Mario Mauroner Contemporary Art SALZBURG

The Pines Were Tapped for Resin
Der Künstler ist anwesend.
Vernissage: Samstag, 5. März 2016 | 11 Uhr
Ausstellung: 6. März – 2. April 2016
Residenzplatz 1, 5020 Salzburg



Bertram Hasenauer Still Hanging on to What May Be
2015, 80 x 64 cm Acryl auf Holz

Bertram Hasenauer malt Menschen. Menschen, die wir als solche zu erkennen glauben und die sich zugleich dem Erkennen sofort wieder entziehen. Wir glauben, seine Bilder vom Menschen seien einfach zu dechiffrieren. Doch er beraubt uns der Fähigkeit der Gesichtswahrnehmung. War es in früheren Jahren die Abwesenheit eines deutbaren Gesichtsausdrucks oder Raumes oder wandten sich die Porträtierten in Hasenauers Bildern vom Betrachter ab, so fallen in den jüngsten Arbeiten die Porträts ganz aus dem Bild.




Bertram Hasenauer Tomorrow is Just a Yesterday Dream
2015, 80 x 64 cm Acryl auf Holz
Bertram Hasenauer Something is Still the Same
2015, 80 x 64 cm Acryl auf Holz
Bertram Hasenauer Still Hanging on to What May Be
2015, 80 x 64 cm Acryl auf Holz


Bertram Hasenauer

1970 geboren in Saalfelden, Österreich
1992 – 1997 Akademie der Bildenden Künste Wien, Diplom Mag art, Wien, AT
1996 – 1997 Universität der Künste, Berlin, Erasmus Austausch Programm, DE
1997 – 1998 Central Saint Martins College of Art & Design, MA in Fine Art, London, GB

lebt und arbeitet in Berlin, DE



Scott Evans (us)

One Work Gallery
Manipulating Currency
video work by Scott Evans (us)
Friday March 4 | 6pm to 9pm
getreidemarkt 11/3, 1060 Wien


“By changing the point of perspective on banknote faces, one can reveal the false nature of these symbols, usually used by those in power to promote a certain cultural identity and economic agenda. This is a statement about the telling of human-driven histories, the changing narratives surrounding those figures so “canonized” in cultural memory that they appear on currency (as a form of currency itself), which is why this work’s title is a tongue-in-cheek triple entendre. The work invites a cynical nostalgia – icons from old regimes and ideologies – hollow currencies exposing indoctrination via banknote. So, how do we turn this form of propaganda back on itself? Through manipulation.”
Scott Evans

ADAA 2016


The Art Dealers Association of America
The Art Show

Gala Benefit Preview
Tuesday, March 1, 2016 | 5:30 – 9:30 p.m.
Henry Street Settlement. 212.766.9200 ext. 248

The Art Dealers Association of America
The Art Show 2016 art fair
The Art Show 2016
Wednesday, March 2 – Friday, March 4 | 12 – 8 p.m.
Keynote Speech: Robert Lynch,
President and CEO of Americans for the Arts
Friday, March 4, | 6 p.m.
643 Park Avenue at 67th Street, New York
Free entry with fair admission.
Saturday, March 5 | 12 p.m. to 7 p.m.
Sunday, March 6 | 12 p.m. to 5 p.m.
March 2-6, 2016
The Park Avenue Armory,
Park Avenue and 67th Street, New York



About the ADAA

The Art Dealers Association of America (ADAA) is a nonprofit membership organization that supports the economic and cultural contributions of the nation’s leading fine art galleries. The ADAA includes 180 members from 25 cities in the U.S., representing hundreds of established and emerging artists internationally. ADAA members have extensive expertise across primary and secondary markets, and established reputations for upholding the best practices in the field. The ADAA serves as a resource and advocate, raising awareness of dealers’ critical roles in the international art market and the cultural community.

The Armory Show 2016


The Armory Show, New York
Wednesday, March 2, 2016 | 12 pm – 8 pm
Public Hours
Thursday, March 3 – Sunday, March 6 | 12 pm – 7 pm.
03. March – 06. March 2016
Piers 92 & 94
Twelfth Avenue at 55th Street
New York City

Pier 94: Special Projects

The Armory Show 2016 will feature eight special projects, curated by Julia Grosse and Yvette Mutumba, that bring together a group of emerging artists from Africa and the Diaspora, providing a glimpse of a generation of young artists that are challenging preconceptions surrounding the notion of “contemporary African art.”


