Guilherme Maggessi

As the summer begins and the Klima Biennale’26 comes to a close, ENTRE is delighted to remind that “Kôô: Libations for Grief” by Soñ Gweha @sonxseed will remain open every Friday and Saturday until June 13th, 2026. Kôô: Libations for Grief (Samples, Spirals, and Sonic Offerings) is a site-specific exhibition of sculptural, sonic, and video works by Soñ Gweha. The exhibition specifically highlights how Black and African ancestral knowledges around land, nature, spiritual syncretism, and history of resistance intersect amidst the current aftereffects of colonialism. Showcasing a nonlinear approach to researching the artist’s lens of the history of endangered songs, lost files, and memory. The exhibition is curated by Guilherme Maggessi, Marilyn Volkman, Rafał Morusiewicz and made possible through with support from the Klima Biennale Wien (provided through the cultural department of the City of Vienna Stadt Wien Kultur) and cultural funding from the 7th district, Wien-Neubau. @kulturneubau @stadtwien @biennale.wien 15.04-12.06.2026 : Fri & Sat : 2-7pm

Artist Lecture – Liljana Mead Martin in conversation with Guilherme Maggessi Wednesday, April 22, 2026, 6 pm  Location: DAS WEISSE HAUS  Address: Hegelgasse 14, 1010 Vienna, Austria  In her lecture, Liljana Mead Martin will offer insights into her artistic practice, focusing on two recent series: Primary Futures, an exploration of the changing conditions of Canada’s primary and old-growth forests, and Deep Thirst BioOrchestra, a series of sculptural works that imagines the first returning species in a post-wildfire landscape—a niche ecosystem that takes on hybrid characteristics of humans and plants. Both projects unite two central aspects of Martin’s work: firstly, her engagement with the legacies of changing landscapes—particularly coastal rainforest ecosystems in British Columbia—and secondly, her interdisciplinary work as an environmental researcher, which informs her artistic practice. She examines material and narrative tensions at the intersection of material ecology, industrial exploitation, and climate change. While the artist will be joining online from Canada, her works will be on display at the venue. Following an introduction by Guilherme Maggessi, there will be a Q&A session. The lecture takes place as part of the program Immediate Matters: Speak We Must We Must Speak at Klima Biennale Wien 2026 (curated by Anne Faucheret). The event is organized by Guilherme Maggessi and made possible through the support of  DAS WEISSE HAUS and the Canada Council for the Arts. Find more info on our website!

Photocredit: Liljana Mead Martin, Deep Thirst BioOrchestra; Paleo Blue, 2021 – © Courtesy of the artist

Group artist consultations are back at @kunsthallewien and this time, we have two special guests: @gui_ma_ & @zhanina.marinova 🩷 Join us on April 17th, at 11 AM to get guidance, tips, and connections for navigating the art scene in Vienna. Guilherme Maggessi is an artist whose work engages with the historical and material conditions of the production, circulation, and reception of (visual) images. His transdisciplinary research explores how images (and the concepts and metaphors attached to them) travel through space and time, as well as the traces they leave, both in public and private spaces. Maggessi’s practice engages with various media, from printmaking and textile objects to video installations, performance, and digital works. With Rafał Morusiewicz, he operates as Maggessi/Morusiewicz, a duo that has produced artworks, short films, performance pieces, and curatorial projects, presented in institutions, independent spaces, and festivals within and outside of Austria. Photo Credit: © Guilherme Maggessi Zhanina Marinova (*1994, BG) is a visual artist and printmaker based in Vienna. In her practice she explores the deep constellations of perception, thoughts, feelings and memories by rendering imagination as a sort of materialized fiction, which for her is strongly linked with the idea of the relation between presence and absence. Working primarily in the field of screen printing, drawing, installation and book arts, Marinova uses diverse materials such as fabrics, paper, transparent foils, mesh and plexiglass as canvases for her screen prints. She holds an MA in Graphics and Printmaking from the University of Applied Arts Vienna, and has been a member of the Künstlerhaus Vienna since 2018. Photo credit: © Michael Gubi 🗓 April 17, 11-1 PM (CET) 📍 Kunsthalle Wien Museumsquartier (Museumsplatz 1, 1070 Vienna). No registration needed but please arrive on time. Who is it for? Artists new to Vienna navigating exclusionary systems and looking for the right information & community. The venue is wheelchair accessible with a barrier-free bathroom incl. changing table. Parents are welcome - we’ll have a soft play area (0–6 years) and a nursing chair.

