the warmth we carry
With works by Ai Weiwei, Pawel Althamer, Thomas Bayrle, James Benning, Billy Childish, Olafur Eliasson, Cevdet Erek, Andreas Eriksson, Noa Eshkol, Mario García Torres, Thilo Heinzmann, Udomsak Krisanamis, Sharon Lockhart, Mike Nelson, Jorge Pardo, Tobias Rehberger, Tomás Saraceno, Simon Starling, Thaddeus Strode, Rirkrit Tiravanija, Haegue Yang

21 NOV 2026 until 13 FEB 2027

Opening – 20 NOV 2026, 5-8 pm
At Linienstraße 155, 10115 Berlin

In the warmth we carry, a group exhibition at neugerriemschneider, contemplation and considered connection counter a blanketing seasonal chill. Here a selection of rarely exhibited works, both placed in thematic relation and hung as a frieze, guides the eye along a spatial, metaphoric horizon. Its works, in reciprocated, ongoing dialogues, open themselves to associative readings, the relationships between them becoming mirrors of their viewers – a collective public brought together in the spirit of enduring exchange. 

The gallery’s main space plays host to a conversation between the multi-part groupings that line its walls and sculptures, suspended and free-standing. Udomsak Krisanamis’ Chandelier (2006) – a complex of the aluminum bowls omnipresent in the artist’s native Thailand, clustered to an overhead fixture – acts as a catalyst for explorations of light as an artistic medium. Olafur Eliasson takes up this pursuit with Striped eye lamp (2005), probing perceptions of light, color and space by way of color-effect filter glass, while Mario García Torres’ La política de la aceptación (The Politics of Acceptance) (2020) employs a lampshade as the canvas for painted abstraction. In Haegue Yang’s Mesmerizing Pagoda Lantern – Cabbage-Butterfly Aquatic Ultramundane Flowers (2023) and Jorge Pardo’s Untitled (2009), light takes layered paths: for Yang in work rooted in the richly decorated lanterns of shamanist and Buddhist afterlife rituals, and for Pardo in the vertical slats of polycarbonate that, arranged radially, become a full-length portrait of a member of the artist’s studio. The body takes on further form in small-scale narrative sculptures. To this end, Andreas Eriksson’s bronze Content is a Glimpse 93 (2024) memorializes a bird after it suffered a collision with his studio’s window. Thomas Bayrle’s Parkhaus Köln [Ausg. B] (2009) blurs the lines between publication and sculpture with a signature representation of roadways and infrastructure. Similarly reflecting on his own artistic practice, Pawel Althamer’s retrospective (edition for parkett 82) (2008) comprises a suitcase that houses 12 figurines in tin, each representing the artist himself at distinct stages of his career. Baradziejki (2025), a ceramic work by the artist, continues this biographical slant, finding its source in a late-1940s photograph of his mother and her six sisters in Warsaw. 

Bridging the space’s sculptural complex and its wall-mounted procession, Althamer’s Nowolipie Group (2022) features clay portraits of members from the eponymous group – an artistic workshop founded and led by Althamer for people with multiple sclerosis. The eight silkscreen prints of Eriksson’s Snowfall in Reverse (2022) at first glance appear as abstractions in binaries of black and white, yet reveal their underlying coloration upon closer inspection. Thaddeus Strode poses philosophical queries with minimal approaches in drawings from his landscapes on the drift/pelican thoughts (all 2010) series, while Rirkrit Tiravanija’s demonstration drawings (all 2007) – each commissioned from students and young artists from Thailand – trace the history of civil activism by reproducing in graphite photographs of protests published by the International Herald Tribune.

The pair of worn baseball caps mounted in Mike Nelson’s Trophy Head (both 2022) works link the presentation’s spaces, gesturing to a monumental wall carpet by Noa Eshkol as it stretches towards small-format sculptures by Billy Childish, Thaddeus Strode and Tobias Rehberger. James Benning’s three-part After Missouri Pettway (2013) juxtaposes the legacies of the Black quilt artists of Gee’s Bend and that of Piet Mondrian’s neoplasticism, while light reappears in two sculptures by Simon Starling. With Italian design as a point of departure, the paired elements unite a concentrated collection of works by Ai Weiwei, Olafur Eliasson, Cevdet Erek, Thilo Heinzmann, Sharon Lockhart, Tomás Saraceno and Rirkrit Tiravanija, gathered in an inviting evocation of the warmth we carry’s call to new, nearer perspectives.