GATHERING COLOGNE PRESENTS BRICK BOYS | A SOLO EXHIBITION BY ARTIST LAURIE SMITH

Opening Reception: November 5, 2025 | 6 – 8 pm

On View: November 5 – December 20, 2025

October 27, 2025 (Cologne, Germany) – Gathering is pleased to present Brick boys, British artist Laurie Smith’s European debut solo exhibition at Gathering Cologne on view from November 5 – December 20, 2025. Laurie Smith renders his figures in perpetual motion, their bodies twisting, dancing, reaching restlessly towards their next thrill. Moving at a velocity that feels both exuberant and uneasy, his subjects’ puppet-like gestures recall Balthus, one of Smith’s twentieth-century touchstones, yet these are no marionettes. Smith’s characters pull their own strings, leaping and sprinting through the worlds he renders on canvas.

Set against the grey pavements of London, Smith’s newest works depict friends and lovers as they slip through the night. As his work moves into the city, Smith’s meticulous focus on architecture and bricks takes inspiration from Martin Wong’s paintings of his New York surroundings, marginal communities and urban gentrification. A recurrent theme for the artist is that of queer nightlife. Earlier this year, an exhibition of his paintings in London captured the intimate ballrooms and clubs of the city’s queer scene. Brick boys takes Smith’s exploration out of pubs, basements and warehouses and onto the streets, with London’s pavestones becoming liminal stages for new emotional and narrative possibilities.

The largest canvas in this exhibition nods to Balthus’s seminal painting The Street (1933), with nine figures adrift in their own psychic spheres, like actors performing separate dramas within a shared frame. Smith also draws on Giorgio de Chirico’s metaphysical paintings, works that picture eerily empty piazzas and ebb with a curious mix of stillness and suspense. Translating this atmosphere into a distinctly contemporary register, his distorted perspectives and receding architectures evoke spaces that are both melancholic yet alive with possibility.

Despite his firm grounding in traditional art history, a cinematic pulse also runs through Smith’s work, weaving in references to queer literature and film of the 1980s and 1990s, particularly works set in New York. These layered histories further inform the artist’s vision, situating his figures and the worlds they inhabit within the broader narrative of queer cultural memory.

As such, Brick boys sees Smith draw upon the lineages of modern painting, cinema and literature to forge a space distinctly his own: a space where movement, desire and reverie collide with the city itself. In Smith’s London, the streets pulse with the energy of transformation, an energy heavy with the grief of old selves yet illuminated by the joy of new beginnings.

NOTES TO EDITORS

Exhibition Details
Laurie Smith
Brick boys
November 5 – December 20, 2025

Opening Reception
November 5, 2025 | 6 – 8 pm

Opening Hours
Wednesday – Saturday | 12 pm – 6 pm 
Closed on Sundays, Mondays & Tuesdays

Address
Roonstraße 108
50674 Cologne

About Laurie Smith:

Laurie Smith (b. 1994, Huddersfield, UK) is a London based-visual artist who paints scenes that blend fantasy, history and the painter’s own life. Harnessing a range of references – from historical portraiture, contemporary gay night life, 20th century photography and Impressionism – Smith recasts traditional techniques and subject matter through an autobiographical and queer lens. Drawing upon subjects from his own life, Smith documents the everyday using dimmed tones and layers of deep blue shadows characteristic of Edward Hopper and Francisco de Goya, seeking to capture the transitory states of desire, loneliness and our need for connection.

His exhibitions include Private Lives (2025) with Brunette Coleman in London; A Flower for a Heart (2024) with Painters Painting Paintings in London; Laurie Smith (2024) with diez gallery in Amsterdam; Parloir (2024) with Brunette Coleman in Tournai; Day by Day, Good Day (2023) with Union Pacific in London; Stranger Than Paradise (2022) with VO Curations in London and Sky-Blue and Green (2020) with VO Curations in London.


About Gathering: 

Founded in 2022 in the heart of Soho, London, Gathering is a contemporary art gallery, presenting a diverse exhibition programme of international emerging voices alongside established artists, including Emanuel de Carvalho, Tamara K.E., Soojin Kang, Ndayé Kouagou, Wynnie Mynerva, Tai Shani and Oda Iselin Sønderland. In 2023, Gathering inaugurated GLASSHOUSE, an alternative strand of programming which fosters emergent creative practitioners alongside Gathering’s main exhibitions. In 2024, the gallery expanded to Sant Miquel de Balansat on the island of Ibiza, carrying the cutting-edge programming and artist-led ethos of Gathering to an international stage. Following its expansion to Ibiza in 2024, Gathering launched in Cologne, marking the next step in Gathering’s continued growth and dedication to supporting progressive artistic practices across Europe.

Image Credits: 
1. Laurie Smith, Private Rituals, 2025. Oil on Canvas. 10 1/4 x 12 in. 26 x 30.5. Courtesy of Gathering and the artist. Photo: Ollie Hammick
2. Laurie Smith, Burn me into the skyline, 2025. Oil on Canvas. 10 x 12 in. 25.3 x 30.5. Courtesy of Gathering and the artist. Photo: Ollie Hammick

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SOCIÉTÉ x ART BASEL PARIS 2025

Preview Days: October 22 – 23, 2025
On View: October 24 – 26, 2025

Wynnie Mynerva. Antlia, 2024. Oil on linen. 330 x 330 x 6 cm 130 x 130 x 2 1/2. Courtesy of the artist and SOCIÉTÉ, Berlin. Photo: Trevor Good

October 20, 2025 (Paris, France) – SOCIÉTÉ will participate in the fourth edition of Art Basel Paris from October 22 – 26, 2025, at the Grand Palais. The gallery will show works by Trisha Baga, Tina Braegger, Conny Maier, Kaspar Müller, Jeanette Mundt, Wynnie Mynerva, Edi Rama, Bunny Rogers, Marianna Simnett, Petra Cortright, Tu Hongtao and Anh Trần at Booth L22.

Trisha Baga, Lap dog, 2025 Oil on linen. 30 x 41 x 4 cm 12 x 16 x 1 1/2 in. Courtesy of the artist and SOCIÉTÉ, Berlin. Photo: Trevor Good.

NOTES TO EDITORS

Address
Grand Palais
Avenue Winston Churchill
75008, Paris

VIP Days (by invitation only)
Wednesday, October 22 | 10am – 8pm (First Choice VIP Cardholders)
Wednesday, October 22 | 4pm – 8pm (Preview VIP Cardholders)
Thursday, October 23 | 11am – 2pm (First Choice, Preview and One-Day VIP Cardholders)

Vernissage Day
Thursday, October 23 | 2pm – 8pm

Fair Days
Friday, October 24 | 11am – 7pm
Saturday, October 25 | 11am – 7pm
Sunday, October 26 | 11am – 7pm

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.

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SOCIÉTÉ PRESENTS A SOLO EXHIBITION BY ARTIST WYNNIE MYNERVA

Opening Preview: November 6, 2025 | 6 – 8 PM
On View: November 7, 2025 – January 15, 2026

October 16, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to announce a solo exhibition with Wynnie Mynerva, the artist’s first in Germany. Wynnie Mynerva draws upon personal experiences of violence tied to race, gender, and sexuality to create a multidisciplinary practice spanning painting, performance, and video. Raised in Villa El Salvador on the outskirts of Lima, a place shaped by complex social and economic realities, their work explores themes of transformation, resistance, and embodiment.

Mynerva describes painting as a “living process,” a “document of thinking and feeling.” This expressive realm serves as the starting point for projects that extend into other media or rethink the traditional conventions of the medium. Their raw, often erotic canvases draw upon religious and mythological visual tropes to depict bodies pushed to their limits, capturing rapturous figures in states of disintegration, metamorphosis, and communion. For their exhibition at SOCIÉTÉ, Mynerva’s artistic inquiry turns toward love for the first time—one of humanity’s oldest fabulations. Mynerva will transform the gallery into an immersive textile installation centered around a large oil painting of fluid anatomies suggesting both complicity and affection, healing and desire. Attending these entwined, ecstatic bodies are four smaller paintings of figures that function as witnesses. This gap between witnessing and experience reveals love as a structure of lack, recasting it as a dramatic event that carries anguish, despair, and desire. Love, like painting, can function as an attempt to articulate that which cannot be said: what remains of love when the image collapses? When the body no longer responds to the illusion of completeness, and only pleasure, the gaze, and yearning remain?

