Michaela Schweighofer

Opening a solo exhibition at M Leuven, Alicja Kwade opined to fellow sculptor Michaela Schweihofer about sleights of hand with big rocks, teaching against the identitarian grain, and what art might come after perfection. 🔗 in bio, their conversation is online! Images 1. ParaPosition, 2024. Photo: Roman März 2. WeltenLinie (WorldLines), 2019/2025. Photo: Roman März 3. Behind: Siège du monde, 2025; foreground: Superheavy Skies, 2025. Photo: Roman März 4. Portrait of Alicja Kwade by Doro Zinn #spikeartmagazine #spikeart #spike #sculpture #minimalism

Nina Beier’s newest exhibition takes place in the antechambers of Bozar which is comprised of four rooms that radiate out from a central rotunda – an architectural layout recently used to host compact, mid-scale solo shows by both emerging and established artists. Nina Beier titled her exhibition ‘Real Estate’, borrowing the name from one of her works – fittingly so, since the sculptures latch onto and infiltrate the symbolic ‘entrée’ to one of Brussels’ most prestigious properties and art institutions with precision. — Michaela Schweighofer Nina Beier’s solo exhibition ‘Real Estate’ is now on view at Bozar until January 4, 2026. Read our article; Pressing Matters: Nina Beier Investigates Form, Labor, and Power. Written by Michaela Schweighofer on our website: glean.art ✨ 🔗See link in bio #ninabeier #michaelaschweighofer #glean #bozar #art

Last week, I held a workshop for the students of @luca_visualarts_brussel at La Tourette, the convent designed by Le Corbusier. Together, we embarked on a journey into our own practice — becoming detectives of our work, searching for clues and evidence that reveal recurring patterns, forms, and colours. In doing so, we tried to solve the small mystery of what, how, and why we do the things we do. 🕵️‍♀️🕵️‍♂️ Merci to the class of 3BA, @niznke , @yuditttt , Steve, @_vansant_ & @luca_visualarts_brussel ❤️

I started teaching @luca_visualarts_brussel this month & held a workshop at La Tourette this week which was all about becoming detectives in our own work 🕵️‍♀️ to find clues and evidence that points towards repeating habits, patterns and forms, to solve the tiny mystery of what, how and why we are doing the things we do. 🎨❤️📋 Merci class of 3BA, @yuditttt , @niznke , @_vansant_ & Steve!

I wrote a profile on AGLAIA KONRAD, ARCHITECTURAL ABSTRACTONIST, AUTODIDACT EXTRAORDINAIRE on the occasion of her exhibition @viennasecession for the newest issue of @glean.art magazine. ‘Aglaia Konrad: documenter of cities, educator and mentor to many, partner to one, keeper of archives, prolific bookmaker, self-taught photographer and filmmaker, wittiest of title givers. Aglaia Konrad, lover of lists, it only seems appropriate to start with one.‘ (…) ‘Konrad treats photography as something malleable that can take on all sizes and formats, to be affixed not only to walls, but also to floors, ceilings and windows. She might let her photos settle onto glass or wooden panels stacked like cards on the floor, or use them to frame the elevator, or hang them up above, where overhead lights cut through the image, mimicking city lights. Her spatial interventions encourage viewers to experience urban forms in novel ways. Often, the resulting feeling can be described in terms of inversion — a building’s architecture turned inside out. Konrad’s been studying the sculptural aspects of buildings and cities for decades, and she thinks like a sculptor — everything is surface, everything is material.‘ DM me for a copy of the text 📨💌📬 #aglaiakonrad #secession #viennasecession #gleanart #gleanartmagazine

There’s still one week left to see Aglaia Konrad’s exhibition ‘Autofictions in Stone’ at the Secession in Vienna. Michaela Schweighofer, who visited Konrad in her studio ahead of the show, reflects on the artist’s evolving practice in her profile of Konrad for our Spring Issue. ‘Demolition here is approached as a sculptural process, and the concept of the “Rückbaukristalle” reflects both destruction and organic growth, highlighting how spaces transform and are reorganised over time. […] Konrad’s spatial interventions encourage viewers to experience urban forms in novel ways. Often, the resulting feeling can be described in terms of inversion — a building’s architecture turned inside out.’ 📸 [1] Aglaia Konrad, 2025, photo Willem Oorebeek [2–3] Installation view Aglaia Konrad ‘Autofictions in Stone’, 2025, Secession, Vienna, photo Peter Mochi 👉 Link in bio. #aglaiakonrad #springissue #gleanprofile

