Egor Mir

Egor Miroshnichenko

Freelance Curator
Curatorial Department at K20/K21 Kunstsammlung NRW

Düsseldorf

[email protected]
+49 1788585045

SELECTED EXHIBITIONS

WHAT WE SEE, WHAT LOOKS BACK AT US
CALL SOMEONE
GRUSS AUS DEM PARK WORLDS WITHIN WORLDS
YES, APOCALYPSE YES TODAY FOLLINES AND FICTIONS
FOLLINES AND FICTIONS

WHAT WE SEE, WHAT LOOKS BACK AT US at Emergency Space
Paris, France

Instalation view.

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

An exhibition usually assumes a simple contract: the visitor looks, the object submits to being seen. The gaze passively travels from point A to point B, recognizes familiar contours, draws its conclusions. But in fact any gaze mirrors the viewer. The works gathered here operate in this register. They are more interested in watching the visitors than in how they appear to them. The objects return the gaze, delay it, and distort it.

The title refers to Georges Didi-Huberman’s Ce que nous voyons, ce qui nous regarde (1992; What We See, What Looks Back at Us), one of the first books to problematize this relation. Didi-Huberman writes against “What you see is what you see,” the credo of Minimalism that reduces the object to pure visibility, and proposes the opposite optic: precisely the mute, self-evident object is the one that opens up, holds the gaze, and returns it. In this gaze the viewer finds their own reflection: the height of their body, its temperature, its position in space. The object is scaled to the viewer, faces them at their volume, and measures them as much as they measure it.

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
July 04 — July 30, 2026

Robert Brambora
Emily Dietrich
Jana Köhle
Dominik Münch
Emilio Marroquin
Romain Sarrot
Jan Van Hal

Selected Publications

saliva.live

floorplan

Instalation view.

Jana Köhle & Dominik Münch, Kabinett, 2026, Closet, Animatronic, 140 × 60 × 160 cm.

Instalation view.

Jan van Hal, no stud, 2026, Acrylic on canvas over panel, 173 × 110 × 8 cm.

Instalation view.

Emilio Marroquin, Homeless Musically, 2025–2026, Charcoal on paper in backward frame, 125 × 75 cm.

Emily Dietrich, Self portrait of the artist or a storage solution for Emergency Space, 2026, Lacquer on MDF, various materials, 165 × 50 × 22.5 cm, various dimensions.

Instalation view.

Romain Sarrot, Concerto N°3 ascese alla luna 1/2, 2025, laser engraving on glossy black opaque Altuglass, aluminum, wood, glue, rectangular aluminum tubes, corner brackets, plastic end cap, 120 × 100 × 70 cm, unique.

Robert Brambora, Memories, 2023, oil, acrylic and pastel on wood, 68 × 56 × 2.2 cm.

Invited Curator:
Egor Miroshnichenko
Text:
Egor Miroshnichenko
Photography:
Misha Gudwin