7 NOV 2025 until 17 JAN 2026
Opening – 6 NOV 2025, 6-9 pm

A throughline in Trisha Baga’s expansive practice is their ongoing exploration of machines as narrative creatures. Baga empathizes with the tools and systems their work engages, often invoking them as metaphors for reflection, connection, and destruction. MORE, their sixth solo exhibition with Société, takes its title from one of the first words a child utters as well as the driving desire behind technological development: perpetual “advancement,” more data, more speed. An immersive 3D video, a constellation of ceramic works, and a series of video projections on paintings transform the gallery into an offbeat computer desktop, a living interface where the operations of a system remain visible.

This suspension between the everyday and the bizarre is mirrored in the exhibition’s title video, an associative and recursive composition that metabolizes original footage, Hollywood science fiction, and found sound into what Baga calls “a shape-shifting other that moves through different bodies of material.” The work’s form and concept are shaped by a power struggle with new software designed to predict, suggest, and complete. Made with an editing program that insists on a “primary storyline,” MORE pushes back against such hierarchical structure with a fractalized narrative approach. Its layered construction becomes a metaphor for the antagonistic clash between human intuition and the automated logics that now seek to guide creative labor.

Envisioned as a cyclical, regenerating loop, MORE moves from the depths of the sea to the yawning expanses of space, from caves to the Disney attraction Carousel of Progress, pausing in the relative shallows of an urban aquarium and the pulsating energy of party scenes. Shifting voiceovers guide the viewer: at times, a gentle parental figure asks questions of likeness and difference, while other voices enforce identity verification and “proof of humanity.” Hunger and mirroring structure this fantastical narrative world, linking bodies, systems, stories, and images in continual feedback loops. This dynamic is amplified through recurring references to machine learning and caregiving: Baga draws parallels between raising children and training technology, observing how both depend on repetition, care, and mimicry. “We’ve raised machines the way we raise children but without love or care or respect, and it reflects that relation back to us,” they note. Seen through this lens, technology exploits the same human instinct for connection that once guaranteed survival, a voracious hunger echoed in one of MORE’s voiceovers, drawn from Jeff VanderMeer’s Annihilation: “It creates out of our ecosystem a new world, whose processes and aims are utterly alien—one that works through supreme acts of mirroring, and by remaining hidden in so many other ways, all without surrendering the foundations of its otherness as it becomes what it encounters.”

7 NOV 2025 until 17 JAN 2026
Opening – 6 NOV 2025, 6-9 pm

Société is pleased to announce a solo exhibition with Wynnie Mynerva, the artist’s first in Germany. Wynnie Mynerva draws upon personal experiences of violence tied to race, gender, and sexuality to create a multidisciplinary practice spanning painting, performance, video, and body modifications. Raised in Villa El Salvador on the outskirts of Lima, a place shaped by complex social and economic realities, their work explores themes of transformation, resistance, and embodiment.

In Dust of Love, their inaugural exhibition with the gallery, Mynerva delves into one of humanity’s oldest fabulations—love. Transforming the gallery into an immersive textile installation, they present a series of paintings that probe the traditional foundations of love and reconfigure normative conceptions of the body and sexuality. Describing the act of painting as a “living process” and a “document of thinking and feeling,” Mynerva utilizes the pictorial medium to defy and transcend the semantic boundaries of Western theories about love, exposing the fundamental absence on which they rest.

A large oil painting provides the focal point of the exhibition—a narrative exploration of love through multiple scenes charged with desire and surrender. Mynerva’s representation of love draws upon their personal experience of the legacies of colonialism and the Catholic faith in Peru, expanding on the artist’s ongoing critique of how religious dogma and colonial interference govern the experience of sexuality, desire, and the body.

Multiple encounters unfold across the central canvas. One scene depicts sexual union, reframed by Mynerva as a myth—“a desperate attempt to become one.” Another vignette showing a body dwelling within a larger, translucent form evokes the philosophical idea of love as inscription, a shaping and imprinting of an individual’s identity. A figure infatuated with its own reflection alludes to the canonical allegory of Narcissus, while two bodies, facing each other, engage in a spoken exchange of affection and love. With its allusion to the compositional logic of the Old Masters, the painting’s poly-narrative cosmos offers an alternative interpretation of love as a collective, cathartic event that carries anguish, despair, and illusion. By applying deeply evocative visceral and emotional motifs, Mynerva fractures Western narratives about love not as a means of depicting how the traditional dramatic register of romance shapes our social lives, but rather to expose an inherent absence—emphasizing how the rhetorics of love function as a structure of lack.

Attending these entwined, ecstatic bodies is a series of four vertical paintings of women who witness the scene. Independent and self-contained, these figures stand as agents of their own narratives. Each holding a weapon or marked by a wound, their bodies carry the duality of victimhood and power, echoing Mynerva’s private forms of resilience and self-determination. In its staging of absence and witnessing, Mynerva’s expressive realm offers a painterly articulation of what cannot be said, filling the void with speculation: what remains of love when the image collapses? When the body no longer responds to the illusion of completeness, and only pleasure, the gaze, and yearning remain?

Wynnie Mynerva (b. 1992, Lima, Peru) lives and works between Lima and Amsterdam. They are currently a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam. Mynerva’s work has been the subject of solo exhibitions including The Sweet Nectar of Your Blood at Mayoral, Barcelona; My Weaponized Body at Gathering, London; Presagio at Fondazione Memmo, Rome; The Original Riot at the New Museum, New York; and A Garden of Earthly Delights at Museo Amano, Lima. Their work has also been featured in group exhibitions at Museo de Arte de Lima; C3A, Córdoba; Ill Posto, Santiago de Chile; Sargent’s Daughters, New York; and Pedro Cera, Lisbon, among others. They have been shortlisted for numerous awards, including Pasaporte para un Artista (2020), the Banco Central de Reserva Painting Contest (2019, 2020), the Contemporary Art Award (2019, 2020), and the National Visual Arts Meeting of Trujillo (2018).