COLLABORATIONS

Through the projects realized by the artists we represent, we have collaborated with a wide network of galleries, museums, institutions, and partners across the globe. One of the key ways we support our artists is by offering strategic guidance on collaborations—ranging from initial concept development to planning and implementation.

Our level of involvement is always tailored to the specific needs of each project: it may include high-level advisory support or extend to full project management.

For further insights, please explore our Collaboration Archive.

Selection of Collaborations

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Simon Berger

A Matter of Metamorphosis

in collaboration with

Cris Contini Contemporary

Solo Exhibition

Municipality of Casarsa della Delizia, Pordenone, Italy

12 April — 27 July 2025

On the occasion of the 50th anniversary of Pier Paolo Pasolini's death, Casarsa della Delizia (PN) - the birthplace of his mother, where the great poet, writer, and filmmaker spent formative years of his poetic inspiration and where he is buried - becomes a stage for contemporary art in his honor, while also paying tribute to another great European author, Franz Kafka.

  • Curated by Sandrine Welte and Pasquale Lettieri and coordinated by project manager Sandra Sanson, "A Matter of Metamorphosis" is part of the cultural project 'TrasformARTI: Art as a Tool to Imagine the Future', which explores themes of change and metamorphosis in society. Simon Berger's works establish a dialogue between past and present, inviting reflection on the human condition and the world around us. His pieces also touch on themes of solitude and alienation, central to Franz Kafka's Metamorphosis. Through his unique technique of working with glass, Berger captures the existential fracture and sense of disconnection that permeate Kafka's narrative, evoking in the viewer an inner conflict and estrangement that define the human experience.

    The "A Matter of Metamorphosis" installation is conceived as a journey where the audience engages with themes of transformation, isolation, and hope. At the heart of the exhibition, an immersive setting combines technological devices with freestanding glass panels, creating a powerful visual and emotional experience.

    The exhibition project is organized by the Municipality of Casarsa della Delizia with the support of the Autonomous Region of Friuli Venezia Giulia, in collaboration with Cris Contini Contemporary, the Pier Paolo Pasolini Study Center in Casarsa, Pro Casarsa della Delizia APS, Contemporary&Co, and the Enrico Galvani State Art High School.


Franziska Stünkel

Neugier, Mut und Abenteuer — Fotografinnen auf Reisen

Internationale Tage

Group Exhibition

Kunstforum Ingelheim, Ingelheim, Germany

3 May — 13 July 2025

Since the early 20th century, female photographers have travelled alone to faraway destinations with their cameras, often under arduous conditions, and left behind impressive photographs of their journeys.

Our exhibition focuses on the motives for travelling to countries, some of which were little explored, and thus crossing their own borders in three thematic areas: for some photographers, a journalistic assignment was the reason for setting off to foreign cities and regions. Others accompanied archaeological excavations or documented historical sites and modern metropolises. Other photographers travelled to distant countries to realise their own independent artistic projects. Regardless of the motivation or reason, all of the journeys demanded curiosity, courage and a sense of adventure from these women, but above all the ability to capture the one irretrievable moment with their camera.

The selected works from the last 100 years not only reveal that women's photographic interest in certain motifs, events or activities runs through several generations. They also show how fluid the boundary can be between journalistic commissioned photography and free artistic shots.

An accompanying programme rounds off the exhibition.

Text by: Kunstforum Ingelheim, translated by NOA contemporary


Franziska Stünkel

Duo exhibition

With Walter Vogel

Leica Gallery Amsterdam

Duo Exhibition

Leica Gallery, Amsterdam, The Netherlands

8 May — July 2025

The exhibition presents a unique dialogue between two outstanding photographic positions: Walter Vogel and Franziska Stünkel. Their works, separated by decades, encounter each other in a fascinating interplay of time, space and artistic perspective.

The exhibition is the first in a cycle of 12 exhibitions worldwide to mark the 100th anniversary of Leica photography.

Text by: Leica Gallery, Translated by NOA contemporary


Patric Sandri

Duo exhibition

With Nunzio De Martino

Galerie Mathias Mayr

Duo Exhibition

Galerie Mathias Mayr, Innsbruck, Austria

16 May — 21 June 2025

More information will be published soon…


Jakup Ferri

Group exhibition

Kranj, Slovenia

Opening 31 May 2025

Textile Art Biennial is about sustainability, heritage, and social impact.
It originates from Kranj and keeps growing.

Jakup Ferri

Why Look At Animals? A Case for the Rights of Non-Human Lives

Curated by Katerina Gregos

Group exhibition

Museum for Contemporary Art, Athens, Greece

16 May 2025 — 15 February 2026

Why Look at Animals? A Case for the Rights of Non-Human Lives centres on animal rights and animal well-being, highlighting the urgent need to recognise and defend the lives of non-human animals in an anthropocentric world that exploits, oppresses and brutalises them. The exhibition is inspired by John Berger’s seminal essay of the same name, “Why Look at Animals?” (1980), which explores the changing relationship between humans and animals, particularly in the context of modernity. The essay reflects on how animals, once deeply integrated into human life, have become increasingly distanced, objectified and commodified.

