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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Seoul / 2026

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Studiya Gallery

Białystok / 2026

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Arsenal Power Station Gallery

Napoli / 2026

LIVING COLLAPSE

Madre Museum

Köln / 2026

WHAT HOLDS

Motkerei Werkstatt

Kraków / 2026

GLIMMER

Jak Zapomnieć Gallery

Porto / 2026

THE WORD FOR WORLD IS POEM

Lehmann Gallery

Stockholm / 2026

GHOSTS & GODS

Coulisse Gallery

Seoul / 2026

EUREKA

MO Gallery Seoul

Helsinki / 2026

DOG AND ANGEL

SIC

KOESY

@koesysaga

/ 2026

FROM AN UPCOMING SERIES

Olomouc / 2026

SIGNAL V

Telegraph Gallery

Prague / 2026

ROT SUMMER

Holešovická šachta

Ethereal Robes of Vulnerability exhibition view

Vilnius District Municipality / 2026

ETHEREAL ROBES OF VULNERABILITY

Aikas Žado Laboratory (Žeimiai Manor House)

Słupsk / 2026

A GENTLE KISS ON A DOUBLE FOREHEAD

BGSW / Baszta

Poznań / 2026

WE ARE DEEPLY ALARMED AND EXPRESS OUR GRAVE CONCERN

DOMIE

Poznań / 2026

MAKE ME YOURS

Łęctwo

Brussels / 2026

FIRST DATE

Lodovico Corsini

Berlin / 2026

CAGED MOVEMENTS

NADAN Berlin

Istanbul / 2026

ROOTKIT

BENTA

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@pyhii

Montpellier / 2025

METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

Brno / 2025

LOVE

Zaazrak|Dornych

Lisbon / 2025

THE STAGES OF GRIEF

PADA Studios

/ 2024

EXTERNAL CRYOGENICS

Hyperlink Athens

Shanghai / 2024

CONTEMPT

Capsule Shanghai

London / 2024

TOTAL INTERNAL REFLECTION

Zerui G

/ 2025

DEEP SEA FISH

Diesel Art Gallery

Innsbruck / 2025

TIPPING POINT PHANTOMS

Künstlerinnenvereinigung Tirol

Vienna / 2025

SWEET GARDEN OF VANISHED PLEASURES

dieAngewandte

New York / 2025

LUCA

Management NYC

YEON GYEONG-SEOK

@camelostrich

Busan / 2025

AFTERLIFES

Hongti Artcenter

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS

ACUD Galerie

Munich / 2026

MOTIONS TO UNFURL

Gallery Thetigerroom

Seoul / 2025-2026

GROWING BODY

Studiya Gallery

Paris / 2026

MAIN DE FER, GANT DE VELOURS

Association NOEMI — Espace Brownstone

Warsaw / 2026

PARACHUTE

Przeciag Galeria

Nurnberg / 2026

LIMINALITY

Adbk Nuernberg

Offenbach am Main / 2026

CALL SOMEONE

Ayayay

/ 2025

SWEET WORLD 1

Sweet World Gallery

Berlin / 2026

COMPANIONS: ACT I

Hours

/ 2026

PRESERVED, UNFIXED BY YASY BACHURINA

XOLO CUINTLE

@xolo_cuintle

Features

Unzucht - Kiss the Devil's Arse exhibition view

Berlin / 2026

UNZUCHT - KISS THE DEVIL'S ARSE

Kunstbrücke am Wildenbruch

Cologne / 2026

CHRONIC INFLAMMATION

Martinetz

Saarbrücken / 2026

RITUAL FOR HAPPINESS

Automat

Berlin / 2026

THE SOLEMNITY OF THE REPULSIVE

roam projects e.V.

