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Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you Venice! Not just for the art but also for the friendship of so many who were there last week and shared in this special moment; the sense of community and solidarity sustained me. It was very special to be there with the wonderful artist, friend and mentor @tallentireanne who first brought me to Venice as a student in 1999 when she represented Ireland — things came full circle with a group of students from @hgkbasel_institutkunst visiting this time.

Last week also reminded us that the so-called ‘art-world’ is not separate from the world and that it can be a space for what Koyo Kouoh called Radical Solidarity. It has been such an honour be part of a group of amazing artists and curators, all part of  #inminorkeys , first in weekly online gatherings and then in Venice during the installation and opening week, finding ways through the contradictions of @labiennale .
Together we wrote An Urgent Call (link in 1st comment), and conceived the Score for a Solidarity Drone Chorus, inspired by Gazan composer Ahmed Muin, to hold space for Palestine and honour artists from Gaza. Our daily gathering at 12pm for a communal humming of a drone sound while walking through different locations of the biennale followed by silence and the recitation of the poem ‘If I should die’ by Refat Al-Areer became a true anchor. We wore T-Shirts with the names and work of artists from Gaza. I wore the name and work of Halima Kahlout (1994-2023), an artist from Gaza who worked in sculpture and painting. She was killed at home in an airstrike by the Israeli military on 30 October 2023 alongside ten members of her family.

Deepest gratitude for all the care, intelligence, solidarity, community, friendship and shared organising with tamari_vera@mohammedjoha_art @m.z.r.supply @rachelfallon3840 @maher.alice @ninakatchadourian @avimograbi @bavital @eric_baudelaire @natalialassallem @davidsointappeser @hatoreina @lacaycedo @data_body @raedyassinstudio @studiohadjithomasjoreige @carrie_schneider @cauleen_smith Tabita Rezaire, Yoshiko Shimada and many others and allthose who joined us. #biennalearte2026 - 1st photo @ruidiasmonteiro

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Thank you dearest Koyo! I couldn’t be happier and more humbled to be part of ‘In Minor Keys’, the main exhibition of the 61st Venice Biennale by Koyo Kouoh which opened on 9 May and runs until 22 November 2026. What a privilege and honour to be showing alongside so many incredible artists whose work I deeply admire and whose friendship and solidarity over the last weeks has sustained me.

I am full of gratitude to so many who made this happen: the best curatorial team @gabefeijoo @neneperei @rashasalti @siddhartamitter @westvirginiababy and the wonderful team of @labiennale, especially Massimiliano Bigarello, Michele Braga and Sandra Montagner and all the dedicated technicians. Huge thanks to my galleries @morcharpentier @laveronica_gallery @dialogue.gallery and to @prohelvetia @fcgulbenkian @uow_cream for their financial support.

I feel immensely grateful for the generous collaboration, input and care by Tobias Koch @tbiasmaria and @jasonrmoffatcolour (Dedication); Isabel Colher @tardoz (Holding the Mountain); Marco Tosato and @intheshadeofatree (Botanical Biennale); @marleen.boschen, @taledina and @benveniste_contemporary (Herbarium Ghosts), @renatomchorao (Studio Assistance) and many many others. Special thanks to @ruidiasmonteiro @talltentireanne @giovannicarmine @andreathal_ @gnopxx

Thank you @cherrysmithpoet for your beautiful catalogue text.  (excerpt in 1st comment)

Dedication II, 2021/2026
Five-channel video on vertical LCD screens, 8-channel sound, wooden beams

Holding the Mountain, 2026
Drawing on 682 artisanal Azulejo ceramic tiles, 308 x 434 cm

Botanical Biennale, 2026
Six silk-screen prints, 176 x 120cm

Reveries of Collective Walkers (Reading to Plants), 2022–ongoing
Collective Performance

Herbarium Ghosts, 2016-26
8 Photogravure prints, 109cm x 81.5cm

Unmade Film (2011-14)

The Reconnaissance (Paused Retrospect), 2012-13
slide projection
The Voice-Over, 2012-13
five-channel audio,
20’ En/Ar

Images: @urielorlow @renatochorao
#BiennaleArte2026 #inminorkeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Excited to be in Venice and seeing work take shape in situ for ‘In Minor Keys’ the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and participating in realising her vision together with so many amazing artists and the wonderful curatorial team Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Rory Tsapayi and Siddhartha Mitter as well as everyone from La Biennale. See you in May! #BiennaleArte2026 #InMinorKeys

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

Film screening as part of Soil Assembly # 3, bringing together stories shaped by land, time, and climate.

