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Jan Kaps is pleased to announce CANTO INFINITO, a solo exhibition by Jean-Marie Appriou at Palazzo Strozzi in Florence, opening this Friday.

CANTO INFINITO
May 22 - August 23, 2026
Fondazione Palazzo Strozzi
Piazza Strozzi s.n.c.
50123 Firenze

Curated by Arturo Galansino, the project brings together a group of new works offering an insight into Appriou’s artistic practice, a distinctive voice of his generation in the redefinition of the idea of scultpure in contemporary art. The title of the exhibition CANTO INFINITO (“infinite song”) evokes the idea of a continuous flow without beginning or end, suggesting a dimension in which time, matter, and imagination remain in constant transformation. Conceived as an initiatory journey articulated through the rooms of the Project Space, the exhibition subtly draws on the legacy of the Divine Comedy by Dante Alighieri—not as an illustrative model, but as a cultural and symbolic horizon.

Pictured:
Jean Marie Appriou
The Mills of Perception” (detail), 2026
Patinated bronze
369 x 250 x 138 cm | 145 1/4 x 98 7/16 x 54 5/16 in
Unique

Courtesy of the artist's studio

#jankaps #jeanmarieappriou #cantoinfinito #palazzostrozzi

Jan Kaps is pleased to announce CANTO INFINITO, a solo exhibition by Jean-Marie Appriou at Palazzo Strozzi in Florence, opening this Friday.

CANTO INFINITO
May 22 - August 23, 2026
Fondazione Palazzo Strozzi
Piazza Strozzi s.n.c.
50123 Firenze

Curated by Arturo Galansino, the project brings together a group of new works offering an insight into Appriou’s artistic practice, a distinctive voice of his generation in the redefinition of the idea of scultpure in contemporary art. The title of the exhibition CANTO INFINITO (“infinite song”) evokes the idea of a continuous flow without beginning or end, suggesting a dimension in which time, matter, and imagination remain in constant transformation. Conceived as an initiatory journey articulated through the rooms of the Project Space, the exhibition subtly draws on the legacy of the Divine Comedy by Dante Alighieri—not as an illustrative model, but as a cultural and symbolic horizon.

Pictured:
Jean Marie Appriou
The Mills of Perception” (detail), 2026
Patinated bronze
369 x 250 x 138 cm | 145 1/4 x 98 7/16 x 54 5/16 in
Unique

Courtesy of the artist's studio

#jankaps #jeanmarieappriou #cantoinfinito #palazzostrozzi

Now on view at Kunstverein SALTS, Berenice Olmedo’s respiratory apparatuses serve as the vital heartbeat of the group exhibition "Uncanny Garden", transforming mechanical function into a haunting meditation on our own vulnerability.

"In a present in which synthetic representations, avatars, and algorithmic proxies are continuously produced, the human increasingly appears as a projection of itself. What once functioned as representation or play now serves as a medium of identification. Where proximity is simulated most convincingly, the familiar begins to feel strange. Anthropomorphic systems mark sites where questions of attribution, control, and vulnerability are negotiated. The exhibition explores what it means today to recognize ourselves in forms that resemble us – and to place trust in structures designed to represent, mirror, or improve the human."

"Uncanny Garden" remains on view for another three weeks, until May 29, and is open Wednesday–Friday, 12–6 pm.

Pictured:
Berenice Olmedo
Installation views at SALTS
Homonyme, 2018
Plastic tube and breathing apparatus, cotton fabric, velcro
30 x 19 x 10 cm (11 12⁄16 x 7 7⁄16 x 3 14⁄16 inches)
240 cm x 5 cm (94 7⁄16 x 1 15⁄16 inches)

Photo: Nicolas Gysin for Kunstverein SALTS, 2026.

#jankaps #bereniceolmedo @berenice.olmedo @salts_

Now on view at Kunstverein SALTS, Berenice Olmedo’s respiratory apparatuses serve as the vital heartbeat of the group exhibition "Uncanny Garden", transforming mechanical function into a haunting meditation on our own vulnerability.

"In a present in which synthetic representations, avatars, and algorithmic proxies are continuously produced, the human increasingly appears as a projection of itself. What once functioned as representation or play now serves as a medium of identification. Where proximity is simulated most convincingly, the familiar begins to feel strange. Anthropomorphic systems mark sites where questions of attribution, control, and vulnerability are negotiated. The exhibition explores what it means today to recognize ourselves in forms that resemble us – and to place trust in structures designed to represent, mirror, or improve the human."

"Uncanny Garden" remains on view for another three weeks, until May 29, and is open Wednesday–Friday, 12–6 pm.

