KLEMM'S

25/10/2025

Leelee Chan
Capsule x Klemm’s
OCT 21 - 26, 2025
Booth S14

We are happy to share the installation views of ‘Underland’, Leelee Chan’s solo presentation at Asia NOW, Paris.

‘Underland’ brings together key threads of Chan’s practice—from her Present Relics series to her first bronze sculpture, Wood Wide Web (Unearth). Cast from fragments of shipping pallets, Wood Wide Web (Unearth) evokes the underground networks through which trees communicate, paralleling global trade systems above ground. Its patina and root-like forms bridge the organic and the architectural, stressing the entanglement between ecological and industrial infrastructures. Overall, Chan’s works probe what lies beneath—hidden systems, buried histories, and the links between nature and industry, blending urban debris, natural materials, and ancient references. In this way, they trace material transformation across time, challenging human-centered views of progress.

Asia NOW runs between 22 and 26 October.

Images: Installation view of Leelee Chan’s ‘Underland’ at Asia NOW, Paris, 2025. Images 2, 4, 8 and 9 by .de

24/10/2025

Leelee Chan
Capsule x Klemm’s
OCT 21 - 26, 2025
Booth S14

We are happy to share the installation views of ‘Underland’, Leelee Chan’s solo presentation at Asia NOW, Paris.

‘Underland’ brings together key threads of Chan’s practice—from her Present Relics series to her first bronze sculpture, Wood Wide Web (Unearth). Cast from fragments of shipping pallets, Wood Wide Web (Unearth) evokes the underground networks through which trees communicate, paralleling global trade systems above ground. Its patina and root-like forms bridge the organic and the architectural, stressing the entanglement between ecological and industrial infrastructures. Overall, Chan’s works probe what lies beneath—hidden systems, buried histories, and the links between nature and industry, blending urban debris, natural materials, and ancient references. In this way, they trace material transformation across time, challenging human-centered views of progress.

Asia NOW runs between 22 and 26 October.

Images: Installation view os Leelee Chan’s ‘Underland’ at Asia NOW, Paris, 2025.

18/10/2025

Leelee Chan
Asia NOW 2025
Booth S14
OCT 22-26

Capsule and Klemm’s are excited to announce that we will be presenting ‘Underland’ by Leelee Chan in a joint booth at Asia NOW Paris, running between 22 and 26 October. ‘Underland’ unites key threads of Chan’s practice—from wall-based works and her Present Relics series to her first bronze sculpture, Wood Wide Web (Unearth). This new body of work delves into what lies beneath: hidden systems, buried histories, and the material interconnections between the natural and the artificial.

At the heart of the presentation is Wood Wide Web (unearth), a striking lost-wax cast bronze made from manipulated fragments of found shipping pallets. The work draws inspiration from the mycorrhizal networks that allow trees to communicate underground, creating a poetic parallel to the above-ground global economic systems of pallets. With its patina that recalls ancient Chinese bronzes and root-like forms, the work bridges the architectural with the organic, casting a spotlight on invisible infrastructures—ecological, industrial, and historical.

Chan’s enigmatic sculptures weave together urban debris, ancient artifacts, natural materials, and industrial products into dynamic constellations where these objects move seamlessly between past, present, and future, traversing geological, cultural, and industrial timeframes. By bringing these disparate elements into dialogue, her sculptures explore materiality, temporality, and transformation, capturing the complexity of how materials are intertwined with human history and challenging human-centric constructs of advancement and growth.

Chan received her MFA in painting from the Rhode Island School of Design, in 2009, and her BFA from the School of Art Institute of Chicago, in 2006. In 2020, Chan was the recipient of the ninth BMW Art Journey. She is currently in an artist residency at Civitella Ranieri Foundation in Umbria, Italy.

portrait by Diana Pfammatter 

18/09/2025

Felipe Romero Beltrán
BoCA - Biennial of Contemporary Arts
MNAC and Carpintarias de São Lázaro, Lisbon

The 5th edition of BoCA - Biennial of Contemporary Arts, which takes place simultaneously in Lisbon and Madrid, proposes a journey across Iberia that challenges the boundaries between geographical territories, cultures, imaginations and artistic practices.

