU and others) as well as in artistic directional roles at Horst Arts & Music and Fondation CAB. She is co-artistic director for the upcoming Busan Biennale 2026. Their complementary backgrounds combine experiences in working with galleries, private foundations and public institutions; working on strategy, development, partnerships and fundraising; as well as curating and writing on contemporary art. Passionate about the richness and variety of the Brussels’ art scene, they are excited to bundle their expertise, ambitions and network for this celebration of contemporary art in a city they both call home.

Websites | https://evelynsimons.com/ www.lauredecock.com

Image Credits:
Courtesy of RendezVous – Brussels Art Week 2026.

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TIMUR SI-QIN PRESENTS MARIPOSITA AT ART BASEL UNLIMITED

Unlimited Sector Opening: June 15, 2026 | 4 – 8 PM
VIP Days: June 16 – 17, 2026 | 11 AM – 8 PM
Vernissage: June 17, 2026 | 4 – 8 PM
On View: June 18 – June 21, 2026

June 3, 2026 (Basel, Switzerland) – SOCIÉTÉ is pleased to announce Mariposita, an immersive sculptural installation by Timur Si-Qin for Art Basel Unlimited, on view from June 18 – June 21, 2026. 

A German-born artist of Mongolian-Chinese descent, Si-Qin works across sculpture, moving image, and installation to imagine new spiritual protocols for relating to the living world in the face of climate change and biodiversity collapse. Mariposita inaugurates a new body of works engaging with the Peruvian Amazon, which will be exhibited at SOCIÉTÉ in November 2026. The work takes its title from the Spanish word for “little butterfly,” and from the blue morpho butterflies, among other species, that Si-Qin encountered during periods of isolation deep in the Ucayali region of the Peruvian Amazon. Based on 3D scans made by the artist of a Renaco tree and its surrounding pond ecosystem, the installation translates buttress roots, insects, water, plant matter, and reflected light into stainless steel and moving image. Reproduced at a 1:1 scale, it spans 4.4 by 4.2 meters across the floor and rises to 2.2 meters in height, presenting a pristine fragment of a living tree and its ecosystem at full scale. Through its combination of sculptural and moving-image elements, the work creates a space of heightened attention in which technological reproduction becomes a devotional act: a form of mirroring, naming, and reminding viewers that such environments still exist, even as their existence is increasingly threatened.

Unlike traditional casting methods, which would require harvesting and killing the tree, Si-Qin’s 3D scanning process documents the Renaco and its ecosystem without physical harm. The scans are then 3D printed in segments in castable resin before being welded, finished, sandblasted, and polished, resulting in a translation that is at once technologically precise and ethically grounded. Despite using cutting-edge technologies to create his works, Si-Qin’s focus is on nature itself. “I’ve always felt that my work has been misinterpreted as being about technology. It has always been about nature,” Si-Qin has said. “I don’t see technology as a separate ontological category. Since we’ve made cave paintings we‘ve been using technology to make art. It’s simply what’s available.”

Si-Qin’s engagement with trees as subjects of devotional attention has been central to his practice for several years, rooted in the conviction that the displacement of nature from the center of Western spiritual life is inseparable from the environmental crisis we now face. His monumental commission Sacred Footprint (2024), permanently installed in the atrium of Meta’s New York headquarters, synthesized 3D scans of multiple tree species from the Catskills and Adirondacks into a single 50-foot suspended form in stainless steel and aluminum. Mariposita marks a significant shift in this ongoing inquiry: where Sacred Footprint draws multiple trees to construct a universal symbol, Mariposita is rooted in a single, specific encounter: one tree, one pond, one ecosystem, which the artist experienced during periods of extended isolation deep in the Peruvian Amazon.

For Si-Qin, Mariposita is a meditation on the concept of the pristine. For most people in contemporary societies, truly wild places are rarely, if ever, experienced. The pristine names an encounter with living worlds so intact, vivid, interdependent, and self-generating that they can feel almost impossible from within contemporary life. As direct experiences of such ecosystems become increasingly rare, images of the pristine are often dismissed as fantastical, romantic, or merely aspirational. Yet this apparent unreality reveals how distant modern culture has become from the living systems that sustain it.

“I‘m always trying to go towards the most realistic depiction of nature because I think nature is herself the most radical,” Si-Qin explains, “For me, the process of seeing nature and trying to depict it is a meditative and devotional practice in itself.” In Mariposita, this devotional act of mirroring is both an artistic method and an ecological ethic: a gesture toward the forest spirits of the Ucayali, the fragile worlds threatened by extraction and deforestation, and the possibility of learning to walk differently within the living fabric of the earth.

This project was realized in collaboration with Magician Space and the Sigg Art Foundation.

NOTES TO EDITORS

Address
Messe Basel
Messeplatz 10 
4058 Basel
Switzerland

Opening Hours

Unlimited Sector Opening
Monday, June 15, 2026 | 4 – 8 PM, First Choice
Monday, June 15, 2026 | 6 – 8 PM, Preview

VIP Day
Tuesday, June 16, 2026 | 11 AM – 4 PM, First Choice
Tuesday, June 16, 2026 | 4 – 8 PM, First Choice, Preview
Wednesday, June 17, 2026 | 11 AM – 8 PM, First Choice, Preview, One Day VIP & Two Day VIP

Vernissage 
Wednesday, June 17, 2026 | 4 – 8 PM, VIP Card and Ticket Holders

Public Days
Thursday, June 18, 2026 | 11 AM  – 7 PM, VIP Card and Ticket Holders
Thursday, June 18, 2026 | 7 –  11 PM, Unlimited Night Ticket Holders
Friday, June 19, 2026 | 11 AM  – 7 PM
Saturday, June 20, 2026 | 11 AM  – 7 PM
Sunday, June 21, 2026 | 11 AM  – 7 PM

VIP Hour for Unlimited Sector, Hall 1 
Thursday, June 18, 2026 | 10 – 11 AM
Friday, June 19, 2026 | 10 – 11 AM
Saturday, June 20, 2026 | 10 – 11 AM
Sunday, June 21, 2026 | 10 – 11 AM

About Timur Si-Qin:

Timur Si-Qin (b. 1984, Germany) is a New York-based artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing, and in the American Southwest. Si-Qin was recently featured in the exhibition Science/Fiction — A Non-History of Plants at Foto Arsenal Wien, which travelled from MEP, Paris. His work has been extensively shown in solo exhibitions in Europe, the United States, and Asia, and was included in exhibitions at The High Line, New York; Schirn, Frankfurt; K11 Art, Shanghai; Musée d’Art Moderne, Paris; Ullens Contemporary Art Center, Beijing; The Center for Contemporary Art, Tel Aviv; Hamburger Bahnhof, Berlin; KW Institute for Contemporary Art, Berlin; and Kunsthalle Wien, among many others. He has participated in large-scale international exhibitions such as the Bangkok Art Biennale, Bangkok; Diriyah Contemporary Art Biennial, Saudi Arabia; Kunsttriennale Beaufort, Belgium; Riga International Biennial of Contemporary Art, Latvia; Ural Biennale, Russia; 9th Berlin Biennale, Germany; and Taipei Biennial.

About SOCIÉTÉ:

SOCIÉTÉ is a Berlin-based contemporary art gallery with a global reach. The gallery’s bold curatorial approach plays a pivotal role in advancing its artists’ visions, supporting major museum exhibitions, biennials, and acquisitions by leading institutional collections worldwide. Operating in both the primary and secondary markets, SOCIÉTÉ provides curated advisory services to select clients.

Beyond its exhibitions, the gallery’s publishing initiative, EDITION SOCIÉTÉ, collaborates with prominent writers and graphic designers to produce artist books, catalogues, and, more recently, high-end artist editions.

SOCIÉTÉ is an active presence at major international art fairs, including Art Basel, Art Basel Paris, Art Basel Miami Beach, Frieze New York, Frieze London, ARCOmadrid, and Gallery Weekend Berlin.

Image Credits: 
1. Timur Si-Qin, Mariposita, 2026. Stainless steel, LED screen. 220 x 440 x 420 cm. Courtesy of the artist and SOCIÉTÉ, Berlin.

2. Timur Si-Qin, Mariposita, 2026 (detail). Stainless steel, LED screen. 220 x 440 x 420 cm. Courtesy of the artist and SOCIÉTÉ, Berlin.

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CASA LANGOSTA OPENS IN MEXICO’S DESERT | NEREIDAS’ FIRST DESIGN RESIDENCE REDEFINES CURATED TRAVEL EXPERIENCES

May 28, 2026 – Nereidas presents a new hospitality concept and unveils its first flagship property Casa Langosta in Baja California, Mexico. Nestled in the heart of the rural, awe-inspiring landscape of the desert, the residence sets a new precedent for travel, with a meticulous approach to design philosophy, hospitality, and exceptional service in individually designed properties – offering a highly curated travel experience. Nereidas offers travelers an intimate connection with the locality, enhanced by the essence of architectural minimalism and the privacy the residency boasts. Designed by architect Raquel Font, founder of studiofont, Casa Langosta honors the principles of simplicity, material, and structural truth, reflecting a less invasive, more playful architectural style of contemporary Mexican design that allows an enriching interaction with the natural elements.

