12 SEP 2025 until 21 MAR 2026
Opening – 11 SEP 2025, 6-10 pm

At Christinenstrasse 18 – 19,
10119 Berlin

Ho Tzu Nyen’s first solo exhibition with neugerriemschneider, 2 stories: voids & times, features two recent multisensory spatial installations by the artist in an ensemble building upon his latest wide-ranging institutional exhibitions in Asia and Europe, bringing into focus his extended engagement with legends and fictions, unresolved societal questions and contradictory ideals. Key to this investigation is Ho’s use of video – a medium that he developed an affinity for in the Singapore of his formative years – and his inquisitive expansion of this technique into the fields of its emerging technologies. Here, with a unique pairing of ambitious audiovisual environments, Ho facilitates experiential embodiments of intercultural phenomena and presumed truths as they are unraveled and reconfigured. 

Ho leads a practice steeped in and based upon fused histories, including those of fine art, theater, cinema, music and philosophy, creating works that nonhierarchically draw on mythical narratives and verifiable fact in equal measure. New understandings of storytelling, its underpinnings, and of the ways in which anecdotes are written, transmitted and received, come to light as Ho mines the plurality of cultural, linguistic and religious identities of Southeast Asia and the myriad complexities that lie beyond. In filmic ensembles and installations, all of which are as technologically intricate as they are conceptually rigorous, observatory investigation takes physical form, weaving a tapestry of knowledge where documentary meets fantasy, and the archival becomes animated. Ho’s work comes to channel dimensional legacies, giving voice to spirits of resistance and revealing their masked ambiguities.

Voice of Void (2021), Ho’s virtual reality-assisted video projection, transforms two of the exhibition’s spaces into sites of the secretive November 1941 roundtable “The World-Historical Standpoint and Japan,” still controversial to this day for its philosophical reckoning with military action. Conducted by philosophers Keiji Nishitani, Masaaki Kosaka, Iwao Koyama and Shigetaka Suzuki, the conversation attempted to devise a theory of world history against the backdrop of Japan’s involvement in the Second World War. The concepts expressed here grew from the Kyoto School of the early 20th century – a movement that sought to supplant prevailing Eurocentric modes of thought with a philosophy born and cultivated in Asia. The discussions of the past and visions for the future of the symposium at the origin of Ho’s work were often splintered and dissonant, and raised more questions than they answered as the global community spiraled into war. The theories and lives of Ho’s protagonists play out in layered projections showing computergenerated models of science-fiction mecha robots in flight, a prison structure as seen from both inside and in disembodied wide angle, and the roundtable meeting itself. Voiceover provides whispered introductions to the School’s approaches, while virtual-reality headsets, placed at the ready on tatami mats, invite a viewer to enter the work, acting as a participant in various scenes beginning with a tea-room rendezvous, allowing them to shift between characters, scenarios, perspectives, stories and timelines.

This search for multiplicity takes a different form in his 43-channel video installation T for Time: Timepieces (2023 – 2024). Here the historical and geopolitical specificity of Ho’s Voice of Void shifts, widening to collected moments centered upon the notion of time itself. A simultaneous matrix of interactive applications and animated images such as those of an apple being peeled, a calendar seen as it flips, a bomb in the process of neutralization, a burning candle, Felix Gonzalez-Torres’ “Untitled” (Perfect Lovers) (1987 – 1990 and 1991) or soaring arrows illuminate the diverse ways in which a force of nature has been corralled, defined, enumerated and made to a worldview. In this work, time as apprehended under a structured set of criteria is dissolved, its colonial impulses unfolded and analyzed. Across the multiscreen work, individual scenes ranging from seconds to hours or years in length function as their own variably scaled “timepieces” – modules that cast temporality as personal, biological or sociological, setting it within a non-linear narrative. A singularly malleable time takes hold as Ho introduces subjectivities and cultural pluralities, generating visual worlds linked by their concrete visualizations of an immaterial drive, and reshaping the clock’s forward march.

Ho Tzu Nyen (b. 1976) is currently the subject of solo exhibitions at Mudam Luxembourg (until August 24, 2025) and LUMA Arles (until January 11, 2026). In November of this year, this institutional presence continues at Hamburger Kunsthalle with a broad survey of his most central works (November 21, 2025 – April 12, 2026). Ho has been the subject of solo exhibitions at international museums and institutions including Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2025); Hessel Museum of Art, Annandale-on-Hudson (2024); Art Sonje Center, Seoul (2024); Museum of Contemporary Art Tokyo, Tokyo (2024); Singapore Art Museum, Singapore (2023); Hammer Museum, Los Angeles (2022); Toyota Municipal Museum of Art, Toyota (2021); Crow Museum of Asian Art of The University of Texas at Dallas, Dallas (2021); Yamaguchi Center for Arts and Media, Yamaguchi (2021); Edith-Russ-Haus for Media Art, Oldenburg (2019); Kunstverein in Hamburg, Hamburg (2018); Ming Contemporary Art Museum, Shanghai (2018); Asia Art Archive, Hong Kong (2017); Guggenheim Museum Bilbao, Bilbao (2015); Mori Art Museum, Tokyo (2012); and The Substation, Singapore (2003). His work has been featured Venice Biennale (2011, Singapore Pavilion). He is currently serving as the Artistic Director of the Gwangju Biennale (2026). Ho lives and works in Singapore. 

