MARTIN MLECKO was born in 1951 in Essen and passed away in 2016 in Berlin, Germany. He was an investigative photographer, concept artist, and filmmaker, continually seeking the inherent beauty in objects and his subjects. His photographs were shown not so much as observations of reality, but rather as expressions of moods. Mlecko looked for joy in the small things, he searched for beauty and found it all around him in everyday objects. In ‘Les Choses de la Vie’, a series of photographs begun in 1993, Mlecko documents a quiet dialogue between him and the objects that surround him at home and in his studio.
NURIA FUSTER’s (Alcoi, 1978) work explores air, emptiness, and corporeality as sculptural materials, establishing connections between physical processes, perception, and the social dimension. Fuster sustains an investigation in her praxis of air as a corporeal sculptural material – generating pressure and sustaining unstable equilibria. Inflated bicycle tires and soap bubbles reveal air as a structural element in Gaseous Planets 5 (2016). Its internal presence allows the form to exist, straining the relationship between fragility and resistance. An inflated tractor tire is pressed against the wall, held in place by two bars, the rubber straining against the metal. In Presionador II (2013), physicality and capacity for opposition are made visible; what normally goes unnoticed becomes dense and sculptural. Hanging from the ceiling is the sculptural work Fliehen ins Unterholz (2026), containing a tube from an old pipe from the former STASI building opposite Fuster’s studio. The tube a channel through which air and gas circulated, a residual structure – heavy with memory.
HENRIK STRÖMBERG (SE, 1970) lives and works in Berlin.
Strömberg works across media, investigating his topics of interest by deconstructing and reconstructing the image and narratives in all of its declinations – from analog to digital, from sculptural to pictorial. “I work with the idea of metamorphosis, decay, and the transformation of materials; sculptural objects and their photographic documentation, as well as the deconstruction and transformation of the photographic image itself” says Strömberg. In Sirens outlook II (2025), a handblown glass volume perched on top of a repurposed metal tripod, two materials come together, in dialogue, in balance.
JENNY BROCKMANN is an artist and sculptor living in Berlin and New York. Her works combine technology, science, and art, functioning as both objects and models of artistic research, examining spatial and social processes. Through an exploration of the senses, perception, behaviour, and social structures, Brockmann translates scientific and natural processes into artistic form. The starting point for M_shy room_01 (2010) placed on the floor, was the writings of Hannah Arendt. Arendt emphasises that we acquire information from our surroundings through our senses, however the appearance of phenomena depends on individual perception. The only image of the world accessible to an observer is their own one. The minute sculpture emits a powerful, bright light, enticing one to come closer and have a look inside. But try as you might, the inside remains hidden.
JENNY MAGNUSSON lives and works in Gothenburg (SE). Her sculptures explore internalisation of space, place, artefact, and materiality. In her practice, form follows material. The found materials she works with are neither altered nor revised; instead, they are allowed to become part of a constellation, creating a surprising or humorous interplay between otherwise ordinary everyday elements that might otherwise have gotten overlooked.