Located ten minutes from the northern end of Todos Santos, a coastal town also known as Pueblo Magíco for its historical and architectural significance, the property and its plot span 8,000 square meters, in a region celebrated for its dramatic desert terrain. Casa Langosta offers panoramic views of the Sierra de la Laguna Mountains, the Pacific Ocean, and the rare privilege of pristine, untouched beaches nearby. Seen as an extension of its environment, Casa Langosta features three distinct bedrooms and a fully commercial-grade kitchen, while the plot also encompasses a shared space with a 180 square meter-sized swimming pool, a dining area with a custom-made grill of the highest culinary standards, and a fireplace lounge, adorned with two-level platforms fully integrated into the untouched landscape.

The property provides a refined, hotel-like experience, seamlessly blending attentive service with bespoke hospitality. Fully staffed, it offers daily breakfast, turndown service, and 24-hour security, ensuring every comfort is met. A dedicated concierge tailors each guest's stay, curating personalized activities that align with individual interests and rhythms. Whether it’s private island tours, authentic cooking classes, or horseback rides through the Agua Blanca mountains, Nereidas crafts custom itineraries that allow guests to discover the essence of the region, forging genuine connections with its culture and natural landscape. The commodities of a five-star hotel are seamlessly intertwined with the ease of a place that feels like home.

Nestled in a secluded yet accessible location, the property embraces the landscape’s splendor, marked by resilient sculptural cacti native to the region. Focused on simplicity, the design features bold volumes, geometric forms, and raw materials such as rustic pink concrete. Through triangular outlines with open angles, each bedroom is framed with curved walls, enhancing natural ventilation. Built-in furniture such as closets and beds ensures a coherent aesthetic, while the floor-to-ceiling windows frame distinctive views of the inimitable sculptural cosmos of nature. While each bedroom encourages intimacy, the shared facilities offer open-space living, epitomizing the expansive landscape and its infinite views. The cylindrical volume of the space holds a vast pool, extended by a concrete structure with a longitudinal view of the desert and the ocean.

Complementing the architectural design, the interior intervention of Niños Heroes brings artisanal and carefully curated pieces to the space. The vision unfolds as a landscape of objects, each distinct in nature, material, and origin, featuring original Don Shoemaker lounge chairs, a single-edition ‘Silla Tropical’ by Fabian Cappelo, and dining chairs by Oscar Hagermann. Among the lightning, the interior curation includes lamps by Jasper Morrison, the iconic ‘Cesta’ by Miguel Milá, and bespoke fiberglass pieces by emerging design studio Sardina. The residence is decorated with various Moroccan rugs and ceramics, which Niños Heroes carefully selected while traveling to Tangiers. The collection of vintage books on art, poetry, and Mexican folk traditions further infuses the space with character and cultural richness.

Ensuring that the infrastructure respects and complements the landscape, solar energy powers the entire structure, and a water reuse system further underscores the project’s durable approach. Every plant moved during construction has been replanted to preserve the natural flora and endemic plants of the region while upholding the untouched look of the surrounding plot.

Casa Langosta reflects Nereidas‘ philosophy of cultured travel, where thoughtful design and bespoke hospitality converge to offer an intimate, experiential connection between the travel, the architecture, and the surrounding landscape.

NOTES TO EDITORS:

Address

Camino Playitas, Agua Blanca

Baja California Sur

Mexico

Bookings

Bookings can be made via Nereidas’ official website nereidas.travel

Nereidas offers bespoke amenities and experiences for its guests, with a range of thoughtful services and activities designed to meet diverse interests and preferences. The property is fully staffed and includes breakfast, daily turndown service, and 24-hour security. In addition, two renovated 1990s Toyota 4Runners are available for use.

Credits:

1. Nereidas. Courtesy Nereidas.

2. Nereidas, 2026. Credit: Júlia Badosa

3. Nereidas, 2026. Credit: Júlia Badosa

4. Nereidas, 2026. Credit: Júlia Badosa

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G2 KUNSTHALLE LEIPZIG PRESENTS PUBLIC AND BEYOND JUDGMENT | A SOLO EXHIBITION BY JEANETTE MUNDT

Press Preview: June 11, 2026 | 11 AM – 1 PM

Opening Reception: June 11, 2026 | 5 – 8 PM

On View: June 12 – October 4, 2026

May 26, 2026 (Leipzig, Germany) – Departing from direct representation is not merely an aesthetic choice, but a vital means of grappling with a world in which the very notion of “the real” is under siege—where images are endlessly manipulated, truths are contested and perception itself is a battleground. In Public and Beyond Judgment, Jeanette Mundt’s first institutional solo exhibition in Germany, the New York artist presents a new series of paintings and a large-scale mural in which familiar art historical motifs accumulate in frenetic layers, losing their contours and veering into abstraction. The exhibition’s title cites a letter Gustave Courbet wrote to his parents, in which he described his paintings as “received by the public and beyond judgment.” Mundt was drawn to the phrase immediately—its “punk” defiance, its suggestion that painting at its most potent operates on its own terms.

Mundt’s subject matter is almost incidental; what matters is what the paint does. Feeling increasingly unmoored in a contemporary visual culture that she describes as “groundless” and “history-less,” she has turned back to genre painting as a means of locating herself, using it as a painterly ground to respond to contemporary culture on a visceral, material level. Classic art historical motifs function as a vehicle rather than a subject: traditional motifs are disassembled and manipulated in an instinctive, almost trance-like painterly state, allowing Mundt to approach abstraction through the back door of representation. In a monoprint-like process, she presses and displaces pigment across the surface of the canvas, generating forms that—although inspired by classical nudes, floral still lifes, or landscapes—impart a contemporary sense of dislocation and pressure. Building up her compositions through layers of oil paint, she experiments with different marks and gestures, partially ceding control by literally moving paint around with implements like knives, cardboard, and plastic. In a world increasingly saturated with images, where their power has waned and the analogue gesture competes with endless digital reproduction, Public and Beyond Judgment asks what potency paint can still hold—and what it means to make a contemporary image in a genre so thoroughly weighted by the past.

NOTES TO EDITORS:
Public and Beyond Judgment by Jeanette Mundt will be on view at G2 Kunsthalle, Leipzig from June 12 – October 4, 2026. 

Address
Dittrichring 13
04109 Leipzig

Press Preview

June 11, 2026 | 11 AM – 1 PM

Opening Reception
June 11, 2026 | 5 – 8 PM 

Opening Hours
Wednesday | 3 – 8 PM
Friday – Sunday | 12 – 5 PM 
Closed on Mondays, Tuesdays and Thursdays

About Jeanette Mundt:
Jeanette Mundt (b. 1982, USA) lives and works in New York. Mundt has exhibited widely in solo and group exhibitions at venues including TANK, Shanghai; New Museum, New York; Museion, Bolzano; G2 Kunsthalle, Leipzig; Westfälischer Kunstverein, Münster; Musée d'art Contemporain, Bordeaux; David Zwirner, New York; Company, New York; Overduin and Co., Los Angeles; Gavin Brown's enterprise, New York; and Bridget Donahue, New York. Her work has been included in the 2019 Whitney Biennial, as well as group exhibitions including The Rest, Lisson Gallery; The Vitalist Economy of Painting, curated by Isabelle Graw at Galerie Neu, Berlin; Painting: Now and Forever, Part III, Matthew Marks and Greene Naftali, New York; and Sputterances, Metro Pictures, New York.

About G2 Kunsthalle: 

Since its founding in March 2015, the G2 Kunsthalle has publicly exhibited holdings from the private Hildebrand Collection. The focus of the collection is on contemporary painting in Leipzig expanded by other media as well as current national and international positions.

The G2 is a private non-profit institution and has set itself the statutory goal of promoting young emerging artists. Since November 2015, the G2 Kunsthalle has been realizing special exhibition projects in collaboration with artists. The aim of the exhibition activity is a continuous dialogue of the exhibits from the collection with individual or even thematic group exhibitions.

Image credit:
Jeanette Mundt, Fish and Lemons, 2026. Courtesy of the artist and SOCIÉTÉ, Berlin.

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ENEA LANDSCAPE ARCHITECTURE BRINGS THE TREE MUSEUM TO THE HEART OF ART BASEL 2026 | A NEW IMMERSIVE LANDSCAPE INSTALLATION

Award-winning landscape architecture firm led by Enzo Enea announces its seventh consecutive year of partnership with Art Basel in Basel, transforming the fair’s Rundhof into a living landscape. 

