More than a retrospective, Marina Abramović return to Berlin reads like an invocation. Gropius Bau becomes a site of repetition, sacrifice and desire, bringing together fifty years of performances, sound works, photographs, films and live reperformances that continue to unsettle the limits between artist, witness and participant. Her first major solo exhibition in Berlin since the 1990s. Extended due to overwhelming public demand, the exhibition closes permanently on 30 August 2026, curated by Agnes Gryczkowska and Jenny Schlenzka with Elena Franziska Setzer and Savannah Thümler.

There is a structure standing in Bari that has no walls. It rises from a site sacred, destroyed, and rebuilt since the Bronze Age and what Edoardo Tresoldi has placed there is made almost entirely of air. Wire mesh, steel, light passing through. A temple that does not insist on being one. The conversation moves through landscape, grief, sacred space, and what it means to build something that will outlast the building itself.

PROGETTO LUDOVICO returns to Milan with a solo exhibition by Niccolò de Napoli. Latex, leather, and PVC become symbols of a phenomenon, quitting, understood as a practice of resistance and subtle withdrawal from the alienating and performative dynamics imposed by the contemporary professional context and the logic of late capitalism.

In October 2025, Istanbul ‘74 presented Love Will Tear Us Apart, a new site-specific installation by Ben Frost that transforms a pair of adjoining rooms into a sound study of fractured communication. Using battered foldback monitors salvaged from years of stage use, Frost creates a sonic environment where signals drift, collide and dissolve across a physical divide. The work examines how individuals strain to reach one another, how intimacy is shaped by misalignment, and how even damaged instruments can carry the residue of longing.