We Have Already Lived Through Our Future, We Just Don’t Remember It (2025) by Uriel Orlow looks at forests as living records of time—from ancient fossilised forests formed millions of years ago to imagined forests of a warming future, asking what we can learn from more-than-human worlds.

New Gleaning (2025) by Daniel Hengst follows an unusual journey through time, centred on peatlands in Europe. Using the idea of the Paludicon, a clock that creates time rather than showing it; the film connects present-day ecological experiments with histories of land and labour.

Uppuveedukal / Houses of Salt (2025) by Arathi M.R. documents life along Kerala’s vulnerable coastline, where families are forced to move as the sea slowly takes over. The film captures displacement not as a sudden event, but as a quiet, ongoing loss of home and livelihood.

The screening was followed by a conversation with Arathi M.R., opening space to reflect on climate, memory, and lived realities.

📍 Pavilion, Bastion Bungalow, Fort Kochi

#KochiMuzirisBiennale #KochiBiennaleFoundation #ForTheTimeBeing NikhilChopra #KMB2025

We’re back with a new episode of “In the Studio” - a series where guest curators spotlight artists in their creative spaces.

✨Episode 3: Uriel Orlow, in conversation with Jule Kurbjeweit.

📍You can see Uriel’s exhibition at @dialogue.gallery until 22nd of November.

—
Estamos de volta com um novo episódio de «In the Studio» – uma série em que curadores convidados conversam com artistas nos seus estúdios.

✨Episódio 3: Uriel Orlow, em conversa com Jule Kurbjeweit.

📍Podes ver a exposição do Uriel na @dialogue.gallery até 22 de novembro.

#lisbonartweekend25 #LAW25 #lisbon #contemporaryat #portugal #inthestudio

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

In my work I try to find ways of engaging with the more-than-human world and depicting climate change beyond the spectacle-driven media images of floods and fires; often by focusing on plants. We generally see the vegetal realm simply as a backdrop to our own existence, and plants as passive and immobile extras. But they are also active agents, not only in producing our atmosphere but also in reacting to climate change.

For Forest Futurism I revisted ancient forest ecosystems from the earth’s past in South Tyrol which can teach us about future forests in the face of changing climate. In my work the forest is a multi-species school, where children live in more-than-human co-existence and practice interspecies learning.

In Up Up Up, I was looking at the effects of climate change at high altitude in Switzerland and the Himalayas. The climate crisis is marked by a global reach but also by deeply local effects so it is clear that we must engage with the climate crisis translocally. Colonial histories of extraction and exploitation as well as contemporary actions of high-emission countries disproportionately impact others far away, which points to the urgency of climate justice. By paying attention to historical legacies from the past and to subtle ecological processes in the present art can create different narratives and new imaginaries for the future.

I’m taking a stand with @UnitedArtistsForClimate during COP30
@UnitedArtistsFor Climate is a global campaign by contemporary artists committed to the environment for COP30, with @artofchange and @labverde

WE WANT
To raise Climate Ambition in line with the Paris Accord
To adopt the tropical forests forever facility (TFFF) to protect forests
To place culture at the heart of climate action

Images from: Forest Futurism, Up, Up, Up, Reading Wood (Backwards), Botanical Becontree, Echoes of Green, Learning from Artemisia, Reveries of Collective Walkers

Photos: Florian Spring/Nicolas Polli, @renatomchorao , Bruno Lopes, @intheshadeofatree

#unitedartistsforclimate #climatejustice #climateactionnow @cop30nobrasil @artofchange21 @unitedartistsforclimate @labverde

dialogue #13
(Projection Room)

URIEL ORLOW

WE HAVE ALREADY LIVED THROUGH OUR FUTURE – WE JUST DON’T REMEMBER IT

O artista liga “o tempo paleontológico profundo das árvores fossilizadas aos modelos científicos das florestas futuras, para imaginar, com as vozes das crianças, cenários mais-que-humanos, a partir da perspetiva das árvores”, explica.
Realizado durante uma residência anual de arte e ecologia no BAU Institute, em Bolzano, o projeto tece ligações entre a investigação científica e as nossas preocupações climáticas, “bem como a urgência de conceber visões alternativas do futuro”, acrescenta o artista, sublinhando também “a necessidade de reinventar a floresta como professora e protagonista.”

