𝐑𝐎𝐇

ROH is delighted to announce Syaiful Aulia Garibaldi’s solo exhibition, 𝘓𝘦𝘴𝘢𝘱, opening 23 May 2026. Trained in Environmental Science, Syaiful Aulia Garibaldi (b. 1985; Bandung, Indonesia) works at the intersection of ecological field research, sculptural installation, and biological process, developing a practice that refuses the separation of aesthetic production from its ecological and material conditions. 𝘓𝘦𝘴𝘢𝘱 (Indonesian for "to vanish”) pays closer attention to water as a connective tissue, linking the upstream communities of the Citarum River basin in Bandung to the mangrove coastline of its estuary in Muara Gembong in North Bekasi. The exhibition presents large-scale works of materials derived directly from these sites, including algae biofilms cultured from river water, shell-based sculptures, and driftwood structures. Many of these works will continue to grow and decay over the course of the exhibition. Decomposition is a fascinating phase," he says, "because it exists between death and birth, a condition in which we are able to appreciate both simultaneously." The exhibition’s public programme invites participants to contribute to a monumental mural within the gallery space, inspired by the vision of an environment submerged by water and invaded by mould that grows in sporadic thinking.

ROH is delighted to share installation images from Bagus Pandega’s duo show with Elia Nurvista, 𝘕𝘢𝘧𝘢𝘴𝘢𝘯 𝘉𝘶𝘮𝘪 ~ 𝘈𝘯 𝘌𝘯𝘥𝘭𝘦𝘴𝘴 𝘏𝘢𝘳𝘷𝘦𝘴𝘵, now showing through 31 May 2026 at Singapore Art Museum. Through kinetic, multimedia, and sculptural installations, Nurvista and Pandega examine how the demands of industrial production permeate everyday life - from plantations and mines, to circuits of labour driving an insatiable global demand for productivity and progress. By tracing how materials such as palm oil and nickel move through these systems, the exhibition looks at how these industries shape daily life and leave lasting impressions across Southeast Asia. Elia Nurvista and Bagus Pandega 𝘕𝘢𝘧𝘢𝘴𝘢𝘯 𝘉𝘶𝘮𝘪 ~ 𝘈𝘯 𝘌𝘯𝘥𝘭𝘦𝘴𝘴 𝘏𝘢𝘳𝘷𝘦𝘴𝘵 16 January - 31 May 2026 Singapore Art Museum Tanjong Pagar Distripark Singapore

ROH is pleased to share Tromarama’s presentation 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦 at The Kitchen, New York, open through 13 June 2026. Marking Tromarama’s first institutional exhibition in the United States, the project at The Kitchen extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies. Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on April 23, May 15, and June 12 (8 PM). These events, along with public panels and workshops, extend the installation’s inquiry into collective interpretation, authorship, work, and machine-led composition within a global, techno-saturated culture landscape, underscoring the importance of human expression inside technological frameworks. For more details of the exhibition’s programme, visit @thekitchen_nyc Tromarama 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦 23 April - 13 June 2026 The Kitchen 163 Bank St New York Photography by Ruddy Hatumena

