Egor Mir

CALL SOMEONE at ayayay
Offenbach am Main, Germany

Exhibition text

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There are moments when an object stops doing what it seems to promise. This gap between expectation and reality is where this exhibition begins It brings together works that appear functional yet remain out of reach. They are connected by a condition of brokenness — a minor shift that moves them from one register to another. Witnesses of such disruptions often experience as a sense of awkwardness, a subtle unease that arises when something goes wrong. We feel the dissonance of seeing the order violated. This sensation generates a dual response: a desire to look away and pretend nothing happened, and at the same time a need to call someone who can restore order, to return the object to what it seemed to promise by its imErrrrr

Exhibition text

Exhibition text

There are moments when an object stops doing what it seems to promise. This gap between expectation and reality is where this exhibition begins It brings together works that appear functional yet remain out of reach. They are connected by a condition of brokenness — a minor shift that moves them from one register to another. Witnesses of such disruptions often experience as a sense of awkwardness, a subtle unease that arises when something goes wrong. We feel the dissonance of seeing the order violated. This sensation generates a dual response: a desire to look away and pretend nothing happened, and at the same time a need to call someone who can restore order, to return the object to what it seemed to promise by its image.

Exhibition text

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Exhibit

Exhibiti

There are moments when an object stops doing what it seems to promise. This gap between expectation and reality is where this exhibition begins It brings together works that appear functional yet remain out of reach. They are connected by a condition of brokenness — a minor shift that moves them from one register to another. Witnesses of such disruptions often experience as a sense of awkwardness, a subtle unease that arises when something goes wrong. We feel the dissonance of seeing the order violated. This sensation generates a dual response: a desire to look away and pretend nothing happened, and at the same time a need to call someone who can restore order, to return the object to what it seemed to promise by its image.

Group Exhibition
February 20 — March 15, 2026

Angélique Aubrit &
Ludovic Beillard
Emily Dietrich
Kasper de Vos
Marcel Walldorf
Mathias Weinfurter
Stijn ter Braak
Tallulah Hood
Tobias John
Tommy Smits
Willem de Haan

Selected Publications

ofluxo
artviewer
kubaparis
saliva.live

floorplan

Angélique Aubrit & Ludovic Beillard, Bob, 2023, Dimensions variable, Polyester, cotton, jeans, lime wood, abachi wood

Angélique Aubrit & Ludovic Beillard, Bob, 2023, Dimensions variable,
Polyester, cotton, jeans, lime wood, abachi wood

Exhibition view

Tallulah Hood, Untitled, 2026, 65 × 25 × 35 cm, wood, t-shirt

Emily Dietrich, Table 1, 2023, 110 × 120 × 10 cm, Oil and pencil on
MDF, stainless steel, screws

Exhibition view

Willem de Haan, Surrounded I, 2025, 200 × 200 × 95 cm, Brush, handles

Willem de Haan, Surrounded II, 2025, 20 × 30 cm, Photoprint, metal

Exhibition view

Tobias John, Fails, 2026, Dimensions variable, material not specified

Exhibition view

Marcel Walldorf, Sankt Bernetto, 2020, 95 × 30 × 40 cm, Italian
porcelain, taxidermied dog

Mathias Weinfurter, DSM102503, 2025, 143 × 106 × 7 cm, Steel

Exhibition view

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Kasper de Vos, De loop dr dingen, 2023, 100 × 80 × 30 cm, Rusted
metal

Tommy Smits, External memory, 2025, 15 × 20 cm, SD-cards,
frames, photo print

Exhibition view

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Stijn ter Braak, Pit, 2025, 200 × 110 × 110 cm, Wood, paper,
isolation foam, glue, acrylic paint, plastic foil, cardboard, spray paint, tape

Invited Curator:
Egor Miroshnichenko
Curators from ayaya:
Anton Andrienko & Stasia Grishina
Text:
Egor Miroshnichenko
Photography:
Anton Andrienko & Stasia Grishina

GRUSS AUS DEM PARK
at documenta halle
Kassel, Germany

Exhibition text

The concept of the park has ancient and diverse roots across different cultures worldwide. In Europe, parks began to take on a clearer form in the 16th century as idyllic, planned landscapes arranged around their privileged owners. They represent a threshold between the natural and the artificial: an illusionistic, staged space of wild nature designed to evoke emotion.