Suwon / 2026

THE CREEPER IN THE DUSK

Gosaek Newseum

Hurup / 2026

THE JEWEL BOX

Kunsthal Thy

/ 2026

BUNNY BUNKER NO.1

KIM MYUNGCHAN

@kim.myungchan

Shanghai / 2026

TECHNO WORLDS — FINAL SAMPLING

Power Station of Art

Paris / 2026

WHAT WE SEE, WHAT LOOKS BACK AT US

Emergency Space

Brescia / 2026

IMPOTENZA

Palazzo Monti

Triangle reshapes the O of my mouth exhibition view

Munich / 2026

TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling

Lima / 2026

YOU CAN'T STOP THE WORLD FROM BEING BAD

Galería Gato

Mexico City / 2026

AXES

Alvarez Chida

Cergy / Paris / 2026

NIKE, TA MÈRE (WILL FALL ON YOU)

ENSAPC / CROUS Paris

New York / 2026

ACTUALIZATION MACHINE

Silke Lindner

Düsseldorf / 2026

DON'T TRUST THE RABBIT

SSK Düsseldorf

Kraków / 2025

WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

EMMA BEATREZ

@emma.beatrez

Brussels / 2025-2026

WORK OF PROOF

FLⒶT$

/ 2024

METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

Schinkel Pavillon

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

Wroclaw / 2024

EUTROPHY

Bulvary

Stockholm / 2024-2025

DIALECTS OF THE DEEP

Bonniers Konsthall

Geneva / 2024

DOWN THE RABBIT HOLE, 2024

Halle Nord Geneve

Paris / 2025

TISSU EXPANSÉ

Europa NYC

Santiago / 2025

ENCUENTRO

Sagradamercancia

Warsaw / 2025

THE LAST DRAWER ON THE LEFT

Przeciag Galeria

FANTASY VANISHES IN FLESH exhibition view

Milan / 2025

FANTASY VANISHES IN FLESH

Francesca Minini

NATHAN CARÊME

@nadaecc

Dornbirn / 2026

BUCOLICA

Kunstraumdornbirn

Prague / 2026

SOFT_SIGHS SYNTHESIS

Clauda Cz

Seoul / 2025

MASSAGE PLATZ

Shower

Buenos Aires / 2026

COAGVLA

Acéfala Galería

Seoul / 2026

MIMICKING ETERNITY

Studiya Gallery

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

Schutzenverein

Białystok / 2025

PARADISE ROT

Galeria Arsenal

Lima / 2026

C.R.E.A.M. (CASH RULES EVERYTHING AROUND ME)

Mueve

Vienna / 2026

AUSGEWEIDET / GUTTED

WAF Galerie

Antwerpen / 2026

I AM JUST A DOG

temp

Within And For Each Other exhibition view

Warsaw / 2026

WITHIN AND FOR EACH OTHER

WHOISPOLA

Madrid / 2026

SUCULENTA ARAÑA

Galería Picnic

Istanbul / 2026

DEAD LETTER OFFICE

Benta

Berlin / 2026

ACACIA BLOOM

Galerie Molitor

Lladó / 2026

KIN TOO

Spiritvessel

Santiago / 2026

RAMA TORCIDA

MAC — Museo de Arte Contemporáneo

Paris / 2026

NEXUS, OPEN STUDIO

Cité internationale des arts

Tisbury / 2026

FLOOD

Messums West

Berlin / 2026

FIGHT OR FLIGHT: SEX

Kunstquartier Bethanien

Málaga / 2026

AXIAL-CORE

La Térmica (KRVCE festival)

YUKINO YAMANAKA

@yukino_yamanaka

Klaus in Vorarlberg / 2026

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

Galerie Brugger

Genk / 2026

JOY RIDE

Jester

Turin / 2026

OLD SNAG

Société Interludio

Vienna / 2026

TERRITORIES OF EXTRACTION

Arka Arka

Oslo / 2026

STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

Kunstnernes Hus (Rothaus)