On view: June 18 – 21, 2026
Press + VIP Breakfast and Panel Discussion: June 17, 9 – 11 AM
in conversation with Enzo Enea, Karsten Greve, Kathleen Jacobs

June 11, 2026 (Basel, Switzerland) – For Art Basel in Basel 2026, Enea Landscape Architecture transforms the Rundhof (round inner yard) of the fair into an immersive natural environment, inviting a state of contemplation at the intersection of art and nature in one of the most influential art contexts. This year's installation, The Living Fragment: Enea Tree Museum at Art Basel, on view during VIP days June 16 – 17, and public days June 18 – 21, 2026, showcases mature trees alongside wood seatings and wall coverings at the social heart of the fair. The installation reflects the legacy of the Enea Tree Museum in Rapperswil-Jona, near Zurich, a unique open-air museum where living trees and artworks are presented together in a curated landscape. Rooted in the belief that nature deserves the same contemplation we reserve for art, the museum brings rescued trees in dialogue with works by internationally renowned artists, such as John Giorno, Sylvie Fleury, Jaume Plensa, and Jürgen Drescher.

Amid the visual vibrancy of an international art fair, The Living Fragment offers a counterpoint: a place of tranquility, presence, and perception. The installation presents trees as carriers of time, planting as a living system, and landscape as spatial experience into a shared curatorial narrative. Originating from Europe, North America, the Caucasus, and East Asia, the trees selected for the installation represent a living atlas of the natural world, their diversity of form, texture, and seasonal character embodying the biodiversity at the heart of Enea's practice. These elements interact to form a composed landscape: one that creates habitats and influences the microclimate. Deliberately free of permanent artworks, the atmosphere emerges from living material and sculptural wooden wall structures charred using the traditional Japanese Yakisugi technique. The installation features wooden seating elements developed and produced by Riccardo Monte, alongside rugs by Maana Studios, both exclusively created for Enea. Together, these bespoke pieces reflect a shared commitment to natural materials, craftsmanship, and timeless design, creating an inviting space where visitors can engage in dialogue on the interplay of art, nature, and people.

A testament to Enzo Enea's lifelong commitment to preserving trees, the Enea Tree Museum stands as the only museum of its kind in the world. For more than 25 years, Enea has rescued trees, including ancient, mature specimens, from construction sites and developed areas, giving them new roots on the open-air museum grounds. Here, trees are presented as works of natural art, placed on equal footing with sculpture in a contemplative landscape. By presenting art by renowned artists alongside the trees, Enea demonstrates that architecture, art, and design are not only connected with nature but often originate from it in form and diversity. In the words of architect Enzo Enea: "Trees are living sculptures shaped by time, climate, and human care. Placing them alongside art feels entirely natural to me," a conviction that makes bringing a fragment of the museum to Art Basel in Basel all the more intentional.

The foundations for Enea were laid by Enzo Enea's father in 1973 with a garden decoration business. Since taking over and founding Enea Landscape Architecture in 1993, Enzo Enea has spent more than three decades redefining what landscape design can mean. The award-winning firm is known for preserving and designing with mature trees, committed to sustainable landscape design that positively influences local microclimates and counteracts the effects of climate change. Its work is grounded in the conviction that landscape architecture carries a responsibility that extends beyond aesthetics, and that landscape, at its most powerful, is a form of cultural practice. Enea collaborates with leading architectural studios, such as David Chipperfield Architects, Zaha Hadid Architects, BIG Bjarke Ingels Group, OMA (Rem Koolhaas), Herzog & de Meuron, Tadao Andō, Ingenhoven Architects, and ACPV Architects. Notable projects include the Rolex Building, New York; Rockefeller Center, New York; Apple Headquarters, Munich; Bulgari Hotel, Beijing; Peninsula Hotel, Istanbul, London; Four Seasons, Cartagena; University of St. Gallen; and Parque Global, São Paulo, as well as the art project Arena for a Tree at the 60th Venice Biennale in collaboration with Klaus Littmann.

NOTES TO EDITORS:
The Living Fragment: Enea Tree Museum at Art Basel
On view: June 15 – 21, 2026, at the Rundhof of Art Basel in Basel
Press + VIP Breakfast and Panel Discussion on June 17, from 9 – 11 AM
Enzo Enea, gallerist Karsten Greve, and artist Kathleen Jacobs in conversation
 
Address:
Messe Basel  | Rundhof, Hall 2
Messeplatz 10 
4058 Basel, Switzerland
 
Opening hours:
Monday, June 15 | Unlimited Hall 1 Opening | 4 PM – 8 PM (by invitation only)
Tuesday, June 16 | 11 AM – 8 PM (by invitation only)
Wednesday, June 17 | 11 AM – 8 PM (by invitation only)
Thursday – Sunday, June 18 – 21 | 10 AM – 11 AM (early VIP hours) | 11 AM – 7 PM (public day hours)

For additional information on the Enea Tree Museum, please visit here.
For additional information on Riccardo Monte and Maana Studio’s Collections for Art Basel in Basel, please visit here.
 
About Enea Landscape Architecture:
Headquartered in Rapperswil-Jona, Enea is an international landscape architecture and horticulture company with offices in Zurich, New York City, Miami, and Milan. Led by Enzo Enea, the second generation who took over the company for garden decoration from his father in 1993, the award-winning firm is known for preserving and designing with mature trees and is committed to creating sustainable landscape design that positively influences the local microclimates and counteracts the effects of climate change.
enea.ch
 
About Enzo Enea:
Enzo Enea, a graduate industrial designer who studied landscape architecture in London, took over his father’s garden decoration company, founded in 1973, and transformed it into a landscape architecture and horticulture firm in 1993, growing it into a team of more than 240 professionals. In 2010, Enzo Enea opened the world’s only tree museum in Rapperswil-Jona, located within Enea’s expansive 7.5-hectare headquarters, which also includes a tree nursery, arboretum, design showroom, and a carpentry workshop.
 
About Art Basel:
Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong, Paris, and Qatar. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded through new digital platforms including Zero 10 and the Art Basel App, and initiatives such as the Art Basel and UBS Global Art Market Report and Survey of Global Collecting, Art Basel Awards, and Art Basel Shop. For further information, please visit artbasel.com.
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Credits:
1. Enea Tree Museum. © Enea Landscape Architecture
2. Art Basel Rundhof, 2026. © Enea Landscape Architecture

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BELVEDERE HOTEL MYKONOS ANNOUNCES 2026 CULINARY PROGRAMME FEATURING IODIO POP-UP WITH MICHELIN-STARRED CHEF, MATSUHISA MYKONOS AND COCCO

April 30, 2026 (Mykonos, Greece) – For the 2026 season, Belvedere Hotel Mykonos unveils a fully curated gastronomic programme that reinforces its position as one of the island’s most distinctive culinary destinations. Alongside Cocco and Matsuhisa Mykonos, the season features re-imagined dining experiences, a pop-up with Athens-based restaurant IODIO and a new culinary concept at Belvedere Hilltop Rooms & Suites, each reflecting the hotel’s signature approach to hospitality rooted in creativity, place and connection.

A cornerstone of the Belvedere’s culinary programme, Matsuhisa Mykonos returns from May 22 through early September. As one of the earliest European outposts of Nobu Matsuhisa’s acclaimed brand, the open-air restaurant continues to define the hotel’s culinary identity. Matsuhisa Mykonos blends Japanese precision with Peruvian influence through its signature “New Style Japanese cuisine,” while offering sweeping views over Mykonos Town and the Aegean Sea.

Building on the celebrated legacy of Matsuhisa Mykonos, Belvedere will host the Nobu Festival 2026 from June 12 —15. The festival welcomes world-renowned Chef Nobu Matsuhisa to Mykonos for a series of exclusive culinary experiences and immersive events, offering guests a rare opportunity for direct engagement with the chef and his team.

Following the success of its debut, IODIO returns for an extended residency from July 10 — August 23, 2026, taking over the hotel’s poolside dining area. Led by two-Michelin-starred chef Georgianna Hiliadaki, the Athens-based concept brings one of the capital’s most acclaimed seafood restaurants to Mykonos. The menu celebrates the purity of the sea through refined raw dishes, marinated fish, and contemporary Mediterranean interpretations, delivered in an intimate, sunset-facing setting adjacent to Matsuhisa.

Complementing these offerings, the Belvedere Pool Club introduces a refreshed all-day dining concept for the season, featuring an updated menu alongside a curated cocktail selection and an expanded wine list of local and international producers. This year also marks a new direction for breakfast, curated by the Athens-based team Hydra Edition, reimagining the morning experience through a contemporary lens rooted in Greek tradition. The menu focuses on simple, seasonal ingredients presented in a natural yet elevated way that reflects the understated elegance and sense of place at the heart of Belvedere.

Extending the hotel’s F&B experience further, Belvedere Hilltop Rooms & Suites, located just a few minutes from the main property, introduces a more relaxed, island-inspired dining dimension. Rooted in Greek and Cycladic culinary traditions, the concept evolves throughout the day—from breakfast to lunch and traditional sharing plates—offering a more grounded expression of Mykonian flavours in a setting that evokes the feeling of a private island home.