ED YOUNG, All So Fucking African, 2015 Mixed Media Installation
Presented by SMAC Gallery, Cape Town and Stellenbosch, Booth 630
Pier 94: Connecting Tent

Shuttle Bus Service
For your convenience, The Armory Show offers complimentary shuttle service running continuously between Piers 92 & 94 and the following locations:
Hudson Hotel, 356 West 58th Street, New York, NY
The Museum of Modern Art, 11 West 53rd Street, New York, NY
Hotel Americano, 518 West 27th Street, New York, NY
Hudson Hotel, 356 West 58th Street, New York, NY
The Armory Show is America’s leading international art fair taking place annually on pier 92 & 94, overlooking the Hudson River. Now in its 22nd year, The Armory Show is a New York cultural institution and a highly-anticipated event on the global arts calendar. With a commitment to presenting the highest-quality modern and contemporary art, The Armory Show connects the world’s foremost galleries with international collectors, curators and art professionals in the capital of the art world.

Top Oscar nominees invited to witness Palestinian life under Israeli occupation

Oscar nominees in the top acting and directing categories, as well as the host at tonight’s ceremony, Chris Rock, have received invitations from a coalition of groups to visit Palestine and experience life through the eyes of Palestinians living under apartheid and military occupation.
The ironic invitations were sent  from musician Brian Eno on behalf of Artists for Palestine UK, the Palestinian Performing Arts Network, Jewish Voice for Peace, and the US Campaign to End the Israeli Occupation, in response to an Israeli PR junket offered nominees as part of this year’s Oscar Swagbag.




The alternative invitations were delivered to nominees’ reps via email. Recipients included Bryan Cranston, Matt Damon, Leonardo DiCaprio, Michael Fassbender, Eddie Redmayne, Cate Blanchett, Brie Larson, Jennifer Lawrence, Charlotte Rampling, Saoirse Ronan, Christian Bale, Tom Hardy, Mark Ruffalo, Mark Rylance, Sylvester Stallone, Jennifer Jason Leigh, Rooney Mara, Rachel McAdams, Alicia Vikander, Kate Winslet, Adam McKay, George Miller, Alejandro Iñárritu, Lenny Abrahamson, and Tom McCarthy.

Rylance, nominated for Best Supporting Actor in Bridge of Spies, has already said he won’t be accepting any gifts. He has previously pledged to accept neither professional invitations to Israel nor funding from any institutions linked to its government until it complies with international law and universal principles of human rights. Asif Kapadia, whose film Amy is nominated for Best Documentary Feature, has also signed the pledge, as have five-time Oscar nominee Mike Leigh, director Ken Loach and musician Brian Eno.

“Our hope is that other artists will follow suit and take a stand for Palestinian human rights, as so many cultural figures did in the struggle against South African apartheid,” wrote Eno.

Bildschirmfoto 2016-02-28 um 16.04.23.jpg

The US campaign to End the Occupation, which joined Jewish Voice for Peace in publishing a full-page color ad in Wednesday’s Los Angeles Times, suggested a range of actions people could take to urge the stars to resist Israeli PR bribery:

Sign the Petition
Join Thunderclap on Feb 28
Use these sample tweets and handles provided to reach the nominees directly
Share these creative memes on your Facebook and Twitter using‪#‎SkiptheTrip‬.
Watch and share these videos by Apartheid Adventures and AJ+

Media interest in the SwagBag controversy has been extensive, coming as it does on top of a high-profile ‪#‎OscarsSoWhite‬ campaign to expose racism at the heart of the movie industry which has failed to find even one non-white leading Oscar nominee, for the second year in a row. Here’s a selection.
Oscar winners, come to Israel! It’s just like a movie…but people are actually killed
by International Business Times February 26th, 2016 “Any Oscar nominee taking up the offer will find themselves working as an unpaid stooge in an extended 10-day photo opportunity on behalf of a government that breaks international law, violates human rights and has been credibly accused of war crimes.”
Brian Eno: “Oscars’ swag bag is part of Israel’s cultural propaganda campaign”
by Salon February 26th, 2016 “Israel is using artists, again, to obscure its dismal human rights record. We must all demand the truth”
Pro-BDS Groups Urge Oscar Nominees to Skip Free Israel Trip
by Haaretz February 25th, 2016 “U.S. Campaign to End the Israeli Occupation and Jewish Voice for Peace place full-page ad in the Los Angeles Times, five days before the Academy Awards ceremony.”