NOTES TO EDITORS

Address
Wielandstraße 26
10707 Berlin

Opening Hours:
Tuesday – Saturday | 10 am – 6 pm 
Closed on Sundays and Mondays

About Wynnie Mynerva:
Wynnie Mynerva (b. 1992, Lima, Peru) lives and works between Lima and Amsterdam. They are currently 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:
Wynnie Mynerva, 2025. Photography by Felix von der Goltz. Courtesy of the artist and SOCIÉTÉ, Berlin.

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SOCIÉTÉ PARTICIPATES IN FRIEZE LONDON AND ART BASEL PARIS 2025

FRIEZE LONDON

Preview Day: October 15, 2025
On View: October 16 – 19, 2025

SOCIÉTÉ will participate in the 2025 edition of Frieze London from October 15 – 19, 2025, at The Regent’s Park. The gallery will present works by Trisha Baga, Tina Braegger, Petra Cortright, Conny Maier, Kaspar Müller, Jeanette Mundt, Wynnie Mynerva, Edi Rama, Bunny Rogers, Timur Si-Qin and Marianna Simnett at Booth A18.

Timur Si-Qin, Last of the Wild and Free (Picea Ikeagensis), 2025. Stainless steel. 60 x 67 x 68 cm
/ 23 1/2 x 26 1/2 x 27 in. Courtesy of the artist and Société, Berlin. Photo: Trevor Good.

ART BASEL PARIS

Preview Days: October 22 – 23, 2025
On View: October 24 – 26, 2025

SOCIÉTÉ will participate in the fourth edition of Art Basel Paris from October 22 – 26, 2025, at the Grand Palais. The gallery will show works by Trisha Baga, Tina Braegger, Conny Maier, Kaspar Müller, Jeanette Mundt, Wynnie Mynerva, Edi Rama, Bunny Rogers, Marianna Simnett, Petra Cortright and Anh Trần at Booth L22.

Anh Trần, How many times will you end, 2025. Watercolour on paper. 90 x 60 x 4 cm
/ 35 1/2 x 23 1/2 x 1 1/2 in. Courtesy of the artist and Société, Berlin. Photo: Trevor Good.

NOTES TO EDITORS

Frieze London
Address
Regent's Park
Park Square West
NW1 4LL, London

Preview Days
Wednesday, October 15 | 11am - 7pm (invitation only)
Thursday, October 16 | 11am – 1pm (Members and Invitation-only preview)

Fair Days
Thursday, October 16 | 1pm – 5pm
Friday, October 17 | 11am – 7pm 
Saturday, October 18 | 11am – 7pm
Sunday, October 19 | 11am – 6pm

Art Basel Paris
Address
Grand Palais
Avenue Winston Churchill
75008, Paris

VIP Days (by invitation only)
Wednesday, October 22 | 10am – 8pm (First Choice VIP Cardholders)
Wednesday, October 22 | 4pm – 8pm (Preview VIP Cardholders)
Thursday, October 23 | 11am – 2pm (First Choice, Preview and One-Day VIP Cardholders)

Vernissage Day
Thursday, October 23 | 2pm – 8pm

Fair Days
Friday, October 24 | 11am – 7pm
Saturday, October 25 | 11am – 7pm
Sunday, October 26 | 11am – 7pm

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.

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SOCIÉTÉ PRESENTS 'MORE' | A SOLO EXHIBITION BY TRISHA BAGA

Opening Preview: November 6, 2025 | 6 – 8  PM
On View: November 7, 2025 – January 15, 2026

October 10, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to announce MORE, an exhibition by artist Trisha Baga, which will be on view from November 7, 2025 – January 15, 2026.

A throughline in Trisha Baga’s expansive practice is their ongoing exploration of machines as narrative creatures. Baga empathizes with the tools and systems their work engages, often invoking them as metaphors for reflection, connection, and destruction. MORE, their sixth solo exhibition with SOCIÉTÉ, takes its title from one of the first words a child utters as well as the driving desire behind technological development: perpetual “advancement,” more data, more speed. Immersive 3D videos and constellations of ceramic works transform the gallery space into an offbeat computer desktop through which its day-to-day operations remain visible. This suspension between the everyday and bizarre is mirrored in the exhibition’s central video work, which metabolizes original footage, Hollywood films, found media, and sound. These transparent layers accumulate into a fractured tale of domestic alien encounter, unfolding amidst broader reflections on the strange ecologies and shifting power dynamics between humans and technology.


NOTES TO EDITORS

Address
Wielandstraße 26
10707 Berlin

Opening Hours
Tuesday – Saturday | 10 am – 6 pm
Closed on Sundays and Mondays


About Trisha Baga:

Trisha Baga (b. 1985, Venice, FL) lives and works in New York. Baga received the USA Fellowship Award 2024. Baga’s work has been the subject of solo exhibitions at Pirelli HangarBicocca, Milan; CCC, Carpenter Center for the Visual Arts, Harvard College, Cambridge; Zabludowicz Collection, London; and the Whitney Museum of American Art, New York. Their immersive large-scale painting installation BODY CLOCK was exhibited at Art Basel Unlimited in 2021. That same year, their video installation HOPE illuminated the façade of Kassel’s Fridericianum on the United States election day. Baga's work was included in the exhibition HOPE at Museion, Bolzano curated by Bart van der Heide and Leonie Radine and The Irreplaceable Human at Louisiana Museum of Modern Art, Humlebaek. They have also participated in group exhibitions at ARoS Aarhus Art Museum, Aarhus; Kunsthalle Wien, Vienna; Biennale für aktuelle Fotografie, Ludwigshafen am Rhein; PS1, New York; Centre d’Art Contemporain, Geneva; European Biennial of Contemporary Art, Zurich; and Julia Stoschek Foundation at ZKM, Düsseldorf, among many other venues.

Trisha Baga is part of a number of public collections including Aïshti Foundation, Beirut; Astrup Fearnley Museum, Oslo; Julia Stoschek Foundation, Düsseldorf; Moderna Museet, Stockholm; Museum für Moderne Kunst, Frankfurt; Museum Ludwig, Cologne; Museum Hamburger Bahnhof, Berlin; Walker Art Center, Minneapolis; Whitney Museum, New York; among others.


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: Trisha Baga, Video Still, 2025. Courtesy of the artist and SOCIÉTÉ. 

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FONDATION LE CORBUSIER PRESENTS A SOLO EXHIBITION BY HEINZ MACK AT MAISON LA ROCHE IN PARIS

On View: October 21 – December 20, 2025

October 2, 2025 (Germany) – Almine Rech and Fondation Le Corbusier are pleased to present Heinz Mack's solo exhibition at Maison La Roche in Paris, on view from October 21 — December 20, 2025.

 

Heinz Mack (born in Lollar, 1931) is one of the primary figures of the art of the second half of the 20th century as he is considered to be a radical and revolutionary artist, who from the 1950s to today has continued to renew his vision and expressivity. The works exhibited at Maison La Roche, architectural icon by Le Corbusier where light itself plays a highly significant role in redefining the coordinates of spaces and volumes, are dated between 1995 and 2021, explore the artist’s investigation and redefinition of the relationship between light, color, structure, and space.

Mack’s lifelong artistic production has always been investigating the fundamental role that light plays as a constitutive factor of vision, creating an impressive body of work that has radically changed the course of contemporary art. The dialogue between light and colour in relation to structure, vibration, and rhythm represents the central factor of the continuation and metamorphosis of Mack’s work. In these variations in the artist’ oeuvre, light is expressed in its purity as transformation of surfaces and spaces.

In 1957 (together with the colleague and friend Otto Piene in Düsseldorf), Mack founded the international movement ZERO: since then, he has experimented with a plurality of artistic techniques, in a variable continuity that has always considered light the very core of his pictorial and plastic investigations. Light is a central theme in Mack’s non- representational art, translated into paintings and sculptures of various materials – also monumental ones for public spaces, light reliefs, light cubes, light rotors, light stelae, drawings, pastels, ink drawings, graphics, photography, mosaics, ceramics, conceptual designs of public spaces and interiors, stage settings, as well as literary works.  

