After brief residencies, artists Maria Chávez, Maya Dunietz, Kalyn Heffernan, Matana Roberts, and Michael Schumacher each selected an abstract Still painting and composed an original, sonic interpretation in response. Their selections and resulting compositions set the tone for each gallery, then Placzek filled the rooms with other artworks that resonated with their contributions.
Rosenström envisioned his project as an homage to the act of speech rather than to patriotic rhetoric. His multi-speaker, site-specific sound installation was "partly inspired by the Four Freedoms speech, and partly inspired by my relationship to how I think about human voices as means or a medium to travel between people", the Finnish artist explains.
The exhibition takes the form of a sonic prayer, a call to the contemplative act of listening, featuring works by twenty-four selected artists across two sites.
Classical music begins with blood and guts. The first violins were strung with sheep intestines, while early timpanis bore heads made from goatskin. The conservatory-bound spend years blistering, bruising, and contorting themselves, sometimes to the point of permanent damage.
The electronic musical composition draws on field recordings of local wildlife and environmental phenomena, sourced from archival materials along with new recordings made specifically for the installation. By transporting the sounds of the lake's ecosystem into an urban park setting, Eliasson foregrounds the fragile interdependence between human and more-than-human life, rendering audible what is increasingly at risk of vanishing.
The Rhinoceros in the Room, an inflatable installation by Itamar Gov, occupies the central volume of Kunstmuseum Magdeburg in Magdeburg, Germany with a single, overwhelming gesture. Installed inside the former monastery church that houses the museum, the project places a larger than life rhinoceros directly in the nave, its bulk stretching from aisle to aisle and rising toward the Romanesque vaults, so that the animal becomes the primary spatial condition of the building rather than an object within it.
Artist Meriem Bennani transforms the familiar flip-flop into a vibrating instrument of collective rhythm with her large-scale installation Sole Crushing, on view at Lafayette Anticipations in Paris until February 8th, 2026. The project fills the foundation's entire vertical space with 201 flip-flops animated by a pneumatic system and synchronized to a musical composition created in collaboration with musician and producer Reda Senhaji (aka Cheb Runner).