Oscar nominees urged to skip Israel swag bag trip
by Reuters Video February 24th, 2016
LA Times Runs BDS Ad Advising Top Oscar Nominees To #SkipTheTrip To Israel
by MintPress News February 24th, 2016 ‘We want them to join our movement for human rights,’ said one organizer of the campaign to urge celebrities to boycott a free trip to Israel found in top Oscar nominees’ giveaway bags.”
Hollywood stars urged to reject free Oscar goodie bag trip to Israel
by The Telegraph February 24th, 2016 “Two US groups take out full-page newspaper advert denouncing junket being offered in nominees’ gift bag at this year’s award ceremony.”
Ad accusing Israel of apartheid published in LA Times
by Jewish Telegraph Agency February 24th, 2016
Oscar nominees urged to skip Israel swag bag trip
by Reuters February 24th, 2016
Full-Page Ad in Today’s Los Angeles Times Calls on Oscar Nominees to #SkipTheTrip Offered By Israeli Government
February 24th, 2016 ‘Same Ad Rejected By Variety Magazine Last Friday’
Variety Refuses to Publish a pro-BDS Ad Accusing Israel of Apartheid in Oscars Issue
by Haaretz February 23rd, 2016 “After the sponsored trip to Israel included in the swag bags for the Oscars, the magazine rejected Jewish Voice for Peace ad due to the sensitivity of the topic and the rude tone it has.”
Variety pulls pro-BDS ad accusing Israel of ‘apartheid’
by Jewish Telegraphic Agency February 23rd, 2016
Variety Kills Ad Denouncing Israel Trip in Oscars Swag Bag
by Forward February 22nd, 2016
Pro-Palestinian Group Urges Oscar Nominees to Reject Free Israel Trip
by The Wrap February 22nd, 2016
Variety Censors Ad Supporting Palestinian Human Rights
February 22nd, 2016 “Ad Calls on Oscar Nominees to ‘Skip the Trip’ to Israel Offered in Swag Bags”
Academy disavows Oscars gift bag featuring Israel junket
by The Electronic Intifada February 18th, 2016
Academy Sues Over Oscar Gift Bags that Include Sex Toys, Vaporizers
by Variety February 17th, 2016 “A lawsuit was launched by The Academy of Motion Picture Arts & Sciences against the company marking Oscars gift bags that include a free trip to Israel.”
This year’s Oscar swag bag includes a $55,000 trip to Israel
by The Washington Post February 11th, 2016
Israel tries to bolster its image via Oscars ‘swag bag’
by Reuters February 8th, 2016
Israel offers free holidays to Oscars contenders in effort to improve image
by The Guardian February 8th, 2016 “Government says visits by ‘leading opinion-formers’, should they take up voucher for 10-day trip, would have ‘enormous resonance’ among their fans.”…/top-oscar-nominees-inv…/

Tate Curator’s Tour:


Performing for the Camera

Bildschirmfoto 2016-01-31 um 20.59.42

Tate Modern
Curator’s Tour:
Performing for the Camera
Monday 14 March 2016 | 18.30–20.30pm
by Assistant Curator Fiontan Mora
Exhibition: 18 February – 12 June 2016
Bankside London SE1 9TG
Erwin Wurm Untitled (Claudia Schiffer series) 2009
© the artist
Tate Modern
Curator’s Tour:
Performing for the Camera
Monday 6 June 2016, 18.30 – 20.30pm
by Curator Simon Baker
Exhibition: 18 February – 12 June 2016
Bankside London SE1 9TG

Georgia O’Keeffe




Press View: Curator tour:

Monday 4 July 2016 | 9 -13 pm

curated by Tanya Barson &
Hannah Johnston, Assistant Curator, Tate Modern.
Private View Members:
4 July 2016 | 18.45 – 21.30 pm
5 July 2016 | 10 – 17.15 pm
2 August 2016 | 18.45 – 21.30 pm
Exhibition: 6 July – 30 October 2016
Exhibition: 6 July – 30 October 2016
The Eyal Ofer Galleries
Level 3 Bankside London SE1 9TG