Pictured:
Berenice Olmedo
Installation views at SALTS
Homonyme, 2018
Plastic tube and breathing apparatus, cotton fabric, velcro
30 x 19 x 10 cm (11 12⁄16 x 7 7⁄16 x 3 14⁄16 inches)
240 cm x 5 cm (94 7⁄16 x 1 15⁄16 inches)

Photo: Nicolas Gysin for Kunstverein SALTS, 2026.

#jankaps #bereniceolmedo @berenice.olmedo @salts_

Now on view at Kunstverein SALTS, Berenice Olmedo’s respiratory apparatuses serve as the vital heartbeat of the group exhibition "Uncanny Garden", transforming mechanical function into a haunting meditation on our own vulnerability.

"In a present in which synthetic representations, avatars, and algorithmic proxies are continuously produced, the human increasingly appears as a projection of itself. What once functioned as representation or play now serves as a medium of identification. Where proximity is simulated most convincingly, the familiar begins to feel strange. Anthropomorphic systems mark sites where questions of attribution, control, and vulnerability are negotiated. The exhibition explores what it means today to recognize ourselves in forms that resemble us – and to place trust in structures designed to represent, mirror, or improve the human."

"Uncanny Garden" remains on view for another three weeks, until May 29, and is open Wednesday–Friday, 12–6 pm.

Pictured:
Berenice Olmedo
Installation views at SALTS
Homonyme, 2018
Plastic tube and breathing apparatus, cotton fabric, velcro
30 x 19 x 10 cm (11 12⁄16 x 7 7⁄16 x 3 14⁄16 inches)
240 cm x 5 cm (94 7⁄16 x 1 15⁄16 inches)

Photo: Nicolas Gysin for Kunstverein SALTS, 2026.

#jankaps #bereniceolmedo @berenice.olmedo @salts_

Now on view at Kunstverein SALTS, Berenice Olmedo’s respiratory apparatuses serve as the vital heartbeat of the group exhibition "Uncanny Garden", transforming mechanical function into a haunting meditation on our own vulnerability.

"In a present in which synthetic representations, avatars, and algorithmic proxies are continuously produced, the human increasingly appears as a projection of itself. What once functioned as representation or play now serves as a medium of identification. Where proximity is simulated most convincingly, the familiar begins to feel strange. Anthropomorphic systems mark sites where questions of attribution, control, and vulnerability are negotiated. The exhibition explores what it means today to recognize ourselves in forms that resemble us – and to place trust in structures designed to represent, mirror, or improve the human."

"Uncanny Garden" remains on view for another three weeks, until May 29, and is open Wednesday–Friday, 12–6 pm.

Pictured:
Berenice Olmedo
Installation views at SALTS
Homonyme, 2018
Plastic tube and breathing apparatus, cotton fabric, velcro
30 x 19 x 10 cm (11 12⁄16 x 7 7⁄16 x 3 14⁄16 inches)
240 cm x 5 cm (94 7⁄16 x 1 15⁄16 inches)

Photo: Nicolas Gysin for Kunstverein SALTS, 2026.

#jankaps #bereniceolmedo @berenice.olmedo @salts_

An unseen work on paper Tobias Spichtig‘ is shining at Villa Merkel. ✨ ”Anti Heroes“ presents a selection from the Jakob Collection and makes its central concern visible: collecting and presenting contemporary art beyond art-historical systems, classifications, and market-driven logics. The anti-hero functions as a unifying principle between artists, the collection, and the audience.

Inspired by reflections on post-heroic heroism, including those by Ulrich Bröckling, the exhibition asks what forms of orientation art can offer today in a world shaped by crises, acceleration, uncertainty, and the rise of authoritarian forces. A conceptual reference point is Han Kang’s novel The Vegetarian. The protagonist does not resist her environment through strength or decisive action, but through withdrawal and refusal.

The focus is on works that forgo heroic narratives and grand gestures, instead foregrounding doubt, vulnerability, contradiction, and fragile failure. Between self-staging and failure, power and powerlessness, visibility and withdrawal, an ensemble of exhausted, contradictory, and vulnerable positions unfolds. Meaning emerges here where classical heroic figures fail and, within the anti-heroic, new forms of proximity, insight, and responsibility become possible.

Anti Heroes. Jakob Collection
Villa Merkel, Galerie der Stadt Esslingen, Esslingen am Neckar
8 March – 7 June 2026

Pictured:
1-) Tobias Spichtig, Untitled, 2025. © Jakob Collection
2-) Anti Heroes. Jakob Collection, Villa Merkel, Galerie der Stadt Esslingen, photo: Frank Kleinbach © Jakob Collection

#jankaps #tobiasspichtig @spichtigunlimited @jakob_collection

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms.