For Mack, light is a concrete and active metaphor for a change in perspective, which is part of an overall vision of dynamic purification, a sort of active neutralization of reality, expressed in different ways. Mack’s fundamentally new attitude towards the pictorial surface and plastic form considers it not as a window and representative or evocative extension, but as independent zones of positive events, autonomous and vital spaces. He associates light with movement in its many forms (optical dynamism, mechanism in action, luminous pulsation, open process), in order to deconstruct and reinvent representational and executive conventions. His objective and regular rhythms bring colors beyond the margins of the individual artwork, translating it into a continuum that goes beyond the visual surface, transforming painting from a static object on the wall to an articulation of real space. Mack’s architectural painting and sculpture thus both inhabit and activate Le Corbusier’s luminous spaces, in an intertwined dialogue of two languages that are both driven by a vocation to essentiality.

The attention in the exhibition is particularly driven towards Mack’s works from most recent decades, particularly the pure colors of the “Chromatische Konstellationen” (chromatic constellations), whose stratification, juxtaposition, and gradation give to the surface of the canvas new and radiant tonal harmonies. It is from the liminal zone of colour, between light and dark, which Mack considers to be the germinal place of vision, that transition from black and white to colour matured in 1991, when the artist focused on new pictorial work that translates his intuitions for redefining surface and space into an unprecedented and surprising chromatic key.

It is an inebriating sound that comes from these constellations: a sensitive thought materialized in colour-light, phenomenological meditations, and concrete utopias, where the dialectic between concentration and chromatic- luminous rarefaction produces a sparkling dynamic, punctuated by harmonies and gradations, oscillations and sequences, pulsations and microstructures.

Mack’s paintings and sculptures, layered or juxtaposed, in counterpoint or gradation, articulate the spatiality of the surface and of the plastic form in new, radiant, tonal harmonies. The purity of colour translates into continuous vibrations, a colour without limits that unfolds its phenomenology of physicality, imposing on the viewer a total, immersive, engaging chromatic experience.

Purity, together with light and polychromy, is another keyword linking directly Mack’s poetic world with Le Corbusier’s Modern Architecture: focusing on the dialectic of pure colors, Mack’s Chromatische Konstellationen (chromatic constellations), layered in transparency or juxtaposed in combination, counterpoint, or gradation, modulate and articulate the spatiality of the surface in new, radiant harmonies. Here we find the dynamic and active relationship between color, light, structure, and space that constitutes the conceptual core of these extraordinary structures of energy, both chromatic and physical.

- Francesca Pola, Heinz Mack at Maison La Roche: the purity of light and space. 


NOTES TO EDITORS:

Address:

Fondation Le Corbusier

Maison La Roche

10 Square du Docteur Blanche

75016 Paris, France

Opening Times:

Tuesday – Saturday | 10am – 6pm

Closed on Sundays & 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.

Image Credits:

Image credits:

1. Heinz Mack, Pas de Trois (Chromatic Constellation), 2011. Acrylic on canvas. 130x160cm. 51x63in. © Heinz Mack. Courtesy of the Artist and Almine Rech. Photo: Studio Mack

2.  Heinz Mack, Untitled (Chromatic Constellation), 2016 Acrylic on canvas, 140.5 x 100 cm, 551/2x391/2in. © Heinz Mack. Courtesy of the Artist and Almine Rech. Photo:Studio Mack

3.  Heinz Mack, Untitled, 2016, Glazed Ceramic, burnished gold 30x17x9cm, 12x61/2x31/2in. © Heinz Mack. Courtesy of the Artist and Almine Rech. Photo: Studio Mack

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THE INAUGURAL EDITION OF THE LAGOSPHOTO BIENNIAL | AFRICAN ARTISTS’ FOUNDATION ANNOUNCES 2025 PROGRAMMING

Under the artistic direction of Azu Nwagbogu, founder of the African Artists’ Foundation, the 2025 biennial explores the theme ‘Incarceration’, delving into the visible and hidden dimensions of captivity that manifest across personal, political, and collective life.

On View: October 25 – November 29, 2025

September 17, 2025 (Lagos and Ibadan, Nigeria) – After fifteen years of championing photography as a platform for exchange and critical reflection, the African Artists’ Foundation (AAF) is proud to announce that LagosPhoto Festival will now take place in a biennial format, on view from October 25 – November 29, 2025.

This new chapter signals LagosPhoto’s growth in providing an expanded space for deeper reflection, diverse programming, and wider impact. Under the theme of ‘Incarceration’, the 2025 biennial will explore the many forms–imposed by the self or by others–that continue to threaten subjugated peoples in their efforts to shape their futures and consider how images can serve as tools for enacting, cracking, and reimagining carceral systems. The programming expands across four venues in Lagos and Ibadan, showcasing solo presentations, artists’ collaborations, institutional exhibitions, screenings and talks. LagosPhoto’s first expansion to Ibadan will showcase works that engage with the city’s urban and architectural dimensions of incarceration.

Manifested in many forms, incarceration may not be instantly apparent. The global carceral system is built on institutions and policies justified by reformist ideals and the management of society’s perceived ills. But the less apparent dimensions of incarceration include psychological, ideological and spiritual cages, which are powerful and deeply rooted precisely because they do not need walls to confine. They entangle the soul, conditioning dreams, choices, and the very imaginations of freedom. These abstract forms of confinement—quiet, enduring, and often internalized—are what make the carceral condition so insidious.

The carceral system relies on processes that surveil, police, and classify. Rendering visibility is inherent to these processes, and throughout history, photography, as a technical medium in its purported objectivity, has been deployed to serve that purpose. Photography and lens-based media played a pejorative role in conquest, creating the visual propaganda that documented, justified, and sustained the colonial project. Yet photography has also played a crucial role in many resistance and emancipatory efforts. It has documented moments of social and political liberation, from jubilant celebrations surrounding independence declarations, to the architectural visions of newly sovereign states, and to immortalizing the joys of daily life. It has also enacted movements of aesthetic and technological liberation, from propelling modern reimagining of painting, and enabling the abstraction of reality, to rendering time inside the picture plane. In these acts, photography becomes a tool of empowerment, challenging systems of control, breaking bounds of perception and composition, and reclaiming narratives and visibility on one’s own terms.

LagosPhoto continues AAF’s exploration of the scope of photography, embracing media forms and apparatuses beyond the limits of a camera’s frame and cycles. Artists’ work spans figurative, abstract, scenic, and still-life genres; manifests through printed, sculptural, woven, dyed, and performative forms; engages media including image, film, sound, text, installation, and archival material; and employs manual, digital, terrestrial, and ancestral technologies. Works on show test photography as a device for dialectical freedom and control, and image-making both within and beyond colonial constructs of the camera.

Selected works probe the afterlives of trauma and deterritorialization, between personal memory and collective dislocation: Ayobami Ogungbe’s woven series imagines the emotional textures of displacement, while Geremew Tigabu renders ghostly landscapes shaped by conflict and its aftermath. On another note, Cesar Dezfuli and Stefan Ruiz trace how their subjects navigate carceral and border systems through portraits that expand the scope and temporality of ethnographic traditions. Additionally, artists like Yagazie Emezi and Nuotama Bodomo rework ethnographic traditions through indigenous crafts and knowledge: Emezi’s spiritually guided practice invokes ancestral memory through textiles, archives and ritual; while Bodomo’s work in film dismantles colonial story forms through Afro‑indigenous rhythms and compositions. Other artists reflect on psychological and ecological devastation, from Shirin Neshat’s melody of haunting violence within states of apparent freedom, to Sharbendu De’s speculations on futures of climate crisis.

As the first edition in a newly established biennial format, this year’s LagosPhoto marks the beginning of a transformative and experimental chapter—one that builds on the festival’s 15-year legacy whilst forging fresh dialogues and directions on invention, resistance and freedom. This slower format consists of open-call selections and a curated core, with special focus on archival engagements, intertextual interpretations, and research-based collections. Selected proposals span the African continent, its diaspora and global affinities, while maintaining a strong core in Anglophone, Francophone, indigenous, and translocal West Africa. Projects address critical issues of ecology, migration, identity, religion, and architecture, and excavate literary, luminous and literal prison systems.

This year’s edition also activates historical spaces with a cultural impetus. Macro- and micro-exhibitions are networked between historic sites of gathering, exchange, opening and containment, where works dialogue with the historic shifts of the spaces they inhabit. In Lagos, the curated core projects are distributed across three parallel venues: the African Artists’ Foundation (AAF) space, reopening after two years of closure; the nearby Nahous Gallery, newly opened within the historic Federal Palace complex (a key venue for the FESTAC celebrations of 1977, and where Nigeria’s Declaration of Independence was signed in 1960); and Freedom Park, situated on the grounds of country’s first colonial prison, repurposed as a civic common.