SAVE THE DATE 👀👀👀👀 On 14.04 (2-9pm), ENTRE softly opens the exhibition “Kôô: Libations for Grief” by Soñ Gweha @sonxseed 🌀 The exhibition is part of this year’s Klima Biennale @biennale.wien and takes place within Immediate Matters’ program SPEAK WE MUST WE MUST SPEAK, curated by Anne Faucheret 💞 🐚🐚🐚 Kôô: Libations for Grief (Samples, Spirals, and Sonic Offerings) an exhibition by Soñ Gweha curated by Guilherme Maggessi, Rafał Morusiewicz, and Marilyn Volkman For Klima Biennale ‘26, ENTRE presents Kôô: Libations for Grief, a site-specific exhibition of sculptural, sonic, and video works by Soñ Gweha. The works center on the “Achatina” snail (“Kôô,” as Cameroon’s Bassa people call it), which is listed among the world’s most destructive invaders. With invasiveness imagined here as a generative modality of grief, the snail plays the role of a healing spiritual entity, a symbol of communal care, and a sonic device for ecological attunement. The exhibition takes places from 14.04-13.06 at ENTRE, Burggasse 24/4, 1070 Vienna. During the Focus Week of Immediate Matters, the exhibition will be open everyday from 2-7pm 🔮 For more information on events and tours, stay tuned and also follow @biennale.wien

This week our exhibition “The Mirror, the Corridor” @pianagallery is closing. This exhibition project was super fun and we are super grateful to our dears @michalzawada111 @michalsroka_ @filiprybkowski and @co_dzis_robilas for hosting us and our works 💞 Tomorrow we will be talking about our practice @bunkiersztuki_artgallery , expanding into other projects outside of our Wormhole series 🪱 if you are in Kraków, come by at 17:30 In the next days we will be posting more of the beautiful documentation shots by @filiprybkowski 💜🧡 📸 The Mirror, The Corridor, Installation documentation, 2025; Credits: Filip Rybkowski/PIANA Gallery Foundation

The last week of "The Mirror, the Corridor" is ahead of us @pianagallery . Next week, we will close the show with an artist talk at @bunkiersztuki_artgallery (Friday, 30.01, 17:30) and the finissage (Saturday, 31.01, 17:00). We are looking forward to meeting you there. One special shoutout goes to Seth Weiner and his music alter ego, Sadie Siegel. It is their music that you can here frequently in our video/filmwork. This clip, for instance, plays "Lazy Beat Scene" from Sadie Siegel's record "Vanilla Was Here," available at Bandcamp.

Since last week, @rafal_morusiewicz and I have a small presentation of works on at @qwien.zentrum titled ”A Sketch for Wolfgang.“ The works showcase a first insight into our process of working with the personal archive of Wolfgang Reder, an Austrian activist, architect, artist, and scene figure. While the presentation will be on until February 1, tomorrow (22.01, 18:30) we will be giving a more in-depth presentation of our work and the overarching artistic-research project it takes places within. The exhibition ”A Sketch for Wolfgang“ is realized in the context of our ongoing artistic-research project ”W/ri/gh/ting Archives through Artistic Research“ (AR716), funded by @fwf_at and hosted by @akbild For more information on the exhibition and opening hours, check out @qwien.zentrum and their website 👀

