Scenography

For Pauline Rintsch’s solo exhibition Schmetterlingskuss at La Felce, I contributed to the development of the exhibition concept and independently realised the spatial presentation.

The exhibition brings together new small-format paintings in which everyday gestures, friendship, motherhood and care unfold into poetic, almost fairytale-like scenes. Human and animal forms move closer together: hair becomes fur, hands become claws, and figures appear as if caught in intimate, symbolic moments.

Placed directly on the wall without frames and presented on wooden and paper screens, the works entered into a delicate dialogue with the space. The display emphasised their vulnerability, openness and narrative ambiguity, allowing the paintings to appear both intimate and quietly theatrical.

For Galerie Alber, I developed a booth concept for Art Brussels 2021 conceived as a solo presentation for Franziska Reinbothe.

The design arranges the booth as a clear, minimal sequence of walls and sightlines, allowing the paintings to unfold through spatial rhythm, distance and adjacency. A central curtain element structures the stand while creating shifting views between the two sides of the presentation.

The proposal was conceived to give each work a calm and precise setting while maintaining a coherent overall atmosphere for the fair context.

After a night away from home, Paul returns to his parents’ house, where his childhood room is being packed up and repainted. His mother Claudia is trying to keep everything together while caring for Martin, Paul’s father, whose illness has made him dependent, distant, and hard to reach. Moving through the house between half-familiar rooms, tense family meals, unfinished conversations, and voice messages from his roommate Lou, Paul is pulled back into old roles he thought he had left behind.

For Komm uns doch mal wieder besuchen, the set design is built around the feeling of returning to a home that has not really moved on, but has quietly aged, layered, and decayed. The family house is not designed as one clear period space, but as a place where different decades remain visible at the same time.

Floral patterns, heavy curtains, Venetian stucco, carpets, leather furniture, gold-framed pictures, souvenirs, family photos, old technology and medical objects create a home that once tried to be warm, tasteful and modern, but now feels slightly frozen. Paul’s childhood room works as a separate time capsule; as it is packed up and repainted, the white paint does not create a fresh start but covers over a history that is still present.