Bildschirmfoto 2016-02-28 um 13.01.04
Image credit: Georgia O’Keeffe, Jimson Weed/White Flower No. 1 1932
Crystal Bridges Museum of American Art, Arkansas, USA
© 2016 Georgia O’Keeffe Museum/DACS, London
On 6 July 2016 Tate Modern will open the largest exhibition of
American modernist painter Georgia O’Keeffe ever to be held outside
the USA. Marking a century since O’Keeffe’s debut in New York, this
retrospective will be a once-in-a-generation opportunity for audiences
outside of America to view her oeuvre in such depth. Spanning the six
decades in which O’Keeffe was at her most productive and featuring over
100 major works, the exhibition will chart the progression of her practice
from her early abstract experiments to her late works, aiming to dispel
the clichés that persist about the artist and her painting.


Georgia O’Keeffe will be the first major UK exhibition of this iconic
American modernist painter for over twenty years. Marking 100 years
since O’Keeffe’s debut in New York in 1916, this ambitious and wide-ranging
retrospective will reassess O’Keeffe’s place in the canon of twentieth-century
art and reveal her profound importance. Spanning the six decades in which
O’Keeffe was at her most productive, the show will be a once-in-a-generation
opportunity for European audiences to view her works in such depth.
Bildschirmfoto 2016-02-28 um 12.45.06.jpg
Georgia O’Keeffe Black Mesa Landscape, New Mexico / Out Back of Marie’s II 1930
Oil on canvas mounted on board Georgia O’Keeffe Museum. Gift of The Burnett Foundation © Georgia O’Keeffe Museum
11 JULY 2016 | 18.30–20.30 pm
Curator Hannah Johnston
25 JULY 2016 | 18.30–20.30 pm
Curator Tanya Barson
Exhibition: 6 July – 30 October 2016
The Eyal Ofer Galleries
Level 3 Bankside London SE1 9TG
O’ Keeffe is recognised as a foundational figure of American modernism
born in the late 1880s she secured a central place within the mainstream
art world from the 1910s to the 1970s. She was also claimed as an important
pioneer by feministartists of the 1970s. A single-minded character who
identified her ambition to become an artist when she was still a child,
O’Keeffe developed her practice over a seven-decade career.
O’Keeffe excelled as a landscape artist, and this exhibition will relate her
practice back through the American tradition of landscape painting, as well
as forward to anticipate the gendered landscapes and statements of
feminist artists of later generations. For this reason, as well as her enduring
engagement with abstraction and landscape, the serialised, increasingly
economic and stylised paintings of the southwestern locations called the
‘Black Place’ and the ‘White Place’, will be at the heart of the exhibition.


Georgia O’Keeffe 1887-1986 Jimson Weed/White Flower No. 1 1932
Oil paint on canvas 48 x 40 inches
Crystal Bridges Museum of American Art, Arkansas, USA
© 2016 Georgia O’Keeffe Museum/DACS, London
Photography by Edward C. Robison III

A key aspect of the exhibition will be to consider O’Keeffe’s professional
and personal relationship with Alfred Stieglitz; photographer, modern art
promoter and the artist’s husband. While Stieglitz afforded O’Keeffe access
to the most current developments in avant-garde art, she employed these
influences and opportunities to her own objectives. Her keen intellect,
as well as her forceful and resolute character, created a fruitful relationship
that was, though sometimes conflictive, one of reciprocal influence and exchange.

Bildschirmfoto 2016-02-28 um 13.32.03.jpg

Artist Georgia O’Keeffe, who played a pivotal role in the development of American modernism. Photograph: Tony Vaccaro/Getty

The popular notion that O’Keeffe was a simple painter of flowers is a
conception she faced during her lifetime. This exhibition will consider
these remarkable flower works in the context of her overall production as
multi-layered images, relating them to her engagement with abstraction
and issues of form and composition, to her complex relationship with
gendered imagery, bodily analogy and Freudian interpretations, and to
her spiritual engagement with the landscape. Charting the progression
of her practice from her early abstract experiments to her late work, this
exhibition will re-examine her entire career, her development, her
trajectory west, and the profound influence and legacy of her work.


Georgia O’Keeffe is curated by Tanya Barson,
with Hannah Johnston, Assistant Curator, Tate Modern.
The exhibition is accompanied by a catalogue from Tate Publishing
and will tour throughout 2017.