Eine Skizze für Wolfgang | A sketch for Wolfgang | Guilherme Maggessi & Rafal Morusiewicz Ausstellung: 15. Jänner - 1. Februar 2026 Vernissage mit Rundgang: 15. Jänner, 18:30 Uhr Eine Projektpräsentation von Maggessi/Morusiewicz im Kontext ihres künstlerischen Forschungsprojekts „W/ri/gh/ting Archives through Artistic Research“ (FWF | PEEK AR716) Die Projektpräsentation „Eine Skizze für Wolfgang“ zeigt Arbeiten, die Einblick in den laufenden Arbeitsprozess von Maggessi/Morusiewicz’ künstlerischem Forschungsprojekt geben. Das Duo untersucht methodisch die Verschränkung von künstlerischer und archivarischer Forschung. Dabei stellen sie Fragen wie: Wann gehen Künstler*innen ins Archiv? Welche Archive bilden Künstler*innen? Und umgekehrt: Wann wird die Arbeit von Archivar*innen künstlerisch – und welche künstlerischen Methoden kommen dabei zum Einsatz? In Zusammenarbeit mit Qwien beschäftigt sich das Duo mit dem persönlichen Nachlass des österreichischen Aktivisten, Architekten und Künstlers Wolfgang Reder – einer prägenden Figur der Szene. Neben der Sichtung und Digitalisierung eines Teils seines persönlichen Archivs arbeitet das Duo auch an einem Oral-History-Projekt zu seinem Leben, unter anderem durch Gespräche mit Freund*innen und Verwandten von Reder. Diese Projektpräsentation versteht sich als Zwischenbericht und experimenteller Einblick, in dem Materialien, Anekdoten, Fragen und Überlegungen in künstlerischer und dialogischer Form präsentiert werden.

Drugi miesiąc "Lustra, korytarza" w @pianagallery , jeszcze cztery razy w styczniu! Odliczamy czas do finissage'u, podczas którego będziemy mieli ogromną radość poopowiadać o tym, co i jak robimy, no i czemu "lustro", a czemu, do diaska, "korytarz".

Kolejny tydzień “Lustra, korytarza” w @pianagallery Jeśli jesteście nieopodal, zajrzyjcie i spędźcie trochę czasu z naszą wystawą, która dała nam tyyyyyle satysfakcji, twórczej i towarzyskiej! Wystawę można obejrzeć w ten piatek i w tę sobotę między 16 a 18h. A jeśli macie czas nie wtedy, lecz kiedy indziej, dajcie znać cudownej ekipie z Piany.

Last Friday, @gui_ma_ and I opened an exhibition @pianagallery , run and managed by the most amazing, caring, and professional @michalsroka_ , @michalzawada111 , @filiprybkowski , and Agnieszka @co_dzis_robilas , due to whose generosity this was not only made possible but also extremely satisfying. People came and stayed, watched/listened/looked and talked, it was a real artist's dream, for which we're super grateful. If you are around or in Krakow, come by and check out the results of our collaboration. Piana Gallery is open on Fri–Sat 16–18h (or by request).

👀👀👀 Playing soon at @belvedere21wien OPEN HOUSE: Chance Meetings #2: Gestures of Transfer, curated by Maggessi/Morusiewicz, in collaboration with @cinelimite and @stefanie_reisinger_ For this year’s screening cycle, we bring the Ursula Blickle Video Archive (UBVA) in dialogue with independent film archiving and collecting institutions. These collaborations are occasions to think about film (as a medium) and the archives/collections (as sites) that are resistant, that can be vessels and actors of resistance. In the second episode, we set the meeting between the UBVA and Cinelimite, a São Paulo-based non-profit organization, dedicated to recovering, preserving, and making accessible repertory Brazilian films. The film selection from Cinelimite’s ample catalog is introduced by Lydia Nsiah’s @_lydiansiah short film, which imagines the ongoing movement of film material between Super 8 and digital video. The screening’s films are interspersed with audiovisual material based on the conversations with some of the featured filmmakers, as well as Cinelimite’s William Plotnick. 🎥 The screening features films by Henrique Magalhães, Joatan Vilela Berbel, José Barbosa @ramosbarbosadasilva , Katia Mesel @meselkatia and Lydia Nsiah @_lydiansiah — come by, say hi and watch beautiful films! 📸 (1) “#000035189” (2013), Still © Lydia Nsiah; (2) “1º de Maio” (1983), Still © José Barbosa; (3) “Era Vermelho Seu Batom” (1983), Still © Henrique Magalhães; (4) “Oh de Casa” (1986), Still © Katia Mesel, and (5) “Eunice, Clarice, Thereza” (1979), Still © Joatan Vilela Berbel.