Warsaw / 2026

HAUS DER LÜGE

Przeciąg Gallery

PROFUSION ANTAGONIST WISHLIST exhibition view

Düsseldorf / 2026

PROFUSION ANTAGONIST WISHLIST

PAW

Edges that blur, bodies that fold into something other exhibition view

Berlin / 2025

EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

Shanghai / 2025

A BLADE UNHELD

Galerie Dengyun

/ 2023

KASSANDRA

Kunsthalle Ost

SOPHIA GATZKAN

@s_gatzkan

Vilnius / 2024

KETEROS

Meduza Fyi

Prague / 2024

PETRICHOR

Prám

Jung-gu, Seoul / 2025

FARM

Bio Gallery

Ljubljana / 2025

TAR STAR

Cukrarna Art

Bratislava / 2025

DISTANT, ENDLESS HUM

Vunugallery

/ 2025

THE ROOM I

Ifö Center

Bratislava / 2025

BEGONE ESTRONE

Medium Gallery

Kraków / 2025

CRASH PÆNDEMONIA

Jak Zapomniec

Milan / 2025

MYTHS FROM SMOLDERING SKIES

Limbo Contemporary

DOUBLED PRESENCE IN A DISEMBODIED SPACE exhibition view

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

Trost Spc

ARGHAVAN KHOSRAVI

@arghavan_khosravi

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

Vorarlberg / 2026

SUPPORTED FILES

Galerie Brugger

Sardinia / 2026

BLUE BLOODED

Museo Nivola

/ 2025

LOST ENCOUNTERS, THEY CLING

PARALLEL VIENNA

Seoul / 2025

TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

Düsseldorf / 2026

SPATENPROBE

BLOOM

Submit Exhibition

Prague / 2026

BESIDES BODIES

Berlinskej model

Tokyo / 2026

INTOLERANCE

Standing Pine

DEW KIM

@dew_needs_you

Miami / 2026

COMMON SKIN FANTASY

KDR Gallery

Berlin / 2026

COSMOLOGIES AT PLAY

Neun Kelche

Norwich / 2026

AS THE SAP RISES

OUTPOST

Vilnius / 2026

SUBSURFACE

MO Museum

Brno / 2026

ANCIENT GIRL STARTER PACK

Galerie Mladých, TIC

Avigliana / 2026

I SEE YOU FALLING IN MY DEN

Una Boccata d'Arte 2026

Shanghai / 2026

THE ROOM IS EMPTY, BUT PREGNANT

Capsule Shanghai

Copenhagen / 2026

AFTER THE OFFERINGS

inter.pblc

Ciudad de México / 2026

TÁNTALO

Biblioteca Vasconcelos

Angers / 2026

THE STASIS GARDEN (OR PIXIES MEMORIES)

Ville d'Angers (Château d'Angers)

ANNA UDDENBERG

@filet_minion_thong

Kraków / 2026

PASSENGER

Szaber Gallery, Kraków, Poland

WHO COMPOSES THE SONG OF THE CRICKETS? exhibition view

Paris / 2026

WHO COMPOSES THE SONG OF THE CRICKETS?

Galerie Suzanne Tarasieve

Poznań / 2026

TANGLED IN SHADOWS FROM AN OLD DRAWER

Łęctwo

Bucharest / 2026

DISLOCATION

Arsmonitor

Tokyo / 2026

THE BEAUTIFUL REMAINS

Kohtoh

New York City (NY) / 2025

EXUVIAE

Management

Göteborg / 2025

TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

Galleri Box

/ 2024

BIDIM BLO!