With 𝙎𝙖𝙣𝙘𝙩𝙞𝙢𝙤𝙣𝙞𝙤𝙪𝙨 𝙜𝙧𝙞𝙛𝙩𝙞𝙣𝙜, the first gaze is directed towards the interior and only the second away from the concrete space and object towards an interiority. I am looking at something by looking at something else. The work is now part of 𝓑𝓵𝓾𝓼𝓱, a group show investigating emotions in our increasingly emotional societal climate. - 𝓑𝓵𝓾𝓼𝓱 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. 📸 @chantalvanrijt

My work 𝙎𝙖𝙣𝙘𝙩𝙞𝙢𝙤𝙣𝙞𝙤𝙪𝙨 𝙜𝙧𝙞𝙛𝙩𝙞𝙣𝙜 next to @youbettercallmoniker on the right & @walterpfeiffer_official on the left. In best company @clagesgallery 💋 - 𝓑𝓵𝓾𝓼𝓱 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. Exhibition views Blush, Clages, Cologne, 2025 © Clages, the artists and galleries 📸 Mareike Tocha

𝑩𝒍𝒊𝒏𝒅 𝒔𝒊𝒅𝒆 𝒈𝒆𝒎𝒔 𝒈𝒂𝒍𝒐𝒓𝒆 (from the series 𝐒𝐦𝐨𝐭𝐡𝐞𝐫𝐢𝐧𝐠 𝐇𝐞𝐢𝐠𝐡𝐭𝐬) currently on @clagesgallery ☺️ - 𝓑𝓵𝓾𝓼𝓱 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. 📸 Jan Hoeft

𝑩𝒍𝒊𝒏𝒅 𝒔𝒊𝒅𝒆 𝒈𝒆𝒎𝒔 𝒈𝒂𝒍𝒐𝒓𝒆 (from the series 𝐒𝐦𝐨𝐭𝐡𝐞𝐫𝐢𝐧𝐠 𝐇𝐞𝐢𝐠𝐡𝐭𝐬) next to @eglitza & @funmier currently on @clagesgallery ❤️ - 𝓑𝓵𝓾𝓼𝓱 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. Exhibition views Blush, Clages, Cologne, 2025 © Clages, the artists and galleries 📸 Mareike Tocha

𝘗𝘴𝘺𝘤𝘩é, 𝘗𝘴𝘺𝘤𝘩𝘰, 𝘗𝘴𝘺𝘤𝘩𝘰𝘴𝘪𝘴 is part of 𝘽𝙡𝙪𝙨𝙝, a show curated by @fabianflueckiger at @clagesgallery in Cologne featuring works of mine and other artists that resemble a symbolic blush. - 𝘽𝙡𝙪𝙨𝙝 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. The exhibition addresses the increasingly emotional societal climate. With works that resemble a symbolic blush, the show tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. 📸 Fabrice Schneider

My work 𝘗𝘴𝘺𝘤𝘩é, 𝘗𝘴𝘺𝘤𝘩𝘰, 𝘗𝘴𝘺𝘤𝘩𝘰𝘴𝘪𝘴 in the same room as the great @walterpfeiffer_official & stunning @eglitza . @fabianflueckiger curated 𝘽𝙡𝙪𝙨𝙝, a beautiful show @clagesgallery in Cologne featuring works of mine and other artists that resemble a symbolic blush. The exhibition addresses the increasingly emotional societal climate and tackles controversial cultural and political issues, highlighting the tensions between desire and rejection. - 𝘽𝙡𝙪𝙨𝙝 March 14 – April 25, 2025 @clagesgallery Curated by @fabianflueckiger Featuring works by Eliza Ballesteros, Vaginal Davis, Mona Filleul, Tarek Lakhrissi, Walter Pfeiffer, Michaela Schweighofer, Monika Stricker, Maria VMier. Blushing is a deeply rooted cultural reaction – a psycho-physical response of the self. The skin turns red, as if inflamed, and with heated cheeks, shame and vulnerability become visible. At the same time, unconscious desires come to light, while the pent-up heat longs to leave the body. This emotion, derived from the Latin word emovere, describes an outward movement – a yearning for release. When overwhelmed by shame, a person instinctively seeks to withdraw from the uncomfortable exposure. This reaction reflects a rupture in the connection to the self, as aspects of one’s identity or self-perception are called into question. This often occurs when they conflict with personal ideals or societal norms. Exhibition views: Blush, Clages, Cologne, 2025 © Clages, the artists and galleries 📸 Mareike Tocha