Felipe Romero Beltrán showcases an installation of his compelling body of work Dialect at . Dialect (2020‑2023) explores the liminal space inhabited by migrants long before they are legally recognised, focusing on the suspended time of waiting, of in‑betweenness, and of identity in flux.

Through photography, performance, choreography and video, Dialect does more than show the bureaucratic and legal obstacles faced by these young men. It also brings forward a visual grammar of waiting: scenes of daily life, staged reenactments of memories, glances that speak of belonging and displacement. The work asks: Who decides when and where someone belongs? What is the emotional space that opens up in that void between documentation and recognition?

As part of BoCA, this work resonates with the Biennial’s broader concern with borders, identity, movement, and the structures of power that shape and constrain human lives. Dialect invites us not only to witness, but to inhabit for a moment that state of uncertainty — and in doing so, to reflect on how we define belonging in an interconnected yet regulated world.

images by

05/09/2025

Hallen 06 Art Festival
Kopenhagener Str. 60-68
Berlin-Reinickendorf

06.-14.09.2025

For the 6th edition of HALLEN 06 Klemm’s will come back to WilhelmHallen featuring Viktoria Binschtok, Zuzanna Bartoszek and Alexej Meschtschanow.

In hall B we are looking forward to presenting the installation of Viktoria Binschtok’s photographic work “Suspicious Minds” (2009) that was in a larger scope last on display at Museum für Moderne Kunst in Frankfurt. 
Viktoria Binschtok .binschtok is one of the most prolific visual artists in the field of conceptual image making, with her photographic work she traces the idea of visibility.
It is only by the subjective sequencing of singular observations into a series that connections become evident, suddenly rendering meaning to seemingly trivial situations.

We will feature in the Matchstick section a duo presentation by Alexej Meschtschanow and Zuzanna Bartoszek that both reflect in their artistic approach existential questions that go beyond timely borders in their reference.
In his artistic practice Alexej Meschtschanow has developed a completely independent aesthetic language, that combines the historical echoes of the readymade with an idiosyncratic, abstract form-finding pieces that address in their materiality an ambigeous approach to sensitivity and violence. This air of ambivalence can be also sensed in the paintings by Zuzanna Bartoszek that are intimate yet elusive, grounded in a biographical
experience, yet filtered through a fictional, dreamlike lens evoking states of restlessness, desire, hunger, and fleeting comfort.

Images:
 1.Viktoria Binschtok, Suspicious Minds (body 12) , 2009. C-print, framed 168 x 128 cm. Courtesy of
the artist and Klemm´s.
2. Alexej Meschtschanow, Ficus, 2021. Photograph, glass, steel, lacquer 83 x 56 x 18 cm. Courtesy of
the artist and Klemm´s, Berlin.
3. Zuzanna Bartoszek, Widow´s Eye Test POV, 2025. Oil on canvas, 85 x 100 cm. Courtesy of the artist,
Berlin.

22/07/2025

Emilie Pitoiset
So Much Tenderness
JUN 13 – JUL 26, 2025



“This is the last week of So Much Tenderness and we would be delighted to welcome you to the gallery to see the exhibition before we close for the summer break!

The title of the exhibition is eponymous to the work So Much Tenderness that explores the role of mascots — not only as entertainment figures but also as advertising and political tools. Mascots often have to remain anonymous; they can’t speak, and their costumes sometimes don’t even have a mouth. It’s a highly codified industry — you don’t just become Mickey or Benny the Bull (NBA mascot) like that.
Through this rabbit costume, I explore the relationship between presence and erasure, between embodiment and anonymity. As part of my research, I conducted interviews with people who work as mascots to better understand their working conditions. These conversations will feed a fiction based on real experiences. My methodology often relies on this back-and-forth between research and testimonies, which then feed a narrative.” - Émilie Pitoiset

images:
Emilie Pitoiset, So Much Tenderness, 2025, custom-made head and costume, sound, 219 × 80 × 67 cm