As the Biennial’s footprint extends beyond Lagos to include Ibadan—a historic center and capital of Oyo State—the New Culture Studio designed by Demas Nwoko in 1970 is activated for works that explore the urban and architectural dimensions of incarceration. Additional spaces activated as satellite venues for this year’s edition include Didi Museum and Alliance Française de Lagos.

LagosPhoto 25 is sponsored by the Ministry of Art and Tourism, National Geographic, Canon, Open Society Foundations, and Nahous Gallery. LagosPhoto 25 is carried out with support from local creative houses Kòbọmọjẹ́ Artist Residency (K-AiR), Madhouse, and Wunika Mukan Gallery.  


NOTES TO EDITORS:

 About African Artists’ Foundation (AAF):

African Artists’ Foundation (AAF), founded in 2007 in Lagos, Nigeria, is a decentralized, multivalent, metamorphic art space that embraces community values and experimental artistic principles. AAF supports boundary-breaking artistic ideas and promotes social justice issues, ecology, and community initiatives by empowering creative expression. The foundation fosters a deeper understanding and appreciation of contemporary art, design, and culture through residencies, workshops, exhibitions, and educational programs.

https://africanartists.org/

About LagosPhoto:

Launched in 2010, LagosPhoto is the first international arts festival of photography in Nigeria. The festival includes exhibitions, workshops, artist presentations, discussions, and large-scale outdoor prints displayed throughout Lagos. LagosPhoto aims to establish a community for contemporary photography, uniting local and international artists through images that encapsulate individual experiences and identities from across Africa. The festival educates about photography as it explores historical and contemporary issues, shares cultural practices, and promotes social programs.

https://www.lagosphotofestival.com/

 

The 2025 edition of the LagosPhoto Biennial is supported by:

Image Credits:

1. Arnold Tagne Fokam, the rise of Jobalè, 2025. From the series les Réenchanteresses. Courtesy of the artist and AAF.

2. Johis Alarcon, Untitled. 2019. From the series Cimarrona, 2018-2025. Courtesy of the artist and AAF.

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SOCIÉTÉ PRESENTS EVERY WATER HAS THE RIGHT PLACE TO BE IN | A SOLO EXHIBITION BY ARTIST ANH TRẦN

Opening Reception: Thursday, September 11, 2025 | 7 – 10 pm
On View: September 11 – October 11, 2025

September 9, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to present Anh Trần’s second solo exhibition with the gallery every water has the right place to be in from September 11 – October 11, 2025, during Berlin Art Week at an off-site location in Bleibtreustraße 20. 

“What have you done to my water?” the Lord asked in a 2013 short story by Joy Williams. “My living water…”

“Oh,” the engineers said, “we thought that was just a metaphor,” their pipes defiling the fluid the Lord sipped from his glass.

Literal talk is seldom wise. Don’t figures of speech press with some other kind of weight, double as vessels, a reality lodged within the word? Symbols, it turns out, are not mere abstractions, but structurally, if not sacredly, material bodies that call for concern.

In keeping with a certain legacy of her painting genre, that is what does not happen in Anh Trần’s abstractions. Mercurial, graphic, nervous, generous, her signs do point to something beyond themselves and yet wallow in a physicality hard to translate into a tongue we know. Grounded and ungrounded at once.

We are left to conjure a subterranean dragon ghost on the canvas (Are the clouds in the Oculo like oblivion?), a very cloudy metropolis (It isnt cold if you have a dream), a diaphanous set of nanobacteria (Tracing all the pain in my heart)—all works from 2025. What lingers is a sense of drifting outlines. And yet none of them hold, as if the familiar were about to take shape, but unwilling to resolve. Watery. Diluted, pale at times, but mainly quicksilver, romantic, lush, slapdash, jagged, feral, decadent, irreducible signs that work as both language and residue—that signify and are.

Closed Place, Open Word (2025) is a landscape of sorts, a triptych. Dried blood-brown fields ooze and crash into jittery dribbles on all panels, while Byzantine blues block the surface in bulky turns. Black strokes sweep across from left to right: one straight, others squiggled. “It used to be the river,” Trần called the horizontal line in an interview. “A mark I’ve been making since I came [from Vietnam] to Europe. Fundamentally, it’s a way for me to pull back from these expressive, chaotic, very busy backgrounds […]. I keep repeating it unconsciously, so it must mean something to me.”

White, ovoid marks scatter like leaves blown across that river while the majority accumulate, skittishly, in dense clusters. The eyes roam with no place to settle. It’s crowded. Yet what unsettles most are the gold oil-stick “anh” marks, her name, lowercase, repeated one, two, three, four, five, six times on the blue backgrounds. Each is rubbed, crossed over by a last gold stroke, some almost erased, others still clearly glinting beneath the overruns. Are they regrets? Remedies?

A little emo, a little egotistic, but also lost, venturesome, painful. As if groping for oneself in a forest with no sun. As if lãng du how Sino-Vietnamese speak of wandering without purpose. We can say “roam about” or “drift” in this part of the world, but lãng du carries undertones of sorrow, solitude, and the prospect of abandoning materialism in flâneuring that our words lack. It speaks of what comes after too many ups and downs, when one carries on through life without a clear direction, to seek insight, heal from a broken heart, or simply experience matters a little differently. So this, rather, seems to be both an Open Place and an Open Word, as aching as both might be

Trần’s titles are offbeat for abstract paintings, not the copybook Untitled nor a Rothko’s No. 13 (White, Red on Yellow). They are lyrical, romantic, if not saccharine. Typical of the Vietnamese, she tells me, who use sentimentality even when speaking of troubles or horrors, which, like everything concerning affect, must never be addressed directly. An abstraction. And consider that her paintings are large, their scale bold in relation to her body. How much space does one need to touch something that cannot be named, how many routes to circumvent, to lãng du?

There is no abstract painting tradition in Vietnam, and yet Trần’s work makes the genre feel less an imported idiom than a vessel her fellows may find themselves in—even more so, perhaps, silk pieces she has just produced, adapting a century-old Vietnamese (figurative) technique to her poetics. Liquid, unseizable, and yet resolved. As if unaddressable things are granted their oblique, evasive locus, “every water” a “place to be in.” Which doesn’t mean faint-hearted, rather, for some people, possibly “right.”

NOTES TO EDITORS
every water has the right place to be in will be on view at SOCIÉTÉ's off-site location in Bleibtreustraße 20, from September 11 – October 11, 2025.

Address
Off-site location
Bleibtreustraße 20
10623 Berlin

Opening Reception
September 11, 2025 | 7 - 10 PM
About Anh Trần:
Anh Trần (b. 1989, Bến Tre, Vietnam) is based in Berlin. Trần’s painting experimentations consist of immersive representations, operating autobiographically within her own displacements. From her departure to Europe from Vietnam, after a decade spent in New Zealand, she developed abstraction as a response to historical academic restrictions - structured around Socialist Realism - by encompassing bold brushstrokes, expressive colors, layers, impasto, and collage. While living a diasporic experience, her aesthetic language underlines her interest in the linguistic differences between Western and South- Eastern countries’ artistic methods, in their closeness to situated political strategies. She earned an MFA from the Elam School of Fine Arts, The University of Auckland, and is a former Rijksakademie van Beedlende Kunsten resident, in Amsterdam. She has had solo shows at Fitzpatrick Gallery, Paris; Galerie Fons Welters, Amsterdam; and participated in group exhibitions at Auckland Art Gallery, Auckland; Pond Society, Shanghai; Zeno X Gallery, Antwerp; Deborah Schamoni, Munich; Bortolami Gallery, New York; Museum de Fundatie, Zwolle; Carnegie Museum of Art, Pittsburgh; and Museum Dhondt Dhaenens, Deurle.

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:
Anh Trần, As the leaves of the hedge store the light the day thought it had lost, 2025. Acrylic, oil, and flashe on linen. 240 x 183 x 3 cm94 1/2 x 72 x 1 in. Photography by Trevor Good. Courtesy of the artist and SOCIÉTÉ, Berlin.

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GATHERING ANNOUNCES THE CO-REPRESENTATION OF STEFAN BRÜGGEMANN IN GERMANY IN COLLABORATION WITH HAUSER & WIRTH, COINCIDING WITH HIS FIRST SOLO EXHIBITION WITH THE GALLERY IN COLOGNE

On View: 5 September – 18 October, 2025.

