Opening Thu, Feb 05, 2026, 6pm

Exhibition hours: Fri, Mon, Tue 2–8pm / Sat, Sun 12am–8pm

Vincent Entekhabi: Closed Circle

Installation (2x3x2m), 2‑channel video, 10′04″, loop

Venue: Aula E.EG_15
https://vincent.entekhabi.at

The instal­la­tionClosed Circle by Vincent Entekhabi explores how forms of open­ness and decen­tral­iza­tion, often for­mu­lat­ed as promis­es of eco­nom­ic free­dom, can tran­si­tion into total­i­ty. It por­trays an indi­vid­ual who, under the pre­text of indi­vid­ual lib­er­ty and the sup­posed self-reg­u­la­tion of decen­tral­ized mar­kets, assumes a posi­tion of cen­tral pow­er. Visually, the ellipse func­tions as a struc­tur­al metaphor for this process. The orig­i­nal focal point of a cir­cle, ‘indi­vid­ual lib­er­ty’, splits into two. The result­ing ellipse now has two differ­ent focal points, ‘indi­vid­ual’ and ‘lib­er­ty’, which slow­ly con­verge with the pro­gres­sion of the ani­ma­tions. With the col­lapse of the ellipse into a cir­cle, the ‘indi­vid­ual’ occu­pies the cen­ter, while ‘lib­er­ty’ is appro­pri­at­ed. This process is accom­pa­nied by an aria that speaks of loss with­out ever clear­ly nam­ing it.

Ilinca Fechete: My Culture

Installation: mixed mate­ri­als, inkjet prints, silk tis­sue, paper

Venue: A.02_51 
https://www.ilincaiacob.com

My Culture by Ilinca Fechete is a the­sis and the visu­al exe­cu­tion there­of. The work exam­ines and pro­duces the con­di­tion of lan­guage as force and the force of lan­guage with the weight what it is and not sole­ly in the realm of the visu­al. The artist exe­cutes the instal­la­tion as the cul­tur­al-his­tor­i­cal gen­e­sis of the replace­ment of exter­nal obser­va­tion by self-obser­va­tion. With that self-obser­va­tion includes pre­sen­ta­tion, as the grad­ual total­i­sa­tion of the inte­ri­or. The inte­ri­or becomes a world with­in the world. The artist fur­ther responds with three axioms that appear as posi­tions with­in space and his­to­ry.

Anja Lekavski: Elvis and the Invisible Tourists

Three-chan­nel video instal­la­tion with sound, 40 min

Venue: Kolosssaal A_U1.08
https://www.anjalekavski.de

Elvis and the Invisible Tourists by Anja Lekavski is a three-chan­nel video work pro­duced on the for­mer mil­i­tary site of Šepurine in Croatia. Starting from an inter­view with the local res­i­dent Elvis, the film brings togeth­er doc­u­men­tary mate­r­i­al, col­lec­tive bod­i­ly actions and found footage from the site into a frag­men­tary nar­ra­tive.

Historical, present-day and pos­si­ble future uses of the site are described, as well as the per­sis­tence of mil­i­tary struc­tures with­in a civil­ian land­scape, set against the back­ground of ongo­ing process­es of remil­i­tari­sa­tion in Europe.

Gent Selmanaj: Wiedereintritt in die Welt

Installation, dimen­sions vari­able

Venue: A.01_12

This sculp­tur­al instal­la­tion by Gent Selmanaj brings togeth­er objects from the artist’s long-stand­ing prac­tice of work­ing with found mate­ri­als, pri­mar­i­ly retrieved from academy’s dis­card­ed waste: wood pieces, met­al and steel ele­ments whose dis­card­ed sta­tus places them clos­er to abjec­tion than to clear­ly defined objects. Fragments that still appeared ‘usable’ were col­lect­ed, sub­tly mod­i­fied, and reassem­bled into new con­stel­la­tions. Through this ges­ture of nega­tion, mate­ri­als once discarded—seemingly stripped of both func­tion­al and aes­thet­ic value—are re-artic­u­lat­ed as sculp­tures of abjec­tion.

The instal­la­tion titled Wiedereintritt in die Welt brings togeth­er diverse materials—both pre-exist­ing and new­ly re-crafted—reassembled and exposed through a prac­tice in which time is cen­tral. Long nego­ti­at­ed along­side full-time employ­ment as a soft­ware devel­op­er, time ini­tial­ly con­di­tioned the use of found mate­ri­als as a prag­mat­ic method. During the prepa­ra­tion of this instal­la­tion, however—including a three-month break and a return to Pristina, the artist’s birthplace—time is recon­fig­ured from a con­straint into a pro­duc­tive agent. (Edited by Sirui Zhang)