June 3, 2025
Every month, Berlin Art Link shines a spotlight on international exhibitions and events with our Worldwide Hit List. We want to highlight artists, galleries, museums and new projects touching on a variety of topics, employing multiple media and featuring diverse subjects. Below are some of the stand-outs that we’ve selected for the month of June.
Momentum 13
Group Show: ‘Between / Worlds: Resonant Ecologies’
Exhibition: June 14-Oct. 12, 2025
momentum.no
Galleri F15, Albyalléen 60, 1519 Moss, Norway, click here for map
This summer, ‘MOMENTUM 13’ returns to Moss, Norway, inviting visitors to explore the world through sound. Titled ‘Between/Worlds: Resonant Ecologies’ and curated by Morten Søndergaard, the Nordic Biennale brings together around 40 artists whose work spans installation, performance, video and sound. The focus this year is on how we relate to and resonate with the environments around us, from the more-than-human to the post-industrial. The biennale stretches across five different sites with locations situated in forests, fjords, volcanic islands and traditional museum spaces. Visitors are invited to listen to the places sound is brought into, their histories and shifting ecologies. Whether wandering through an outdoor installation or dropped into an immersive soundscape, ‘MOMENTUM 13’ offers a way of experiencing art that’s rooted in place and aware of its entanglements.
Louise Mackenzie: ‘Attractor,’ 2025, installation view at MOMENTUM 13 // Photo: Eivind Lauritzen © 2025 Galleri F 15
M+
Trevor Yeung: ‘Courtyard of Detachments’
Exhibition: June 14-Oct. 12, 2025
mplus.org.hk
38 Museum Dr., West Kowloon, Hong Kong, click here for map
At M+, Trevor Yeung presents ‘Courtyard of Detachments,’ a revised iteration of his solo exhibition for the Hong Kong Pavilion at the 2024 Venice Biennale, now adapted for its local context. The show extends Yeung’s long-standing investigation into systems of care, emotional control and the aesthetics of containment, often explored through metaphors drawn from aquariums, horticulture and architectural design. The exhibition is structured in two distinct sections. The first evokes the spatial language of empty fish shops and aquarium displays, now rendered inactive. These stripped-back, artificial ecosystems highlight the infrastructures behind care and display, drawing attention to their maintenance and frequent failure. The second part shifts into a quieter, more introspective register. Yeung stages a kind of inner courtyard populated by symbolic elements, encompassing a closed fountain, a glass lotus and unfinished ponds that reference feng shui principles, familial memory and the thresholds between public and private space. Reflecting Yeung’s ongoing interest in how personal and spatial arrangements encode psychological states, ‘Courtyard of Detachments’ invites to enter the literal and metaphorical architectures that shape them.
Trevor Yeung: ‘Cave of Avoidance (Not Yours),’ 2024, detail, fish tanks, aquarium equipment, ceramics, plastic containers, lamps, metal racks, fish waste, and water, dimensions variable // Commissioned by M+, 2024, © Trevor Yeung, photo © South Ho, commissioned by M+, 2024
CAC Vilnius
Group Show: ‘Borders are Nocturnal Animals’
Exhibition: June 12-Sept. 14, 2025
cac.lt
Vokiečių g. 2, Vilnius, 01130 Vilniaus m. sav., Lithuania, click here for map
Curated by Neringa Bumblienė and Émilie Villez, this group exhibition responds to the geopolitical turmoil of Russia’s full-scale invasion of Ukraine, questioning what forms of normality are possible in its shadow as history repeats itself. Through works by over 30 artists—including Shilpa Gupta, Nikita Kadan, Agnieszka Kurant, Emilija Škarnulytė, Slavs and Tatars and Anastasia Sosunova—it explores the colonial histories of Lithuania and the region beyond, weaving connections into a broader international narrative of decoloniality. The show focuses on the threat of invasion, the haunting spectres of past occupations and the enduring systems of belief and language that carry resilience. It also explores energy as both a political and spiritual force, revealing how extractivism and the ecological aftermath of exploitation and war shape landscapes, while nature becomes a catalyst for resistance through pre-modern rituals and beliefs.