The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy.

The exhibitiom runs through June 3rd, 2026.

Pictured:
Berenice Olmedo
Phorá, 2026
Orthotic and prosthetic materials, oxidized copper and silver surface
90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms.

The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy.

The exhibitiom runs through June 3rd, 2026.

Pictured:
Berenice Olmedo
Phorá, 2026
Orthotic and prosthetic materials, oxidized copper and silver surface
90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms.

The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy.

The exhibitiom runs through June 3rd, 2026.

Pictured:
Berenice Olmedo
Phorá, 2026
Orthotic and prosthetic materials, oxidized copper and silver surface
90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms.

The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy.

The exhibitiom runs through June 3rd, 2026.

Pictured:
Berenice Olmedo
Phorá, 2026
Orthotic and prosthetic materials, oxidized copper and silver surface
90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms.

The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy.

The exhibitiom runs through June 3rd, 2026.

Pictured:
Berenice Olmedo
Phorá, 2026
Orthotic and prosthetic materials, oxidized copper and silver surface
90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Final weeks! Kresiah Mukwazhi’s monumental site-specific commission work for Schultze Projects at Museum Ludwig will remain on view through June 14.

Spanning the museum’s largest wall, this fourth edition of the series transforms the architecture of the main staircase into a site of profound visual activism, marking a significant milestone in Mukwazhi’s international trajectory accompanying her inclusion in the new Boros Collection presentation and the upcoming NGV Triennial in Melbourne.

The installation, titled "Shanduko nhema", is the artist’s most ambitious textile work to date—a thirteen-meter-long abstract monochrome composed of thousands of bra straps and fasteners sourced from exported second-hand clothing. By repurposing these intimate materials, the work stands as a tribute to female collectivity and unrelenting resistance, transforming the experiences of the marginalized into a sacred, monumental presence that demands to be celebrated.

Kresiah Mukwazhi: Schultze Projects #4
Shanduko nhema, 2024
Bra straps on canvas
356 x 1261 x 7 cm | 140 1/8 x 496 1/2 x 2 3/4 in
on view at Museum Ludwig, Cologne
Closing 14 June 2026

Photo: Rheinisches Bildarchiv, Vincent Quak

#jankaps #kresiahmukwazhi #MuseumLudwig #SchultzeProjects

Final weeks! Kresiah Mukwazhi’s monumental site-specific commission work for Schultze Projects at Museum Ludwig will remain on view through June 14.

Spanning the museum’s largest wall, this fourth edition of the series transforms the architecture of the main staircase into a site of profound visual activism, marking a significant milestone in Mukwazhi’s international trajectory accompanying her inclusion in the new Boros Collection presentation and the upcoming NGV Triennial in Melbourne.

The installation, titled "Shanduko nhema", is the artist’s most ambitious textile work to date—a thirteen-meter-long abstract monochrome composed of thousands of bra straps and fasteners sourced from exported second-hand clothing. By repurposing these intimate materials, the work stands as a tribute to female collectivity and unrelenting resistance, transforming the experiences of the marginalized into a sacred, monumental presence that demands to be celebrated.

Kresiah Mukwazhi: Schultze Projects #4
Shanduko nhema, 2024
Bra straps on canvas
356 x 1261 x 7 cm | 140 1/8 x 496 1/2 x 2 3/4 in
on view at Museum Ludwig, Cologne
Closing 14 June 2026

Photo: Rheinisches Bildarchiv, Vincent Quak

#jankaps #kresiahmukwazhi #MuseumLudwig #SchultzeProjects

Final weeks! Kresiah Mukwazhi’s monumental site-specific commission work for Schultze Projects at Museum Ludwig will remain on view through June 14.

Spanning the museum’s largest wall, this fourth edition of the series transforms the architecture of the main staircase into a site of profound visual activism, marking a significant milestone in Mukwazhi’s international trajectory accompanying her inclusion in the new Boros Collection presentation and the upcoming NGV Triennial in Melbourne.

The installation, titled "Shanduko nhema", is the artist’s most ambitious textile work to date—a thirteen-meter-long abstract monochrome composed of thousands of bra straps and fasteners sourced from exported second-hand clothing. By repurposing these intimate materials, the work stands as a tribute to female collectivity and unrelenting resistance, transforming the experiences of the marginalized into a sacred, monumental presence that demands to be celebrated.