Thilo Heinzmann (b. 1969) has been the subject of solo exhibitions at international institutions including Too much is not enough!, Neue Galerie Graz, Graz (2019); Per Amor a l’Art Collection. Ornament = Crime?, Bombas Gens Centre d’Art, Valencia (2017); Painting  Forever!, KW Institute for Contemporary Art, Berlin (2013); Masterpieces of Painting in the Collection of the IVAM: Past, Present and  Future, Institut Valencià d’Art Modern, Valencia (2011); Hotel Marienbad 002: Sammlung Rausch, KW Institute for Contemporary Art, Berlin (2008); Kurator 2007/2008: Das Grosse Nichts, Gebert Stiftung für Kultur, Rapperswil-Jona (2008); Ketzer & Co, Dům umění/The Brno House of Arts, Brno (2006); 36 x 27 x 10, Volkspalast, Berlin (2005); deutschemalereizweitausenddrei, Frankfurter Kunstverein, Frankfurt am Main (2003); Viva November, Städtische Galerie Wolfsburg, Wolfsburg (2001); Malerei, INIT Kunsthalle, Berlin (1999); Offencia Europa, Galleria d’Arte Moderna di Bologna, Bologna (1999); and Junge Szene, Secession, Vienna (1998). Heinzmann lives and works in Berlin.

12 SEP until 18 OCT 2025
Opening – 11 SEP 2025, 6-10 pm

At Linienstrasse 155,
10115 Berlin

The 11th solo exhibition of work by Michel Majerus at neugerriemschneider, noch ein bild, presents an early group of small-format paintings created during his latter years as a student, many of which have remained unseen since. In these, Majerus sheds the constraints of oil-on-board composition, critically making use of acrylic paints, unconventional materials such as particle board or plywood, pop culture-derived motifs and a serial approach, presaging the artistic facets that were to become central to his practice. Edge-to-edge logos, abstractions gridded or repeated, surreal scenes and characters reminiscent of those from comic books fuse here to a comprehensive ensemble formative for Majerus’ apprehension of painting as an engagement with the principles of space. These images act as emblems of this innovative spirit, attesting to a freedom in selecting, combining and installing work enabling the artist to create an oeuvre over the following ten years that served as a prescient prelude to the omnipresence of the visual in today’s culture.

The paintings on view were all created in the early 1990s as Majerus emerged from his years as a student at the State Academy of Fine Arts Stuttgart into life as a working artist in post-reunification Berlin. Under the tutelage of K.R.H. Sonderborg and Joseph Kosuth, among other like-minded students and within a new creative scene buzzing with off spaces and a forward-thinking schedule of institutional events including Künstlerhaus Stuttgart’s conference “A New Spirit in Curating?,” Majerus allowed Stuttgart to play a crucial role in his development, familiarizing him with the protagonists of the era’s art world and introducing him to the cooperative structures of the artistic community. From early on, Majerus would deploy imagery from high culture, pop culture and the everyday in equal measure, co-opting them as compositional elements. Motif, medium and texture became the subjects of focused research into how they could be combined to dissolve barriers between painting and space, recontextualizing the pairing in the process. This new understanding was the impetus for the 1991 silkscreen-printed banners that hung densely along a hallway of the Stuttgart State Academy, largely ignoring its structure, while an exhibition the following year with fellow student Susa Reinhardt, hosted at a squat in Berlin, fully interacted with the architecture of the venue, featuring works painted on scrap wood.

Majerus’ acrylic painting Bunte (1992) from this group of works is an early example of how he would come to use the language of commercial imagery, here appropriating the logo of the eponymous tabloid, and in turn, hinting at its voyeuristic tendencies. A red ground positioned behind white, sans-serif, black-bordered lettering approximates the magazine’s logo, compressing it to allow tension to mount. Sleeping (1992) is, by contrast, rendered in oil paints. It sees a sleeping character whose legs appear to have just been amputated at the knees. The presumed perpetrator flees the scene with a bloody saw. While the composition itself recalls drawings by Wilhelm Busch, the work’s title brings to mind Andy Warhol’s five-hour-long experimental film Sleep (1964), starring a slumbering John Giorno – a multipartite referential action representative of Majerus’ open use of diverse art-historical moments, leveraged and joined to keys to his own practice. Majerus’ Eine gute Idee (1992) likely finds its roots in a comic book – a fusion of imagery and text that would also become a core tenet of the ethos that was on full display in shows such as his 1994 solo exhibition gemälde at neugerriemschneider – and pictures a figure trudging through a snowy landscape, uttering “Eine gute Idee” (“A good idea”). In displacing this scene, Majerus strips it of its original meaning and relocates it in abstract time and space. Sharing its dimensions with other works from that early exhibition, Majerus begins to form his affinity for the common size of 60 x 60 cm, which he would go on to use extensively to depict a wide range of freely configurable motifs throughout his career.