Emilija Škarnulytė: ‘Herbaria,’ 2024, installation view at Kadist Paris // Photo by Vinciane Lebrun/Voyez-Vous
Liverpool Biennial
Group Show: ‘BEDROCK’
Exhibition: June 7-Sept. 14, 2025
biennial.com
Various Venues
The 13th edition of the Liverpool Biennial, titled ‘BEDROCK,’ is curated by Marie-Anne McQuay and continues the exploration of local architectures and cultures initiated in the previous edition. This year’s title draws on Liverpool’s distinctive geography and the beliefs that underpin the city. It is ultimately inspired by the sandstone, which spans the city region and is found in distinctive architectures, like the Liverpool Cathedral. At the same time, ‘BEDROCK’ acts as a metaphor for the unique social foundations of Liverpool, haunted by colonialism, empire and the people, places and values that infuse the cityscape. The biennial features over 30 international artists and collectives, presenting works across historic buildings, galleries and public spaces throughout Liverpool. Through these exhibitions, performances and community events, the biennial invites audiences to engage with themes of memory, restitution and the transformative power of art and architecture in addressing historical and contemporary injustices in the local context.
Kara Chin: ‘Awakening Ceremony,’ 2021, 12m 20s animation, film still // Courtesy of the artist
Kunstverein Arnsberg
Patricia Domínguez: ‘Liquid Mantras’
Exhibition: June 27-Aug. 24, 2025
kunstverein-arnsberg.de
Königstraße 24, 59821 Arnsberg, click here for map
As part of the year-long ‘Versumpfung’ program, which focuses on landscapes between water and land, Kunstverein Arnsberg presents Patricia Domínguez’s solo exhibition, ‘Liquid Mantras.’ As an artist and activist, Domínguez seeks to rethink our planetary relationships and propose ways of coexisting. Merging digital and physical elements, her work can be seen as late-capitalist hacking—like a stomach digesting current systems and rearranging them in a futuristic sci-fi (or spi-fi, as in spiritual fiction) aesthetic. ‘Liquid Mantras’ focuses on water—the access to it and the loss of it—in the age of privatized natural resources. Water is examined as a fighting and sometimes deadly force, with artworks as ritualized acts of empowerment. Exemplifying Domínguez’s worldview, which emphasizes community and collaboration, some of the works are co-created with her female artist-activist community, as well as in collaboration with the women’s collective Mujeres del Agua, which is associated with the organization MODATIMA (Movement for Access to Water, Land and Environmental Protection).
Patricia Domínguez: ‘Matrix Vegetal; Cinchona: make me sensitive to mountains like Manuel,’ 2021. watercolor on paper // Courtesy of the Wellcome Collection
M HKA
Group Show: ‘The Geopolitics of Infrastructure. Contemporary Perspectives’
Exhibition: June 13-Sept. 21, 2025
muhka.be
Leuvenstraat 32, 2000 Antwerp, Belgium, click here for map
Embodying the idea of a world in flux, today’s infrastructure increasingly incorporates tech and big data, automation and the algorithmic management of urban spaces. Implemented on trans-national and global proportions and exposing both landscapes and livelihoods to complex geopolitics, these infrastructure projects call for a renewed consciousness in the context of contemporary art. Curated by Nav Haq, ‘The Geopolitics of Infrastructure. Contemporary Perspectives’ at M HKA examines the political and symbolic dimensions of infrastructure in our globalized world, while inquiring how contemporary artistic imagination reflects on the particular topicality of infrastructure in the trans-national geopolitical context, or might even conceptualize new and alternative infrastructural models. Featuring artists such as Tekla Aslanishvili, Jonas Staal and Shahana Rajani, the show presents a range of research-based works, including experimental documentaries, architectural models and installations. By highlighting both the visible and invisible networks that underpin modern life, the exhibition encourages viewers to consider the power dynamics and possibilities inherent in infrastructural systems.
