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Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

Lladó / 2026




Features
@xolo_cuintle

/ 2026

@dew_needs_you

Shanghai / 2026









@isabellealbuquerque

Brescia / 2026

@koesysaga

Lima / 2026










@kim.myungchan
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Cergy / Paris / 2026

@yukino_yamanaka

Düsseldorf / 2026









@filet_minion_thong






Brno / 2025

@aio0o0o0

/ 2024









@pyhii

London / 2024

@emma.beatrez

Innsbruck / 2025

@s_gatzkan











New York / 2025

@pax_aliena

Busan / 2025

#DorisSalcedo
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Munich / 2026

@camelostrich

Paris / 2026

@nadaecc

Nurnberg / 2026

@arghavan_khosravi








/ 2025

@que.fresca

Norwich / 2026

Santiago / 2026

Paris / 2026

Tisbury / 2026

Berlin / 2026

Málaga / 2026

Paris / 2026

Klaus in Vorarlberg / 2026









Munich / 2026

Turin / 2026








Mexico City / 2026

Oslo / 2026



New York / 2026









Düsseldorf / 2026

Kraków / 2025

Shanghai / 2025

Brussels / 2025-2026

/ 2024








Tartu / 2024

Wroclaw / 2024

Stockholm / 2024-2025

Geneva / 2024

Paris / 2025

Santiago / 2025

Warsaw / 2025






Milan / 2025
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Berlin / 2025

Dornbirn / 2026

Seoul / 2025-2026








Seoul / 2025









Warsaw / 2026

Seoul / 2026

Offenbach am Main / 2026

Białystok / 2025

@ppuri_

Münster / 2026

Vilnius / 2026

Brno / 2026

Avigliana / 2026

Shanghai / 2026













Copenhagen / 2026

Ciudad de México / 2026

Angers / 2026

Genk / 2026

Kraków / 2026

Vienna / 2026

Poznań / 2026

Warsaw / 2026

Tokyo / 2026













Berlin / 2025

Göteborg / 2025










/ 2023

Lisboa / 2023

Vilnius / 2024

Prague / 2024














Jung-gu, Seoul / 2025

Ljubljana / 2025





Bratislava / 2025










/ 2025

Bratislava / 2025

Kraków / 2025
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Milan / 2025








Graz / 2026

Prague / 2026

London / 2026

Buenos Aires / 2026

Sardinia / 2026









Berlin-Schöneberg / 2025
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Seoul / 2025

Helsinki / 2026

/ 2026

Warsaw / 2026

Seoul / 2026

Brussels / 2026

Seoul / 2026

Paris / 2026











Seoul / 2026

London / 2026

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Vienna / 2026






Paris / 2026

Munich / 2026

Bucharest / 2026














Warsaw / 2024-2025

New York City (NY) / 2025
















Brescia / 2025-2026










/ 2024
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/ 2023








Budapest / 2024






London / 2024
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Milan / 2025





Barcelona / 2024-2025







Milan / 2025

Berlin / 2025

Århus / 2025










Paris / 2025

Berlin / 2025
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Seoul / 2026

Leipzig / 2026

Dornbirn / 2026

Vorarlberg / 2026

Paris / 2026

/ 2025

Seoul / 2025

Suwon / 2026

Hurup / 2026

/ 2026

Olomouc / 2026
















Prague / 2026




Vilnius District Municipality / 2026

Słupsk / 2026

Poznań / 2026






Poznań / 2026

Brussels / 2026

Berlin / 2026















Istanbul / 2026

Ljubljana / 2026

Montpellier / 2025

London / 2025

Lisbon / 2025

/ 2024










Shanghai / 2024
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Berlin / 2023

/ 2025
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Berlin / 2025

Vienna / 2025

Arnsberg / 2025

Hamburg / 2025

Prague / 2025

Seoul / 2026
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London / 2025
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Berlin / 2026














Dortmund / 2026

Kraków / 2026









Lisbon / 2026














New York City / 2026

Paris / 2025

Madrid / 2025
Łęctwo / Klaudia Figura

Klaudia Figura’s exhibition Tangled in Shadows from an Old Drawer creatively and critically explores the notion of a “romantic utopia” — a particular state of longing in which life might be more intense, more meaningful, and more complete than it appears within the conditions of contemporary reality. At its core, romanticism is driven less by fulfillment than by desire: the hope that another way of being is possible, beyond a world that, in its current form, feels insufficient, fragmented, and overly rationalized. The romanticization of glamour and luxury becomes a more comfortable strategy than a genuine attempt to confront the emptiness that surrounds us. In her latest works, Klaudia Figura investigates a state of uncertainty, creating images that resemble blurred layers and deposits of memory, where one is compelled to make a final decision or confront the consequences of previous choices. It is a feeling of losing one’s footing — where what is familiar, comforting, and seemingly predictable, marked by nostalgia, begins to disintegrate when confronted with our expectations. The space is populated by images of contemplative figures enclosed and trapped within comfortable forms, or within harsher environments that evoke the simplicity of distant times. Depictions of abandoned or decaying houses, as well as objects representing a particular symbolic capital, become vehicles for exploring the fragility and transience of our existence. It is a sensation akin to a childhood game with siblings that suddenly ends with someone getting hurt.
— Przemek Sowiński

















Artists in this exhibition
More at Łęctwo
More in Poznań
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