  • Why Look at Animals? A Case for the Rights of Non-Human Lives aims to engender a discussion around the ethics and politics of how we treat animals.  By exposing the exploitative, violent mechanisms behind systemic animal abuse, it renders what is shamefully invisible visible. The exhibition and its public programme hope to raise awareness of the conditions of non-human animal life today, from the home, the street and the factory to their threatened natural habitats. Why Look at Animals? invites us to consider the non-human animal not as “Other”, but as a being with a “voice” and intrinsic value of its own, capable of artfulness, play, socialisation and transformation, pleasure, inventiveness, pain and grief.

    The exhibition begins on the museum’s lower ground floor where the focus is on the deeply interconnected phenomena of colonialism, industrialism, and technological “progress”, which led to the first large-scale destruction of habitats as well as the violent exploitation of animals. As visitors ascend through the museum, they will encounter works that examine the present state of things: how animals exist and survive in urban environments, examples of animal activism, and new forms of animal knowledge, among other themes. Finally, on the fourth floor of the museum, the exhibition shifts in tone; here, poetics, ecofeminism, animism, play, animal creativity, and humour intersect. Animals reclaim their dignity, and we are prompted to imagine a future world in which there will be more harmonious interspecies co-existence and collaboration. Advances in animal studies continue to show that more and more species of non-human animals possess intelligence and sentience; that they feel pleasure, pain, grief and fear.

    The exhibition puts into question human exceptionalism, and aims to confront one of the carefully hidden and largely unspoken crimes of humanity on a mass scale: that of the daily, institutionalised, systematic violence against animals – whether directly or indirectly – a violence that denies them their basic natural rights. Why Look at Animals?  highlights the fact that the myriad species that exist alongside us are an integral part of our biosphere and ecosystems, not products and automata, separate from and subordinate to us. With this project EMΣT places ecological justice and the rights of non-human life at the heart of its programming for the months to come. Any serious engagement with climate justice and environmental protection must therefore involve animals as an integral part of the conversation.

    Ang Siew Ching I Art Orienté Objet (Marion Laval-Jeantet & Benoît Mangin) I Sammy Baloji I Elisabetta Benassi I John Berger I Rossella Biscotti I Kasper Bosmans I Xavi Bou I Nabil Boutros I David Brooks I Cheng Xinhao I David Claerbout I Marcus Coates I Sue Coe I Simona Denicolai & Ivo Provoost I Mike Dibb & Chris Rawlence I Mark Dion I Radha D’Souza I Maarten Vanden Eynde I Jakup Ferri I Alexandros Georgiou I Igor Grubić I Gustafsson & Haapoja I Joseph Havel I Lynn Hershman Leeson I Annika Kahrs I Menelaos Karamaghiolis I Anne Marie Maes I Britta Marakatt-Labba I Nikos Markou I Angelos Merges I Wesley Meuris I Tiziana Pers I Paris Petridis I Janis Rafa I Rainio & Roberts I Marta Roberti I Mostafa Saifi Rahmouni I Lin May Saeed I Panos Sklavenitis I Sonic Space I Jonas Staal I Daniel Steegmann Mangrané I Oussama Tabti I Emma Talbot I
    Nikos Tranos I Maria Tsagkari I Dimitris Tsoumplekas I Euripides Vavouris I Kostis Velonis I Driant Zeneli

    Text by: EMST


AATB

Shanghai Art and Technology Biennale

Curated by Fei Jun and Naiyi Wang

with more than 50 artists

Group Show

Shanghai, Shangcheng CEEC Electronic Trade Center 

June — September 2025

Beijing Art and Technology Biennale BATB took place until May 2025, and will travel to Shanghai and Shenzhen throughout 2025.

AATB will be showing a new, large scale version of “A Particular Score”. As the sculpture detects secondary particles created from cosmic rays hitting the atmosphere, it responds by striking one of sixteen quartz crystal tubes. The unpredictable sequence of audible tones offers a perceptible glimpse into the invisible cosmic flux that continuously bathes our surroundings.

  • A Particular Score was originally commissioned by Bienal de Arte Contemporânea da Maia, Portugal, in 2019, and was reworked for the Cosmos at CID au Grand-Hornu exhibition in Belgium in 2021. The circular version was inspired by our Arts at Cern at CERN residency in 2023 and was shown atMudac Lausanne, Switzerland, as part of the Space is the Place exhibition held the same year. For Beijing Art and Technology Biennale a new, larger scale version was produced. The exhibition was supported by Pro Helvetia. 

    With its theme Earthwise, this edition is curated by Fei Jun and Naiyi Wang with academic advisors Adrian Notz and Philipp Ziegler, and invites 50 artists and scientists from around the globe to reconsider multiple forms of intelligence, animals, plants, machines, planetary intelligence, etc.

    Text by: AATB


Tobias Gutmann

Earth — Tobias — Life

In collaboration with

Klaipeda Communication Cultural Center

Solo exhibition

Klaipedia, Lithuania

20 June — 24 August 2025

For the first time, Tobias Gutmann will be presenting various of his drawings series in an exhibition space outside of Switzerland.

