Galerie Meyer Kainer

23/05/2026

We are pleased to invite you to the opening of the exhibitions at MEYER*KAINER:

Heimo Zobernig
this not this

Ei Arakawa-Nash
Cologne of the Maghreb (Bodyphilia Song)

Opening on Thursday, May 28, from 6 pm
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Slide 1: Heimo Zobernig, untitled (LOVE/HATE), 2012

Slide 2: Ei Arakawa-Nash, Cologne of the Maghreb (Bodyphilia Song), 2016, LED-Installation, based on a picture (1970/80) from Michael Buthe
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(BodyphiliaSong)

20/05/2026

SAVE THE DATE

Under the theme »LOVE« .at festival will open in Vienna on 11. - 13. September and continue until 17. October 2026.

Founded in 2009 as a platform for artistic exchange, funded by the city of Vienna and led by its galleries, curated by is a unique initiative celebrating artists while fostering international critical discourse.

Rooted in collaboration among galleries and taking the form of a city-wide festival, curated by provides exceptional exhibitions and an encompassing experience of Vienna and its galleries, welcoming numerous visitors from around the world to the city.

Learn more about this year’s topic, the participating galleries, and curators on the official curatedby.at website.city.
at

16/05/2026

We are pleased to inform you about following Exhibition: EI ARAKAWA-NASH at Japan Pavilion, La Biennale di Venezia, Until Nov 22, 2026
 
May 9 – November 22, 2026

Japan Pavilion Presents Ei Arakawa-Nash’s Performance Installation at the 61st International Art Exhibition of La Biennale di Venezia

In Grass Babies, Moon Babies, 208 baby dolls invite visitors to imagine a future—one formed under the long shadow of historical and social constraints within and beyond Japan. This will be the first time the pavilion will host a solo show exploring the concept of ‘nikkei’ – the global diaspora of Japanese descendants.
 
Curated by: Lisa HORIKAWA and Mizuki TAKAHASHI
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Slide 1: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art Exhibition of La Biennale di Venezia (2026)
Photo: Uli Holz, Courtesy of The Japan Foundation

Slide 2: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art, Exhibition of La Biennale di Venezia (2026)
Photo: Uli Holz, Courtesy of The Japan Foundation

Slide 3: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art, Exhibition of La Biennale di Venezia (2026)
Photo: Uli Holz, Courtesy of The Japan Foundation

Slide 4: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art, Exhibition of La Biennale di Venezia (2026)
Photo: Uli Holz, Courtesy of The Japan Foundation

Slide 5: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art Exhibition of La Biennale di Venezia (2026)

Slide 6: Ei Arakawa-Nash, Grass Babies, Moon Babies, Installation view at the Japan Pavilion, The 61st International Art Exhibition of La Biennale di Venezia (2026)
Photo: Uli Holz, Courtesy of The Japan Foundation

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15/05/2026

We are happy to invite you to the second edition of GALLERY SATURDAY, May 16, 12 - 6pm

For the final exhibition day of:

Ei Arakawa-Nash
Ei Arakawa-Nash / Nikolas Gambaroff
Nora Schultz
SPLENDID PLAYGROUND (after Gutai)

25/04/2026

We’re pleased to share Jakob Lena Knebls solo exhibition „Sommerfrische/Summer retreat“ in Bad Ischl opens Friday, May 1, at Marmorschlössl.

Marmorschlössl Bad Ischl, Upper Austria
Opening: May 1, 2026, 11 am-1 pm (free entry)
Duration: 1.5.-31.10.2026

In her work, Jakob Lena Knebl explores identity in relation to themes from history, art history, fashion, religion, and mythology. The means of expression employed by this transmedia conceptual artist for her interpretations are as diverse as her subjects themselves.

Knebl will do this Marmorschlössl She will transform the space into a kind of stage on which various protagonists, be they figures or objects, will be staged in such a way that the audience will have the impression of moving through a kind of parallel universe. That Knebl herself will be part of this is beyond question, as it is ultimately a projection of her ongoing exploration of her own multifaceted personality. In the grand salon of Empress Elisabeth’s former retreat, she will create a dreamlike, surreal installation, in which she references, among other things, the works of the artist Hans Baldung Grien. Furthermore, the audience will encounter a personal interpretation of the dancer by the Impressionist Edgar Degas, as well as a very special staging of a swan, since one once resided in „Sisi’s“ bedchamber.
In the rooms on the upper floor, Knebl will present not only her own works, some of which are made of fabric, but also works by female students.
In the outdoor area, the artist will create interpretations of the hut of the forest woman Baba Yaga (a mythological figure of Slavic folklore).

Curated by:

The exhibition will be on view through October 31, 2026.

