Der Kopf ist rund exhibition installation view

Klaus in Vorarlberg / 2026

Der Kopf ist rund, damit das Denken die Richtung wechseln kann

Galerie Brugger

May 22 — June 01, 2026

Axial-Core

Leo Pum @La Térmica, Málaga KRVCE festival

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DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

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STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

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WHEN DOORS CLOSE, WALLS RISE

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A BLADE UNHELD

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ENTER WOODLAND SPIRITS

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ENCUENTRO

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THE LAST DRAWER ON THE LEFT

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FANTASY VANISHES IN FLESH exhibition view

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FANTASY VANISHES IN FLESH

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WEAVING BACK TO COMMON GROUNDS

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BUCOLICA

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THE SPIRIT IS WILLING BUT THE FLESH IS WEAK

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SUBSURFACE

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ANCIENT GIRL STARTER PACK

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I SEE YOU FALLING IN MY DEN

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THE ROOM IS EMPTY, BUT PREGNANT

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inter.pblc

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PASSENGER

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TERRITORIES OF EXTRACTION

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TANGLED IN SHADOWS FROM AN OLD DRAWER

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HAUS DER LÜGE

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THE BEAUTIFUL REMAINS

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EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

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KASSANDRA

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A CERTAIN INSTANCE OF VERRITION

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KETEROS

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PETRICHOR

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DISTANT, ENDLESS HUM

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THE ROOM I

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BEGONE ESTRONE

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CRASH PÆNDEMONIA

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MYTHS FROM SMOLDERING SKIES

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SOFT_SIGHS SYNTHESIS

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EVEN SPECTRES CAN TIRE

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FAULT LINES

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nouveaux deuxdeux

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DISLOCATION

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GRASS ON ROADSIDE 4

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EXUVIAE

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Incommunicability is itself a source of pleasures exhibition view

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INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

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BIDIM BLO!

Basisfrankfurt

/ 2023

THE WORM AT THE CORE

SET

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SKELETAL SCENES

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LIMO

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FALENE

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LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

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LUNAR ENSEMBLE FOR UPRISING SEAS

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METAL MEMORY

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GREEN GROWTH

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Århus / 2025

JUST ABOUT AND NEVER

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PARADE

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THE JEWEL BOX

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FROM AN UPCOMING SERIES

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SIGNAL V

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ROT SUMMER

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DOMIE

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MAKE ME YOURS

Łęctwo

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FIRST DATE

Lodovico Corsini

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CAGED MOVEMENTS

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ROOTKIT

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ACCOMPLICE

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METEMPSYCHOSIS

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CHOICE DIRT

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TRANSPARENCY REPORT

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CONTEMPT

Capsule Shanghai

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HUMAN IS

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/ 2025

DEEP SEA FISH

Diesel Art Gallery

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THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

ACUD Galerie

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dieAngewandte

Arnsberg / 2025

VITALS VAPORS

Kunstverein Arnsberg

Hamburg / 2025

DIE SPRACHE DER VÖGEL

Westwerk Hamburg

Prague / 2025

WITH FEATHERS AND FLESH

Holešovická Šachta

Seoul / 2026

THE LANGUAGE OF THE ENEMY

Artsonje Center

London / 2025

THE SIGNAL. THE NOICE

Greatorex Street E1

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COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

Dortmund / 2026

CALL ME WE

SUPERRAUM

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

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LULLABY BLOSSOMS

Cosmos CAC

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

Paris / 2025

PULSES WITHIN

Ds Galerie

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

MUNICH, GERMANY / 2026

DOUBLE STAR

nouveaux deuxdeux / Paola Siri Renard

Paola Siri Renard's sculptures emerge from fragments, from architectural ornaments, equestrian monuments, industrial display systems, membranes, and skeletal forms that are extracted from historical structures and reassembled into unstable constellations. Her practice begins with research into architectural languages, from Gothic and Greco-Roman forms to Art Nouveau, not in order to reconstruct them, but to isolate details that reveal how histories of power become embedded within material surfaces. Ornament, in her work, is never merely decorative but rather evidence.

For her exhibition, Renard continues her investigation into monuments and the political symbolism of the horse. Public equestrian monuments have historically functioned as instruments of domination. They monumentalize military authority, colonial conquest, and heroic masculinity while naturalizing these narratives within urban space. Yet the horse itself occupies an ambiguous role within these structures, being both an emblem of power and suppressed body, vehicle of control and living instrument of labour, war, and extraction.

Rather than representing the whole monumental figure, the artist removes the rider and fragments the horse, dismantling the monument from below and isolating its legs - exposing their internal anatomies. Bones, membranes, and organic structures emerge beneath metallic skins, as though the sculptures were caught in a state of mutation. Seven aluminum cast sculptures derived from preparatory maquettes oscillate between archive and specimen. Dispersed individually, these entities form a fictive constellation. Each leg is divided into two distinct faces - one exaggerated and muscular, the other architectural and ornamental - generating a specular image. The cut creates a mirrored interstice from which a second identity emerges. The works suggest that something continues to grow underneath the surface, a latent violence embedded within architecture, monuments, and historical memory itself.

The artist's engagement with Art Nouveau and colonial history is informed in part by the writings of art historian Debora Silverman, whose research traces how vegetal and ornamental motifs in fin-de-siècle architecture were entangled with colonial expansion and the circulation of exoticized forms. Renard extends this reading into the present, approaching architecture as a living political body that absorbs systems of domination into its decorative skin. In her sculptures, architectural forms become porous, unstable, and bodily.

A central installation culminates this research. Conceived as a recomposed body that merges details drawn from the seven preceding models, the sculpture is fragmented into twelve elements arranged in a circular formation, evoking cyclical time and orbital motion. Suspended from modular stainless-steel structures reminiscent of slaughterhouse hangings, the fragments can either be assembled into a recognizable figure or dispersed throughout the space, oscillating between figuration and abstraction. Echoing the motif of the zipper, the structures present each configuration as a provisional and transitional state.

The title Double Star refers to the astronomical phenomenon in which two celestial bodies orbit around a shared centre. Renard uses this idea as a metaphor for history and perception - meanings change depending on perspective, distance, and position. What appears stable or coherent from one viewpoint may crumble from another.

DOUBLE STAR installation view 2 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 3 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 4 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 5 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 6 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 7 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 8 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 9 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 10 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 11 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 12 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 13 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 14 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 15 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 16 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 17 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 18 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 19 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 20 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 21 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 22 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 23 — Installation view. Photo: Dirk Tacke

DOUBLE STAR installation view 24 — Installation view. Photo: Dirk Tacke

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