Kresiah Mukwazhi: Schultze Projects #4
Shanduko nhema, 2024
Bra straps on canvas
356 x 1261 x 7 cm | 140 1/8 x 496 1/2 x 2 3/4 in
on view at Museum Ludwig, Cologne
Closing 14 June 2026

Photo: Rheinisches Bildarchiv, Vincent Quak

#jankaps #kresiahmukwazhi #MuseumLudwig #SchultzeProjects

We are pleased to announce Helena Uambembe’s participation in the 17th Sharjah Biennial, opening in January 2027.

Our present is troubled by what remains of unlived pasts, of the defeated yet undead projects of a modernity premised on universal emancipation. Rather than passive and dormant, these remainders continue to animate the present with their restive rhythms, shaping the politics of time and space. Histories resurface and endure, not as pure recurrence but as residues and morphed processes actively informing the now. 

Grounded in this common theme, Sharjah Biennial 17: “What remains, sits restive“ brings together two distinct approaches, each articulated by one of its curators, Angela Harutyunyan and Paula Nascimento.

The 17th Sharjah Biennial: What remains, sits restive
21 January–13 June 2027
Opening week: 21–24 January 2027

Pictured:
Portrait of Helena Uambembe in front of her installation piece, Standard issue (a meditation of things we do not care for), 2024 at Kunsthalle Bremen
Photo: Carolin Weinkopf

#jankaps #helenauambembe @uambemb @sharjahart

We are pleased to announce the participation of Minh Lan Tran in the 18th Lyon Biennale, "To pass from one dream to another", on view across multiple venues in Lyon from 19 September to 13 December 2026. Curated by Catherine Nichols, the 18th Lyon Biennale of Contemporary Art offers a new way to experience the city Lyon — inhabiting its passageways and dreaming anew.

Drawing on the writings of Walter Benjamin and Robert Filliou's Principes d’économie poétique, Catherine Nichols develops a project situated between critique and invention. While Benjamin reveals how capitalism produces a collective dream whose continuity must be interrupted, Filliou proposes that other forms of economy can be explored through artistic and social practices. The Biennale focuses on those moments when the apparent stability of the present begins to fracture, and other imaginaries become possible.

Minh Lan Tran (b. 1997, Hong Kong; lives and works in Paris) has recently presented solo exhibitions at Fondazione Giuliani, Rome (2026), the Museum of Modern Art, Warsaw (2026), and Jan Kaps, Cologne (2026), alongside numerous institutional group shows, including Château La Coste, Aix-en-Provence (2025); Museum of the Home, London (2023); Haus der Kulturen der Welt, Berlin (2023), among others.

Pictured: portrait of artist in studio

Photo: Jonas Unger

#jankaps #minhlantran @minhlan.tran @biennaledelyon

Kresiah Mukwazhi is part of the new presentation at Boros Collection.

Tickets are available on our website.

@kresiahmukwazhi
@jan_kaps
@blankprojects

Photo: @nevenallgeier

We’re excited to announce Kreasiah Mukwazhi’s debut in the latest Boros Collection presentation, opening its doors from this Sunday, May 3. Visits are by appointment only. Be sure to book your tickets in advance to secure your spot!

Kresiah Mukwzhi’s works have been exhibited internationally at venues such as Boros Collection, Berlin; Museum Ludwig, Cologne; Nottingham Contemporary; the Secession, Vienna; the Philara Foundation, Düsseldorf; the Zimbabwean Pavilion at the 59th International Art Exhibition, La Biennale di Venezia; the Kunstmuseum Wolfsburg, Wolfsburg; the Norval Foundation, Cape Town; the South African National Gallery, Cape Town; Iziko Museums, Cape Town; the Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town; the Netherlands Institute for Sound and Vision; SAVVY Contemporary, Berlin; Njelele Art Station, Harare; and The National Gallery of Zimbabwe, Bulawayo. She is invited to participate in the fourth iteration of the NGV Triennial 2026 at the National Gallery of Victoria in Melbourne, Australia opening in December, 2026.

Pictured:
Kresiah Mukwazhi
Vanga rekundiso, 2022
Installation view
Acrylic paint, and mixed media on cotton
270 x 140 cm | 106 4/16 x 55 1/16 in

#jankaps #kresiahmukwzhi @kresiahmukwazhi

Opening tonight! Berenice Olmedo's third solo show at Jan Kaps "Phorá" transforms our gallery into a forest of shimmering, oxidized forms that pulse with the memory of the bodies, each separate, but none entirely alone. The exhibition runs through June 3rd.