Opening Reception: 5 September, 2025 | 6 – 8 pm

September 4, 2025 (Cologne, Germany) – Gathering is thrilled to present Stefan Brüggemann’s second exhibition with the gallery, opening 5 September at Gathering Cologne. On the occasion of this show, Gathering is excited to announce the co-representation of Stefan Brüggemann in Germany in collaboration with Hauser & Wirth.

Brüggemann will situate Untitled (Faith) at the centre of the gallery’s interior. At two metres long, fifty centimetres high and carved from Italian marble, the sculpture’s minimalist, bench-like form subtly echoes a cross laid flat, merging function with symbolism to invite reflection on the sacred within the everyday. Black and red spray paint and stencilled vinyl lettering inject the work with fragmented text, interrupting the clean geometry and introducing a poetic tension between gesture and structure, ephemerality and solidity.

Brüggemann explores the possibility of language through the inclusion of text, particularly laconic phrasing, in his minimalist works. Through words, such as ‘sex’, ‘sun’ and the title of the sculpture, ‘faith’, the artist activates greater meaning, powerfully resonating with a society defined by rapid movement, the noise and superfluity of everyday messaging and the ennui of AI-generated slop. Brüggemann’s practice reflects a contemporary iteration of the Baroque painter’s chiaroscuro: angling tension and contradiction to spotlight spiritual and philosophical themes.

Covering the windows in red vinyl, the artist intervenes with the gallery space for SPEED, transforming its interior into a contemplative space akin to those of Catholicism. Fittingly situated near the gothic Cologne Cathedral and the Kolumba Museum, which houses the 1950 chapel nicknamed ‘Madonna of the Ruins’ by Gottfried Böhm, Brüggemann’s vinyl resembles stained glass, and invites viewers to consider faith, doubt and perception.

The artist reflects this dialogue in his works of gold leaf and spray paint that feature symbols of the cross. Brüggemann challenges more traditional materials like marble and gold leaf – that might be found in cathedrals or historical spaces – with spray paint, aluminium and vinyl lettering, elements that inform the artist’s characteristically punk aesthetic. With sound, materiality and conceptualism, the artist subverts the idea of a ‘sacred space’, instead presenting something more experiential and contradictory in a continually shifting world.

SPEED is a cacophony of interdisciplinary elements that elicit both the monumental and the intimate. Together, the components of the show deepen the artist’s longstanding investigation into language, representation and context, while responding directly to the material and conceptual possibilities of the gallery. The exhibition is accompanied by a commissioned text by Udo Kittelmann, curator and former Director of the Staatliche Museen zu Berlin.

About the artist:

Born in 1975, Stefan Brüggemann is a contemporary Mexican artist known for his multidisciplinary approach, incorporating elements of conceptual art, language and text-based works into his practice. His works often challenge societal norms and question the influence of mass media and consumer culture on contemporary society. Throughout his career, Brüggemann has worked across various mediums, including painting, sculpture, installation, photography and video. His works are characterised by their minimalist aesthetics and stark visual impact. He often uses bold typography, neon lights and high contrast colours to convey his message with precision and clarity.

Brüggemann’s work has been exhibited internationally in renowned art institutions and galleries, including the Kunsthalle Bern, Switzerland; Centre George Pompidou, Paris France; Museum of Contemporary Art, Chicago, USA and CGAC, Santiago de Compostela Spain.

The collaboration between Gathering and Brüggemann began with his inclusion in Painting Not Painting, a duo exhibition with Bruce Nauman, held at Gathering Ibiza in 2024. Gathering then presented a solo exhibition of Brüggemann’s work, titled Residual Presence, in Mexico City, coinciding with Zona Maco in February 2025. The show focused on the interplay between text and material, particularly silver leaf – a signature element in Brüggemann’s work – inviting viewers to question meaning and value through the lens of existential and transcendental themes. Following Gathering's expansion in Cologne, Brüggemann designed and produced an aluminium bar installation for Café Central. In Spring 2026, Brüggemann will present a solo exhibition at the Philara Collection, Düsseldorf.

“It’s an extraordinary honour to welcome Stefan, a world-renowned artist whose voice so distinctly captures the spirit of our time, to Gathering. We’re equally proud to co-represent Stefan with Hauser & Wirth, a gallery whose ethos of collaboration is becoming an industry standard. We are thrilled to present Stefan’s first solo exhibition together in Germany this autumn which also marks Stefan’s debut show in his homeland as a Mexican German artist.” — Alex Flick, Founder and Director of Gathering

----


NOTES TO EDITORS:
 
Exhibition Details
Stefan Brüggemann
SPEED
5 September – 18 October, 2025

 

Opening reception:

5 September 2025, 6–8 pm

 

Opening hours during DC Open:  

September 5: 6–9 pm

September 6: 1–7 pm

September 7: 1–5 pm

 

Address
Roonstraße 108

50674 Cologne

About Gathering: 

 

Founded in 2022 in the heart of Soho, London, Gathering is a contemporary art gallery, presenting a diverse exhibition programme of international emerging voices alongside established artists, including Emanuel de Carvalho, Tamara K.E., Soojin Kang, Ndayé Kouagou, Wynnie Mynerva, Tai Shani and Oda Iselin Sønderland. In 2023, Gathering inaugurated GLASSHOUSE, an alternative strand of programming which fosters emergent creative practitioners alongside Gathering’s main exhibitions. In 2024, the gallery expanded to Sant Miquel de Balansat on the island of Ibiza, carrying the cutting-edge programming and artist-led ethos of Gathering to an international stage. Following its expansion to Ibiza in 2024, Gathering launched in Cologne, marking the next step in Gathering’s continued growth and dedication to supporting progressive artistic practices across Europe.

Image Credits: 

1. Installation View of Stefan Brüggemann, SPEED, 5 Sep–18 Oct 2025, Gathering, Roonstraße 108, Cologne. Courtesy of Gathering and the artist. Photo: Roman Häbler and Lars-Ole Bastar. 

2. Stefan Brüggemann, Untitled, 2025. Graphite on paper. 12 5⁄8 x 4 in., 32 x 10 cm. Courtesy of Gathering and the artist. Photo: Roman Häbler and Lars-Ole Bastar. 

3. Stefan Brüggemann, Untitled, 2025. Graphite on paper. 12 5⁄8 x 4 in., 32 x 10 cm. Courtesy of Gathering and the artist. Photo: Roman Häbler and Lars-Ole Bastar.  

4. Detail of Stefan Brüggemann, Untitled (Faith), 2025. Marble, spray paint, vinyl lettering. 24 3⁄8 x 783⁄4 x 393⁄8 in. 62 x 200 x 100 cm. Courtesy of Gathering and the artist. Photo: Roman Häbler and Lars-Ole Bastar.

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RENDEZVOUS LAUNCHES CITYWIDE PROGRAM FOR THE INAUGURAL EDITION OF BRUSSELS ART WEEK

Preview of Salon de RendezVous: September 3, 2025 | 7 pm

Opening Night: September 4, 2025 | 5 – 9 pm

On View: September 5 – 7 | 11 – 7 pm

August 13, 2025 (Brussels, Belgium) — RendezVous proudly inaugurates the first edition of Brussels Art Week from September 4–7, 2025. The citywide initiative brings together galleries, institutions, artist-run spaces and studios in a shared moment of visibility and momentum, both locally and internationally. Following its soft launch in 2024 and drawing on Brussels’ closely knit cultural community, RendezVous introduces a newly curated itinerary focused on three districts. This format opens up new ways of experiencing Brussels, uncovering the city’s creative bandwidth and hybrid cultural fabric. Anchoring the program is the Salon de RendezVous at Rue de la Régence 67—an immersive installation-bar by artist Zoe Williams that doubles as a performative social space. Kicking off the fall season, RendezVous – Brussels Art Week affirms the city as a site of artistic discovery and dialogue within the international art landscape.

The program of Brussels Art Week’s inaugural edition unfolds over three days, with synchronised openings and events across the city’s main districts: Downtown (Centre Brussels & Molenbeek) on September 5, Uptown (Ixelles) on September 6, and Midtown (Sablon, St. Gilles & Forest) on September 7. The central meeting spot, Salon de RendezVous, serves as your bridge into all of Brussels Art Week’s activities and a daily programme. Conceived by Marseille-based British artist Zoe Williams, the site-specific installation transforms the space into a performative setting. In her multidisciplinary practice—spanning ceramics, moving image, drawing, and performance— she constructs playful and seductive environments that explore power, excess, desire, and consumption. Conceived as a bar with artist cocktails, the installation will serve as a grand stage for a discursive programme featuring panel talks, performances, and listening sessions bringing together the diversity of the local contemporary art scene. 