The group show explores the concept of parks through its different layers. Ella’s wooden spheres gently pull the room into a unified rhythm and landscape, drawing the viewer into the predetermined nature of the park’s paths. Next to it, on Lara’s shelf, plastic models of park railings, designed to imitate branches and trunks, reveal a tension between artificiality and natural materiality. This interplay between nature and fabrication continues in Frej’s illusionistic painting, which distorts the surrounding space, accompanied by a book of Rodin’s sculptures with a forgotten herbarium pressed between its pages. A nearby work by Anna centers on Le Gros Caillou—a giant stone carried by glaciers and later transformed into a central landmark and monument in one of Lyon’s districts.

On the floor lies Emmilou’s watch winder with four miniature labyrinths, recalling both childhood games and the geometric mazes of Renaissance gardens. A similar labyrinthine structure emerges in the fragile porcelain installation by Yuxiu and Imaan, inspired by ruins and cycles of decay and regeneration. The following work by the print collective podklet explores the coexistence of abandoned military infrastructure and the overgrown park spaces around it. The exhibition concludes with Evelyn’s video work—a play of cinema green screen projections embedded within the environment of the park.

In this context, the park becomes a space of duality—both artificial and “natural,” controlled and free, real and simulated. It imitates nature, the passage of time, and cultural codes, yet it remains a man-made construct and a utopia, an idealized space in which nature and time not only exist but are also controlled, composed, and interpreted.

Group exhibition
May 17 — May 25, 2026

Anna Penn
Emmilou Roessling
Ella Pechechian
Evelyn Roh
Frej Himmelstrup
Lara Finkenstädt
podklet

Selected publications

schirn mag

floorplan

Exhibition view

Emmilou Roessling
“The longest Sentence”, 2024
Watch winder, microcontroller, tin casted labyrinths, steel
balls, glass and power bank
24 x 29 x 16 cm

Ella Pechechian
“39”, 2025
39 handcarved lime balls, 6 cm diameter

Frej Himmelstrup
“Knot”, 2024
oil on wood

Anna Penn
“o.T. (Findling)”, 2025
90,6 x 49,8 cm
uv-print on cardboard, ink-jet print

Exhibition view

Frej Himmelstrup
“Unarmed meditation”, 2004—2024
book and dried flowers

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Exhibition view

Lara Finkenstädt
“left to right: landscape at parc des Buttes-Chaumont,
archival park architecture Biarritz, landscape at Woluwe
park, land scape at parc des Buttes-Chaumont”, 2025
various sizes/200cmx35cm plastic, acrylic paint, glazed wood

Exhibition view

podklet
quite spots and several monuments, 2025
dot matrix print
hectograph print
tractor-feed paper
33 x 3600 cm
ribbon cartridge
hectograph plate

Evelyn Roh
“Harp in the Park”, 2025
digital video, sound, 3.40 min

Imaan Sattar & Yuxiu Xiong
“05:30 AM”, 2025
ink and graphite on porcelain, clear lacquer, ss bolts and
rubber, tracing paper and tape

Curator:Egor Miroshnichenko
Text:Egor Miroshnichenko
Photography:Anna Penn & Egor Miroshnichenko

YES, APOCALYPSE YES TODAY
at fffriedrich
Frankfurt zam Main, Germany

Exhibition text

The idea of the Apocalypse exists as a linguistic problem: an infinite chain of conversations about the End, postponed into an undefined future. If the Apocalypse were truly to begin, there would be no one left to describe it and nothing left to describe. The discourse of the End is a bare fiction itself: a textual mirage whose meaning evaporates at the moment of its realization. In the exhibition Yes, Apocalypse Yes Now, Zexuan Liu and Javier Gutiérrez Navarro shift this question from language to the physical and the bodily, returning to the original meaning of the word Apocalypse, derived from the Greek apokalypsis—revelation, unveiling, exposure: the uncovering of parts of the body usually kept hidden. The exhibition unfolds in two parts. It begins in the white cube, sealed off from the outside world by membranes of the digestive tract. Inside the white cube, teeth appear as a starting point of the digestive system—primary instruments for chewing food. You will rarely find four roots in teeth today; this root system traces a disappearance that has already occurred—it was typical for our extinct evolutionary relative, the Neanderthals. Alongside these drawings on graph paper, a second layer of structure and narrative around the Apocalypse is introduced. The grid paper is associated with measurement, order, and rational systems. Within this rigid framework, fragmented, dream-like scenes appear, resisting clear storytelling and the order set upon them. The drawings often resemble illustrations of incomplete episodes, where figures emerge through repetition, interruption, and serialized logic.