  • Simply looking at art can increase emotional well-being - especially if it is done repeatedly and consciously, as a recent international study by the University of Vienna shows.[1] Art works through various psychological mechanisms: it encourages reflection, promotes resilience, strengthens a sense of meaning and supports emotional balance. Seeing itself is a healing practice.

    But art can do even more. It can create ‘psychological safety’ - that rare inner state in which we can show ourselves without being judged.[2]  Although this concept refers primarily to team-building processes, it describes a central characteristic of Tobias Gutmann's artistic work: with his drawings, he creates visual spaces for thought that oscillate between strength and inner insecurity, between visibility and withdrawal, between absolute intimacy and radical openness.

    For the first time, Tobias Gutmann is dedicating an exhibition exclusively to his drawings. They are connected works: Each line becomes a silent act of self-encounter, an embodied practice of drawing, a connection in the moment. This moment also creates a quiet resonance between drawing, artist and viewer - a relationship that goes beyond the visible. His visual language moves between abstraction and figuration: fragile beetles, reaching fingers, fragments of letters, dots and signs emerge from just a few strokes - sometimes non-representational, sometimes astonishingly concrete. Some works appear contemplative, almost spiritual, while others deal more clearly with our relationship to the world, to nature and to the body. His word drawings condense sensations into poetic fragments, but always leave room for personal interpretation.

    ‘Hello, bye. Hi, bye. Hello, bye.’ What sounds like a casual murmur is condensed into a cycle of life: birth as hello, death as goodbye - and in between a constant coming and going. ‘My life was characterised by these hellos and goodbyes,’ says the artist looking back. As a child, he often moved, changed schools, said goodbye to places before new encounters began. These experiences resonate in his work today - in text drawings that hover between lightness and profundity, and in lines that open up rather than define. They are visual transitions - fleeting, fragile, permeable - and at the same time borne by a quiet curiosity and constancy. Lines return again and again, repeating themselves in seemingly simple gestures, almost banal - and yet each one is slightly different, a nuance in the rhythm of the drawing. Their repetition reveals a quiet persistence from which a new, larger whole emerges: a form that does not impose itself, but unfolds.

    This exhibition can be understood as an invitation: to encounter the artist's personal history, to search for one's own meaningfulness and psychological security, to experience stability and meaning in an often turbulent world. The exhibition thus becomes not only a space for thought, but also a space for dialogue.

     

    Text by: Dr. Ismene Wyss


    [1] MacKenzie D. Trupp et al. (2025) The Impact of Viewing Art on Well-Being. A Systematic Review of the Evidence Base and Suggested Mechanisms.  The Journal of Positive Psychology, 1–25. https://doi.org/10.1080/17439760.2025.2481041.

    [2] Pia Stalder, Paula Nestea & Leila Gisin (2022) Psychologische Sicherheit.

    https://doi.org/10.26039/dnpy-6q40


Franziska Stünkel

sommer.frische.kunst

Art Bad Gastein

Group exhibition

Bad Gastein, Austria

26 June — 31 August 2025

More information will be published soon…


Simon Berger

Architectural Installation

in collaboration with

Agence DS

Installation

Terra Nobilis, Paris

September 2025

More information coming soon…


Yves Scherer

Duo Exhibition

With Leonor Fini

In collaboration with

Agence DS and Loeve&CO

Duo Exhibition

November — December 2025

More information will be published soon…


Hinano Hayama

Duo Exhibition

Kuroi Mori

Duo Exhibition

Sapporo, Japan

20 October — 29 October 2025

More information will be published soon…


Simon Berger

Solo Exhibition

In collaboration with

Carte Blanche

Solo exhibition

Hangzou, China

November 2025

More information will be published soon…


AATB

Shenzhen Art and Technology Biennale

Curated by Fei Jun and Naiyi Wang

with more than 50 artists

Group Show

Shenzhen

December 2025 — November 2026

AATB will be showing a new, large scale version of “A Particular Score”. As the sculpture detects secondary particles created from cosmic rays hitting the atmosphere, it responds by striking one of sixteen quartz crystal tubes. The unpredictable sequence of audible tones offers a perceptible glimpse into the invisible cosmic flux that continuously bathes our surroundings.

  • A Particular Score was originally commissioned by Bienal de Arte Contemporânea da Maia, Portugal, in 2019, and was reworked for the Cosmos at CID au Grand-Hornu exhibition in Belgium in 2021. The circular version was inspired by our Arts at Cern at CERN residency in 2023 and was shown atMudac Lausanne, Switzerland, as part of the Space is the Place exhibition held the same year. For Beijing Art and Technology Biennale a new, larger scale version was produced. The exhibition was supported by Pro Helvetia. 

    With its theme Earthwise, this edition is curated by Fei Jun and Naiyi Wang with academic advisors Adrian Notz and Philipp Ziegler, and invites 50 artists and scientists from around the globe to reconsider multiple forms of intelligence, animals, plants, machines, planetary intelligence, etc.

    Text by: AATB