10/04/2026

Ei Arakawa-Nash
Ei Arakawa-Nash / Nikolas Gambaroff
Nora Schultz
SPLENDID PLAYGROUND (after Gutai)

On view at MEYER*KAINER until 16th of May

The occasion for the exhibition SPLENDID PLAYGROUND is the nomination of Ei Arakawa-Nash as Japan’s representative at the 2026 Venice Biennale and his associated design of the Japanese Pavilion. This provides a valid reason to look back at some aspects of his sculptural work in the context of his frequent collaborators, Nora Schultz and Nikolas Gambaroff.
In their collaboration, which began in 2008, Ei Arakawa-Nash and Nikolas Gambaroff have regularly developed various reinterpretations of so-called Two-Alphabet Monograms. Originally created in 2009 as a dysfunctional written and spoken language, the project remains in constant development, finding various formal and material forms of existence in performances, installations, objects, and lectures:

One will pat the 25 randomly drawn cards on four different parts of one’s body: Head, Heart, Gut, and Below. The result is your Two-Alphabet Monogram self-portrait, that is Bodycard Testimonial. With this testimonial being voiced out in different abstract modes, one can consult the cards of and on your past, present and future: any questions and concerns. Two-Alphabet Monograms are tools to ST IR UP AN IN TE RS UB JE CT IV EP OE TR YO CE AN.

Splendid Playground was the title of an exhibition of the same name by the Gutai art collective (founded in 1954 by Yoshihara Jirō) at the Guggenheim Museum in 2013.
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Slide 1: Ei Arakawa-Nash / Nikolas Gambaroff, Exhibition view, SPLENDID PLAYGROUND (after Gutai), MEYER*KAINER, 2026

Slide 2: Ei Arakawa-Nash / Nikolas Gambaroff, Cardman (KP/PK), 2012, fabric, acrylic block printing on wood (unique), 190 x 65 x 30 cm

Slide 3: Ei Arakawa-Nash / Nikolas Gambaroff, Two-Alphabet Monograms, 2009, Spray paint on canvas (from a set of 25 flags), each 164 x 113 cm approx., Ed. 13
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Photocredit: © Simon Veres 
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16/03/2026

We are pleased to invite you to the opening of the exhibition SPLENDID PLAYGROUND by Ei Arakawa/Nikolas Gambaroff, Ei Arakawa-Nash, Nora Schultz at MEYER*KAINER:

Ei Arakawa/Nikolas Gambaroff
Ei Arakawa-Nash
Nora Schultz
SPLENDID PLAYGROUND

Opening on Thursday, March 19, from 7pm

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Credits: Ei Arakawa-Nash, 2018, Performance People (7630 Sukiyaki, December 17, 1973, 6:00PM, Buffalo, NY), multimedia LED installation
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13/03/2026

Nora Schultz
Now and The Non-watch

On view at MEYER*KAINER until 14th of March

Now and The non-watch is thematically the follow-up exhibition to the show Now, at the Grazer Kunstverein. The two exhibitions describe two parallel states of the present.

Nora Schultz’s work combines post-minimalism and conceptual art, but, like Richard Serra, Eva Hesse, and Carl Andre before her, Schultz does not strictly adhere to a dematerialized sensibility. By using found industrial materials such as steel rods, rubber, sheet metal, and ropes, as well as language and literature, Schultz attempts to expand on the concerns of her predecessors, as if searching for a material mode of expression that differs from the pictorial and textual.

The four abstract sculptures (People’s Path Clock, Frog Clock, Time-pocketed Clock, and Squiggle Clock), which are distributed across the three exhibition rooms, represent another transmission of reflections about time and gravity. They are made of glass, fiberglass rods, thin aluminum wire, and tin castings. They, too, tell of gravity, of reflections on structures, of notations and drawings, of units of time and the idiosyncrasies of sculptures. The central moment here is displacement, destabilization, and transformation. Thus, the works often appear to be in a precarious, fragile state—somehow thrown off balance, but only to the extent that they still maintain their cohesion. All elements share the common goal of approaching a space-time entity based on imagination or memory. The sculptures consist partly of found components, but also of self-made elements—such as nuts cast from tin.

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Slide 1: Nora Schultz, Red Niche / Clock, 2026, Paper, tape, variable dimensions

Slide 2: Nora Schultz, Squiggle Clock, 2026, Plexiglas, stainless steel, steel, tin, fiberglass, print, tape, 206 x 124 x 54 cm

Slide 3: Nora Schultz, Squiggle Clock, 2026, Plexiglas, stainless steel, steel, tin, fiberglass, print, tape, 206 x 124 x 54 cm (Detail)
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Photocredit: © Simon Veres
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30/01/2026

Nora Schultz
Now and The Non-watch

On view at MEYER*KAINER until 14th of March

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Slide 1+2: Exhibition view, Nora Schultz
Now and The Non-watch, MEYER*KAINER, 2026

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Photocredit: © Simon Veres
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20/01/2026