The second part of the exhibition continues on the reverse side of the gallery, in the Consolation room*. Here, visitors are invited to engage with an eschatological narrative. This imagined archive exposes the fragility and artificiality of historical immortality: the destruction of museums, libraries, archives, and images—the infrastructures through which societies attempt to secure their continuity and worldly afterlife.

Duo Exhibition
February 04 – February 26, 2026

Zexuan Liu
&
Javier Gutiérrez Navarro

floorplan

Venue outside view

Exhibition view

Javier Gutiérrez Navarro, Evolutionary Lost Collage (3.50 × 95), oil, collage,
bullets, 2025

Javier Gutiérrez Navarro, Broken Neanderthal’s Tooth (50 × 50 × 50), high- temperature glazed ceramic. 2025

Exhibition view

Zexuan Liu, Stalled Novel (1.10 × 70), engineering grid paper,
watercolor, watercolor pen, 2025

Zexuan Liu, Daily Serial Novel (1.10 × 70), engineering grid paper,watercolor, watercolor pen, 2025

Zexuan Liu, THE ASCENSION METHOD (25 × 10), engineering grid,
paper, watercolor, watercolor pen, image transfer, 2023

Exhibition view

Zexuan Liu, Me Bsang (25 × 10), engineering grid, paper,
watercolor, watercolor pen, image transfer, 2023

Exhibition view

Zexuan Liu, I Painted Masks on Them (12 × 8), watercolor,
watercolor pen, 2023

Exhibition view

ier Gutiérrez Navarro, Neanderthal’s Tooth (45 × 45 × 35), high-temperature glazed ceramic, 2025

Javier Gutiérrez Navarro, Consolation room (25 × 20), newspaper, collage, 2025

Curated by Egor Miroshnichenko & Mara Aiko
Photo by Egor Miroshnichenko
Text by Egor Miroshnichenko

FOLLINES AND FICTIONS
at Galerie im Schlosspavillon
Munchen, Germany

Exhibition text

Schloss pavilion — once a place of aristocratic leisure and imagination, now inhabited by artificial animals, sculptures, and paintings by four Munich-based artists. This time, the pavilion, located in the park of Ismaning, reveals its playful and fictional side — echoing the very idea of a folly: an architectural structure built not for practical function, but for the evocation of emotion, provocation, and a touch of absurdity. Surrounded by trees and birds outside, the gallery becomes an imagined reflection of the park itself — and an alternative history of its building. The works fill the space with speculative life: uncanny animal sculptures, playful paintings, and mosaics that blur the boundary between natural and artificial, past and present.

Through this constructed menagerie, Follies and Fictions explores the human impulse to imitate, frame, and escape nature — an impulse historically cultivated within aristocratic garden culture itself. The exhibition draws on the concepts of play, différance, and constructed meaning developed by Jacques Derrida to reimagine the pavilion not merely as a site, but as a symbolic system — a performative structure where meaning constantly shifts, and every element acts as both symbol and decoy. Just as aristocratic follies once staged illusions of nature and power, this exhibition turns fiction into a method of inquiry.

The architectural concept of the folly lies at the heart of the exhibition — and at the heart of the pavilion itself. Built around 1730 for Johann Theodor of Bavaria, the Schlosspavillon Ismaning was never meant for practical use. Originally conceived as a garden teahouse and later repurposed as a billiard salon, it exemplifies a tradition of ornamental structures designed for leisure, fantasy, and visual delight — a space to step away from function, and into fiction.

Group exhibition
18 July – 14 September 2025

Lisa Bahuschewskaja
Sevilay Hannas
Julija Kalinova
Evgenia Shepeleva

floorplan

Exhibition view

Julija Kalinova, On a walk, 2025, Öl auf Holz

Exhibition view

Julija Kalinova, Window, 2025, Öl auf HDF-Platte

Julija Kalinova, Lumine, 2025, Öl auf Leinwand

Exhibition view

Julija Kalinova, Trophäen, 2025, Textil

Evgenia Shepeleva, Spiegelbild III, 2025, Öl auf Leinwand

Curated by Egor Miroshnichenko Text by Egor Miroshnichenko
Photo by Vladyslav Prydatko