Köken Ergun and Fetra Danu: ‘China, Beijing, I Love You!,’ 2024, still, single-channel video, 34:55 min // Courtesy the artists
Helsinki Biennial
Exhibition: June 8-Sept. 21, 2025
helsinkibiennaali.fi
Various Venues
Curated by Blanca de la Torre and Kati Kivinen under the theme ‘Shelter: Below and Beyond, Becoming and Belonging,’ the third Helsinki Biennial takes place on Vallisaari Island, in Esplanade Park and at HAM Helsinki Art Museum. It brings together works by 37 artists and collectives, including Olafur Eliasson, Tue Greenfort, Ingela Ihrman, Yayoi Kusama, LOCUS, Ernesto Neto and Otobong Nkanga. Inspired by the protected Vallisaari Island in the Helsinki archipelago, the biennial explores the significance of shelter and shifts the gaze toward non-human nature—animals, water, plants, insects, minerals and other living agents—and their role as contributors to our planet’s well-being. Through this thematic focus, the curators seek to explore new ways of coexisting in a world that urgently needs greater understanding and empathy, and to inspire positive environmental action.
Sara Bjarland: ‘Suspended Matter,’ 2023, installation with found sun shades // ©Sara Bjarland
Benaki Museum–Pireos 138
Group Show: ‘In a Bright Green Field’
Exhibition: June 12-Sept. 13, 2025
deste.gr
Pireos 138, Athens 118 54, Greece, click here for map
Organized by the DESTE Foundation in collaboration with the New Museum, ‘In a Bright Green Field’ brings together 29 emerging artists to explore speculative futures rooted in local histories. Gathering artists working across a variety of mediums, the exhibition at Benaki Museum surveys young practices in Athens, Nicosia and across Europe. Follows the 2019 exhibition ‘The Same River Twice’ and the 2016 exhibition ‘The Equilibrists,’ the show curated by Gary Carrion-Murayari delves into the intersections of technology, labor and community, presenting works that range from lyrical paintings and sculptures to experimental documentaries and communal performances. By reimagining the relationship between humans and the natural world, the showcased artists offer prototypes for alternative ways of living and collective engagement.
Nefeli Papadimouli: ‘Skinscapes,’ 2021 // © Robin Zenner
National Gallery of Victoria
‘Plans for the Planet: Olaf Breuning for Kids’
Exhibition: June 6-Oct. 5, 2025
ngv.vic.gov.au
180 St Kilda Rd., Melbourne VIC 3006, Australia, click here for map
Swiss artist Olaf Breuning invites children and families into an interactive adventure at the NGV International. ‘Plans for the Planet’ transforms the gallery space into a vibrant playground where young visitors can engage with environmental themes through multimedia activities, animations and other creative installations. Using specially designed swipe cards, children embark on missions to help forest animals, create self-portraits and share their visions for a sustainable future.The exhibition empowers the next generation to think critically about ecological issues while fostering creativity and play.
Olaf Breuning in his studio // Photo by Sergiy Barchuk
Kunsthalle Basel
Ser Serpas: ‘Of My Life’
Exhibition: June 13-Sept. 21, 2025
kunsthallebasel.ch
Steinenberg 7, 4051 Basel, Switzerland, click here for map
Ser Serpas stages her first major institutional solo in Switzerland with ‘Of My Life’ at Kunsthalle Basel under the curatorial direction of Mohamed Almusibli. Serpas, a Los Angeles-born, Paris‑based artist known for her sculptural arrangements of found materials and visceral paintings, presents a body of work that distinguishes itself through a uniquely poetic corporeality. Organized in dialogue with artists from the Tbilisi-based Margo Korableva Performance Theatre, the exhibition interweaves performance, painting and sculpture. Serpas revisits her practice of using discarded objects—here, bathtubs, scraps of metal and second-hand furniture—to build precarious forms that destabilize their original functions. These installations are paired with new paintings, whose dripping, fleshy pigments resonate with her sculptural aesthetic and draw connections between physical erosion and emotional vulnerability. The performance component, presented in collaboration with Margo Korableva’s ensemble, enacts a structural dialogue between movement and material, which aligns with Serpas’s interest in process and relational dynamics. What emerges is a poetic meditation on how we inhabit and relinquish the material traces of our own existence.
Ser Serpas: ‘Hall,’ 2023, Swiss Institute, New York, installation view // Courtesy of the artist, Swiss Institute, New York, and Maxwell Graham, New York