19/07/2025

Viktoria Binschtok
The Lure of the Image
Fotomuseum Winterthur
MAY 17 – OCT 12, 2025

Viktoria Binschtok was invited to premiere her new body of work “digital semiotics” on the occasion of the grand re-opening of the Fotomuseum Winterthur. We are very happy to share with you some installation pics of her presentation at the exhibition The Lure of the Image!
binschtok


“The Lure of the Image explores contemporary digital forms of photography and their seductive powers: How do images bait or beguile us as they circulate online? How do they compel, capture or control us? The 14 artistic positions presented in the exhibition engage with visual phenomena that serve as vehicles for online communication, criticism and humour, highlighting the crucial role images play in shaping our social, cultural and political landscapes.

The show invites you to explore the visual worlds of social media feeds, dating app profiles, beauty filters, memes, ASMR videos, ‘cute’ and ‘cursed’ images, emojis, computer-generated imagery and low-resolution screenshots used for conspiracy or protest. The artistic positions track the complex mechanisms of the lure, shedding light on how images and their underlying structures – from algorithms to datasets – direct our attention, provoke emotions and influence opinions. As such, the works offer contemporary investigations into how images are both embedded within, and actively contribute to, an attention-driven economy – one that fuels our desires and thrives on our affective reactions.

With works by: Zoé Aubry, Sara Bezovšek, Viktoria Binschtok, Sara Cwynar, Éamonn Freel x Lynski, Dina Kelberman, Michael Mandiberg, Joiri Minaya, Simone C Niquille, Jon Rafman, Jenny Rova, Hito Steyerl, Noura Tafeche and Ellie Wyatt

The publication accompanying the exhibition is available in the museum shop.”
- text by Fotomuseum Winterthur

all images taken by Viktoria Binschtok, image 11 by FoMu Winterthur

08/07/2025

Emilie Pitoiset
So Much Tenderness
JUN 13 – JUL 26, 2025
pitoiset

“Dissociated Voices” is a starting point for a project provisionally titled “Ghost Singer” — selected for the Villa Albertine residency in Los Angeles in 2026, with a planned presentation at the LaM – Lille Métropole Museum of Modern, Contemporary and Outsider Art in 2027. This project explores vocal dissociation, ventriloquism, and derailments, questioning how the voice — doubled, ghostly, or fractured — emerges, falters, or is manipulated. Drawing from cinema, opera, and feminist practices, the project examines dissonance, illusion, and control in contemporary discourse. It looks at how a voice takes shape — or struggles to — how it carries meaning, hesitates, stutters, or breaks.

The working title “Ghost Singer” refers to unseen vocal performers in opera and cinema — voices we hear but never see. Through this figure, I explore dissonance, doubling, and dissociation as symptoms of a contemporary fracture between body and speech.
This project envisions the voice as a space of resistance — a place where failure and derailment become forms of expression. In an era where identity is carefully crafted and dominated by personal branding, “Ghost Singer” invites us to rethink the duplications of discourse shaping our lives today.

This “inside” is a closed, tense, and charged space, but also a space of resistance, where contained tensions are revealed, where forms of suffocation, splitting, or muteness denounce the norms that imprison bodies and fracture dominant narratives.

images:
1) Emilie Pitoiset, Dissociated Voice #1, 2025, pigment print, tape, framed, 80 × 102 cm, ed. 1 + 1AP
2) Emilie Pitoiset, Dissociated Voice #2, 2025, pigment print, tape, framed, 80 × 102 cm, ed. 1 + 1AP
3) Emilie Pitoiset, Dissociated Voice #3, 2025, pigment print, tape, framed, 80 × 102 cm, ed. 1 + 1AP

03/07/2025

ON VIEW
ENCOUNTERS WITH THE PHOTOGRAPHIC

curated by Franziska Kunze and Simone Förster
Pinakothek der Moderne, Munich
Saal 21 - 26
JUL 4 – OCT 12, 2025


Opening: JUL 3 at 7 pm

Please, join us for the opening at Pinakothek der Moderne in Munich to the see the exhibition ON VIEW that features work by gallery artists Viktoria Binschtok, Juan Pablo Echeverri, Jan Groover and Sven Johne.