ROH is delighted to announce Tromarama’s participation in Times Square Arts’ Summer 2026 Midnight Moment Program. From 1 to 31 July, Tromarama’s single-channel video 𝘛𝘶𝘳𝘯 𝘖𝘯 #𝟸 will be screened nightly between 11.57 PM - Midnight at Times Square, New York. ‍Indonesian art collective Tromarama’s 𝘛𝘶𝘳𝘯 𝘖𝘯 #𝟸 examines how technology reshapes everyday experience, alters our sense of reality, and meditates our relationship with the environment. The work unfolds as a continuous, choreographed loop in which electric fans appear to activate shifting images and familiar scenes from daily life. What initially feels like a clear chain of cause and effect slowly unravels, disrupting expectations shaped by lived experience and raising questions about memory, association, and authenticity in a hyper-connected world. By positioning the screen as a site of continuous negotiation, 𝘛𝘶𝘳𝘯 𝘖𝘯 #𝟸 reflects on how contempo­rary technologies collapse distinctions between the real and the digital. Across a sequence of interconnect­ed scenes, the work foregrounds how identity, memory, and meaning are increasingly mediated, circulated, and reassembled, re­vealing a reality that is perpetually in motion-produced through systems we both inhabit and attempt to control. The video is presented in partnership with The Kitchen, where the collective uses video, installation, and algorithmic processes to investigate the boundaries between virtual and physical worlds. The project traces how information, images, and sound move across digital and physical networks, reflecting on the entanglements of technology, consumer culture, and daily life; they highlight how intelligent systems shape the way we see, listen, and participate. Tromarama 𝘛𝘶𝘳𝘯 𝘖𝘯 #𝟸 Presented in partnership with The Kitchen 1 – 31 July 2026 Nightly, 11:57 PM – Midnight Broadway between 41st and 49th Streets  New York, NY

ROH is delighted to share Stella Zhong’s participation in the Asymmetry International Symposium, titled 𝘌𝘤𝘰𝘭𝘰𝘨𝘪𝘦𝘴 𝘰𝘧 𝘈𝘵𝘵𝘦𝘯𝘵𝘪𝘰𝘯: 𝘚𝘦𝘯𝘴𝘪𝘯𝘨 𝘢𝘵 𝘵𝘩𝘦 𝘌𝘥𝘨𝘦, hosted at Courtauld Institute of Art this Friday 15 May 2026. Bringing together artists, curators, film theorists, and art historians, ‘Ecologies of Attention’ reflects on attention as both a cognitive faculty or a scarce resource, and an aesthetic, embodied, and ecological condition.  𝘌𝘤𝘰𝘭𝘰𝘨𝘪𝘦𝘴 𝘰𝘧 𝘈𝘵𝘵𝘦𝘯𝘵𝘪𝘰𝘯: 𝘚𝘦𝘯𝘴𝘪𝘯𝘨 𝘢𝘵 𝘵𝘩𝘦 𝘌𝘥𝘨𝘦 Friday, 15 May 2026 9.30am – 6pm Free, booking essential via @asymmetryartorg or @courtauldres The Courtauld Institute of Art Vernon Square Campus London WC1X 9EW Programme: 9.30–9.45 Welcome (introduction by Dr Yayu Zheng) 9.45–10.45 Keynote 1 (Dr Kiki Tianqi Yu) 10.45–11.00 Break 11.00–12.45 Panel A (Chantel Foo and Yin Aiwen) chaired by Dr Wenny Teo 13.00–13.30 Performance (Serafina Min) 13.30–14.00 Lunch break 14.00–14.30 Screening Capsule (Yin-Ju Chen and Jiayi Chen) 14.30–16.15 Panel B (Solveig Qu Suess and Stella Zhong) chaired by Michèle Ruo Yi Landolt 16.15–16.30 Break 16.30–17.30 Keynote 2 (Dr Royce Ng) 17.30–17.45 Closing remarks 17.45–19.00 Wine reception

Bagus Pandega’s profile by Ibrahim Soetomo is now live on post, MoMa’s online resource devoted to art and the history of modernism and the contemporary in a global context. Contextualized within Indonesia’s DIY and media landscape, Soetomo reflects on modularity in Pandega’s work as an aesthetic through which the cultural and historical meanings embedded within objects remain continually reconfigurable. Read more on /bagus-pandega-aesthetic-of-modularity/ 📝 @baguspandega @ibrahimsoetomo @carlosquijonjr

