M I C H A E L A ➖ P U T Z

Exciting new things upcoming: on September 5 I will open an exhibition with @gertraud_koeck @chris_murzek and @floriannitschart at @sehsaal ❤️‍🔥 The month after I will take off to Shanghai for my BMKÖS residency and work on a new project for 3 months! Also, I finally managed to update my website which was long overdue! You can check it through my link in the bio. Thanks to @xavi.multinode for capturing me in my working mode in the studio! ❤️❤️

First time I did a collage directly at the wall 🪄 Photos of digitally archived extinct plants, cut and layered Approx 120 x 280 cm 2023 @xyz_books @imagolisboa #collage #photo #photoart #contemporaryphotography

After some weeks of some work behind the curtains, we open the doors of Turbine, a new art studio and creative space at Stumpergasse 23. An exhibition venue, but also a place for gathering, workshops and events. Built on connection, exchange, and mutual support. Join us for the opening night, an intersection of digital memory, analogue transformation, and hypnotic sounds. ✷ OPENING ➭ 21. May 2026, 18:00h ▣ Stumpergasse 23 ⬤ Exhibitions: ● Michaela Putz (@putz.michaela ) navigates digital imagery, memory & ecological fragility. Found footage, glitched materials, and AI-generated speculation on lost ecologies. (Klima Biennale, Ars Electronica, Fotogalerie Wien). ● Christian Murzek (@chris_murzek ) works at the interface of digital and analogue. Algorithms, binary codes, and AI translated into painting, print, and sculpture. Reclaiming the machine for the hand. ● Gertraud Köck (@gertraud_koeck ) investigates spatial perception, materiality, and hidden hierarchies through silkscreen, objects, and transformative processes. ▶ Live acts: ⬫ Mme Psychosis (@psychosismme ) – synthpop, space, trip. Releases on Ediciones Populares, Cut Surface, Vinylograph & Atom Urlaub. ⬫ Libramar (via @dronau_canal ) – hypnotic synth & percussion landscapes by R. Culbertson III & L. Henao Serna. Exploratory sound, deep textures. 🜕 Free entry. Bring your curiosity.

Installation views from my work Postfactual Seeds (2026), a work developed specifically for the exhibition Seeds. Reclaiming Roots, Sowing Futures, I explored seeds as carriers of past and future, translating them from biological entities into digital objects. Using photographs from the archive of a species conservation project at the Botanical Garden of the University of Vienna, the artist creates AI-supported 3D models and speculative seed hybrids. The resulting pigment prints and 3D-printed sculptures appear as “copies of copies,” referencing both museum archive objects and agricultural hybrid breeding aimed at uniformity and efficiency. By combining archival documentation with algorithmic speculation, Putz examines the possibilities and contradictions of AI-driven systems in biodiversity conservation. What remains verifiable when knowledge increasingly relies on algorithmic interpretation? And what happens when ecosystems are preserved digitally while their physical foundations become increasingly unstable? Thanks to @sophiehaslinger_ , who curated the exhibition, for the trust in the project. Exhibition view Seeds. Reclaiming Roots, Sowing Futures, KunstHausWien 2026, Foto / photo: Iris Ranzinger

💜 Some photos from the opening of the exhibition Seeds. Reclaiming Roots, Sowing Futures at @kunsthauswien_hundertwasser curated by @sophiehaslinger_ „In Postfactual Seeds (2026), a work developed specifically for this exhibition, Michaela Putz considers seeds as a store of past and future, exploring how they are translated from a biological carrier into a digital object. The starting point is a series of photographs from the visual archive of a species conservation project at the Botanical Garden of the University of Vienna. This archive serves the artist as a reservoir of raw material for a speculative process: with the help of AI-supported 3D modelling, Putz translates the photographs into virtual models. Borrowing from current research methods, where digital twins are used to simulate growth, resilience, or germination capacity, she subjects the digital seed objects to an algorithmic analysis: the machine’s ordering logics determine the information that is relevant for the AI modelling. Resulting from this evaluation are images of fictive seed hybrids, which are then presented as pigment carbon prints and 3D printed sculpturess—as copies of copies which recall museal archival objects and simultaneously refer to the principles of agricultural hybrid breeding that is geared towards increasing yields and producing uniformity. The artist thus creates a parallel reality, one in which biological facts are replaced by machine-readable data, while also inquiring into the possibilities and contradictions of AI-supported systems and digital spaces for preserving biodiversity. What remains verifiable when knowledge is increasingly based on algorithmic interpretations? While AI is being deployed more and more in species protection projects, its enormous use of resources simultaneously contributes to further destabilizing ecological systems. By connecting archival documentation and algorithmic speculation, Postfactual Seeds poses a key question: What are the consequences when the future of ecosystems is conceived in the data room while its very physical foundations are becoming increasingly instable?“ - Sophie Haslinger The exhibition is open until February 2027.