(…) pode também ser lido em diálogo com as preocupações de Catarina Osório de Castro, que ocupa o outro espaço da Dialogue. A sua série atual, Pó de Estrelas, contém apenas uma pedra, mas o título projeta-nos em dimensões temporais tão deslocadas quanto aquelas exploradas por Uriel Orlow.

— Joerg Bader

Até 22 Novembro! A não perder!

//

The artist links “the deep paleontological time of fossilized trees with scientific models of future forests, in order to imagine, with the voices of children, more-than-human scenarios from the perspective of trees,” he explains.
Made possible through a year-long art and ecology residency at the BAU Institute in Bolzano, the project weaves connections between scientific research and our climate concerns, “as well as the urgent need to conceive alternative visions of the future,” the artist adds, continuing: “[and] to reinvent the forest as both teacher and protagonist.

(…) can also be read in dialogue with the concerns of Catarina Osório de Castro, who occupies the other part of Dialogue. Her current series, Pó de Estrelas, includes only a single stone, yet its title sends us into temporal dimensions just as dislocated as those explored by Uriel Orlow.

— Joerg Bader

➡️ Until November 22! Not to be missed

For further inquiries about the works,
check the privateview link in our bio 🔝
and contact us via e-mail:
✉️ info@dialoguegallery.pt

📸 @_pedrotropa

dialogue #13
(Projection Room)

URIEL ORLOW

WE HAVE ALREADY LIVED THROUGH OUR FUTURE – WE JUST DON’T REMEMBER IT

O artista liga “o tempo paleontológico profundo das árvores fossilizadas aos modelos científicos das florestas futuras, para imaginar, com as vozes das crianças, cenários mais-que-humanos, a partir da perspetiva das árvores”, explica.
Realizado durante uma residência anual de arte e ecologia no BAU Institute, em Bolzano, o projeto tece ligações entre a investigação científica e as nossas preocupações climáticas, “bem como a urgência de conceber visões alternativas do futuro”, acrescenta o artista, sublinhando também “a necessidade de reinventar a floresta como professora e protagonista.”

(…) pode também ser lido em diálogo com as preocupações de Catarina Osório de Castro, que ocupa o outro espaço da Dialogue. A sua série atual, Pó de Estrelas, contém apenas uma pedra, mas o título projeta-nos em dimensões temporais tão deslocadas quanto aquelas exploradas por Uriel Orlow.

— Joerg Bader

Até 22 Novembro! A não perder!

//

The artist links “the deep paleontological time of fossilized trees with scientific models of future forests, in order to imagine, with the voices of children, more-than-human scenarios from the perspective of trees,” he explains.
Made possible through a year-long art and ecology residency at the BAU Institute in Bolzano, the project weaves connections between scientific research and our climate concerns, “as well as the urgent need to conceive alternative visions of the future,” the artist adds, continuing: “[and] to reinvent the forest as both teacher and protagonist.

(…) can also be read in dialogue with the concerns of Catarina Osório de Castro, who occupies the other part of Dialogue. Her current series, Pó de Estrelas, includes only a single stone, yet its title sends us into temporal dimensions just as dislocated as those explored by Uriel Orlow.