ROH is delighted to share documentation of Maruto Ardi’s newest installation for 𝘐𝘯 𝘗𝘭𝘢𝘤𝘦, a group exhibition presented in collaboration between sangheeut and GALLERY2 at Joongsun Nongwun, Jeju. The exhibition runs through 20 June. Featuring works by Maruto Ardi, Michael Rikio Ming Hee Ho, Daeun Jang, and Minji Song, 𝘐𝘯 𝘗𝘭𝘢𝘤𝘦 considers how each artist engages the wall through distinct yet intersecting approaches. Maruto Ardi 𝘗𝘦𝘨𝘴 𝘢𝘯𝘥 𝘊𝘩𝘢𝘪𝘯 2026 Risograph on paper, laser-cut stainless steel plate, stainless steel bolt, thread, screw, chain, spirit level Variable dimensions 𝘐𝘯 𝘗𝘭𝘢𝘤𝘦 22 April - 20 June 2026 GALLERY2 Joongsun Nongwon 269, Yeongpyeong-gil Jeju-si, South Korea

ROH is pleased to share program details for Tromarama’s presentation, 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, at The Kitchen, New York, open through 13 June 2026. Across the next two months, the installation will be activated in a series of live events, offering audiences shared moments of participation and reflection. Live performances will feature different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on April 23, May 15, and June 12 (8 p.m.). These events, along with public panels and workshops, extend the installation’s inquiry into collective interpretation, authorship, work, and machine-led composition within a global, techno-saturated culture landscape, underscoring the importance of human expression inside technological frameworks. The Kitchen will welcome families into the gallery space for family workshops across May and June (dates: 5/9, 5/16, 5/30, 6/6) to engage with the exhibition and create found object sculptures inspired by the work. Recycled materials will be sourced for families to use to build their sculptures together with the guidance of a teaching artist. This will take place on designated family hours, from 11am to 1pm. Workshops will be drop-in, so families can come and go as they please. The Kitchen is pleased to partner with Artists & Mothers on the May 30 workshop. For more details of the exhibition’s program, visit @thekitchen_nyc Tromarama 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦 23 April - 13 June 2026 The Kitchen 163 Bank St New York

ROH invites you to 𝘌𝘤𝘩𝘰𝘦𝘴, 𝘋𝘪𝘴𝘵𝘢𝘯𝘤𝘦𝘴 𝘢𝘯𝘥 𝘖𝘵𝘩𝘦𝘳 𝘙𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴 A conversation between Hendro Wiyanto, Dewa Gede Purwita, and St. Sunardi, moderated by Putu Sridiniari In conjunction with Warna Hidup by Oototol Thursday, 30 April 2026 2-3 PM 📍ROH Jl. Surabaya No. 66 RSVP here: bit.ly/ROHConversation2 --------- ROH is delighted to invite you to 𝘌𝘤𝘩𝘰𝘦𝘴, 𝘋𝘪𝘴𝘵𝘢𝘯𝘤𝘦𝘴 𝘢𝘯𝘥 𝘖𝘵𝘩𝘦𝘳 𝘙𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴, the second programme in conjunction with the exhibition “Warna Hidup” by Oototol. The conversation brings together Hendro Wiyanto, Dewa Gede Purwita, and St. Sunardi, in dialogue with moderator and programme curator Putu Sridiniari. How might we recognise echoes across time without reducing them to lineage or influence? This session begins with close attention to Oototol’s work, his use of monochromatic Chinese ink, the repetition and plasticity of figures, and the fragmentation of narrative, moving outwards to consider how his practice may resonate with broader traditions of image-making in Bali and beyond. Rather than securing these connections, it attends to how visual affinities emerge unevenly: through resemblance, divergence, and moments that do not fully align. Talk will be in Bahasa Indonesia.

