For his intervention at Pinacoteca Agnelli in Turin, Paul Pfeiffer created Vitruvian Figure (Juventus) in collaboration with Juventus. The work features an immersive sound installation and a large-format image, displayed on billboards at two distinct points along the Pista 500. Since the 1990s, Paul Pfeiffer has developed a highly interdisciplinary artistic practice, encompassing video, photography, sound, installation, and sculpture. A central theme of his work is the exploration of moments intended for a mass audience, such as sporting and religious events, concerts, and television game shows, often leading to questions of spectacle, belonging, and difference. Pfeiffer analyzes not only the experience of the live event, when stadiums fill with fans, but also its extension through media broadcasting, which allows it to reach millions of people. In these moments, the notion of the individual is suspended, for both the spectator and the star, albeit in opposing ways: while celebrity is elevated and isolated from the rest, the spectator merges with the mass, merging with the crowd to become part of a greater whole. With Vitruvian Figure (Juventus), Pfeiffer continues his decades-long investigation of collective behavior and spectacle, while responding to the specific history of the city and the Lingotto, a site linked to performance, speed, and the production of objects for mass consumption and desire. His incisive work engages audiences on both intellectual and visceral levels, revealing how the architecture of gathering spaces shapes our cultural identity and the ways we relate to one another.  

In thereafter, Ian Waelder connects the façade, atrium, and arcade hall of the Kestner Gesellschaft for the first time to form a spatial narrative between inside and outside, past and present. His works begin at the edges of the rememberable: familial traces, biographical fractures, everyday remnants – not as evidence, but as fragile carriers of a story that resists linear narration. At the center of Waelder’s solo exhibition stands a labyrinthine structure made of cardboard, evoking the image of a packed moving box. The offset entrance of the arcaded hall diverts the gaze away from clear paths. Inside, sculptures, newspaper collages, a piano melody, and the materiality of cardboard and light condense into a dense assemblage—including a newspaper article covered with oats and traces of butter with the headline “Erbarmen” (“Mercy”), a deformed shoe last with a porcelain-like nose titled Sprain (38) (2023), and molded components from the Bystander (2025) series with dangling shoelaces. These are traces of domestic routines that elude concrete memory and yet evoke a strangely familiar atmosphere. Curated by: Alexander Wilmschen
Curatorial Assistance: Emilia Radmacher

Pakui Hardware‘s presentation for the Bukhara Biennial 2025 explores Ibn Sina’s contributions to psychology and psychiatry, particularly his studies on melancholy and healing methods. It examines historical theories of black bile in relation to modern medical findings and contrasts traditional human-centered healing with contemporary AI-driven therapy. The Rakhimov family of ceramicists developed a proprietary black ceramic glaze that inspired the collaboration. The multi-part installation features interconnected listening and healing spaces across two sites, the caravanserai and Rashid Madrassa, incorporating stainless steel tubing and organic ceramic sculptures that collect and emit sound. Visitors will share thoughts through hand-crafted ceramic listening devices that record and transform them into sound pieces that communicate across the two sites, with recordings deleted for privacy.

We are pleased to announce Thomas Schütte’s solo exhibition Genealogies at Punta della Dogana, opening on Sunday, 6 April 2025. Genealogies is the first major exhibition of Thomas Schütte in Italy. The exhibition explores the flow of motifs in the artist’s major works, from the 1970s to the present day. Centred around the exceptional group of works belonging to the Pinault Collection (almost fifty sculptures) and accompanied by loans from the artist, as well as around a hundred works on paper, many of which have never been displayed before, the exhibition retraces, in a non-chronological way, the emergence of the forms and their variations, and compares them with the German artist’s practice of drawing, watercolour and printmaking. The exhibition is curated by Camille Morineau, independent curator, and Jean-Marie Gallais, curator at the Pinault Collection.