This fall, early work by Majerus will also be on view at Matthew Marks Gallery. While noch ein bild in Berlin takes as its subject the late years of the artist’s studies, the New York exhibition will feature large-format canvases painted between 1991 and 1993, and a selection of works produced in Berlin from 1995. Together, the pairing of shows forms a concise picture of Majerus’ practice in its formative years, presenting a uniquely developed visual vocabulary that had its institutional debut in 1996 at Kunsthalle Basel.

To coincide with noch ein bild, the Michel Majerus Estate will host the first event in their “Lectures on Lectures” series providing firsttime access to the lecture-performances that Majerus held at museums and art schools throughout his career. These talks, each providing a rare look into the artist’s process of conceptualization and creation, will be accompanied by discussions, presentations and displays of works by the artist that place his musings in a broader context. “Meine Sicht auf Polke” (“My view on Polke”), a performance by Majerus engaging with the work of Sigmar Polke, realized for a series of events accompanying the 1997 exhibition Sigmar Polke: Die drei Lügen der Malerei at Bundeskunsthalle in Bonn, will inaugurate the Estate’s program on September 13. Susanne Kleine, who initially extended the invitation to Majerus nearly 30 years ago, will join to speak about the event and its pairing of artists.

The work of Michel Majerus (1967 – 2002) has been the subject of international institutional solo exhibitions including those at Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2023, 2006); Neuer Berliner Kunstverein, Berlin (2022); Institute of Contemporary Art, Miami (2022); Kunstverein in Hamburg, Hamburg (2022); KW Institute for Contemporary Art, Berlin (2022); Kunsthalle Bielefeld, Bielefeld (2018); CAPC musée d’art contemporain de Bordeaux, Bordeaux (2012); Kunstmuseum Stuttgart, Stuttgart (2011); Kunsthaus Graz, Graz (2005); Stedelijk Museum, Amsterdam (2005); Deichtorhallen Hamburg, Hamburg (2005); Kestner-Gesellschaft, Hannover (2005); Tate Liverpool, Liverpool (2004); Hamburger Bahnhof – Museum für Gegenwart, Berlin (2003); and Kunsthalle Basel, Basel (1996). Majerus participated in the 48th Venice Biennale (1999) and Manifesta 2 in Luxembourg (1998). 

12 SEP until 4 OCT 2025
Opening – 11 SEP 2025, 6-10 pm

Linienstrasse 155,
10115 Berlin

Thilo Heinzmann’s third solo exhibition with neugerriemschneider unites selected works from a number of his artistic cycles, taking up the conceptual dialog laid out in his new monograph, acting as testament to the rigorously analytic quality of the artist’s painting, and shaping a concentrated survey of his practice. By using materials atypical of the medium – Styrofoam, particle board, aluminum, shards of glass or grains of sand among them – Heinzmann puts to the test the principles of painting, expanding the discipline through new physical and technical theories to expose the dynamic, haptic nature of his work and process.

For Heinzmann, form, scale, texture, color and light serve not as mere elements of an image, but as the very foundations of composition. He enacts this ethos as he joins fragmented sheets of Styrofoam, crystalline fragments of glass and thin shards that cast shadows in vivid colors on their blank surroundings, or as he breaks particle board by hand to expose the material’s inner chaos, pouring, dripping and brushing glistening resin inlaid with chipboard fragments. The artist’s affinity for the interplay between the precision of industrial processes and natural entropy comes to the fore in his considered use of aluminum, perforated and brought into conversation with leather and parchment. In motions at once exacting and open to chance, he manipulates pigments, accented by fragments of colored glass, to dynamic compositions on textured canvas, stoking a dialog between seemingly disparate parts to shape a cohesive whole. In his most recent series, Heinzmann investigates the capacities of black oil paint, applying it in built-up gestures, leveling it or allowing it to traverse the surface with near-kinetic momentum. Embedded grains of sand shimmer atop the work’s surface, while glass fragments split light and dance upon the paint, lending depth that develops along with a viewer’s vantage point. Together, the works attest to an experimental spirit dedicated to medium and composition, ever-changing yet firmly grounded.

Heinzmann’s monograph, published by Scheidegger & Spiess, follows the artist’s development from his years as a student at Frankfurt am Main’s Städelschule through to his latest sand paintings in black. His first comprehensive publication in 10 years, the catalog features a discussion between the artist and curator Mark Godfrey, an essay by art critic Kristian Vistrup Madsen and a poetic musing on the artist’s work by Vanessa Onwuemezi, all accompanied by sets of detailed reproductions.