3 MAR until 4 APR 2026
Opening 28 FEB 2026, 6-9 pm

At Linienstrasse 155,
10115 Berlin

Thilo Heinzmann’s Keep On, his fourth solo exhibition with neugerriemschneider, features a selection of the artist’s sand paintings, the results of a new technique presented here following the release of his most recent monograph. With this latest development in his engagement with composition, texture and color, Heinzmann inverts the white of his pigment paintings, transforming it to black – a non-color that suspends sand and fragments of glass between subtractive gestures and upon black-on-black impasto applications – summoning a reflective, ever-shifting depth. For these works, he takes as precedent his past three decades of creation and of painterly investigation into his medium’s antagonisms and its fusions, its concepts and its process, its chaos and its precision, its traditions and its evolutions. With reductionism and restraint, Heinzmann imbues his works’ elements with dualities that at once build upon and question one another.

Heinzmann’s painterly practice is, in a medium whose outer limits often appear to have been extensively explored, a constant, continued search for the new – a pursuit conducted using everything from Styrofoam and parchment to aluminum, chipboard and unbound pigment, their potential revealed in on-canvas contributions to artistic discourses. Repetition and variation in his work are led by curiosity, joy, play and technical proficiency exercised under strict rules, all joined to complex imagery. Surface and composition become a singular, distinct presence as materiality, texture and reflection concentrate to establish a foundation for this grouping of sand paintings. 

Chance and the physical meet among the pathways, channels and topography of Heinzmann’s sand paintings, as parts of a methodology in stark contrast to that of his pigment paintings – works that see wind assist fine, unbound particles of color onto canvas. Here grains of sand, in their infinite diversity, impart a stabilizing quality that translates the chromaticism of fleeting pigments into shimmering texture. Heinzmann’s assorted sands are punctuated by colored, hand-broken glass, the shards of which become reflective bodies connecting sand and thick black paint. The lines and contours, scored into the still-wet oil of his sand and pigment paintings with paint brushes, squeegees and fingers, stand as dynamic, guiding constants, having first taken root in his Tacmos (2010s) – an earlier group of all-black paintings. While these previous works wear protective acrylic-glass covers, his sand paintings do not. Instead, their monochromatic ground is left unhindered to conjure extraordinary depth and, in turn, to redirect the eye to the properties of light and the effects of its refraction. Heinzmann’s black concentrates the works’ elements, compacting them in a mode that runs counter to that of his pigment paintings. In an ongoing exchange with his own oeuvre, the viewer and the history of art, the artist paints distillations of his focused approaches, presenting a glimpse of those still to come. 

Thilo Heinzmann (b. 1969) has been the subject of 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, 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, where he has taught painting and drawing at Universität der Künste since 2018.

Monograph: Thilo Heinzmann, Scheidegger & Spiess (Zurich) 2025, 272 pages, 233 color plates, German/English

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.