ROH is delighted to share Stella Zhong’s solo exhibition at Trautwein Herleth for Gallery Weekend Berlin 2026, opening Friday 1 May. Zhong crafts environments that oscillate vastly in scale, material and approachability, making the distance between perception and comprehension felt. Her elemental forms have gravitational pull but in many cases cannot be accessed. Seen forensically, Zhong’s enveloping volumes are infiltrated by endearing objects – but following them can lead one into ontologically frightening territory. In her way of magnifying the gap between the infinitesimal and infinite, Zhong’s work calibrates decidedly incommensurable relations on the same plane. Withdrawing from human scale, her practice instead presses for a new mathematics, new power structures. But this heady side is offset by tactility, uncanniness, and an existential humor that is deeply human, reflecting contemporary conditions – with their frictions between solitude and connectivity, expansion and opacity, and the simultaneous and indeterminate. Stella Zhong 2 May - 13 June 2026 Trautwein Herleth Regina-Jonas-Straße 41/43 10999 Berlin 🎙️ On Saturday 2 May at 2 PM, Stella will also be in conversation with curator Martin Germann at the Neue Nationalgalerie for an artist talk titled “Hermetic Worlds and Total Constellations”. Further information is available on the Neue Nationalgalerie website.

ROH is delighted to announce Thảo Nguyên Phan’s participation in Museum MACAN’s group exhibition, 𝘔𝘦𝘯𝘦𝘭𝘢𝘯 𝘊𝘢𝘬𝘳𝘢𝘸𝘢𝘭𝘢, opening 23 May 2026. 𝘔𝘦𝘯𝘦𝘭𝘢𝘯 𝘊𝘢𝘬𝘳𝘢𝘸𝘢𝘭𝘢 (meaning “Swallow the Horizon” in English) opens with a provocation: the horizon, for all its appearance of neutrality, has never been innocent. Long treated as a boundary where land, sea, and sky meet, it is in fact a constructed field through which knowledge is produced, territories are imagined, and power is exercised. Bringing together modern and contemporary works— from Raden Saleh, Franz Wilhelm Junghuhn, Heinz Mack, and Robert Rauschenberg to Dede Eri Supria, I Nyoman Masriadi, Ipeh Nur, and Thảo Nguyên Phan — the exhibition examines how landscape is shaped across different regimes of vision. From colonial image-making to contemporary reflections on resource use and ecological crisis, these works reveal landscape as an active field rather than a passive backdrop. To swallow the horizon, this exhibition suggests, is to finally recognize its layered construction, where representation, materiality, and power remain inseparable. For more information, please check @museummacan Thảo Nguyên Phan 𝘔𝘦𝘯𝘦𝘭𝘢𝘯 𝘊𝘢𝘬𝘳𝘢𝘸𝘢𝘭𝘢 23 May - 4 October 2026 Museum MACAN AKR Tower Level M 11530 Jakarta Courtesy of Museum MACAN

We are pleased to announce, ‘“details to follow”’ opening Saturday, May 2, 12–4pm, co-presented by Misako & Rosen, ROH, Romance, and Whistle. Fergus Feehily Jookyung Lee Wantanee Siripattananuntakul Emilia Wang A sound performance by Emilia Wang will take place from 3–3:30pm. This group exhibition, titled ‘“details to follow’” is organized by all four galleries, bringing together an artist from each program through painting, sculpture, video, and photography. Drawing from the minutiae of daily life in forms small enough to travel by suitcase, these near-nothings, almost-words, and minor disruptions leave a quiet trail of unexpected visual and conceptual rhymes. The show opens at Romance in Pittsburgh alongside the 59th Carnegie International at the Carnegie Museum of Art and will be on view adjacent to ‘Things to Come: OUTLINES, 1941–1947,’ Romance’s current exhibition revisiting the buried history of Outlines, an underrecognized Pittsburgh gallery operating at the intersection of European and American modernism near mid-century. Against this backdrop, and in dialogue with that early alternative gallery model, ‘“details to follow”’ inaugurates a series of ‘love letters’ addressed to visiting galleries, shaped through a logic of distinct sensibilities, geographies, and curatorial methodologies. @fergusfeehily @jookyunglee @wantaneesiripattananuntakul @emiliawwang @misakoandrosen @rohprojects @whistle_seoul