Just a short stroll away in Little Venice, Cocco Mykonos returns with a refreshed Mediterranean-inspired menu. Designed as an intimate waterfront bistro, it highlights seasonal ingredients and draws inspiration from traditional recipes, offering a relaxed yet refined dining experience that moves in rhythm with the island. Cocco has become a favourite among locals as well as visitors, known for its grounded, island-led approach to dining by the sea.

With its selection of internationally celebrated chefs and distinctive dining concepts, Belvedere Hotel Mykonos reaffirms its commitment to creating memorable culinary experiences that define the island’s vibrant gastronomic scene.

NOTES TO EDITORS:

Address
Belvedere Hotel Mykonos
School of Fine Arts District, 84600, Mykonos, Greece
Facebook | Instagram | Belvedere Hotel, @belvederehotel
Facebook | Instagram | Matsuhisa Mykonos, @matsuhisamykonos

Image credits:
1. Installation View of Matsuhisa Mykonos at Belvedere Hotel Mykonos. Courtesy of Belvedere Hotel Mykonos.
2. Installation View of IODIO pop-up at Belvedere Hotel Mykonos. Courtesy of Belvedere Hotel Mykonos.
3. Installation View of Matsuhisa Mykonos at Belvedere Hotel Mykonos. Courtesy of Belvedere Hotel Mykonos.
4. Installation View of Cocco restaurant. Courtesy of Belvedere Hotel Mykonos.

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SOCIÉTÉ PRESENTS VOLVERÉ Y SERÉ MILLONES | A SOLO EXHIBITION BY WYNNIE MYNERVA FOR GALLERY WEEKEND BERLIN

Opening Preview: April 30, 2026 | 6 – 8 PM
On View: May 1 – June 27, 2026

April 28, 2026 (Berlin, Germany) –  SOCIÉTÉ is pleased to announce Volveré y seré millones, a solo exhibition with Wynnie Mynerva, on view from May 1 – June 27, 2026. Translated as “I will return and I will be millions,” the title references the final words of revolutionary Andean leader Túpac Katari, whose legacy of collective struggle against Spanish colonial rule informs the exhibition’s exploration of relationality, communal memory, and resistance. Volveré y seré millones emerges from three concerns: the violence in the Middle East, the global construction of Berlin as an icon of “sexual liberation,” and the artist’s own process of migration and legalization in Europe. Faced with the coldness of war, the persecution of migrants, and the ongoing erasure of alterity, an urgent question emerges: what forces resist? Through new paintings, video works, and an installation, Mynerva examines broader forms of collective, social, and cosmological relationality. Drawing upon colonial histories, the experience of migration, and legacies of sexual liberation, the exhibition traces their search for new ways of loving, being loved, and resisting—signaling a “return home” to Andean thought.

In the territories that indigenous communities call Abya Yala, the concept of love as Europeans understand it did not exist before 1492. And yet deep emotions were bound to communal life, rooted in the conviction that everything is connected: bodies, nature, cycles of time, and ancestors. The isolated subject of Western thought does not exist in Andean thought. Bonds arise not from individual choice but from interdependence—the certainty that life is only possible within a web of mutual care that sustains and reproduces collective existence. Mynerva grounds Volveré y seré millones in this cosmological inheritance, quite literally absorbing myths—and potential futures—of resistance into the architecture of the space. A massive clay wall with embedded bits of organic matter and terracotta shards meets visitors upon entering the gallery. Redirecting the customary flow of the exhibition space, Mynerva’s installative intervention summons the Andean legend of Inkarri: the last Inca who was dismembered and buried beneath the earth. According to this story, his body regenerated in the soil, spawning seeds of resistance that, when he rises again, will ultimately restore order to a fraught and violent world, reinstating common values interrupted by the ravages of colonialism. The Inkarri myth tells of violence and destruction, but also persistence and struggle, affirming the impossibility of destroying a collective struggle. It is not only a story of the past but a model for the present—a framework for understanding how communities sustain themselves, and one another, in the face of forces designed to dispossess and divide.

Departing from their own experience of migration from an Andean to European context, Mynerva’s exhibition poses an urgent question that carries throughout the different works: whose bodies are legible and accorded rights, and which forms of attachment become possible—or necessary—amidst repressive structures. New paintings and the video work El amor en tiempos de colonialismo extend this inquiry into the present, tracing marriages between migrants—arrangements that do not follow a romantic logic, but rather an ethic of care, shared responsibility, and urgency. Within this framework, love is neither reduced to an intimate feeling nor to a private bond, but sustained through constant exchange. Every being exists only insofar as it is linked to others. “In this sense,” Mynerva asks, “what is love, if not a relational force—the energy that holds together bodies, territories, ancestors, and cycles of time?”

NOTES TO EDITORS:

Address
Wielandstraße 26
10707 Berlin

Opening Preview
April 30, 2026 | 6 PM – 8 PM 

Opening Hours
Tuesday – Saturday | 11 AM – 6 PM 
Closed on Sundays and Mondays

Gallery Weekend Berlin 

May 1 | 11 AM - 9 PM

May 2 | 11 AM - 6 PM

May 3 | 11 AM - 6 PM

About Wynnie Mynerva:
Wynnie Mynerva (b. 1992, Lima, Peru) lives and works between Berlin and Barcelona. They were recently a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam. Mynerva’s work has been the subject of solo exhibitions, including The Sweet Nectar of Your Blood at Mayoral, Barcelona; My Weaponized Body at Gathering, London; Presagio at Fondazione Memmo, Rome; The Original Riot at the New Museum, New York; and A Garden of Earthly Delights at Museo Amano, Lima. Their work has also been featured in group exhibitions at Museo de Arte de Lima; C3A, Córdoba; Ill Posto, Santiago de Chile; Sargent’s Daughters, New York; and Pedro Cera, Lisbon, among others. They have been shortlisted for numerous awards, including Pasaporte para un Artista (2020), the Banco Central de Reserva Painting Contest (2019, 2020), the Contemporary Art Award (2019, 2020), and the National Visual Arts Meeting of Trujillo (2018).

About SOCIÉTÉ:
SOCIÉTÉ is a Berlin-based contemporary art gallery with a global reach. The gallery’s bold curatorial approach plays a pivotal role in advancing its artists’ visions, supporting major museum exhibitions, biennials, and acquisitions by leading institutional collections worldwide. Operating in both the primary and secondary markets, SOCIÉTÉ provides curated advisory services to select clients.

Beyond its exhibitions, the gallery’s publishing initiative, EDITION SOCIÉTÉ, collaborates with prominent writers and graphic designers to produce artist books, catalogues, and, more recently, high-end artist editions.

SOCIÉTÉ is an active presence at major international art fairs, including Art Basel, Art Basel Paris, Art Basel Miami Beach, Frieze New York, Frieze London, ARCOmadrid, and Gallery Weekend Berlin.

Image credits:
1. Wynnie Mynerva, La persistencia, 2026. Óleo sobre lienzo. 254 x 190 cm. Courtesy the artist and SOCIÉTÉ, Berlin and Gathering London; Ibiza.
2. Wynnie Mynerva, El Amor en los tiempos de colonialismo, 2026. Videoarte. 6′ 34″. Courtesy the artist and SOCIÉTÉ, Berlin and and Gathering London; Ibiza.

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ESPACE LOUIS VUITTON VENEZIA PRESENTS DOKU THE ILLUSION, A SOLO EXHIBITION BY LU YANG

Press Preview: May 7, 2026 | 10 AM — 1 PM
On View: May 8 — October 4, 2026

April 1, 2026 (Venice, Italy) –  In parallel with the 61st International Art Exhibition — La Biennale di Venezia, marking the 20th anniversary of the Espaces Louis Vuitton and the 10th anniversary of the Fondation Louis Vuitton’s Hors-les-murs programme, the Espace Louis Vuitton Venezia presents DOKU The Illusion, a solo presentation by Chinese-born artist Lu Yang curated by Claire Staebler, on view from May 8 — October 4, 2026.

This exhibition is part of the Hors-les-murs programme, embodying the Fondation Louis Vuitton’s mission to mount international projects and reach a broader global audience through exclusive exhibitions at the Espaces Louis Vuitton in Tokyo, Munich, Venice, Beijing, Seoul and Osaka.

Represented by SOCIÉTÉ, Lu Yang has established a strong presence on the international art scene through the creation of virtual worlds presented as immersive video installations. His imagined universes — often marked by post-apocalyptic undertones — are grounded above all in Buddhist philosophy, engaging concepts such as dreams and waking, illusion and awakening, and the Madhyamaka inquiry into intrinsic nature. This philosophical framework intersects with a broader investigation into the structure of reality in the digital age.