The exhibition is organised by Tate Modern in collaboration with
Bank Austria Kunstforum, Vienna and the Art Gallery of Ontario, Toronto.



Visionäre der Moderne

Berlinische Galerie

Visionäre der Moderne

Paul Scheerbart, Bruno Taut, Paul Goesch
Pressekonferenz: 13. April 2016 | 11 Uhr
Eröffnung: 14. April 2016 | 19 Uhr
Ausstellung: 15.04.– 31.10.2016
Alte Jakobstraße 124-128
10969 Berlin
Im Mittelpunkt der Ausstellung stehen Architekturvisionen und Zeichnungen dreier Visionäre des frühen 20. Jahrhunderts.
Der Schriftsteller, Dichter und Erfinder Paul Scheerbart (1863- 1915)
konnte um 1914 den jungen Architekten Bruno Taut (1880- 1938) für seine Ideenbegeistern, mit farbigem Glas zu bauen.
Paul Goesch (1885-1940), ausgebildeter Architekt, schuf hunderte von
phantastischen Zeichnungen. Er zählte zu jenem berühmten Forum für
utopisches Bauen, dem 1919 von Taut ins Leben gerufenen Briefzirkel
„Die Gläserne Kette“.
Paul Goesch, Kopf mit Farbteilung, um 1920,
Berlinische Galerie, Urheberrechte am Werk erloschen,
Repro: Kai-Annett Becker
Die neue Kunst der jungen Weimarer Republik, deren Wirtschaft daniederlag,
sollte sich aus den verschiedensten Quellen speisen, die Bauten gläsernen Grotten
oder galaktischen Luftschlössern ähneln, gerade weil es kaum Mittel zum Bauen gab. „Träumer, Phantasten, Visionäre“ […] das ist letzten Endes das, was wir wollen: die Utopie!“,formulierte der Architekt Walter Gropius damals begeistert.
Paul Goesch, Ohne Titel (Bajadere mit rosa Rock), um 1920,
Berlinische Galerie, Urheberrechte am Werk erloschen,
Repro: Kai-Annett Becker
Die Ausstellung vereinigt etwa achtzig überwiegend noch nie gezeigte farbige Aquarellevon Paul Goesch aus der Sammlung der Berlinischen Galerie mit Zeichnungen und Texten Paul Scheerbarts, Bruno Tauts und weiterer Mitglieder der
„Gläsernen Kette“.

Paul Goesch, Selbstportrait, undatiert, Berlinische Galerie,
Urheberrechte am Werk erloschen, Repro: Kai-Annett Becker

Paul Scheerbart, Ein Zukunftskind, um 1912,
Berlinische Galerie, Urheberrechte am Werk erloschen,
Repro: Kai-Annett Becke

Erwin Wurm Bei Mutti

Berlinische Galerie

Erwin Wurm

Bei Mutti

Pressekonferenz: 13. April 2016 | 11 Uhr
Eröffnung: 14. April 2016 | 19 Uhr
Ausstellung: 15.04.– 22.08.2016
Alte Jakobstraße 124-128
10969 Berlin
Erwin Wurm,  Narrow House, Pilane 2015,
© Erwin Wurm, VG BILD-KUNST Bonn, 2016, Foto: Studio Wurm
Erwin Wurm, 2014, © Inge Prader
Erwin Wurm (*1954)
war 1987 Stipendiat des DAAD-Künstlerprogramms.
Die Zeit in Berlin fällt mit einer Phase der Neudefinition seines Werks zusammen:
Seit Ende der 1980er Jahre lotet er die Grenzen zwischen Skulptur, Objekt und Performance aus.
Erwin Wurm, Narrow House, Pilane, Innenansicht, 2015,
© Erwin Wurm, VG BILD-KUNST Bonn, 2016, Foto: Studio Wurm
Ein Hauptwerk der Ausstellung ist das Narrow House, ein detailgetreuer Nachbau seines Elternhauses – verengt auf eine Breite von knapp über einem Meter. Die Enge der Provinz wird so sprichwörtlich für den Besucher erfahrbar, der das Haus betreten kann. Ergänzt wird die Ausstellung durch mehrere One Minute Sculptures: Handlungsansweisungen des Künstlers verleiten den Besucher dazu, mithilfe alltäglicher Objekte ungewöhnliche Posen einzunehmen und so für kurze Zeit zur lebenden Skulptur zu werden. Der dritte Teil der Präsentation widmet sich erstmals ausführlich dem zeichnerischen Werk Erwin Wurms.
Die Ausstellung wird ermöglicht durch den Hauptstadtkulturfonds und den Förderverein Berlinische Galerie e.V.
Erwin Wurm,  The Idiot III (One Minute Sculpture), 2010,
© Erwin Wurm, VG BILD-KUNST Bonn, 2016 , courtesy: Galerie Thaddaeus Ropac, Salzburg, Paris, Foto: Studio Erwin Wurm
Erwin Wurm,  Leopoldstadt, 2004,
© Erwin Wurm, VG BILD-KUNST Bonn, 2016 , courtesy: Galerie Thaddaeus Ropac, Salzburg, Paris, Foto: Studio Erwin Wurm


