1 NOV until 20 DEC 2025
Opening – 31 OCT 2025, 6-9 pm

At Linienstrasse 155
10115 Berlin

Tomás Saraceno’s second solo exhibition with neugerriemschneider, tomás saracenoi, staged in anticipation of his 2026 show at Haus der Kunst, Munich, centers on cycles of water as they become both material and metaphor. This exhibition – the title of which draws upon Heteropoda saracenoi, a spider newly named after the artist by arachnologist Peter Jäger – is rooted in Saraceno’s long-standing collaborations with the indigenous communities of Salinas Grandes and Laguna de Guayatayoc in northern Argentina. The water that emerges on the region’s salt plains acts as both teacher and contested resource for these communities, as the exploitative practices of companies purporting to provide environmentally-friendly energy not only drain water, but also threaten ancestral knowledge and lived memory. These concerns flow into Saraceno’s exhibition, crucially shaping the works on view.

Arriving at the gallery, visitors encounter a free-standing toilet: A familiar object at first glance, its inner plumbing has been reconfigured to be able to recycle handwashing water for flushing. Placed as a sculptural presence, it becomes a proof of concept for a system, already in use across all of the artist’s studio’s toilets, that if realized in a gallery context could save up to 14,000 liters of water per year – approximately the annual use of a standard household toilet in Germany. Saraceno’s intervention stands as an attempt to connect differently to cycles of water. Nearby, prints formed through salt’s slow evaporation extend this gesture from the mechanical to the elemental, recording water’s passage into mineral. Each crystalline surface captures the delicate equilibrium that, when altered, endangers the reciprocal relations that have sustained biodiverse life across Salinas Grandes and Laguna de Guayatayoc for millennia.

From its gestures of transformation, tomás saracenoi invites visitors to step further into these cycles, as rainwater collected in part from the artist’s studio pools into the central exhibition space. Its reflective surface, evoking that of the Salinas Grandes salt flats, sustains an installation of sculptural bodies, transforming the gallery into a cosmic echo chamber. In this space-time landscape, light and shadow cast kinetic reflections against a constellation of suspended works, as cycles of water resonate with cycles of life, foregrounding interlinked bodies – of water, salt, air and light – as dynamic, metamorphic presences across shifting states, cyclical flows and latent transformations.

Another central reflection in the exhibition is its turn towards the origins of arachnophobia and other fears as mutable, cultural conditions. Through more than a decade of collaboration with spiders and their webs, Saraceno has created a body of work that shifts cultural perceptions of these invertebrates and their architectures. His practice invites consideration of how fear itself is cultivated and instrumentalized, and how drawing boundaries between human and more-than-human, kin and enemy, animal and person has shaped violence, both historical and in the present. Injustices so often rely on the same operation: to strip beings – human or otherwise – of their capacity to belong and be recognized as part of a shared world. 

Across history, such fears have found expression in Western imagination, where spiders have long been cast as sinister, abject and threatening. Yet the phobia of the arachnid reveals less about the invertebrate itself than the cultural imagination that defines it: a fear projected, systematized and transmitted. A new framed series departs from such inheritances, reopening the encyclopedic entry on arachnophobia to transform fear’s lexicon into a web of kinship. This orientation underpins Arachnophilia, a project-community founded by Saraceno that unites diverse forms of knowledge through a shared affinity with spiders and their webs; not only as architectures of silk, but as cosmological diagrams and instruments of relation that, for many cultures, mirror the interconnectedness of life.

Across diverse works of film, sculpture and works on paper, the exhibition emerges from more than two decades of Saraceno’s artistic research into the entangled, in collaboration with human and non-human communities. Tomás Saraceno (b. 1973) has been the subject of solo exhibitions at international museums and institutions including Red Brick Art Museum, Beijing (2024); Serpentine Galleries, London (2023); The Shed, New York (2022); Towada Art Center, Towada (2021); Cisternerne, Copenhagen (2020); Palazzo Strozzi, Florence (2020); Palais de Tokyo, Paris (2018); Museum of Art, Architecture and Technology, Lisbon (2018); Museo de Arte Moderno de Buenos Aires, Buenos Aires (2017); San Francisco Museum of Modern Art, San Francisco (2016); Grand Palais, Paris (2015); NTU Centre for Contemporary Art Singapore, Singapore (2015); Metropolitan Museum of Art, New York (2012); Pirelli HangarBicocca, Milan (2012); Hamburger Bahnhof – Museum für Gegenwart, Berlin (2011); and Bonniers Konsthall, Stockholm (2010). Saraceno lives and works in Berlin.

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.