— Joerg Bader

➡️ Until November 22! Not to be missed

For further inquiries about the works,
check the privateview link in our bio 🔝
and contact us via e-mail:
✉️ info@dialoguegallery.pt

📸 @_pedrotropa

dialogue #13
(Projection Room)

URIEL ORLOW

WE HAVE ALREADY LIVED THROUGH OUR FUTURE – WE JUST DON’T REMEMBER IT

O artista liga “o tempo paleontológico profundo das árvores fossilizadas aos modelos científicos das florestas futuras, para imaginar, com as vozes das crianças, cenários mais-que-humanos, a partir da perspetiva das árvores”, explica.
Realizado durante uma residência anual de arte e ecologia no BAU Institute, em Bolzano, o projeto tece ligações entre a investigação científica e as nossas preocupações climáticas, “bem como a urgência de conceber visões alternativas do futuro”, acrescenta o artista, sublinhando também “a necessidade de reinventar a floresta como professora e protagonista.”

(…) pode também ser lido em diálogo com as preocupações de Catarina Osório de Castro, que ocupa o outro espaço da Dialogue. A sua série atual, Pó de Estrelas, contém apenas uma pedra, mas o título projeta-nos em dimensões temporais tão deslocadas quanto aquelas exploradas por Uriel Orlow.

— Joerg Bader

Até 22 Novembro! A não perder!

//

The artist links “the deep paleontological time of fossilized trees with scientific models of future forests, in order to imagine, with the voices of children, more-than-human scenarios from the perspective of trees,” he explains.
Made possible through a year-long art and ecology residency at the BAU Institute in Bolzano, the project weaves connections between scientific research and our climate concerns, “as well as the urgent need to conceive alternative visions of the future,” the artist adds, continuing: “[and] to reinvent the forest as both teacher and protagonist.

(…) can also be read in dialogue with the concerns of Catarina Osório de Castro, who occupies the other part of Dialogue. Her current series, Pó de Estrelas, includes only a single stone, yet its title sends us into temporal dimensions just as dislocated as those explored by Uriel Orlow.

— Joerg Bader

➡️ Until November 22! Not to be missed

For further inquiries about the works,
check the privateview link in our bio 🔝
and contact us via e-mail:
✉️ info@dialoguegallery.pt

📸 @_pedrotropa

dialogue #13
(Projection Room)

URIEL ORLOW

WE HAVE ALREADY LIVED THROUGH OUR FUTURE – WE JUST DON’T REMEMBER IT

O artista liga “o tempo paleontológico profundo das árvores fossilizadas aos modelos científicos das florestas futuras, para imaginar, com as vozes das crianças, cenários mais-que-humanos, a partir da perspetiva das árvores”, explica.
Realizado durante uma residência anual de arte e ecologia no BAU Institute, em Bolzano, o projeto tece ligações entre a investigação científica e as nossas preocupações climáticas, “bem como a urgência de conceber visões alternativas do futuro”, acrescenta o artista, sublinhando também “a necessidade de reinventar a floresta como professora e protagonista.”

(…) pode também ser lido em diálogo com as preocupações de Catarina Osório de Castro, que ocupa o outro espaço da Dialogue. A sua série atual, Pó de Estrelas, contém apenas uma pedra, mas o título projeta-nos em dimensões temporais tão deslocadas quanto aquelas exploradas por Uriel Orlow.

— Joerg Bader

Até 22 Novembro! A não perder!

//

The artist links “the deep paleontological time of fossilized trees with scientific models of future forests, in order to imagine, with the voices of children, more-than-human scenarios from the perspective of trees,” he explains.
Made possible through a year-long art and ecology residency at the BAU Institute in Bolzano, the project weaves connections between scientific research and our climate concerns, “as well as the urgent need to conceive alternative visions of the future,” the artist adds, continuing: “[and] to reinvent the forest as both teacher and protagonist.

(…) can also be read in dialogue with the concerns of Catarina Osório de Castro, who occupies the other part of Dialogue. Her current series, Pó de Estrelas, includes only a single stone, yet its title sends us into temporal dimensions just as dislocated as those explored by Uriel Orlow.

— Joerg Bader

➡️ Until November 22! Not to be missed

For further inquiries about the works,
check the privateview link in our bio 🔝
and contact us via e-mail:
✉️ info@dialoguegallery.pt

📸 @_pedrotropa

dialogue #13
(Projection Room)

URIEL ORLOW

WE HAVE ALREADY LIVED THROUGH OUR FUTURE – WE JUST DON’T REMEMBER IT

O artista liga “o tempo paleontológico profundo das árvores fossilizadas aos modelos científicos das florestas futuras, para imaginar, com as vozes das crianças, cenários mais-que-humanos, a partir da perspetiva das árvores”, explica.
Realizado durante uma residência anual de arte e ecologia no BAU Institute, em Bolzano, o projeto tece ligações entre a investigação científica e as nossas preocupações climáticas, “bem como a urgência de conceber visões alternativas do futuro”, acrescenta o artista, sublinhando também “a necessidade de reinventar a floresta como professora e protagonista.”