Manga, video games and anime — contemporary visual idioms adopted by Lu Yang — function primarily as a formal vocabulary rather than as the conceptual foundation of his work. Through this visual grammar, the artist brings forth hybrid entities that move beyond fixed categories of identity and embodiment, opening a space to reflect on what it means to be human in the 21st century.

For his exhibition at the Espace Louis Vuitton Venezia, Lu Yang has created an installation featuring original sculptures and a video work centred on his new film DOKU The Illusion, the fourth chapter in the DOKU series, an ambitious narrative project the artist began in 2019. DOKU is a virtual character based on the digitalisation of the artist’s own face. The series depicts the solitary adventures of this multifaceted avatar, through which Lu Yang transcends the limits of the physical body and explores new forms of freedom through digital reincarnation.

The installation created by Lu Yang transforms the Espace Louis Vuitton Venezia into a cybernetic sanctuary, situated somewhere between a chapel and a futuristic refuge. At its core, the film DOKU The Illusion can be seen on a monumental LED screen, placed on an altar. This chapter is the series’ fourth instalment after The Self (2022), The Flow (2023), and The Creator (2025), and blends live-action footage with AI-generated imagery. It primarily unfolds against a backdrop of the deep-blue skies and expansive landscapes of Japan’s Izu Peninsula, forming a veritable road movie.

Taken in an immersive environment, visitors are greeted by two sculptures of Buddha holding the wheel of life, the eternal symbol of the cycle of existence. Thanks to a mirrored ceiling reflecting a floor that is characteristic of Venetian architecture, each visitor becomes part of the experience, their projected silhouette integrated into the installation itself for a liminal moment in time in which contemplation and dissolution merge and mirror, echoing the Buddhist quest for enlightenment.

Within this sanctuary-like space, the visitor watches DOKU hurtling along in a red vehicle, a symbol of freedom. The soundtrack — a blend of hip-hop, piano and traditional music — harmonises exquisitely with the voices, intimate narratives and palpable vibrations, reflecting the theme of the 61st International Art Exhibition — La Biennale di Venezia, IN MINOR KEYS.

NOTES TO EDITORS:
DOKU The Illusion will be on view at Espace Louis Vuitton Venezia from May 8 - October 4, 2026. 

Address
Espace Louis Vuitton Venezia
Calle del Ridotto 1351
30124 Venezia
Italia

Press Preview
May 7, 2026 | 10 AM – 1 PM 

Opening Hours
Monday – Sunday | 10:30 AM – 7 PM
Open on public holidays. Free entry.

About Lu Yang: 
Born in Shanghai (China), Lu Yang lives and works in Tokyo (Japan). He graduated from The China Academy of Art’s New Media Art Department in Hangzhou (China) and has since received tremendous worldwide attention with his immersive environments combining computer-generated videos, multimedia installations, sculptures and virtual performances.

In 2022, Lu Yang was named Artist of the Year by Deutsche Bank (Germany). That same year, his work was featured in WORLDBUILDING, an exhibition curated by Hans Ulrich Obrist at the Julia Stoschek Foundation in Düsseldorf (Germany), which later travelled to the Centre Pompidou-Metz (France). His upcoming projects include a projection of his work on The High Line in New York City (USA) and his involvement in the reopening of New Museum with New Humans: Memories of the Future (New York, USA, 2026).

Lu Yang has held solo exhibitions at major international institutions including UCCA — Ullens Center for Contemporary Art (Beijing, China, 2011), moCa Cleveland (Ohio, USA, 2017), M WOODS (Beijing, China, 2018), ARoS Aarhus Kunstmuseum (Denmark, 2021-2022), Mori Art Museum (Tokyo, Japan, 2022), Kunstpalais Erlangen (Germany, 2022), PalaisPopulaire (Berlin, Germany, 2022-2023), the Zabludowicz Collection (London, UK, 2022-2023), Kunsthalle Basel (Switzerland, 2023), Fondation Louis Vuitton (Paris, France, 2024), K11 (Hong Kong, China, 2025), and Amant (New York, USA, 2025-2026).

His work has also been presented in significant group exhibitions at such institutions as Fridericianum (Kassel, Germany, 2014), ICA — Institute of Contemporary Arts (London, UK, 2016), Rockbund Art Museum (Shanghai, China, 2018), CCA Tel Aviv-Yafo (Israel, 2019), Hamburger Bahnhof (Berlin, Germany, 2019-2022), The Milk of Dreams at the 59th Biennale di Venezia (Italy, 2022), Muzeum Sztuki (Łódź, Poland, 2022), Times Square Arts (New York, USA, 2023), and the Centre Pompidou (Paris, France, 2024-2025).

About the Curator:
Claire Staebler worked as a curator at the Fondation Louis Vuitton, Paris (France), from 2012 to 2022. She has been involved in many exhibitions, events and catalogs, including Contact: Olafur Eliasson (2014), Bentu, Artists at a Time of Turbulence and Transformation (2016), Being there: South Africa, a contemporary art scene (2018), Fugues in Color (2022) as well as co-curator of the programme dedicated to emerging artists "Open Space".

In 2012, she was associate curator at La Triennale Intense Proximity (Palais de Tokyo, Paris), under the artistic direction of Okwui Enwezor. From 2007 to 2009, she was the artistic director of the Pinchuk Art Centre, Kyiv (Ukraine). Since 2022, she is the director of Frac des Pays de la Loire (Contemporary Regional Arts Fund, Carquefou, France).

About the Fondation Louis Vuitton:
The Fondation Louis Vuitton serves the public interest and is exclusively dedicated to contemporary art and artists, as well as 20th-century works to which his inspirations can be traced. The collection and the exhibitions it organises seek to engage a broad public. The magnificent building created by the Canadian-American architect Frank Gehry, and already recognised as an emblematic example of 21st-century architecture, constitutes the Fondation’s seminal artistic statement. Since its opening in October 2014, the Fondation has welcomed more than eleven million visitors from France and around the world.

The Fondation Louis Vuitton commits to engage in international initiatives, both at the Fondation and in partnership with public and private institutions, such as the Pushkin Museum in Moscow and the Hermitage Museum in Saint Petersburg (Icons of Modern Art The Shchukin Collection in 2016 and The Morozov Collection in 2021), the MoMA in New York (Being Modern: MoMA in Paris), the Courtauld Institute of Art in London (The Courtauld Collection. A Vision for Impressionism), the San Francisco Museum of Modern Art and the Baltimore Museum of Art (Joan Mitchell Retrospective) among others. The Fondation also developed a specific “Hors-les-murs” programme taking place within the Espaces Louis Vuitton in Tokyo, Munich, Venice, Beijing, Seoul and Osaka, presenting exhibitions of artworks from the Collection. These exhibitions are open to the public free of charge.

Image credits:
1 - 3.  DOKU The Illusion, 2026. Video installation, colour, sound. © Lu Yang

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ITALIAN HOSPITALITY LEGEND LE SIRENUSE OPENS LE SIRENUSE MARE | THE AMALFI COAST’S FIRST STANDALONE BEACH CLUB

April 1, 2026 (Nerano, Italy) – On the 75th anniversary of its foundation, celebrated Italian hotel Le Sirenuse will unveil Le Sirenuse Mare, a beach club created in its own stylish image, opening on April 23, 2026. Five years in the making, this passion project of the Positano resort’s co-owners Antonio and Carla Sersale and their sons Aldo and Francesco is set to become the Amalfi Coast’s essential new beachside rendezvous.

“At Le Sirenuse, the hotel I inherited from my father, we like to take the long view”, declares Antonio. “Three quarters of a century after my family turned their seaside home in Positano into a small hotel, a project we’ve pursued for decades is finally coming to fruition. And we couldn’t be prouder: Le Sirenuse Mare distils the dolce vita spirit, the pursuit of quality and the love of beauty of its parent property in a spectacular beachfront setting”.

The new beach club is located in the laid-back fishing village and beach resort of Marina di Cantone. Habitually referred to as Nerano, from the nearby hilltown to which it is attached, this charming seaside enclave lies just 25 minutes by boat from Positano and Le Sirenuse. Draping itself across a series of wide terraces that ascend from a pebble beach with two jetties, one for boat access and the other dedicated to sea bathing, Le Sirenuse Mare is the result of a creative convergence, an alignment of talents in the fields of architecture, design, artisanship, fashion, contemporary art and landscape design. Among its key features are the 180-cover Le Sirenuse Mare Restaurant, three bars distinct in design, focus and ambience, and a brand new Emporio Sirenuse flagship store.