As part of the wider Brussels Art Week program, local galleries present exhibitions that showcase the artistic breadth and global resonance of the city’s art scene. Among the highlights, Xavier Hufkens shows bold new abstract works by Charline von Heyl, while Gladstone features Nicholas Bierk’s emotionally charged figuration. At Almine Rech, Kenny Scharf channels 1980s New York street energy through vivid Pop-Surrealist forms, and Mendes Wood DM presents Julien Creuzet’s poetic installations exploring identity and diaspora. Claes Gallery spotlights Vitshois Mwilambwe Bondo’s deconstructions of colonial imagery, as recently seen in Kings and Queens of Africa at the Louvre Abu Dhabi. Martins&Montero pairs Xerox body-art pioneer Hudinilson Jr. with Charbel-Joseph H. Boutros’s minimalist reflections on absence. Galerie Christophe Gaillard hosts Hélène Delprat’s Belgian solo debut, referencing Magritte’s irreverent période vache, while Nino Mier debuts Gregory Hodge’s illusionistic, layered figuration. At Nathalie Obadia, Johanna Mirabel evokes Caribbean ex-voto traditions, and Harlan Levey Projects presents Amélie Bouvier’s speculative cosmologies in graphite and ink.

Eleven museums, institutions, and private collections complement the programming of Brussels Art Week, revealing how historical context, conceptual rigor, and experimental formats shape their approach to art and culture. At Fondation CAB (Ixelles), Super Conceptual Pop brings together artists including Pierre Bismuth, Stefan Brüggemann, Martin Creed, Elsa Werth, and Léon Wuidar in a playful reimagining of conceptual art through the lens of Pop, irony, and nihilism. At Fondation Boghossian (Villa Empain), Timeless Gazes: From Pharaohs to the Present Day draws on the Fondation Gandur’s collections to trace connections between Egyptian antiquity and contemporary African art, exploring themes of continuity, visibility, and cultural resonance. WIELS concludes its current curatorial cycle with a focus on Magical Realism, engaging surreal atmospheres, liminal states, and dreamlike ambiguity in contemporary practice. At La Loge, Inas Halabi’s solo exhibition The Right of Return presents a 16mm film and sculptural installation investigating Israeli national parks built atop erased Palestinian villages, revealing layers of colonial violence, ecological erasure, and memory embedded in landscape through moving image and sound.

Opening their doors to the public, ten artist-run spaces unveil Brussels’ grassroots art scene and emergent curatorial thinking beyond institutional frameworks. CCINQ hosts GAY SUMMER, a group exhibition bringing together artists like Saïd Abitar, Éric Croes, Irina Favero Longo, and Justin Morin. Through painting, sculpture, performance, and sound, the show explores layered queer identities in a setting that invites sweat, pleasure, and critical play. The Green Corridor opens its doors to present Situated Interventions, a constellation of performative and textual works by former residents, reflecting on 13 seasons of site-responsive practice rooted in local communities. At MINERVE, nestled in a modernist apartment with sweeping city views, 360° presents Germaine Kruip’s first solo exhibition in Belgium. Welcoming London-based artist Corey Bartle-Sanderson, spasss presents asss x Corey Bartle-Sanderson, a sculptural and photographic exploration of domesticity, nesting, and material memory, staged as an open studio and curator-led tour.

Brussels has established itself as a vital hub in Europe’s contemporary art landscape, supported by a dense network of internationally engaged collectors, galleries, institutions, foundations, and artist-run spaces. With RendezVous – Brussels Art Week, these diverse forces converge to unite the city and create a dynamic hub for art and culture.

RendezVous 2025 is realized thanks to the kind support of Art Brussels, ARTSVP, Brucity, Commune d'Ixelles, Duvel, Eurostar, Flanders State of the Art, Fondation pour les Arts, Fotorama, Loterie national, The Standard Brussels, Polestar electric cars, visit.Brussels and all participating galleries. 


MEDIA CONTACT:

 

A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | Founder | art@annarosathomae.com

Ena Alva | Account Manager | ena@annarosathomae.com

 

NOTES TO EDITORS:

 

Address | Salon de RendezVous

Rue de la Régence 67

1000 Brussels, Belgium

 

Schedule Overview

Preview of Salon de RendezVous

September 3 | 7 pm

Preview of Salon de RendezVous with Zoe Williams

 

September 4 | 5 – 9 pm

Collective Opening Night at all participating galleries

 

Brussels Art Week Days

September 5 (Downtown Brussels) | 11 am – 7 pm

Participating venues open for visits

 

September 6 (Uptown Brussels) | 11 am – 7 pm

Participating venues open for visits

 

September 7 (Midtown Brussels) | 11 am – 7 pm

Participating venues open for visits

 

Participating Galleries:

Almine Rech, Berlin Brussels Art Projects, Bernier/Eliades, Claes Gallery, Christie’s Belgium, Damien & The Love Guru, Dorotheum, Edji Gallery, Esther Verhaeghe – Art Concepts, Frédérick Mouraux Gallery, Galerie Christophe Gaillard Brussels, Galerie Conradi, Galerie Eric Mouchet, Galerie Greta Meert, Galerie La Forest Divonne Bruxelles, Galerie Sept, Gladstone, Grège Gallery, Harlan Levey Projects, Hopstreet Gallery, Irène Laub Gallery, La Patinoire Royale Bach, La Peau De L'ours, Lempertz, Lmno, Martins&Montero, Maruani Mercier, Meessen, Mendes Wood DM, Nathalie Obadia, Nino Mier Gallery, Nosbaum Reding Bruxelles, Pierre Marie Giraud, GQ Gallery, Rodolphe Janssen, Sorry We're Closed., Spazio Nobile, Stems Gallery, Xavier Hufkens, Modesti Pedriolle, Christophe Person.

 

Participating Museums, Institutions and Private Collections:

Cloud Seven, Fondation Boghossian, Fondation Cab, La Loge, Jewish Museum Belgium, MAD Brussels, Publiek Park, Themerode, Vanhaerents Art Collection, Walter & Nicole Leblanc Foundation, WIELS.

 

Participating Artist-run Initiatives:

CCINQ, HECTOLITRE, MINERVE, SB34, spasss, SUPERDEALS, The Green Corridor Brussels, The Smoking Room - Chez Michel, Urban Societies, Winona.

 

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

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. 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 regularly writes artist statements, exhibition texts and exhibition reviews for national and international magazines.

 

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.

 

Image Credits:


1. Courtesy of RendezVous – Brussels Art Week 2025.

2. ‘The Tip Inn’, 2025, 3D sketches by Biche Jaouen for Zoe Williams, commissioned for Brussels Art Week 2025. Courtesy of the artist and Ciaccia Levi, Paris–Milan.

3. Julien Creuzet, 'Nos diables rouges, nos dérives commotions', solo exhibition at Mendes Wood DM. Courtesy of the artist and Mendes Wood DM.

4-5. Villa Empain, Fondation Boghossian. Photography by Sander Muylaert. Courtesy of RendezVous - Brussels Art Week.

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‘STATES OF BEING’: COLLABORATIVE EXHIBITION BETWEEN SOCIÉTÉ AND HAUSER & WIRTH IN BERLIN

Opening: September 10, 2025 | 6 - 8 PM
On view: September 11 – November 1, 2025

September 2, 2025 (Berlin, Germany) – SOCIÉTÉ and Hauser & Wirth are pleased to present States of Being, a collaborative exhibition opening during Berlin Art Week at SOCIÉTÉ. Spanning a wide range of artistic practices and periods, States of Being features artists from both galleries’ programs, including Nairy Baghramian, Darren Bader, Phyllida Barlow, Louise Bourgeois, Tina Braegger, Trisha Baga, Lee Bul, Petra Cortright, Berlinde De Bruyckere, Salim Green, Camille Henrot, Rashid Johnson, Lee Lozano, Glenn Ligon, Conny Maier, Jeanette Mundt, Wynnie Mynerva, Kaspar Müller, Thomas J Price, Pipilotti Rist, Mika Rottenberg, Bunny Rogers, George Rouy, Cindy Sherman, Marianna Simnett, Avery Singer, Timur Si-Qin, Alina Szapocznikow, Anh Trần, and Lu Yang.