Something I've been developing over the past months is now ready to share. 🦠 I am honored to show new work in this exhibition with these great artists. SEEDS. RECLAIMING ROOTS, SOWING FUTURES 10.04.2026 – 14.02.2027 An exhibition as part of Klima Biennale Wien 2026 Seeds are the very foundation of our life. The exhibition Seeds. Reclaiming Roots, Sowing Futures explores the multilayered meanings of seeds as a mirror of our relationship to the earth and one another. Works by fourteen international artists tell of disappearance and preservation, of loss and regeneration, of the poetic as well as political potential intrinsic to mutual concern and shared growing. The exhibition forges links between art, ecology and activism, inviting us to reflect on possible futures. Artists: Ackroyd & Harvey, Maria Thereza Alves, Alexandra Baumgartner, Tue Greenfort, Kapwani Kiwanga, Dominique Koch, Jumana Manna, Christian Kosmas Mayer, Marzia Migliora, Lucia Pizzani, Michaela Putz, Cecilia Vicuña, Munem Wasif Curated by @sophiehaslinger_ @kunsthauswien_hundertwasser @biennale.wien #KunstHausWien #KlimaBiennaleWien #Seeds

💞It makes me happy that these two pieces from the series Cutouts found a new home in the collection of Land Burgenland. 🍇🍸 80 x 60 cm C-Prints on Hahnemühle, mounted on Alu Dibond in shadow gap frame 2023

More works from the series Albedo/Skin each 30 x 24 cm Inkjet print on Hahnemühle 2025 The whole series of works is about speculative reconstructions of species and their surroundings using algorithms - while they hallucinate structures that weren't there and thus create a new version of a past. Exhibited at @frappantgalerie Hamburg in September 2025

This is another piece of digital skins that trace a speculative reconstruction of an extinct species from the Yangtze Delta, where I spent an artist residency last year researching global production modes, consumerism, and the region’s environmental challenges. The print on faux leather was produced in one of the many textile factories located in the Delta - reflecting the entanglement of digital imaging, material production, and ecological loss. Albedo/Skin 01 95 × 95 cm Digital print on faux leather 2024 Exhibited at @frappantgalerie Hamburg in September 2025 Thanks to BMKÖS for granting me this residency to research and produce new works.

This digital skin traces a speculative reconstruction of an extinct species from the Yangtze Delta, where I spent an artist residency last year researching global production modes, consumerism, and the region’s environmental challenges. The print on faux leather was produced in one of the many textile factories located in the Delta - reflecting the entanglement of digital imaging, material production, and ecological loss. Albedo/Skin 02 130 × 100 cm Digital print on faux leather 2024 Exhibited at @frappantgalerie Hamburg in September 2025 Thanks to BMKÖS for granting me this residency to research and produce new works.

◾ Shapes 1-3 ◾ Textile, Chains, Hooks 2025 Each form derives from 3D scans of digitally recreated, now-extinct plant species, translated into textile surfaces, suspended from metal chains, recalling organic matter. @frappantgalerie

🔮 Exhibition Recap 🔮 ALCHEMICAL IM/POSSIBILITIES 19–28 September 2025 @frappant_hamburg Throwback to our time at FRAPPANT Hamburg — the group exhibition ALCHEMICAL IM/POSSIBILITIES brought together works exploring digital and analog processes. With works by Gertraud Köck, Christian Murzek, Florian Nitsch & Michaela Putz @gertraud_koeck @chris_murzek @floriannitschart Thank you to everyone who joined the opening and the artist talk — and to the kind support of BMKÖS, Kulturforum Berlin & @bildrecht_bildraum 💫