Le Sirenuse Mare Restaurant, open for lunch daily, is rooted in Mediterranean and Campanian traditions. Under the dynamic tutelage of chef Francesco De Simone, it celebrates the southern Italian talent for the good life, for conviviality, for simplicity carried to a peak of excellence. The culinary classics of Naples and the Amalfi Coast, with their warm and vibrant flavours, feature alongside raw and grilled vegetables and seafood in plates designed for sharing. Committed to freshness and seasonality, the chef has built a trusted local network of growers, speciality food artisans and fisherfolk. On the upper terrace of the Restaurant & Bar area, the Dolce Far Niente Bar serves a range of homemade granitas and gelatos alongside definitive versions of Italian and regional sweet treats such as tiramisù and babà. Opposite is Le Sirenuse Mare’s retro-style Bar Mare – the ideal spot for a pre-lunch drink or early evening aperitivo. Caressed by sea breezes in the beach club’s Seafront area, Rose’s Bar is the perfect place to unwind with amici old and new. In both bars, a seasonal signature cocktail menu takes centre stage, featuring creative twists on spritzes, fresh ingredients, and premium spirits.

Le Sirenuse Mare channels the Sersale family’s passion for contemporary art and artisanship. As guests ascend from the beach, their eyes are inevitably drawn to the beach club’s artistic centrepiece, a monumental fountain in pearly white refractory clay by Rome-based sculptor Giuseppe Ducrot. Other works scattered around the club include maverick British artist Rose Wylie’s painted bronze sculpture Pineapple (2020) – which has found a home not far from the bar named in Wylie’s honour – and Caryatide (2017), a tower sculpture in raw air-dried clay by Mexican artist Bosco Sodi, which stands at the far end of an olive grove on the beach club’s highest level.

Occupying a 50 square metre space overlooking the Beach Club’s upper Bar terrace, the Emporio Sirenuse store at Le Sirenuse Mare marks a significant milestone: the brand’s first flagship outside Positano. It offers a full expression of the label’s world presenting a curated edit of resortwear, ready-to-wear, menswear, accessories, jewelry, and objects for the home. Rooted in Mediterranean heritage, artisanal craft, and cultural curiosity, Emporio Sirenuse distills the spirit of the Amalfi Coast into collections that feel both elevated and effortless, defined by exceptional craftsmanship and meticulous
attention to detail.

Beyond this new space, Emporio Sirenuse has also shaped the visual identity of Le Sirenuse Mare. The brand’s signature date palm motif— a recurring symbol throughout its collections appears across the property — from hand-embroidered cabana fabrics crafted in India to the cushions that line the sunbeds. Complementing these is Ànemos, the bespoke ceramic service designed by Emporio Sirenuse’s creative director Viola Parrocchetti for the restaurant. Produced in Vietri sul Mare and inspired by archaic Greek vase patterns observed in Athens’ National Archaeological Museum it embodies the brand’s artistic sensibility and deep commitment to craft.

NOTES TO EDITORS:
Le Sirenuse Mare

Total area
2,500 square metres

Lower Seafront area
Two private jetties extending from the first terrace of the beach club, one for boat arrivals and departures, the other providing easy access to a cordoned off swimming area.

Lower terrace: 36 single sunbeds in paired couples under 18 beach umbrellas
Mid terrace: 5 private shaded cabanas with double sunbeds
Upper terrace: continuous lounge seating for up to 25 people; Rose’s Bar with seating for 14

Upper Bar & Restaurant area
Le Sirenuse Mare Restaurant: 180 covers
Bar Mare & Dolce Far Niente Bar: 40 covers
Emporio Sirenuse Store: 50 square metres

Le Sirenuse Mare opens from April to October. As all the beach club’s public spaces with the exception of the Emporio Sirenuse store are external, opening is subject to weather conditions.  Opening hours run from 10am until sunset each day; lunch is served between 12pm and 5pm. Le Sirenuse operates a fast boat shuttle service for hotel guests between Positano’s main beach and Le Sirenuse Mare.

About Le Sirenuse:
​​Le Sirenuse opened in 1951, in what until then had been the Sersale family’s summer house in Positano. Today the 58-room Amalfi Coast resort is considered an Italian hospitality icon, though it still retains the intimate, cultured atmosphere of a private home. More than a mere hotel, it has become over the years a lifestyle reference point that brings into fertile dialogue the worlds of fashion, culture, gastronomy, mixology and wellbeing, creating connections and crafting personal narratives. Scenic La Sponda restaurant, informally glamorous bar-bistrot Aldo’s and the resort’s chic little Pool Bar showcase this southern Italian region’s authentic seasonal produce, while the Don’t Worry Bar is a true insiders’ speakeasy in tune with the rhythm of Positano nights.  Le Sirenuse also features a refreshingly contemporary Spa designed by architect Gae Aulenti, where a range of signature treatments are available, alongside a fitness area with two total-workout Megaformer machines. The resort is celebrated worldwide for its all-inclusive weekly activities, which include trekking on some of the Amalfi Coast’s spectacular mountain trails and more leisurely sunset cruises on the Sant’Antonio, the family’s traditional gozzo fishing boat. Assembled over decades by art and antique collector Franco Sersale, the hotel’s elegant décor today enters into conversation with a growing site-specific contemporary art collection featuring talents of the calibre of Martin Creed and Nicolas Party, while the light-filled bedrooms are havens of dolce vita style. Now as in the past, Le Sirenuse is a family affair. Third-generation Sersales, Aldo and Francesco, are increasingly involved in the day-to-day running of a hotel that their parents Antonio and Carla began to manage in 1991. Carla currently curates Emporio Sirenuse, the fashion and lifestyle brand she founded in 2013, which takes inspiration from the deep-rooted Mediterranean culture of this charmed enclave south of Naples. For more information, please visit Sirenuse.it/ | Facebook | Instagram | @lesirenuse

Images Credits:
1. Dolce Far Niente Bar with Giuseppe Ducrot Fountain, Le Sirenuse Mare, 2026. Photography by Stefan Giftthaler. Courtesy of Le Sirenuse.
2 & 3. Rose's Bar and Sunbeds at Le Sirenuse Mare, 2026. Photography by Stefan Giftthaler. Courtesy of Le Sirenuse.
4 & 5. Le Sirenuse Mare Restaurant, 2026. Photography by Stefan Giftthaler. Courtesy of Le Sirenuse.
6. Le Sirenuse Mare, 2026. Photography by Stefan Giftthaler. Courtesy of Le Sirenuse.

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MATTEO THUN AND BENEDETTO FASCIANA PRESENT OUTDOOR COLLECTION 'IGEA' FOR UNOPIÙ AT MILAN DESIGN WEEK 2026

March 31, 2026 (Milan, Italy)  – IGEA is the new outdoor seating collection designed by Matteo Thun and Benedetto Fasciana, offering a contemporary reinterpretation of a great classic of outdoor furniture: wrought-iron collections. The collection will be unveiled during Milan Design Week across multiple venues, including Salone del Mobile (Hall 24, Booth D32), the UnoPiù showroom (Via Pontaccio 9), and partially at Palazzo Crivelli (Via Pontaccio 12).

The project stems from the meeting of tradition and innovation and draws inspiration from the theme of the journey through the Italian garden, understood as an experience of outdoor living. Slender lines, classical proportions, and an essential design language define a collection characterized by an immediate sense of visual lightness. The name IGEA, derived from the Greek Hygeia, evokes the concept of well-being as a harmony between form, function, and the quality of everyday experience— a principle that guides the entire development of the project. The collection is designed to engage in dialogue with both classical and contemporary settings, expressing a timeless design.

Handcrafted, IGEA is the result of careful technical and manufacturing research aimed at preserving the character and strength of iron, while making it functional, modular, and suitable for the needs of the contract sector. All products are made of galvanized iron and finished with a graphite-colored coating, a choice that ensures durability in outdoor environments and enhances the material with a sober and elegant aesthetic. IGEA represents a balance between tradition and contemporaneity, where the purity of forms and the lightness of iron transform simplicity into a distinctive feature of outdoor living.

NOTES TO EDITORS:

About Matteo Thun & Partners:
Matteo Thun & Partners was founded in 1984 by Matteo Thun and is now jointly led by him and five partners: Antonio Rodriguez, Elisa Vago, Matteo Beretta, Karola Gröger, and Boris Ulrich, who is also the CEO. With offices in Milan and Munich and a team of around 70 creatives spanning architecture, interior architecture, product and brand design, the studio delivers projects worldwide across architecture, hospitality, product design, and brand development. At the heart of the studio’s work is a responsible, holistic approach that respects each client’s individuality, the genius loci, and outstanding craftsmanship. Conscious material choices, ecological sensitivity, and the reuse of existing structures shape the studio’s work, alongside a clear, timeless design language.

About Matteo Thun:
Matteo founded his eponymous design studio in 1984 where he would establish himself as one of his generation’s most influential voices and talents. A pupil of Oskar Kokoschka and Emilio Vedova at the Salzburg Academy and an Architecture graduate of the University of Florence, Matteo’s formative professional years were spent under the guardianship of Ettore Sottsass. Together, they co-founded the globally renowned Memphis Group in 1981. From his headquarters in Milan and Munich, Matteo continues to nurture an architecture and design practice that strives to create conscious, respectful, and long-lasting solutions through a future-orientated lens.