Each sculpture holds several layers at once: a technical device, a trace of a body, and a distinct form that stands on its own. Olmedo’s practice suggests that an individual is never singular or self-contained, but composed through overlapping structures, supports, and projections. The sculptures take on a certain presence as if they were beings, each with its own posture and character, while still remaining tied to a shared system of origin. They stand as individuals, but also as parts of an ongoing continuity.

As a result, the works do not represent the body. They test its limits. They focus on points of contact, pressure, and exposure, where the body meets what supports or replaces it. Boundaries are renegotiated. Each form reads as a fragment, but carries the weight of a larger whole, as if it had been cut from an active process rather than shaped in isolation.

Pictured:
Phorá, 2026
Installation view, Jan Kaps, Cologne

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

Opening tonight! Minh Lan Tran's solo exhibition 'Choreodrome' at Fondazione Giuliani, her first solo presentation in an Italian institution.

Bringing together painting, drawing, and the moving image, the exhibition unfolds as a sustained exploration of material and affect. Conceived as a constellation of completed works, on-site interventions and choreographic elements, 'Choreodrome' extends across the Foundation’s spaces as a dynamic environment in which processes of making, staging and perception remain in flux.

Realized with the support of the French Academy in Rome and Villa Medici.

Pictured:
Minh Lan Tran
Death of the Virgin, 2025 (detail)
Egg, paper, fabric and pigment on linen
210 x 180 cm | 82⅝ x 70⅞ in

Photo: Romain Darnaud

#jankaps #minhlantran @minhlan.tran @fondazione_giuliani

We're thrilled to present 'Phorá', Berenice Olmedo's third solo exhibition at the gallery. The opening will take place on next Wednesday, April 29, 6–8pm.

Berenice Olmedo’s new sculptures take shape as bodies that seem to press outward. They do not present themselves as finished objects. Instead, they appear to emerge into space, as if they were extensions of something larger that remains partly out of view. Where earlier works at times evoked celestial forms, these sculptures feel closer to geological ones. They recall formations that grow, shift, and surface over time, like extremities breaking through a surrounding mass.

Berenice Olmedo
Phorá, 2026
3D-scanned and 3D-printed orthoses and prostheses, copper and silver foil, acids and oxidation
132 x 33 x 43 cm | 52 x 13 x 16 7/8 in

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

We're thrilled to present 'Phorá', Berenice Olmedo's third solo exhibition at the gallery. The opening will take place on next Wednesday, April 29, 6–8pm.

Berenice Olmedo’s new sculptures take shape as bodies that seem to press outward. They do not present themselves as finished objects. Instead, they appear to emerge into space, as if they were extensions of something larger that remains partly out of view. Where earlier works at times evoked celestial forms, these sculptures feel closer to geological ones. They recall formations that grow, shift, and surface over time, like extremities breaking through a surrounding mass.

Berenice Olmedo
Phorá, 2026
3D-scanned and 3D-printed orthoses and prostheses, copper and silver foil, acids and oxidation
132 x 33 x 43 cm | 52 x 13 x 16 7/8 in

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

We're thrilled to present 'Phorá', Berenice Olmedo's third solo exhibition at the gallery. The opening will take place on next Wednesday, April 29, 6–8pm.

Berenice Olmedo’s new sculptures take shape as bodies that seem to press outward. They do not present themselves as finished objects. Instead, they appear to emerge into space, as if they were extensions of something larger that remains partly out of view. Where earlier works at times evoked celestial forms, these sculptures feel closer to geological ones. They recall formations that grow, shift, and surface over time, like extremities breaking through a surrounding mass.

Berenice Olmedo
Phorá, 2026
3D-scanned and 3D-printed orthoses and prostheses, copper and silver foil, acids and oxidation
132 x 33 x 43 cm | 52 x 13 x 16 7/8 in

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo

We're thrilled to present 'Phorá', Berenice Olmedo's third solo exhibition at the gallery. The opening will take place on next Wednesday, April 29, 6–8pm.

Berenice Olmedo’s new sculptures take shape as bodies that seem to press outward. They do not present themselves as finished objects. Instead, they appear to emerge into space, as if they were extensions of something larger that remains partly out of view. Where earlier works at times evoked celestial forms, these sculptures feel closer to geological ones. They recall formations that grow, shift, and surface over time, like extremities breaking through a surrounding mass.

Berenice Olmedo
Phorá, 2026
3D-scanned and 3D-printed orthoses and prostheses, copper and silver foil, acids and oxidation
132 x 33 x 43 cm | 52 x 13 x 16 7/8 in

Photo: Simon Vogel

#jankaps #bereniceolmedo @berenice.olmedo