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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WHEN DOORS CLOSE, WALLS RISE

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A BLADE UNHELD

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ENCUENTRO

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THE LAST DRAWER ON THE LEFT

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FANTASY VANISHES IN FLESH

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WEAVING BACK TO COMMON GROUNDS

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ANCIENT GIRL STARTER PACK

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PASSENGER

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TANGLED IN SHADOWS FROM AN OLD DRAWER

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HAUS DER LÜGE

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PETRICHOR

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THE ROOM I

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CRASH PÆNDEMONIA

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FAULT LINES

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GRASS ON ROADSIDE 4

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BIDIM BLO!

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THE WORM AT THE CORE

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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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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

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FIRST DATE

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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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THE STAGES OF GRIEF

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TRANSPARENCY REPORT

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CONTEMPT

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HUMAN IS

Schinkel Pavillion

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DEEP SEA FISH

Diesel Art Gallery

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THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

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dieAngewandte

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VITALS VAPORS

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DIE SPRACHE DER VÖGEL

Westwerk Hamburg

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WITH FEATHERS AND FLESH

Holešovická Šachta

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THE LANGUAGE OF THE ENEMY

Artsonje Center

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THE SIGNAL. THE NOICE

Greatorex Street E1

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ACUD Galerie

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CALL ME WE

SUPERRAUM

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THE SHAPE OF A SCAR

Bonifraterska 3/1

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LULLABY BLOSSOMS

Cosmos CAC

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

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AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

Paris / 2025

PULSES WITHIN

Ds Galerie

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

MUNICH, GERMANY / 2026

TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling / Anousha Payne

Sperling is pleased to present the second exhibition by Anousha Payne in Munich, developed in close collaboration with Ushara (sound and opening performance). Building on her first presentation at Sperling's old gallery location – where paper-pulp casts of her own body and ceramic animal heads formed a playful narrative supported by a four channel sound piece – Payne continues to expand her practice through challenging processes. Her work lives between sculpture, storytelling, and embodied experience, tracing the shifts between the human and the non-human, the domestic and the mythological.

At the centre of the exhibition is the figure of the moth. For Payne, the moth is not simply a symbol of attraction or fragility, but a creature that moves across thresholds – between interior and exterior, private and public, constraint and escape. It becomes a speculative figure of transformation: a body that passes through walls, that inhabits and exceeds the architecture of the home. The house itself appears here not merely as a physical structure, but as a psychological and political one – an extension of patriarchal limits, a site in which domestic labour, memory, and identity are inscribed and contested.

This ecology of the home is rendered through an interplay of sculptural elements, text, and sound. Wax circles punctuate the space like traces or imprints – marks that evoke the repeated impact of wings against a surface, preserving movement. The use of batik, with its etymological root in "writing in wax," further layers the exhibition with questions of inscription, inheritance, and material memory. Associated with domestic clothing and intergenerational intimacy, batik here also carries the weight of its colonial trajectories, embedding the work within broader histories of exchange and displacement.

Payne's narrative follows a protagonist increasingly enclosed within the walls of her home, accompanied and gradually transformed – by the presence of the moth. This transformation is not framed as disappearance, but as an expansion of the body: a leaking, multiplying form that extends beyond itself. The figure of the moth/woman resonates with what Virginia Woolf once described in The Death of the Moth as the intensity of life condensed in a small, flickering being – an energy that persists even at the threshold of dissolution. In Payne's work, this fragile vitality is reimagined as a force of resistance: the capacity to move, to mark, to transform within and against enclosing structures.

At the same time, Silvia Federici's Caliban and the Witch sharpens this perspective by tracing how mechanisms of control and persecution have historically disciplined and enclosed female bodies. Within this context, transformation does not appear as a passive dissolution but as a potential refusal: a way of exceeding the structures that seek to contain it. The moth, then, emerges not only as a figure of fragility, but as a quiet strategy of escape – a being that inhabits confinement while simultaneously eroding its limits.

These concerns are extended through Ushara's sound work and live performance, which activate the exhibition as a temporal and affective environment. Composed of field recordings, organ, cello, and voice, the sound piece inhabits the house as a shifting presence, embodying the psychological states of its protagonist. During the opening weekend, Ushara will present an expanded one-woman opera in four acts, combining reinterpretations of Johann Sebastian Bach and Hildegard von Bingen with original compositions. The performance unfolds as a movement through solitude, fragmentation, and renewal, echoing the exhibition's exploration of interiority and transformation.

Triangle reshapes the O of my mouth installation view 2 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 3 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 4 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 5 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 6 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 7 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 8 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 9 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 10 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 11 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 12 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 13 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 14 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 15 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 16 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 17 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

Triangle reshapes the O of my mouth installation view 18 — Installation view. Photo: Sebastian Kissel, Pablo Lauf

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