About Benedetto Fasciana:
Associate Director Benedetto Fasciana’s appreciation of craftsmanship and proportion as priority defines his approach to architecture and design. An architecture graduate of University of Ferrara, Benedetto’s expertise in interior design and product design was honed from his background in ceramic art and creating retail and exhibition spaces for world-renowned brands during his time as Art Director at White Design in Venice. Since joining Matteo Thun & Partners in 2014, Benedetto has been responsible for the creation of iconic furniture and lighting solutions that reflect his passion for artisanal craftsmanship and the studio’s shared design values of simplicity, functionality, and timelessness.

Unopiù, IGEA, design by Matteo Thun and Benedetto Fasciana, fabric by Ralph Lauren. Photos by Mattia Aquila. Courtesy Matteo Thun & Partners.

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OLAF GULBRANSSON MUSEUM PRESENTS ZERO. AN INTERNATIONAL ARTISTS' MOVEMENT. 1957 –1966

Featuring works by Heinz Mack, Bernard Aubertin, Hans Bischoffshausen, Alberto Burri, Hal Busse, Dadamaino (Eduarda Maino), Lucio Fontana, Gotthard Graubner, Oskar Holweck, Yves Klein, Yayoi Kusama, Adolf Luther, Piero Manzoni, Christian Megert, Otto Piene, Uli Pohl, Günther Uecker, Jef Verheyen and Nanda Vigo.

On view through September 6, 2026

March 27, 2026 (Tegernsee, Germany) – The Olaf Gulbransson Museum, presents ZERO. An International Artist's Movement. 1957–1966, a group exhibition featuring the artist Heinz Mack, on view through September 6, 2026.

ZERO – A New Beginning at Zero
In the late 1950s, young artists in Düsseldorf and other European cities were searching for a radical new beginning in art. After war and dictatorship, they wanted to break away from pathos, ideology, and the subjectively charged postwar painting and rethink art “at zero,” at “Zero.” An open zone in which structure instead of composition, light instead of narrative motifs, and movement instead of rigid form became decisive. ZERO was never a closed collective, but rather a loose network of artists connected through exhibitions, magazines, and personal contacts.

Düsseldorf burns for light: the birth of ZERO
In Düsseldorf, the ZERO ideas found a concrete location: the studios of Heinz Mack and Otto Piene on Gladbacher Straße. There they organized the so-called evening exhibitions, short, dense presentations that were only accessible on the opening night. To do this, the artists cleared out their studios, only to put everything back in place the next day and continue working. Günther Uecker soon joined them, and a lively meeting place for artists seeking new forms of expression was created. At the same time, Mack and Piene published the magazine “ZERO” (1958–1961), which coined the name for the movement and spread it internationally.

Light, movement, and immateriality
Many works break away from traditional painting and instead focus on light, reflections, shadows, movement, and chance. A central motif of ZERO is the question: How can light itself be turned into art?
Heinz Mack, Otto Piene, and Günther Uecker developed light reliefs, rotors, nail reliefs, mirror objects, and light ballets in which light can be experienced as an immaterial, constantly changing phenomenon. The movement often lies less in the object than in the perception: when viewers move in front of the works, optical vibrations and virtual movements are created.

Heinz Mack – The Biographer of Light
Heinz Mack creates the poetry of immateriality. For him, light is not just a theme, but a lifelong artistic obsession. Influenced by early experiences of light during the war – nights of bombing over Krefeld, a narrow beam of light in a darkened hallway, dancing dust particles in the air – he developed a strong awareness of immateriality and the magic of minimal light sources. Later, a trip to the Sahara deepened this interest: the dazzling mirage reflections, the barely perceptible horizon, and the silence of the desert became key experiences for him. In his work, he attempts to translate these elusive phenomena into abstract, autonomous constellations of light and space – using aluminum, stainless steel, glass, acrylic glass, marble, and reflective surfaces. Silver in particular plays a major role because it reflects light intensely and, for Mack, is symbolically associated with inwardness, night, and consciousness.

Europe in network mode: ZERO and its sparkling satellites
From the outset, ZERO was conceived as an international movement. In Milan, Paris, Brussels, Amsterdam, and other cities, artists were working on similar questions: How can art be detached from objects, narratives, and ideology and focus instead on light, space, time, and perception?

In Italy, the Azimut(h) group formed, in the Netherlands the NUL group, and in Belgium the ZERO network around Jef Verheyen; closely related positions also emerged in France, Switzerland, and Croatia. Important names in the ZERO circle include Dadamaino, Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni, Jef Verheyen, and Nanda Vigo. Through publications, joint exhibitions, and mutual studio visits, a dense European network emerged that paved the way for the art of the information age.

Women in the ZERO cosmos, lots of shadows, but also light
For a long time, male protagonists dominated the ZERO discourse, but female artists played a central role. Hal Busse, Hanne Brenken, and Herta Junghanns-Grulich were already present at the early evening exhibitions in Düsseldorf and experimented with new materials such as nails on monochrome color surfaces. In Italy, Dadamaino was an early member of the circle around Piero Manzoni and Enrico Castellani; she developed radical hole and volume paintings that brought space and movement into play. Nanda Vigo created light-flooded objects at the interface of architecture and art with her “Cronotopi.” Yayoi Kusama brought a strongly physical and psychological dimension to the ZERO context with her dot networks and room installations, which also show thematic proximity to questions of repetition, infinity, and space.

Why ZERO continues to shine today
The ZERO network officially disbanded in 1966, but the movement's ideas continued to have an impact far beyond that decade. In the 1960s, ZERO was perceived—especially in the US—as the first German post-war movement of international standing after “Brücke” and Bauhaus. Today, ZERO is considered a key movement in the development of light art, kinetic art, minimalism, conceptual art, and space-related installations. Major retrospectives at the Guggenheim Museum in New York, the Stedelijk Museum in Amsterdam, and the Gropius Bau in Berlin have once again underscored the international significance of ZERO in recent years. The exhibition at the Olaf Gulbransson Museum builds on this and places ZERO in a contemporary context as a movement that has had a lasting impact on our understanding of perception, material, and space.

NOTES TO EDITORS:

ZERO. An International Artist's Movement. 1957–1966 is on view through September 6, 2026.

Address:
Olaf Gulbransson Museum
Kurgarten 5
83684 Tegernsee

Opening Hours:
Tuesday – Sunday | 10 AM – 5 PM
Closed on Mondays

About Heinz Mack:
Heinz Mack, born in 1931 in Lollar (Hesse, Germany), attended the Academy of Arts Düsseldorf during the 1950s. In 1956 he also earned a state examination in philosophy at the University of Cologne. Together with Otto Piene he founded the group ZERO in 1957 in Düsseldorf. Besides his participation at Documenta II (1959) and Documenta III (1964), he also represented The Federal Republic of Germany at the XXXVth Venice Biennale in 1970. In the same year he was invited to Osaka (Japan) as a visiting professor. He also became a full member of the Berlin Academy of Arts, to which he belonged until 1992. Heinz Mack has been honored with major awards including the Art Prize of the City of Krefeld (1958), the Premio Marzotto (1963), the 1st Prix arts plastiques at the 4th Paris Biennale (1965), 1st prize in the international competition Licht 79 in the Netherlands (1979), the Großer Kulturpreis des Rheinischen Sparkassen-Verbands (1992) and the Cultural Prize of the city of Dortmund’s arts council (2012). He also received the Grand Federal Cross of Merit with Star of the Federal Republic of Germany in 2011. In 2015, Heinz Mack was unanimously voted an honorary member of the Kunstakademie Düsseldorf by the academy's senate. In 2016, the city of Düsseldorf bestowed the Jan-Wellem-Ring upon Heinz Mack. He received the Moses Mendelssohn Medal in 2017. The central theme of Heinz Mack’s art is light. Sculptures and pictures are the media of his multifaceted oeuvre. The exceptionally diverse complete works include sculptures made of different materials: light-stelae, light-rotors, light-reliefs and light-cubes. His oeuvre also involves paintings, drawings, India ink, pastels, graphics, photography and bibliophilic works. Another important aspect of Mack’s work is the design of public spaces, church interiors, stage settings and mosaics. His works have been shown in nearly 300 solo exhibitions and numerous other group exhibitions. They are also found in over 170 public collections. Numerous books and two films document his work. Heinz Mack lives and works in Mönchengladbach and Ibiza.

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MATTEO THUN AT MILAN DESIGN WEEK | APRIL 21 – 26, 2026

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MATTEO THUN AND ANTONIO RODRIGUEZ

HOMAN | DESIREE

Salone del Mobile | Hall 09 Booth L09–M06
Euromobil Showroom | Corso Monforte 30/3

A revisited version of Homan realised for the contract to be flexible, modular and yet elegant.

NEW COLLECTION | EFFEBIQUATTRO
Salone del Mobile | Hall 14 Booth E35

New patterns, strong colours and different designs are the perfect combination for the new doors.