(…) pode também ser lido em diálogo com as preocupações de Catarina Osório de Castro, que ocupa o outro espaço da Dialogue. A sua série atual, Pó de Estrelas, contém apenas uma pedra, mas o título projeta-nos em dimensões temporais tão deslocadas quanto aquelas exploradas por Uriel Orlow.

— Joerg Bader

Até 22 Novembro! A não perder!

//

The artist links “the deep paleontological time of fossilized trees with scientific models of future forests, in order to imagine, with the voices of children, more-than-human scenarios from the perspective of trees,” he explains.
Made possible through a year-long art and ecology residency at the BAU Institute in Bolzano, the project weaves connections between scientific research and our climate concerns, “as well as the urgent need to conceive alternative visions of the future,” the artist adds, continuing: “[and] to reinvent the forest as both teacher and protagonist.

(…) can also be read in dialogue with the concerns of Catarina Osório de Castro, who occupies the other part of Dialogue. Her current series, Pó de Estrelas, includes only a single stone, yet its title sends us into temporal dimensions just as dislocated as those explored by Uriel Orlow.

— Joerg Bader

➡️ Until November 22! Not to be missed

For further inquiries about the works,
check the privateview link in our bio 🔝
and contact us via e-mail:
✉️ info@dialoguegallery.pt

📸 @_pedrotropa

dialogue #13

Projection Room:

URIEL ORLOW

We Have Already Lived Through Our Future — We Just Don’t Remember It

Inauguração 1 Outubro · 18h

“We Have Already Lived Through Our Future — We Just Don’t Remember It (Já Vivemos o Nosso Futuro — Só Não Nos Lembramos Dele) é um filme poético e instigante que revisita ecossistemas florestais antigos do passado da Terra, imagina florestas futuras perante as mudanças climáticas e apresenta a floresta como uma escola multiespécies, onde as crianças praticam uma coexistência para além do humano.(…)”.

(Espaço galeria: CATARINA OSÓRIO DE CASTRO · Pó de Estrelas )

//

Opening 1 October · 6pm

“We Have Already Lived Through Our Future—We Just Don’t Remember It is a poetic and thought-provoking film that re-visits ancient forest ecosystems from the earth’s past, imagines future forests in the face of changing climate and shows the forest as a multi-species school, where children practice more-than-human co-existence.

We Have Already Lived Through Our Future—We Just Don’t Remember It explores the forest as a site of deep time, ecological transformation, and interspecies learning. Set in the mountainous region of South Tyrol, and shot over a year and across different seasons, the film traces a journey from ancient fossilized forests that evolved during climate change over 280 million years ago through to speculative visions of future forests in a rapidly warming world.

Combining scientific inquiry with imaginative storytelling, the film draws paleobotany, climate modelling, and early childhood education to reimagine the forest as both a teacher and a protagonist. However, the main protagonists of the film We Have Already Lived Through Our Future—We Just Don’t Remember It are children who move through the seasons in an intimate kinship with the forest, living and learning in tune with the silvestral environment and helping us imagine a different future based on more-than-human planetary co-existence.”

(Gallery space: CATARINA OSÓRIO DE CASTRO · Interstellar Dust )

📍 dialogue, Marvila

On view until 22.11.2025

@urielorlow

@catarinaoc

Design by @nonverbalclub

🍷 @fiuza_wines

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Forest Futurism @begehungen.festival in Chemnitz / European Capital of Culture, curated by @dr.claudiatittel . Thanks as always to all the collaborators @bau_southtyrol, @mcbalausanne @bermuda_ateliers @prohelvetia, @tbiasmaria, the kids and @evelynkustatscher! Let’s keep learning from the forest, the deep past and the kids who are our future.

