15/01/2026
"Sculpture emancipates itself from landscape and architecture to become nomadic,
concentrating on its make-up, routine and performance within a set of cultural terms.[1] Artists emancipate themselves from their cocooned brains and let them go to seed to become porous bodies[2] that autotune to the environment,[3] dress to match the furniture.
Critics deprecate the mediocrity, naïvety, and soft-mindedness,[4] but one could as well seek roses in December – ice in June, as expect merit from a certain set.[5]" -Signe Rose
[1]Rosalind Krauss, Sculpture in the Expanded Field, 1979.
[2]Laura Edbrook, ‘You’re the Least Important Person in the Room and Don’t Forget It’: The Intimate Relations of Subjectivity and the Illegitimate Everyday, 2017.
[3]Efrosini Charalambous & Zakaria Djebbara, On natural attunement: Shared rhythms between the brain and the environment, 2023.
[4]Rosalind Krauss on Jane Gallop’s work, The Argonauts, 2015.
[5]Lord Byron, English Bards and Scotch Reviewers, 1809
"Rosen im Dezember"
Daphne Ahlers, Rosa Rendl, Lilli Thiessen
through February 7
Photos: