Jan Kaps

Now on view at Kunstverein SALTS, Berenice Olmedo’s respiratory apparatuses serve as the vital heartbeat of the group exhibition "Uncanny Garden", transforming mechanical function into a haunting meditation on our own vulnerability. "In a present in which synthetic representations, avatars, and algorithmic proxies are continuously produced, the human increasingly appears as a projection of itself. What once functioned as representation or play now serves as a medium of identification. Where proximity is simulated most convincingly, the familiar begins to feel strange. Anthropomorphic systems mark sites where questions of attribution, control, and vulnerability are negotiated. The exhibition explores what it means today to recognize ourselves in forms that resemble us – and to place trust in structures designed to represent, mirror, or improve the human." "Uncanny Garden" remains on view for another three weeks, until May 29, and is open Wednesday–Friday, 12–6 pm. Pictured: Berenice Olmedo Installation views at SALTS Homonyme, 2018 Plastic tube and breathing apparatus, cotton fabric, velcro 30 x 19 x 10 cm (11 12⁄16 x 7 7⁄16 x 3 14⁄16 inches) 240 cm x 5 cm (94 7⁄16 x 1 15⁄16 inches) Photo: Nicolas Gysin for Kunstverein SALTS, 2026. #jankaps #bereniceolmedo @berenice.olmedo @salts_

Don’t miss! The new works by Berenice Olmedo are on view at Jan Kaps in her solo exhibition “Phorá“, a breathtaking transformation of the gallery into a landscape of luminous, metallic forms. The works do not begin as autonomous forms. They originate in prosthetic and orthotic sockets, objects designed to support, stabilize, and extend the human body. Olmedo scans and reproduces these elements, then repositions them. What once served a precise, technical function becomes a new kind of presence. The sculptures carry the memory of their origin, but they no longer belong to it. They extend outward from systems of care and correction into a different register, where function gives way to form, and use gives way to autonomy. The exhibitiom runs through June 3rd, 2026. Pictured: Berenice Olmedo Phorá, 2026 Orthotic and prosthetic materials, oxidized copper and silver surface 90 x 25 x 35 cm I 35 3/8 x 9 7/8 x 13 3/4 in Installation view, Jan Kaps, Cologne Photo: Simon Vogel #jankaps #bereniceolmedo @berenice.olmedo

Final weeks! Kresiah Mukwazhi’s monumental site-specific commission work for Schultze Projects at Museum Ludwig will remain on view through June 14. Spanning the museum’s largest wall, this fourth edition of the series transforms the architecture of the main staircase into a site of profound visual activism, marking a significant milestone in Mukwazhi’s international trajectory accompanying her inclusion in the new Boros Collection presentation and the upcoming NGV Triennial in Melbourne. The installation, titled "Shanduko nhema", is the artist’s most ambitious textile work to date—a thirteen-meter-long abstract monochrome composed of thousands of bra straps and fasteners sourced from exported second-hand clothing. By repurposing these intimate materials, the work stands as a tribute to female collectivity and unrelenting resistance, transforming the experiences of the marginalized into a sacred, monumental presence that demands to be celebrated. Kresiah Mukwazhi: Schultze Projects #4 Shanduko nhema, 2024 Bra straps on canvas 356 x 1261 x 7 cm | 140 1/8 x 496 1/2 x 2 3/4 in on view at Museum Ludwig, Cologne Closing 14 June 2026 Photo: Rheinisches Bildarchiv, Vincent Quak #jankaps #kresiahmukwazhi #MuseumLudwig #SchultzeProjects

We are pleased to announce Helena Uambembe’s participation in the 17th Sharjah Biennial, opening in January 2027. Our present is troubled by what remains of unlived pasts, of the defeated yet undead projects of a modernity premised on universal emancipation. Rather than passive and dormant, these remainders continue to animate the present with their restive rhythms, shaping the politics of time and space. Histories resurface and endure, not as pure recurrence but as residues and morphed processes actively informing the now.  Grounded in this common theme, Sharjah Biennial 17: “What remains, sits restive“ brings together two distinct approaches, each articulated by one of its curators, Angela Harutyunyan and Paula Nascimento. The 17th Sharjah Biennial: What remains, sits restive 21 January–13 June 2027 Opening week: 21–24 January 2027 Pictured: Portrait of Helena Uambembe in front of her installation piece, Standard issue (a meditation of things we do not care for), 2024 at Kunsthalle Bremen Photo: Carolin Weinkopf #jankaps #helenauambembe @uambemb @sharjahart

We are pleased to announce the participation of Minh Lan Tran in the 18th Lyon Biennale, "To pass from one dream to another", on view across multiple venues in Lyon from 19 September to 13 December 2026. Curated by Catherine Nichols, the 18th Lyon Biennale of Contemporary Art offers a new way to experience the city Lyon — inhabiting its passageways and dreaming anew. Drawing on the writings of Walter Benjamin and Robert Filliou's Principes d’économie poétique, Catherine Nichols develops a project situated between critique and invention. While Benjamin reveals how capitalism produces a collective dream whose continuity must be interrupted, Filliou proposes that other forms of economy can be explored through artistic and social practices. The Biennale focuses on those moments when the apparent stability of the present begins to fracture, and other imaginaries become possible. Minh Lan Tran (b. 1997, Hong Kong; lives and works in Paris) has recently presented solo exhibitions at Fondazione Giuliani, Rome (2026), the Museum of Modern Art, Warsaw (2026), and Jan Kaps, Cologne (2026), alongside numerous institutional group shows, including Château La Coste, Aix-en-Provence (2025); Museum of the Home, London (2023); Haus der Kulturen der Welt, Berlin (2023), among others. Pictured: portrait of artist in studio Photo: Jonas Unger #jankaps #minhlantran @minhlan.tran @biennaledelyon

Kresiah Mukwazhi is part of the new presentation at Boros Collection. Tickets are available on our website. @kresiahmukwazhi @jan_kaps @blankprojects Photo: @nevenallgeier

We’re excited to announce Kreasiah Mukwazhi’s debut in the latest Boros Collection presentation, opening its doors from this Sunday, May 3. Visits are by appointment only. Be sure to book your tickets in advance to secure your spot! Kresiah Mukwzhi’s works have been exhibited internationally at venues such as Boros Collection, Berlin; Museum Ludwig, Cologne; Nottingham Contemporary; the Secession, Vienna; the Philara Foundation, Düsseldorf; the Zimbabwean Pavilion at the 59th International Art Exhibition, La Biennale di Venezia; the Kunstmuseum Wolfsburg, Wolfsburg; the Norval Foundation, Cape Town; the South African National Gallery, Cape Town; Iziko Museums, Cape Town; the Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town; the Netherlands Institute for Sound and Vision; SAVVY Contemporary, Berlin; Njelele Art Station, Harare; and The National Gallery of Zimbabwe, Bulawayo. She is invited to participate in the fourth iteration of the NGV Triennial 2026 at the National Gallery of Victoria in Melbourne, Australia opening in December, 2026. Pictured: Kresiah Mukwazhi Vanga rekundiso, 2022 Installation view Acrylic paint, and mixed media on cotton 270 x 140 cm | 106 4/16 x 55 1/16 in #jankaps #kresiahmukwzhi @kresiahmukwazhi

Opening tonight! Berenice Olmedo's third solo show at Jan Kaps "Phorá" transforms our gallery into a forest of shimmering, oxidized forms that pulse with the memory of the bodies, each separate, but none entirely alone. The exhibition runs through June 3rd. Each sculpture holds several layers at once: a technical device, a trace of a body, and a distinct form that stands on its own. Olmedo’s practice suggests that an individual is never singular or self-contained, but composed through overlapping structures, supports, and projections. The sculptures take on a certain presence as if they were beings, each with its own posture and character, while still remaining tied to a shared system of origin. They stand as individuals, but also as parts of an ongoing continuity. As a result, the works do not represent the body. They test its limits. They focus on points of contact, pressure, and exposure, where the body meets what supports or replaces it. Boundaries are renegotiated. Each form reads as a fragment, but carries the weight of a larger whole, as if it had been cut from an active process rather than shaped in isolation. Pictured: Phorá, 2026 Installation view, Jan Kaps, Cologne Photo: Simon Vogel #jankaps #bereniceolmedo @berenice.olmedo

Opening tonight! Minh Lan Tran's solo exhibition 'Choreodrome' at Fondazione Giuliani, her first solo presentation in an Italian institution. Bringing together painting, drawing, and the moving image, the exhibition unfolds as a sustained exploration of material and affect. Conceived as a constellation of completed works, on-site interventions and choreographic elements, 'Choreodrome' extends across the Foundation’s spaces as a dynamic environment in which processes of making, staging and perception remain in flux. Realized with the support of the French Academy in Rome and Villa Medici. Pictured: Minh Lan Tran Death of the Virgin, 2025 (detail) Egg, paper, fabric and pigment on linen 210 x 180 cm | 82⅝ x 70⅞ in Photo: Romain Darnaud #jankaps #minhlantran @minhlan.tran @fondazione_giuliani

We're thrilled to present 'Phorá', Berenice Olmedo's third solo exhibition at the gallery. The opening will take place on next Wednesday, April 29, 6–8pm. Berenice Olmedo’s new sculptures take shape as bodies that seem to press outward. They do not present themselves as finished objects. Instead, they appear to emerge into space, as if they were extensions of something larger that remains partly out of view. Where earlier works at times evoked celestial forms, these sculptures feel closer to geological ones. They recall formations that grow, shift, and surface over time, like extremities breaking through a surrounding mass. Berenice Olmedo Phorá, 2026 3D-scanned and 3D-printed orthoses and prostheses, copper and silver foil, acids and oxidation 132 x 33 x 43 cm | 52 x 13 x 16 7/8 in Photo: Simon Vogel #jankaps #bereniceolmedo @berenice.olmedo

In my studio in Cologne: How do you trace the texture that emerges from silence? @arcadiamissa @francoisghebaly @jan_kaps Video by Katharina Louisa Meyer @katharina__louise @kalome.studio Music by Jeannel @___jeannel___

blank and Jan Kaps are pleased to announce Kresiah Mukwazhi’s participation in the fourth iteration of the NGV Triennial 2026 at the National Gallery of Victoria in Melbourne, Australia opening 13 December 2026. Mukwazhi examines the politicisation and instrumentalization of the female body as a contested site upon which the power dynamics of patriarchal society are played out. Her practice is an expression of her commitment to solidarity, empowerment, and care for marginalized communities and strives to provide a platform for resistance and self-empowerment. According to the exhibition’s organisers, “NGV Triennial 2026 is a dynamic and multilayered exhibition experience that unfolds across all four levels of NGV International. In dialogue with the NGV’s historical collections and spanning painting, video, sculpture, installation, fashion, textiles, ceramics and design, the 2026 NGV Triennial offers visitors a global journey through contemporary practice.” 𝗶𝗺𝗮𝗴𝗲 𝟭: Portrait by Neven Allgeier 𝗶𝗺𝗮𝗴𝗲 𝟮: ‘Nyenyedzi nomwe (the Seven Sisters Pleiades)’ (2024) | Stitched bra straps on canvas, 350 × 800 cm (138 x 315 in) (detail) #NGVTriennial #NGV @ngvmelbourne #blankprojects #jankaps #kresiahmukwazhi