Uriel Orlow is a Swiss-born artist with a diasporic background who lives and works between Lisbon, London and Zurich. His work has been presented at major international survey exhibitions. Uriel was in Nepal to research high altitude human-plant entanglements, including Marsi farming in Western Nepal as well as the effects of climate change.

Photo 1: Uriel Orlow, Bundesamt für Kultur / Florian Spring
Photo 2: The rice fields near Jumla at Chhumchaur are the highest rice fields in Western Nepal
Photo 3: Uriel travelling with Sabin Gyawali @sabinbataule

#prohelvetia_residency #prohelvetia #prohelvetia_newdelhi

Uriel Orlow is a Swiss-born artist with a diasporic background who lives and works between Lisbon, London and Zurich. His work has been presented at major international survey exhibitions. Uriel was in Nepal to research high altitude human-plant entanglements, including Marsi farming in Western Nepal as well as the effects of climate change.

Photo 1: Uriel Orlow, Bundesamt für Kultur / Florian Spring
Photo 2: The rice fields near Jumla at Chhumchaur are the highest rice fields in Western Nepal
Photo 3: Uriel travelling with Sabin Gyawali @sabinbataule

#prohelvetia_residency #prohelvetia #prohelvetia_newdelhi

Uriel Orlow is a Swiss-born artist with a diasporic background who lives and works between Lisbon, London and Zurich. His work has been presented at major international survey exhibitions. Uriel was in Nepal to research high altitude human-plant entanglements, including Marsi farming in Western Nepal as well as the effects of climate change.

Photo 1: Uriel Orlow, Bundesamt für Kultur / Florian Spring
Photo 2: The rice fields near Jumla at Chhumchaur are the highest rice fields in Western Nepal
Photo 3: Uriel travelling with Sabin Gyawali @sabinbataule

#prohelvetia_residency #prohelvetia #prohelvetia_newdelhi

In 2000 I recorded a conversation with a Holocaust survivor for my 9h film ‘Housed Memory’. Talking about her experience, she said something which has stayed with me ever since: “The whole thing is so unthinkable, I found myself saying that I lived on another planet: it defieslanguage – and yet you have only got language.”

Thank you, to those who find language in the midst of speechlessness, words against so many silencings.

#essentialreading#neveragain means #neveragainforanyone #stop #free #actnow

In 2000 I recorded a conversation with a Holocaust survivor for my 9h film ‘Housed Memory’. Talking about her experience, she said something which has stayed with me ever since: “The whole thing is so unthinkable, I found myself saying that I lived on another planet: it defieslanguage – and yet you have only got language.”

Thank you, to those who find language in the midst of speechlessness, words against so many silencings.

#essentialreading#neveragain means #neveragainforanyone #stop #free #actnow

In 2000 I recorded a conversation with a Holocaust survivor for my 9h film ‘Housed Memory’. Talking about her experience, she said something which has stayed with me ever since: “The whole thing is so unthinkable, I found myself saying that I lived on another planet: it defieslanguage – and yet you have only got language.”

Thank you, to those who find language in the midst of speechlessness, words against so many silencings.

#essentialreading#neveragain means #neveragainforanyone #stop #free #actnow

What if trees could tell their stories? 📸

Featured in the #KADISTcollection, Uriel Orlow’s ‘Milkwood Tree, Cape Town’ uncovers the deep-rooted histories held within South Africa’s landscapes. Part of ‘The Memory of Trees’ series, the work traces how this 500-year-old tree has silently borne witness to colonial violence, slavery, and resistance.

From serving as a landmark in the Khoikhoi’s defense against Portuguese invaders in 1510 to becoming a site of slave auctions and later the so-called ‘Treaty Tree’ marking British occupation, this milkwood tree embodies the layered histories of oppression and resilience.

Orlow’s work challenges us to see trees not only as silent observers but as active agents of memory—living archives of human histories, power, and survival.

Currently on view @galeriasmunicipais through April 27, 2025!

⬛️ Uriel Orlow, Milkwood Tree, Cape Town (2016) I Courtesy the artist, KADIST collection

@urielorlow #artcollection #photography #photoseries #contemporaryart