COSTA | PIANCA
Salone del Mobile | Hall 05 Booth B05
Showroom via di Porta Tenaglia, 7N3

A linear and sophisticated style define the new chairs series by Matteo Thun & Antonio Rodriguez.

ARIS & AURA | ARTIZE FOR JAQUAR
Salone del Mobile | Hall 06 Booth D29–D33

Slender precision and distinctive simplicity define the new collections Aris and Aura.

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MATTEO THUN AND BENEDETTO FASCIANA

IGEA | UNOPIÙ
Salone del Mobile | Hall 24 Booth D32
UnoPiù Showroom via Pontaccio, 9
Palazzo Crivelli via Pontaccio 12

A contemporary reinterpretation of a great classic of outdoor furniture: wrought-iron collections adorned with exclusive fabrics.

 THEO | PLANK
Salone del Mobile | Hall 22 Booth A26

A project that combines timeless design and functionality, conceived to appear and disappear naturally, intelligently adapting to contemporary spaces.

MILANO GENTILE | FLORIM
Salone del Mobile | Hall 24 Booth D24
Florim Flagship Store, Foro Buonaparte 14 | Press talk, April 22, 17:00

A celebration of the gentleness of Milan translated into a design language in which the surface turns into a means of expression.

NOTES TO EDITORS:

About Matteo Thun & Partners:
Matteo Thun & Partners was founded in 1984 by Matteo Thun and is now jointly led by him and five partners: Antonio Rodriguez, Elisa Vago, Matteo Beretta, Karola Gröger, and Boris Ulrich, who is also the CEO. With offices in Milan and Munich and a team of around 70 creatives spanning architecture, interior architecture, product and brand design, the studio delivers projects worldwide across architecture, hospitality, product design, and brand development.
At the heart of the studio’s work is a responsible, holistic approach that respects each client’s individuality, the genius loci, and outstanding craftsmanship. Conscious material choices, ecological sensitivity, and the reuse of existing structures shape the studio’s work, alongside a clear, timeless design language.

About Matteo Thun:
Matteo founded his eponymous design studio in 1984, where he would establish himself as one of his generation’s most influential voices and talents. A pupil of Oskar Kokoschka and Emilio Vedova at the Salzburg Academy and an Architecture graduate of the University of Florence, Matteo’s formative professional years were spent under the guardianship of Ettore Sottsass. Together, they co-founded the globally renowned Memphis Group in 1981. From his headquarters in Milan and Munich, Matteo continues to nurture an architecture and design practice that strives to create conscious, respectful, and long-lasting solutions through a future-oriented lens.

About Antonio Rodriguez:
Since 2003, Matteo Thun and Antonio Rodriguez have been developing iconic product designs distinguished by timeless simplicity, intuitive functionality, and emotional quality. Warm, natural materials and a clear formal language form the basis of their designs. Antonio Rodriguez stands for conscious, timeless design that rethinks luxury through quality, sensoriality, and environmental innovation. After studying in Valencia, he moved to Milan in the 1990s and worked, among others, for the Taipei Design Center and the IED. He has been with the studio since 1999 and has led product design since 2003.

About Benedetto Fasciana:
Associate Director Benedetto Fasciana’s appreciation of craftsmanship and proportion as a priority defines his approach to architecture and design. An architecture graduate of the University of Ferrara, Benedetto’s expertise in interior design and product design was honed from his background in ceramic art and creating retail and exhibition spaces for world-renowned brands during his time as Art Director at White Design in Venice. Since joining Matteo Thun & Partners in 2014, Benedetto has been responsible for the creation of iconic furniture and lighting solutions that reflect his passion for artisanal craftsmanship and the studio’s shared design values of simplicity, functionality, and timelessness.

All images courtesy Matteo Thun & Partners.

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MATTEO THUN DESIGNS EXPANSION OF HOTEL BELLA VISTA IN STELVIO NATIONAL PARK, SOUTH TYROL, ITALY | OPENING IN JUNE 2026

June 8, 2026 (Trafoi, Italy)  – In June 2026, Hotel Bella Vista in Trafoi opens its new wing, designed by Matteo Thun – a project that interprets the dialogue between nature and architecture in the heart of Stelvio National Park. Inspired by the idea of a “nest” in the mountains, the building combines contemporary design, high-altitude panoramas, and new spaces dedicated to wellbeing. At the foot of Ortler, the highest peak in South Tyrol at 3,905 meters, in the heart of Stelvio National Park, Hotel Bella Vista in Trafoi has been, for generations, a top-tier retreat for those seeking peace, nature, and genuine hospitality.

The family-run hotel traces its roots back to 1875 and today begins a new chapter: in May, a new wing will open, designed by architect Matteo Thun, who shares a long-standing friendship with Olympic champion Gustav Thöni, co-owner of the hotel with his family.

“For me, it is an incredible emotion to see this project realized together with my friend Matteo. We have talked about it for years, and finally seeing it come to life here in Trafoi is something unique. It is a symbol of a friendship that endures over time and the love we share for these mountains. We have also finally given the legendary ‘Valanga Azzurra’ its own beautiful space,” says Gustav Thöni.

This project originates from a childhood memory: the eagles over Trafoi and the silence of the mountains. At the foot of Ortler, a contemporary nest takes shape – a light and intimate architecture that integrates seamlessly into the alpine landscape. “Each space is designed as an opening to nature so that the true protagonist always remains the landscape,” explains architect Matteo Thun.

Connected to the historic building, the new wing features a light exterior wooden structure and an organic architecture that blends perfectly with the surrounding nature. Large windows frame views of the peaks of Stelvio and the Engadin Dolomites, dissolving the boundary between interior and exterior and bringing the panoramas into the hotel spaces. Here, nature is not merely a backdrop, but the absolute protagonist, and the generous areas surrounding the building represent true luxury – a renewed concept of alpine hospitality based on the balance between contemporary design and local tradition. A nest in the mountains where architecture is constantly in dialogue with the surrounding nature.

The expansion was developed in phases, like a natural evolution that respects the place where it stands. While the architectural project is signed by Matteo Thun & Partners, the interiors were curated by architect Christina Biasi von Berg of Studio Biquadra in Merano, a long-time collaborator of Matteo Thun, while the structural, executive, and urban planning aspects were overseen by engineer Wolfgang Oberdörfer.

The first phase, completed in December 2025, created the new lounge bar with a fireplace, “Home of Gold”: an intimate and enveloping space that tells the sporting history of Gustav Thöni and the legendary “Valanga Azzurra.” It is not only a convivial space but also an architectural narrative, where the warmth of the fire and natural materials converse with the memories of an era that shaped skiing worldwide. At the same time, the new reception was completed, designed as a connection point between the historic 1875 building and the new wing – a transitional space symbolizing continuity between past and present, alpine tradition and contemporary vision.

With the opening in May 2026, the experience is further expanded with 24 new suites facing the imposing Stelvio landscape. Large panoramic windows frame the peaks, while interiors offer seating and relaxation areas where natural light becomes a design element. Each suite is conceived as a privileged observatory over the mountains – a quiet retreat where the view becomes part of the living space.

In the new project, wellbeing is a natural extension of the landscape. Among the innovations is a large wellness area reserved for adults, with a spa and a relaxation zone fully immersed in the mountains. The infinity pool opens toward the Trafoi Canyon like a suspended terrace, while a large panoramic window frames the peaks and enhances the sense of depth in the view.

Swimming here means immersing oneself in a horizon without boundaries, where the water reflects the sky and the mountains become part of the sensory experience. Next to the pool is a large hot tub with stunning landscape views, yoga and fitness rooms, and four new saunas: infrared, bio-sauna, Turkish bath, and family sauna. The “Fire and Ice” relaxation area, with fireplace and snow shower, transforms the primal dialogue between fire and ice – elements that have always defined Alpine identity – into a sensory experience. Outside, the panoramic sauna finds a new location immersed in nature, next to a small natural lake fed by a spring on the property.

The outdoor “Nature Arena,” a relaxation area embracing the surrounding mountains visually, invites contemplation and reconnection with the rhythms of the environment. Here, wellbeing is born from nature and returns to nature – in harmony with its rhythms and seasons. Families also have dedicated spaces, including a children’s pool, family sauna, and the adventure slide “Waterfall.”

With this new wing, Hotel Bella Vista redefines alpine hospitality, based on the balance between humans and nature, tradition and the future. In this nest beneath Ortler, true luxury remains the same as always: space, silence, and an ongoing dialogue with the high mountains.

NOTES TO EDITORS:
Hotel Bella Vista opens its new wing in June 2026.

Address
Hotel Bella Vista
Trafoi 11 | 39029 Trafoi
South Tyrol | Italy

About Matteo Thun & Partners:
Matteo Thun and his five partners lead his architectural and interior design studio based in Milan and Munich. Since 1984 the studio embraces a holistic and responsible design philosophy to create iconic schemes, products, and brand visions for a global clientele.

Image credits: Matteo Thun & Partners, Hotel Bella Vista © Luca Visciani & Daniel Merler

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