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METAMORPHOSIS, curated by Livia Klein, unfolds within the liminal reciprocity of body and architecture. The exhibition probes how built structures lose their certainty and begin to echo the instability of perception itself. Drawing from Richard Sennett’s reflections on the disciplined body, the works by Melanie Ebenhoch (*1985, AT) and Paola Siri Renard (*1993, FR) trace how spatial order emerges and unravels—how architecture mediates not only what we see, but how we inhabit. In its fractures, what Mark Fisher terms the eerie surfaces: a quiet dissonance that unsettles the order of things, a sense that matter itself might begin to watch back. The exhibition lingers in this tension between structure and affect, where spatial form turns psychological and the body becomes a site of spatial uncertainty.
As Sennett observes in Flesh and Stone, architecture inscribes itself onto the body. It regulates proximity, touch, and the rhythm of movement. Yet the corporeal n…
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Press Release
METAMORPHOSIS, curated by Livia Klein, unfolds within the liminal reciprocity of body and architecture. The exhibition probes how built structures lose their certainty and begin to echo the instability of perception itself. Drawing from Richard Sennett’s reflections on the disciplined body, the works by Melanie Ebenhoch (*1985, AT) and Paola Siri Renard (*1993, FR) trace how spatial order emerges and unravels—how architecture mediates not only what we see, but how we inhabit. In its fractures, what Mark Fisher terms the eerie surfaces: a quiet dissonance that unsettles the order of things, a sense that matter itself might begin to watch back. The exhibition lingers in this tension between structure and affect, where spatial form turns psychological and the body becomes a site of spatial uncertainty.
As Sennett observes in Flesh and Stone, architecture inscribes itself onto the body. It regulates proximity, touch, and the rhythm of movement. Yet the corporeal n…