Operating along the fluid boundaries of physical, emotional, ecological, and spiritual states of being, the exhibition explores the shared complexities of the human condition through a cross-disciplinary, intergenerational lens. Seminal works from the 1960s and 1970s appear alongside contemporary works, drawing a conceptual through line that resonates with Maggie Nelson’s claim that “there is no single way to be alive. There is only being—again and again, differently.”

Some works gesture toward fleeting, elusive, and metamorphic states through abstraction and material transformation, while others evoke more permanent conditions shaped by legacy, ritual, or historical lineage. Together, these reflections expand beyond an anthropocentric prism to further include meditations on organic, extraterrestrial, and virtual modes of being, employing both biomorphic and synthetic forms to explore how existence is manifested across sentient and insentient life alike.

States of Being places particular emphasis on the performative, aesthetic, and affective strategies through which vulnerability, urges, desires, control, and dominance are expressed. The tender underbelly of the human experience is laid bare in the exhibition—at times whimsically, at times menacingly—through representations of the body and psyche that suggest there is never a singular state of being, but rather an ever-expanding space where values, norms, identity, perception, and imagination converge and clash.


NOTES TO EDITORS
States of Being will be on view at SOCIÉTÉ from  September 11 – November 1, 2025.

Address
Wielandstraße 26
10707 Berlin

Opening Reception

September 10, 2025 | 6-8 PM

Special opening hours during Berlin Art Week

Thursday, September 11 | 12 pm - 10 pm

Friday, September 12 | 12 am - 6 pm

Saturday, September 13 | 12 am - 6 pm

Sunday, September 14 | 12 am - 6 pm

General Opening Hours
Tuesday – Saturday | 10 am - 6 pm
Closed on Sundays and Mondays
 

Image Credits:
1. Jeanette Mundt, American Beauty, 2025. Oil on canvas. 184 x 154.5 x 4.5 cm. 72 1/2 x 61 x 2 in. Courtesy of the artist and SOCIÉTÉ, Berlin.

2. Louise Bourgeois, The Fool, 2007. Bronze, silver nitrate patina. 22.9 x 22.9 x 22.9 cm / 9 x 9 x 9 in. © 2025 The Easton Foundation/VAGA at ARS, NY and DACS, London. Courtesy the Foundation and Hauser & Wirth. Photo: Christopher Burke Studios. 

3. Avery Singer, Untitled, 2025. Acrylic on canvas stretched over aluminum panel. 139.7 x 153 x 5.7 cm / 55 x 60 1/4 x 2 1/4 in. © Avery Singer. Courtesy the artist and Hauser & Wirth. Photo: Lance Brewer.

4. Petra Cortright, crystal_faults ‘’1996_f2_boards’’ PATHLOCK echo_veil, 2025. Digital painting on anodized aluminum. 30 x 30 x 2 cm / 12 x 12 x 1 in. Courtesy the artist and Société, Berlin. Photo: Sebastiano Pellion di Persano.

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SOCIÉTÉ PRESENTS A SOLO EXHIBITION BY ARTIST ANH TRẦN

July 21, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to present Anh Trần’s second solo exhibition with the gallery, opening in September 2025 during Berlin Art Week at an off-site location. Trần’s immersive abstract paintings navigate a fluid terrain of feeling and movement, tracing dynamic relationships across layered fields of color through an accumulation of performative gestures. Her approach to abstraction doesn’t merely consider mark-making as form, but as a way of opening conceptual and emotional space—an intuitive language through which sensation, memory, and displacement find expression. Her newest body of work unfolds across three distinct media: expansive works on canvas, watercolors on paper, and pieces on silk that obliquely reference the tradition of Vietnamese silk painting. By working across these varied materials and surfaces, Trần enters into a generative dialogue with her substrates, testing how each medium absorbs, resists, or refracts her evolving lexicon of kinetic forms.


NOTES TO EDITORS
The solo exhibition by Anh Trần will be on view from September until November 1, 2025.

About Anh Trần:
Anh Trần (b. 1989, Bến Tre, Vietnam) is based in Berlin. Trần’s painting experimentations consist of immersive representations, operating autobiographically within her own displacements. From her departure to Europe from Vietnam, after a decade spent in New Zealand, she developed abstraction as a response to historical academic restrictions - structured around Socialist Realism - by encompassing bold brushstrokes, expressive colors, layers, impasto, and collage. While living a diasporic experience, her aesthetic language underlines her interest in the linguistic differences between Western and South-Eastern countries’ artistic methods, in their closeness to situated political strategies. She earned an MFA from the Elam School of Fine Arts, The University of Auckland, and is a former Rijksakademie van Beedlende Kunsten resident, in Amsterdam. She has had solo shows at Fitzpatrick Gallery, Paris; Galerie Fons Welters, Amsterdam; and participated in group exhibitions at Auckland Art Gallery, Auckland; Pond Society, Shanghai; Zeno X Gallery, Antwerp; Deborah Schamoni, Munich; Bortolami Gallery, New York; Museum de Fundatie, Zwolle; Carnegie Museum of Art, Pittsburgh; and Museum Dhondt Dhaenens, Deurle.

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:
Anh Trần, To be titled (detail), 2025. Courtesy of the artist and SOCIÉTÉ, Berlin.

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FLORENTINA HOLZINGER PRESENTS ‘SEAWORLD VENICE’ | AUSTRIA’S NATIONAL PAVILION AT THE 61st INTERNATIONAL ART EXHIBITION OF LA BIENNALE DI VENEZIA

Preview Days: May 6 – 8, 2026
On View: May 9 – November 22, 2026

July 9, 2025 (Austria) – Austrian choreographer and performance artist Florentina Holzinger has been selected to represent Austria at the 61st International Art Exhibition of La Biennale di Venezia with SeaWorld Venice, a bold new interdisciplinary commission curated by Nora-Swantje Almes (Gropius Bau, Berlin). Known for her genre-defying work that positions the body as both subject and medium to challenge socio-political conventions, Holzinger uses her long-standing research into the element as a point of departure to imagine new ways of living, resisting, and transforming. Blending dance, theatre, and performance art, she approaches water as both subject and symbol, using the body as a site where nature and technology collide. On view from May 9 – November 22, 2026, the project will feature a permanent installation at the Austrian Pavilion alongside a series of site-specific actions across Venice and its lagoon, inviting audiences into participatory encounters with some of the most urgent themes of our time.

‘I am honored to represent Austria at the 2026 Biennale Arte. This opportunity presents an exciting and entirely new challenge for my team and me. Whether on stage, in galleries, or in public spaces, the essence of my work lies in the uncompromising use of the body as a medium. The body becomes the stage where social and political conditions and processes are negotiated directly. My work takes an unconventional and boundary-pushing approach to examining our reality and its transformation. In Venice - a city caught in a profound and precarious relationship with water - my ongoing fascination with this element will take on new dimensions. Here, the body will play a central role in exploring the interdependence and interplay between nature and technology. I am grateful for this trust and looking forward to the challenge ahead with great anticipation’, says Florentina Holzinger.

As SeaWorld Venice will unfold beyond the Giardini della Biennale, the project will echo Holzinger’s series of experimental, site-specific formats titled Études, a body of work she has developed since 2020, consisting of choreographic exercises and performative actions staged in public, transitory spaces. In doing so, the commission becomes an open-ended exploration that unfolds across multiple formats and locations, drawing on aquatic creatures from mythological and classical narratives to investigate water’s cultural, ecological, and political significance. Embracing an interdisciplinary approach, the commission includes a permanent installation and performances at the Austrian Pavilion, and a series of Études dispersed throughout Venice’s urban landscape and its lagoon, activating the city’s social spaces and inviting visitors into immersive, participatory encounters. In this way, the Études function not only as performances but as catalysts for social interaction and transformation, engaging Venice itself, its waters, and its people as integral agents in the work’s unfolding.

Holzinger’s participation reflects Austria’s avant-garde artistic legacy at La Biennale di Venezia. Drawing from a broad range of body practice genres and with critical engagement of their histories—including Viennese Actionism, feminist body art, bodybuilding, ballet, cabaret, and circus—Holzinger’s practice merges physical extremity with cultural critique. These references converge in her visceral deconstruction of femininity, where the body becomes a charged site for confronting dominant cultural narratives. Through poetic yet unflinching imagery, she lays bare the intertwined structures of patriarchy and capitalism, revealing the vulnerability of human bodies and the systems they navigate.

