KINO | group show

KINO brings together video works that explore “after the end” as an ongoing condition of erosion and reorganization. Landscapes marked by technological excess, environmental damage, and political upheaval become stages for suspended transformation, while systems of power persist in altered forms. Moving between affect and analysis, the artists often employ seductive imagery, drawing viewers in through atmosphere, while subtly unsettling familiar narratives. Rather than offering clear redemption or finality, the works reflect a liminal present in which established orders lose their authority and other ways of relating—to history, responsibility, and the more-than-human world—begin to take shape.

The program consists of 10 films with a total duration of 1 hour 58 minutes, presented on a continuous loop during gallery opening hours (Tuesday–Saturday, 12 – 6 pm). Visitors may enter at any point in the sequence; to experience the full program, we recommend allowing approximately 2 hours.

Coco Fusco

Born in 1960 in New York, New York, USA. She is an artist and writer whose work across performance, video, installation, and writing examines the intertwined histories of race, colonialism, exile, gender, and identity, exploring how these forces shape new societies. Over more than three decades, her practice has combined conceptual inquiry with embodied performance, frequently reflecting on conceptual and embodied existence within socio-political frameworks, plumbing the depths of representation and their effects on cultural memory. Fusco’s work has been presented internationally in numerous exhibitions and biennials, including presentations at the Whitney Biennial (2022, 2008, 1993), as well as at institutions such as MACBA – Museu d’Art Contemporani de Barcelona, KW Institute for Contemporary Art in Berlin, and the Brooklyn Museum in New York. Her works are held in major public collections including the Museum of Modern Art and the Whitney Museum of American Art in New York, the Walker Art Center in Minneapolis, the Art Institute of Chicago, the Centre Pompidou in Paris, and MACBA in Barcelona. Fusco is also a professor at the Cooper Union School of Art and author of books including Dangerous Moves: Performance and Politics in Cuba and English is Broken Here: Notes on Cultural Fusion in the Americas. She has received numerous awards, including a Guggenheim Fellowship (2013) and the American Academy of Arts and Letters Art Award (2021). She lives and works in New York.

Agata Ingarden

Born in 1994 in Kraków, Poland. She works across sculpture, installation, video, performance, sound, and writing, developing a practice driven by material research and informed by post-humanities, sociology, science fiction, and mythological narratives. Her work has been presented in numerous international group exhibitions, in venues including Palais de Tokyo, Paris (2019); Frac, île-de-France, Paris (2019); Mo.Co, La Panacee, Montpellier (2019); Silesian Museum Katowice(2020); Nassauischer Kunstverein Wiesbaden (2020); Künstlerhaus, Vienna (2020); Kunstfort bij Vijhuizen, the Netherlands (2021); Muzeum Sztuki in Łodz (2021); Art Encounters Biennial, Timișoara (2021). She has also held solo and two-person exhibitions at venues including Soft Opening in London, Berthold Pott in Cologne, Piktogram in Warsaw, eastcontemporary in Milan, and Exo Exo in Paris. In 2021 she received a Special Prize at the Future Generation Art Prize. She lives and works between Paris and Athens.

Agnė Jokšė

Born in 1993 in Vilnius, Lithuania. She works with video, text, and performative practices, employing autoethnographic methods to construct narratives in which personal experience and past events intertwine with speculative and imaginative reflection. Her work often explores themes of love, intimacy, friendship, and entangled relations, while engaging with questions of parallel histories, compassion, queerness, and language. She lives and works in Vilnius.

Alina Kleytman 

Born in 1991 in Kharkiv, Ukraine. She is a visual artist, performer, and mentor whose practice spans sculpture, video art, and curatorial projects. She holds a Bachelor’s degree in Monumental Sculpture from the Kharkiv State Academy of Design and Arts (2012) and later studied at the Rodchenko Moscow School of Photography and Multimedia (2015). Kleytman describes her artistic approach as hysterical realism, exploring the psychological and physical boundaries of the body alongside themes of black magic, abusive relationships, and self-aggrandizement as a form of depersonalization. Her work subjectively embodies contemporary political and social realities. In her sculptures, she transforms everyday objects into artificial, fantastical forms, working with materials such as fur, hair, feathers, metal, synthetic plastics, and silicone. She also incorporates artifacts from conflict zones—shattered glass, body bags, melted roofs—turning them into memory capsules that bear witness to acts of violence. She has created an AI persona, DIRTY WHITE, designed to absorb and neutralize accumulated hatred, rage, and anger. Together with Nikita Kadan and Bogdana Kosmina she created the curatorial group Wet Hole. They founded Dzherelo Art Pavilion, a 24/7 public art space in Kyiv. Her work has received significant recognition, including the Women in Visual Arts Prize (awarded by UN Women and the Ukrainian Institute) in 2021 for her impact on gender equality. She is also a two-time winner of the PinchukArtPrize, receiving the award for SUPER A in 2015 and ASK A MOM in 2018. Following the full-scale invasion of Ukraine, she relocated to Torino, Italy, where she currently lives and works.

