The exhibition CLEARVIEW traces the material infrastructure, transformations, and footprint of the development of AI and machine vision. With the speed of data transmission crucial to smooth machine learning processes, fibre-optic cables wiggle at gargantuan data centers like an invisible nervous system. Those same cables cover war-torn landscapes with shimmering fiberglass webs spun by tirelessly buzzing drones. Weaving together natural, artificial and virtual elements, this fine thread creates new hybrid landscapes, or datascapes, inviting reflection on imminent implications of technological expansion. The architecture of the installation consists of fibre-optic threads, creating fragile, shimmering, yet very tactile surroundings. These flickering surfaces will be animated by a specially designed choreography of light. Piercing the surfaces formed by the fiber-optic threads, several sculptures made of textile, resin, aluminum, and stainless steel will be distributed throughout the space. A new video sculpture will light up the second room with pulsating images of nature as seen by  machinic gaze. Curatorial team: Eliza Urwanowicz-Rojecka & Jakub Wróblewski
Architecture: Sigita Simona Paplauskaitė
Light design: Julius Kuršys Co-financed by the Lithuanian Council for Culture

From September 27, 2026, SCHAUWERK Sindelfingen will present monumental sculptures and installations by three internationally renowned Brazilian artists: Vivian Caccuri, Lucia Koch, and Henrique Oliveira. For the exhibition ANATOMY OF PRESENCE, large-format works are being newly conceived especially for the SCHAUWERK Sindelfingen, transforming the museum with accessible organic structures, impressive soundscapes, and immersive light installations. The three artists engage in a direct dialogue with the human body to transform the SCHAUWERK into a vibrant landscape of sensual, individual, and collective experiences. In doing so, they continue a tradition of installation art that has developed as an independent form in Brazil since the 1960s. In an increasingly virtual world, the presentation sets a clear counterpoint by inviting visitors to participate in an exhibition parkour to consciously perceive their own physicality and surroundings.

Maria Taniguchi: Afterimage is the first monographic exhibition of the acclaimed artist presented by a Singapore museum. Taking its title from visual sensations that linger in a viewer’s field of vision, Afterimage highlights recurring concerns that run through Taniguchi’s practice, including repetition, time, and labour. The exhibition is anchored by Taniguchi’s brick paintings (2008–ongoing), which are made by individually filling hand-drawn rectangular cells. The subtle shifts in colour that accumulate document the days, weeks, or months devoted to each painting reflecting the time and effort required to make them. Untitled and unnumbered, Taniguchi’s brick paintings are best understood as individual parts of a single artwork that continues to grow with each new painting. Alongside these towering canvases, Afterimage presents a new version of Runaways, a series of wooden sculptures made up of straight lines and circles that function as three-dimensional drawings floating in the gallery. Carved from the wood of Java plum trees, known in the Philippines as duhat, the sculptures carry deeply personal associations of the artist’s mother who craved the fruit while pregnant. Four video works made between 2010–2026 demonstrate the development of Taniguchi’s relationship to space and materials. Key amongst these is a newly commissioned video, A painter, if black were a place (2026), which juxtaposes pixelated digital photos with fields of black painted by Taniguchi, inserting her subtle painterly style alongside images of her mother’s home, garden, and symbolic paintings. Together, these videos deploy the framing device of the camera and the screen to suggest our limited views of history, memory, labour, and the legacy of modernism.

Manifesta 16 takes place in four cities across the Ruhr Area – Duisburg, Essen, Gelsenkirchen and Bochum. Former and under-used church buildings will be transformed into cultural and community hub, where Manifesta 16 will present events, workshops, exhibitions and site-specific artistic commissions and installations. After decades of secularisation, churches in the Ruhr Area are now closing on a weekly basis, often then purchased by profit-hungry developers or left slowly to decay. These landmarks, once central to neighbourhood life for many, have become symbols of our diminished public realm: of social atomisation and the loss of collective experience. Manifesta 16 Ruhr takes place in and around a selection of the churches and responds to their situation. It asks: what can we do with these buildings? What is their meaning? How might they be preserved as social spaces? Can they contribute to the formation of a more just society? The artistic programme has been developed by an inter-disciplinary artistic team, composed of eight Creative Mediators: Josep Bohigas, Gürsoy Doğtaş and three intergenerational tandems — Michael Kurtz & Henry Meyric Hughes, René Block & Leonie Herweg, and Krzystof Kosciuczuk & Anda Rottenberg.