In SeaWorld Venice, Holzinger continues her inquiry into female representation and physicality while expanding her long- standing exploration of water, using Venice itself as a stage for new possibilities within her evolving practice. “Florentina Holzinger works in imagery that I had never seen before: Ballet with motorbikes, a choreographed helicopter that splashed water in my face, female bodies controlling heavy machinery or suspended from hooks. In her all-encompassing artistic practice, she poetically dissects patriarchy and capitalism to show the vulnerability of our bodies and the world, reminding us of the inherited political dimension of the female body. She radically expands what is considered possible - a mindset that is contagious and that we need right now more than ever”, says curator Nora-Swantje Almes.


NOTES TO EDITORS:

Address:
Giardini della Biennale, Sestiere Castello, 30122 Venice, Italy

About Florentina Holzinger:
Holzinger works across artistic disciplines and has produced extensive, widely discussed and awarded theatre productions. Her most recent stage productions include ‘A Year Without Summer’ (2025), her first opera project ‘SANCTA’ (2024), ‘Ophelia’s Got Talent’ (2022), ‘A Divine Comedy’ (2021), ‘Etude for an Emergency’ (2020) and her most toured work ‘TANZ’ (2019). She has been an associate artist with Volksbühne since 2020. With the Etude formats, one-off performances in public spaces, Holzinger has gradually opened her practice to the visual arts context, having presented ‘Etudes’ at Schinkel Pavillon Berlin and Bergen Kunsthall amongst others since 2020. Florentina Holzinger studied choreography at the School for New Dance Development (SNDO) in Amsterdam.

About Nora-Swantje Almes:
Nora-Swantje Almes is a curator with a focus on performance in the visual arts context and performative exhibition formats. She has been Curator of the Live Programme and Outreach at the Gropius Bau Berlin since 2024. Prior to this, she headed the live programme at Bergen Kunsthall, Norway, for three years, where she developed the commissioned work Hafen- Etude with Florentina Holzinger and her team in summer 2024. In her curatorial career, she has held positions at Glasgow International, Participant Inc., New York, Artangel London, and Schinkel Pavillon Berlin.

Image Credits:
Florentina Holzinger, 2024. Photography by Elsa Okazaki.

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THE MACK FOUNDATION PRESENTS 'MACK – EN FACE' | AN INTIMATE PORTRAIT OF HEINZ MACK

July 8, 2025 (Germany) – The MACK FOUNDATION announces the release of Mack – En Face: An Artist’s Life, a comprehensive new monograph offering an intimate portrait of Heinz Mack, from his early childhood to the present. Written by Robert Fleck, professor at the Düsseldorf Art Academy, a key institution in Mack’s early artistic education, and co-authored by Sophia Sotke from Heinz Mack’s studio, the publication draws on conversations with the artist held since 2020 to reveal rare insights into his motivations, ideas, and enduring impact. Funded by the MACK FOUNDATION and published by Hirmer Verlag, En Face pairs deeply personal storytelling with original quotations to illuminate the inner world of one of the most influential figures in contemporary art. The book is available in both English and German editions.


NOTES TO EDITORS:

Mack – En Face: An Artist’s Life is published by Hirmer Verlag.
 

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.

Image Credits:
Cover of 'Mack – En Face: An Artist’s Life', by Robert Fleck, 2025. Courtesy of the MACK FOUNDATION.

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SOCIÉTÉ PRESENTS 'DOKU THE CREATOR – BHAVACHAKRA' BY LU YANG

Opening Preview: Wednesday, July 9 | 6 - 8 pm
On View: July 10 – August 30, 2025

July 2, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to announce DOKU the Creator – BHAVACHAKRA, Lu Yang’s second solo exhibition with the gallery. 

Since 2018, Lu Yang has been developing the shapeshifting avatar DOKU in collaboration with a team of scientists, 3D animators, and digital technicians using the latest in motion capture technology. DOKU is a digital shell, a virtual human named after the phrase “Dokusho Dokushi,” meaning “We are born alone, and we die alone.” Yang describes DOKU as a virtual avatar that traverses simulated realities, embodying the dissolution of fixed identity and the recursive nature of consciousness.

In DOKU the Creator – BHAVACHAKRA, Lu Yang creates an otherworldly realm where digital identity, karmic recursion, creative generation, and simulated consciousness converge. Combining post-apocalyptic imagery with the vivid aesthetics of video games, manga, anime, and Buddhist spirituality, the exhibition draws connections between incarnations across virtual, corporeal, and spiritual realms—suggesting a future in which the self and its representations may be endlessly remade. The exhibition’s title work, an immersive video, begins with an extended rumination on dreams and reality before spiraling into metaphysical reflections on cycles of life and death, the illusory nature of existence, and the artistic process itself. Panning through interior and exterior tableaux in which technological detritus, organic matter, elements of the built environment, and parts of the body fuse into elaborate geological or architectural forms, DOKU the Creator gestures toward a digital sublime. In this new work, DOKU is no longer merely a virtual avatar, a digital self, or a performative body. Here, DOKU becomes the Creator—a meditative presence dwelling in the void of the virtual world, conjuring all phenomena through contemplative stillness. Yet what is created is not a “world” in the material sense, but a realm of illusions—a perpetual cycle governed by ignorance and attachment.

The metaphysical shift that DOKU undergoes—from a fabricated virtual entity to a creator in its own right—is echoed throughout the exhibition, suggesting that the boundaries between human, machine, and consciousness are increasingly fluid and interwoven. Twenty-four digital paintings extend beyond DOKU’s virtual world and into the realm of Buddhist cosmology. They comprise artworks created by DOKU within the narrative logic of the video work, as part of a virtual meditation practice. Each painting corresponds to a specific moment and cosmological element in DOKU the Creator – BHAVACHAKRA—such as the Twelve Nidanas, the Six Realms, the Three Poisons, and the Karmic Paths. These works are manifestations of DOKU’s internal vision, generated through contemplative stillness and rendered into symbolic visual form. With their strong material presence and symbolic references to playing cards, the paintings become the third iteration in a chain of creation—beginning with Yang and stretching beyond the human. DOKU themself becomes the creator, generating their own visual cosmology in the virtual world.


NOTES TO EDITORS

DOKU the Creator – BHAVACHAKRA by Lu Yang will be on view from July 10 – August 30, 2025.

Address
Wielandstraße 26
10707 Berlin

Opening Preview
Wednesday, July 9 | 6 - 8 pm

Opening Hours

Monday – Saturday | 10 am – 6 pm
Closed on Sundays

About Lu Yang:
Lu Yang (b. 1984, Shanghai) lives and works between Shanghai and Tokyo. His recent video installation DOKU The Flow premiered at Fondation Louis Vuitton in Paris as part of the museum’s Open Space series and was recently on view at K11 Shenzhen. In 2022, Lu Yang was named Artist of the Year by Deutsche Bank. His work was featured in WORLDBUILDING, an exhibition curated by Hans Ulrich Obrist at the Julia Stoschek Foundation in Düsseldorf, which later traveled to the Centre Pompidou-Metz. Lu Yang has held solo exhibitions at major international institutions including Kunsthalle Basel; Palais Populaire, Berlin; ARoS Museum, Aarhus; M Woods, Beijing; MOCA Cleveland; Ullens Center for Contemporary Art, Beijing; Zabludowicz Collection, London; Mori Art Museum, Tokyo; and Kunstpalais Erlangen. His work has also been presented in significant group exhibitions at the Centre Pompidou, Paris; The Milk of Dreams at the 59th Venice Biennale; Rockbund Art Museum, Shanghai; Times Square Arts, New York; CCA Tel Aviv; ICA, London; Muzeum Sztuki, Poland; Hamburger Bahnhof, Berlin; and Fridericianum, Kassel, among others.

Lu Yang is part of a number of public collections including ARoS, Aarhus; Asia Art Archives, New York; Deutsche Bank Collection, Frankfurt; Fondation Louis Vuitton, Paris; Hirshhorn Museum, Washington; K11 Art Foundation, Hong Kong; Kunstpalais Erlangen; M+ Collection, Hong Kong; Sammlung Goetz, Munich; Taguchi Art Collection, Japan; UBS Art Collection; Ullens Foundation, Switzerland; among others.

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:
Video still, Lu Yang, DOKU The Creator, 2025 Courtesy the artist and SOCIÉTÉ, Berlin.

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