Basisfrankfurt

Lisboa / 2023

A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

Budapest / 2024

SKELETAL SCENES

Ani Molnár Gallery

JACOPO PAGIN

@pax_aliena

Milan / 2025

FALENE

Limbo Contemporary

LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

Macba Barcelona

Milan / 2025

METAL MEMORY

Limbo Contemporary

Berlin / 2025

GREEN GROWTH

Kuenstlerhaus Bethanien

Århus / 2025

JUST ABOUT AND NEVER

SpLab

Paris / 2025

PARADE

Romeropaprocki

Berlin / 2025

THRESHOLDS

Carlier | Gebauer

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

Aod Museum

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

Jochen Hempel

Dornbirn / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

QUE.FRESCA

@que.fresca

Paris / 2026

CHEWING GUM IN THE MOTHERBOARD

La Volonte 93

Paris / 2025

PULSES WITHIN

Ds Galerie

Seoul / 2025

THIRD SKIN

Dive Seoul Art

Sherbrooke / 2026

APIS MELLIFERA CONCERTO

Sporobole

Warsaw / 2026

HAT HAPPENS ON EARTH STAYS ON EARTH

bliss

Riga / 2026

KEEPING THE PEELS

427

Brussels / 2026

LARVAL TEARS

Veranda

Berlin / 2026

P R I M O R D I A

Culterim Spaces Backshop

Munich / 2026

INNER:LICHT

SAMSA G. TUCHWAREN

ISABELLE ALBUQUERQUE

@isabellealbuquerque

Münster / 2026

THE SPIRIT IS WILLING BUT THE FLESH IS WEAK

Leonardo-Campus Münster

/ 2026

MOUTH

A Flower Is Growing Inside Me exhibition view

Warsaw / 2026

A FLOWER IS GROWING INSIDE ME

Piktogram

Seoul / 2026

BETWEEN REALITY AND THE VIRTUAL

Brussels / 2026

CALL ME GRAVITY

WIELS Contemporary Art Centre

Seoul / 2026

TANGERINE REVERIE

Bangdo

Paris / 2026

NYMPHENBRUNNEN

Espace Nonono

24 Preludes, Op. 34: No. 22 in G minor (Adagio) exhibition view

Seoul / 2026

24 PRELUDES, OP. 34: NO. 22 IN G MINOR (ADAGIO)

Studiya Gallery

London / 2026

FAULT LINES

Public Gallery

Everything comes together while pushing all apart exhibition view

Vienna / 2026

EVERYTHING COMES TOGETHER WHILE PUSHING ALL APART

Reaktor Wien

00 ZHANG

@aio0o0o0

Munich / 2026

DOUBLE STAR

nouveaux deuxdeux

Ljubljana / 2026

ACCOMPLICE

Cukrarna

Warsaw / 2024-2025

GRASS ON ROADSIDE 4

Przeciąg Gallery

London / 2025

CHOICE DIRT

Xxijra Hii

Incommunicability is itself a source of pleasures exhibition view

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

/ 2024

TRANSPARENCY REPORT

/ 2023

THE WORM AT THE CORE

SET

Berlin / 2023

HUMAN IS

Schinkel Pavillion

London / 2024

LIMO

The Split Gallery

Berlin / 2025

THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

ACUD Galerie

DORIS SALCEDO

#DorisSalcedo

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

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

Dortmund / 2026

CALL ME WE

SUPERRAUM

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

Lisbon / 2026

LULLABY BLOSSOMS

Cosmos CAC

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

TAEWON AHN

@ppuri_

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

TURIN, ITALY / 2026

OLD SNAG

Société Interludio / Ingeborg Tysse

I usually disdain texts beginning with a definition, but Old Snag definitely demands one. Personally, I could imagine a “hey you!” just preceding it — the kind of expression muttered at the edge of a counter, directed toward some drunk man: a body gone crooked, inexplicably still standing. As it turns out, the term is not typically used for human beings. And yet, if it were, my intuition would not feel entirely misapplied. A snag, in forestry, is a standing dead tree: no longer alive in the biological sense but not yet absorbed back into the ground. A walking dead, in other words! No wonder every existing image of a haunted house includes somewhere in the background a lightning-struck trunk, twisted like a witch’s finger. Wait, hear this before you roll your eyes in disapproval of my fixation with the topic. What is important, and increasingly documented in ecological research, is that these dead standing trees are far from inert remnants. They function as active ecosystems, hosting nesting cavities for birds, shelter for insects, bats, microbial life, fungi, lichens, mosses, and a dense array of organisms that depend precisely on decomposition for vitality.

In Ingeborg Tysse’s exhibition, an old snag appears within an analogous suspended ontology. Sourced from the area surrounding the gallery, the trunk is ceremonially positioned upright. With a pair of owl-looking wings that unfurl at its sides, it assumes a totemic presence. The effect is rather absurd and deliberately unsettling: the trunk is grounded, heavy with its own past, while the wings animate something expected to be devoid of life. The owl too carries a symbolic history, appearing across multiple folk traditions as a creature associated with death omens, obscure knowledge and the threshold between worlds. Other three monumental cherry trunks lie horizontally across the floor, dressed with Elizabethan and clerical collars, as well as belts. The arthritic dark-brown bark and the fleshy fungi bulging from it reveal that, when sourced, these trunks had already been reclaimed by the forest floor. Ecologically, they belong to another category altogether: deadwood, or downed logs. Typically, as moisture infiltrates deadwood from the soil below, moss spreads across its bark and fungi proliferate, while larvae and microbial colonies gradually convert wood into nutrient-rich organic matter, contributing to the slow release of carbon into the soil. A fundamental regenerative process indeed, one that makes the log uncomfortably close to a putrefying corpse. What disgusts us about the cadaver, writes Julia Kristeva in Powers of Horror, is its collapsing of categories we obsess on keeping separate: life and death, self and non-self, body and waste. The corpse is that which exceeds purity and containment — the most disturbing of residues in which life persists as something no longer recognisable as “self.” Think about how we see our dead ones for the last time. It is usually at the funeral parlour: dressed, composed, cosmetically restored, the smell temporarily subdued, the body carefully adjusted into a final image of coherence before the coffin is sealed, and decomposition is removed from sight. What follows — the slow, irreversible transformation of the body into other forms of matter — is systematically withdrawn from the sphere of the living imagination. It is precisely within this logic that the Elizabethan ruffs and belts placed on her trunks resonate. Historically, ruffs functioned as devices of posture and class distinction, producing an image of elegance and aristocratic composure — while also, more implicitly, concealing the softening of the neck and the visible signs of bodily ageing in a pre-Botox era. Belts, too, operate through a similar logic of containment, framing another notoriously soft part of the body. In Tysse’s installation, these anthropic accessories, clumsily off-scale, resemble attempts to stabilise matter in the process of transformation, entering a rather intimate sphere of attachment, where decoration and maintenance become ways of staying with what is lost. The result is both tender and grotesque. As for the bird feathers in the standing trunk, they animate the logs, granting them personality. This is also evident in the pair of small bronze root-like sculptures, each adorned with a collar hat that gives them a lively appearance, as if caught dancing. Or are all these ruffs rather disclosing a whole bunch of beheaded creatures? The doubt can’t but hover in unresolved suspension…