Heidi Specker


Berlinische Galerie
Heidi Specker – IN FRONT OF
Fotografien 2005/2015
Pressekonferenz: 10.03.2016 | 11 Uhr
Eröffnung: 10.03.2016 | 19 Uhr

Dr. Thomas Köhler
Director of Berlinischen Galerie
Ulrich Domröse
Head of Department Photography, curaotr of the exhibition
Followed by music arranged by DJ Pieper (A)

Ausstellung: 11.03.-11.07.2016
Alte Jakobstraße 124-128
10969 Berlin


Heidi Specker, H.B., aus der Serie IN FRONT OF, 2015,
© Heidi Specker / VG BILD -KUNST Bonn, 2016…/…/heidi-specker/

IN FRONT OF ist eine Serie von 70 Bildern, in denen sich Heidi Specker mit den Umständen und Bedingungen der Porträtfotografie auseinandersetzt. Statt dem gängigen Aufnahmekodex zu folgen, schafft sie in ihrem Atelier eine Atmosphäre, die es ermöglicht, die Abhängigkeits- und Machtverhältnisse durchsichtig zu machen, die während einer Porträtsitzung zwischen Fotograf und Modell entstehen. Ihre Fotos entwickelte sie aus einer Verweigerungshaltung gegenüber der konventionellen Porträtfotografie, die vornehmlich auf Repräsentation und Selbstdarstellung angelegt ist. In ihrer Beiläufigkeit und Sperrigkeit provozieren die Porträts ein Nachdenken darüber, wie weit man einem Menschen überhaupt nahe kommen und seine Persönlichkeit erfassen kann.



Heidi Specker,  Zehlendorf, aus der Serie: IM GARTEN, 2003,
© Heidi Specker / VG BILD-KUNST Bonn, 2016



Heidi Specker,  Tiergarten, aus der Serie: IM GARTEN, 2003,
© Heidi Specker / VG BILD-KUNST Bonn, 2016



Heidi Specker,  Schulhof, aus der Serie: IM GARTEN, 2003,
© Heidi Specker / VG BILD-KUNST Bonn, 2016



Im zweiten Teil der Ausstellung wird ihre 2003/04 in Berlin entstandene Serie IM GARTEN gezeigt. Diese mutet an wie ein Spaziergang durch die Stadt, bei dem über parallele Strukturen in Natur und Kultur nachgedacht wird.

Heidi Specker gehört zu den wichtigen Vertreterinnen zeitgenössischer Fotografie. Die Ausstellung in der Berlinischen Galerie ist ihr erster großer Einzel-Auftritt in einem Museum.


Heidi Specker,  Katze, aus der Serie IN FRONT OF, 2015,
© Heidi Specker / VG BILD-KUNST Bonn, 2016

IN FRONT OF (2015) is Heidi Specker’s first venture into portrait photography. She is not interested in the status and self-projection associated with conventional portrait practice. Ultimately Heidi Specker provokes us to ask how close a photographer can get to another person and how accurately a personality can be depicted.


Heidi Specker,  Taube, aus der Serie IN FRONT OF, 2015,
© Heidi Specker / VG BILD-KUNST Bonn, 2016

The second part of the exhibition is devoted to the series IN THE GARDEN. In these photos taken in Berlin, the artistshe evokes the strangely alien, abandoned and artificial feel to remnants of nature within the urban space.

Heidi Specker is a leading figure in contemporary photography. This is her first major solo exhibition in a museum.