“Over the summer, the Sammlung Moderne Kunst (Modern Art Collection) is deduicating an extensive exhibition to its significant photographic holdings. With a selection of around 250 works by more than 60 artists from the past hundred years up to the present day, this overview traces the developments in the photographic collections at the Bayerische Staatsgemäldesammlungen (Bavarian State Painting Collections) since their creation.
[...]
For the first time, the Collection of Photography and Time-Based Media and the Ann and Jürgen Wilde Foundation are jointly presenting milestones of artistic photography from their holdings of works from the 20th and 21st centuries in one exhibition. From renowned key works to recent acquisitions never exhibited before, the exhibition is an invitation to encounter familiar works once again and to make new discoveries.“
- excerpt from the press text at Pinakothek der Moderne
binschtok
johne


images:
1) Juan Pablo Echeverri, futuroSEXtraños, 2016, single view from a series of 60 images, © Juan Pablo Echeverri, courtesy the Estate of Juan Pablo Echeverri and Klemm’s, Berlin
2) Sven Johne, Following the Circus, 2011, single from a series of 59 images, courtesy by the artist and Klemm’s, Berlin
3) Jan Groover, Untitled (KSL 65.2), 1979, chromogenic print, 50,8 x 40,64 cm, ed. 3 + 1 AP; , © Jan Groover, courtesy by the estate of Jan Groover at Musée de l’Elysée, Lausanne and Klemm’s, Berlin
4) Viktoria Binschtok, Yellow Tape & Yellow Cab, 2020, 2 digital c-prints, framed, 190 x 165 cm, ed. 3 +1 AP; courtesy by the artist and Klemm’s, Berlin

26/06/2025

Felipe Romero Beltrán joins Klemm’s

We are very pleased to announce that Felipe Romero Beltrán will become part of the gallery’s roster in co-representation with Hatch Gallery, Paris.

Felipe Romero Beltrán (b. 1992, Bogotá) is a Colombian lens-based artist living and working in Paris and Bogotá. His work explores social issues, particularly the tensions that arise when new narratives intersect with the photographic image. Known for his commitment to long-term projects, Beltrán integrates meticulous research to add depth and context to his practice. Beltrán joins the gallery following his first solo exhibition Dialect in February where he developed a specific setting for the gallery space. Juxtaposing his photographic works with a three-channel video projection, he merged documentation and staging into an ambiguous, yet powerful narrative about waiting, companionship, and the conditions of migration, both in bureaucratic and linguistic aspects. Spanning from 2021-2024, his most recent body of work Bravo is currently on view at the Fundación Mapfre in Madrid until mid summer after having been shown at KbR Barcelona Photo Center earlier this year. Further upcoming solo exhibitions will take place at Carré d’Art - Musée d’art contemporain de Nîmes, and at Maison Européene de la Photographie, Paris this fall.

“I want to show images - images that work as devices of thoughts about a concrete reality” - Felipe Romero Beltrán

26/06/2025

19/06/2025

Zuzanna Bartoszek
Film Noir
On view until JUL 5, 2025
@ Klemm’s Downstairs

We are pleased to share the installation views from Zuzanna Bartoszek’s ‘Film Noir’ at Klemm’s Downstairs.

Bartoszek’s unique interplay between word and image can be seen in the way her paintings delve into poetic landscapes, often imbued with a literary sensibility, while on the other hand, her poetry conjures vivid visual tableaux. This reciprocal relationship creates a distinct aesthetic language — intimate yet elusive, grounded in a biographical experience, yet filtered through a fictional, dreamlike lens. Her paintings often resemble cinematic sketches: anonymous interiors, half-remembered landscapes, or imagined refuges that suggest both sanctuary and escape. These scenes often exude a quiet bohemianism — evoking states of restlessness, desire, hunger, and fleeting comfort.

‘Film Noir’ will be on view at Klemm’s Downstairs until July 5.



Images:
Installation views, Film Noir, 2025, Klemm’s, Berlin