Luiz Roque

Born in 1979 in Cachoeira do Sul, Brazil. He works across film, installation, and visual media, developing cinematic narratives that draw on science fiction, the legacy of Modernism, pop culture, and queer biopolitics to explore the relationship between technological progress and contemporary structures of power. His work inhabits a space between cinema, contemporary art, and critical theory, combining the speculative language of science fiction with the formal strategies of film to construct visually charged scenarios that reflect on social tensions, bureaucratic systems, and the shifting conditions of political and collective life. Through stylized imagery and allegorical storytelling, Roque examines how bodies, desires, and identities are shaped within real and imagined political landscapes. His work has been presented internationally in solo exhibitions at institutions including KW Institute for Contemporary Art in Berlin, PROA21 in Buenos Aires, the Visual Arts Center in Austin, Pivô in São Paulo, CAC Passerelle in Brest, the New Museum in New York, Museu de Arte Contemporânea de Niterói, and Tramway in Glasgow. He has also participated in numerous group exhibitions and biennials, including the 59^th Venice Biennale, the 12^th Gothenburg Biennial, the Bienal de São Paulo, and exhibitions at institutions such as MASP in São Paulo, Portikus in Frankfurt, MALBA in Buenos Aires, the Museum of Modern Art in Warsaw, MoMA PS1 in New York, and the David Roberts Art Foundation in London. He lives and works in São Paulo.

Diane Severin Nguyen

Born in 1990 in Carson, California, USA. She works across photography, video, and installation, exploring the photographic image not only as a documentary tool but as a transformative process shaped by desire and speculation. Through material and sculptural experimentation, she expands the temporal and conventional boundaries of the photographic moment, constructing images that move between documentation and fiction. Her video works further explore these themes, delving into the complex histories of power, victimhood, and propaganda that influence collective cultural narratives. She lives and works in New York.

Marianna Simnett

Born in 1986 in London, United Kingdom. She is a British-Croatian multidisciplinary artist working across video, sculpture, installation, and performance, creating immersive narratives that center around the overlapping and at times incongruous themes of vulnerability, autonomy, control, pain, metamorphosis, and care. In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales and desires. Her work has been presented internationally in solo exhibitions at institutions including Secession, Vienna (2026); Max Ernst Musuem, Brühl (2026); Société, Berlin (2025); Hamburger Bahnhof, Berlin (2024); LAS, Berlin (2023); Société, Berlin (2022); Institute of Modern Art, Brisbane (2019); Kunsthalle Zürich, Zürich (2019); MMK, Museum für Moderne Kunst, Frankfurt (2018); The New Museum, New York (2018) and Zabludowicz Collection, London (2018). Selected group exhibitions include Chrysalis: The Butterfly Dream, Centre d’Art Contemporain Genève (2023); the 59th Venice Biennale: The Milk of Dreams (2022); Espressioni: The Epilogue, Castello di Rivoli, Turin (2022); and Prize of the Böttcherstraße, Kunsthalle Bremen (2022). She lives and works between Berlin and New York.

Anastasia Sosunova

Born in 1993 in Ignalina, Lithuania. She works across printmaking, sculpture, video, and installation, exploring how systems of control, traditions, and religious or enigmatic beliefs shape the behavior of individuals and communities today. Drawing on the economic and spiritual structures of Eastern Europe and Lithuania in particular, her practice constructs layered narrative environments in which personal and collective stories, memory, legends, secular faiths, and the reinterpretation of ancient mythologies intersect. Through the combination of diverse media and techniques, Sosunova develops immersive installations that function as speculative arenas where historical events, legends, and contemporary realities intertwine. Her work frequently engages with processes of worldbuilding, alternative narrative, and the migration of symbols and iconographies across boundaries. She lives and works in Vilnius.

Jala Wahid

Born in 1988 in London, United Kingdom. She works across sculpture, film, sound, and installation, exploring the emotive and political potential of material and politics in relation to the legacies of empire, colonialism, and nationalism. Her aesthetically alluring and often delirious works construct counternarratives to colonial rhetoric, bringing together contested histories, poetic expression, and archival fragments. Through sensual material compositions and layered symbolic languages, Wahid examines questions of memory, iconography, and the formation of political and cultural identities. She received her BA from Goldsmiths College, London in 2014 and completed her PgDip in Fine Art at the Royal Academy of Arts in 2019. Her work has been presented in solo exhibitions at institutions including Tramway in Glasgow, John Hansard Gallery in Southampton, Kunstverein Freiburg, GAK in Bremen, SOPHIE TAPPEINER in Vienna, and Niru Ratnam in London. She has also participated in numerous group exhibitions at institutions including Lafayette Anticipations in Paris, SculptureCenter in New York, CAPC Musée d’Art Contemporain in Bordeaux, Arnolfini in Bristol, De La Warr Pavilion in Bexhill, Nottingham Contemporary, and Goldsmiths CCA in London. Wahid co-edited SALT. Magazine from 2012-2019. She lives and works in London.

Ada Zielińska

Born in 1989 in Pruszków, Poland. Working with photography, video, and installation, her practice investigates destruction as a generative force – not as spectacle, but as a controlled process through which tension, beauty, and transformation emerge. Working with both staged and real catastrophic events, she approaches collapse as an aesthetic structure, constructing highly controlled environments that examine the visual and symbolic language of disaster. A recurring motif in her work is the car, which functions both as a cultural symbol and a physical material: vehicles appear as silent witnesses in projects such as Post Tourism, documenting wildfire sites in Australia and California, and as deliberately tested objects in photographic and installation-based works where cars are burned, melted, submerged, or dismantled. In works such as Panda and the photobook Pyromaniac’s Manual, the automobile becomes a site of endurance, ritual, and controlled volatility, while in others, automotive materials are dissected and reconfigured into sculptural fragments or staged environments. Zielińska’s work has been presented internationally, including at Zachęta – National Gallery of Art and Ujazdowski Castle Centre for Contemporary Art in Warsaw, Capa Center in Budapest, and Photo Brussels Festival, and has been featured in publications such as Vogue, Vice, Hyperallergic, and Fisheye Magazine. Alongside her artistic practice, she develops commercial and brand projects, including direction and installation work for Porsche, and is expanding into luxury campaign and film direction, bringing a conceptual and cinematic approach to commercial storytelling. She lives and works in Warsaw.