And of course, no parade of the dead would be complete without a ghost. A haunting cylindrical metallic grid rises in the space, shimmering with silver leaves that instil a spectral presence, bearing witness to those forms of disappearance that can no longer be kept at a distance, and allowing for extended grief. Tysse addresses the deeply human desire to preserve and immortalise, while simultaneously placing the death of ecological systems directly in front of us. In doing so, she also quietly invites to ponder on what is deemed worthy of preservation, and what is allowed to disappear unnoticed. The snag, after all, is not simply a lesser-known poetic symbol of mortality, but an increasingly vulnerable element within managed forests, where deadwood is often removed in the name of productivity. Together with this piece, two digital jacquard weavings introduce a synthetic dimension to the whole. Among dense branching tangles disclosing subterranean rib cages or ears popping out of wooden pockets, archaic trippy visions unfold. It’s the effect of the hallucinatory realisation that organic life has always communicated through hidden infrastructures exceeding individual bodies… and that the forest is very much alive (and dying) inside and outside us.

— Caterina Avataneo

Ingeborg Tysse (1992, Stavanger, Norway) lives and works in Oslo. She works across sculpture, installation, weaving, video, and costume, engaging with personal narratives, contemporary and historical myths, craft traditions and environmentalism. Central to her practice is an exploration of prosthetics as extensions of body, space, and time — material encounters between the organic and synthetic, the old and the new, the lost and the re-imagined. Within her work, prosthetics become metaphors for mental, physical, and metaphysical adaptation, addressing how bodies and environments adjust to loss, change, and synthetic intervention. Tysse holds an MFA from Bergen Art Academy from 2024 and a BFA from Oslo National Academy of the Arts, Textile Department, and from Iceland University of the Arts.

Recent solo exhibitions include: Neckwreath, Kiosken Studio, Bergen, Norway (2025); Wild Watch, Norwegian Sculptors Society, Oslo, Norway (2025); Chimed, Ditroit Dream, Milan, Italy (2025), Phantom Gut, L21 Gallery, Palma de Mallorca, Spain (2024); SKRØMT, Hordaland Kunstsenter, Bergen, Norway (2023). Her work has been exhibited in group exhibitions such as Hesten og Plysen, Gamle Innvik Ullvarefabrikk, Stryn, Norway (2025); fantom\kopi\klem\print, She Will Art Space, Oslo, Norway (2025); This is personal, Bergen Kunsthall, Norway (2024); I arrived, I laid an egg, I left, L21 Gallery, Palma de Mallorca, Spain (2024); BACC Bangkok Art and Culture Centre, Thailand (2023); Shared Imaginations, KUNO Biennial, Vilnius, Lithuania (2023); Aeaea, Podium, Oslo, Norway (2023).

OLD SNAG installation view 2 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 3 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 4 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 5 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 6 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 7 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 8 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 9 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 10 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 11 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 12 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 13 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 14 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 15 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 16 — Installation view. Photo: Stefano Mattea

OLD SNAG installation view 17 — Installation view. Photo: Stefano Mattea

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