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maxmayerdotnet
Galerie Max Mayer
Hardenbergstraße 9A
10623 Berlin
--
Positive Aesthetics
May 1st - June 20th, 2026
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
ON VIEW
POSITIVE AESTHETICS
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Jef Geys, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
until June 20th, 2026
Galerie Max Mayer is pleased to present Positive Aesthetics, a group exhibition drawn from the gallery's program and inspired by the pedagogical principles of Jef Geys. Between 1963 and 1989, Geys taught at a state secondary school in Balen, where he developed a wide range of significant artworks alongside his teaching. His approach brought together aesthetic inquiry and political thinking, aiming to make seemingly self-evident assumptions visible and open to discussion.
@ei.arakawa.nash @maximilianebaumgartner @jef.geys.estate #nicolasguagnini @studioadamharrison @archivmende #positiveaesthetics
📸 Ingo Kniest
OPENING SOON
Maximiliane Baumgartner
Proxy - Der Bürger als Pflanze
@kunstverein_duesseldorf
May 23 - August 23, 2026
Opening: Friday, May 22, 6-10 pm
@maximilianebaumgartner
#kunstvereinfürdierheinlandeundwestfalen
#kunstvereindüsseldorf
Image: Plan drawing of the 'Tanzring' (1937) next to Stockumer Kirchstraße, including a proposal for the placement of parasols, 1950s. Stadtarchiv Düsseldorf,
5-1-15-1090.000.
Ei Arakawa-Nash
GRASS BABIES, MOON BABIES
La Biennale di Venezia
Japan Pavilion | Giardini della Biennale, Venezia
May 9 – Nov 22, 2026
Commissioned by the Japan Foundation, the Japan Pavilion will present Grass Babies, Moon Babies by Japanese American queer artist Ei Arakawa-Nash at the 61st International Art Exhibition of La Biennale di Venezia (Biennale Arte 2026) from 9 May to 22 November 2026 at the Giardini di Castello, Venice, Italy. This will be a co-curatorial collaboration between Horikawa Lisa, Senior Curator and Director (Curatorial & Collections), National Gallery Singapore, and Takahashi Mizuki, Executive Director and Chief Curator, Centre for Heritage, Arts and Textile (CHAT) in Hong Kong.
#eiarakawanash #japanpavilion #japanfoundation #labiennaledivenezia #grassbabiesmoonbabies
Image I: Grass Babies, Moon Babies exhibition logo, designed by Mori Daishiro and Koike Toshiki
Image II: The Arakawa-Nash twins have inspired the concept and motifs of this exhibition. Photo: Ei Arakawa-Nash
Ei Arakawa-Nash
GRASS BABIES, MOON BABIES
La Biennale di Venezia
Japan Pavilion | Giardini della Biennale, Venezia
May 9 – Nov 22, 2026
Commissioned by the Japan Foundation, the Japan Pavilion will present Grass Babies, Moon Babies by Japanese American queer artist Ei Arakawa-Nash at the 61st International Art Exhibition of La Biennale di Venezia (Biennale Arte 2026) from 9 May to 22 November 2026 at the Giardini di Castello, Venice, Italy. This will be a co-curatorial collaboration between Horikawa Lisa, Senior Curator and Director (Curatorial & Collections), National Gallery Singapore, and Takahashi Mizuki, Executive Director and Chief Curator, Centre for Heritage, Arts and Textile (CHAT) in Hong Kong.
#eiarakawanash #japanpavilion #japanfoundation #labiennaledivenezia #grassbabiesmoonbabies
Image I: Grass Babies, Moon Babies exhibition logo, designed by Mori Daishiro and Koike Toshiki
Image II: The Arakawa-Nash twins have inspired the concept and motifs of this exhibition. Photo: Ei Arakawa-Nash
OPENING SOON
Positive Aesthetics
with works by Jef Geys, Ei Arakawa-Nash, Maximiliane Baumgartner, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende
May 1st - June 20th, 2026
Opening: Thursday, 30th April, 6pm
Galerie Max Mayer is pleased to announce 'Positive Aesthetics', a group exhibition with works by Jef Geys, Ei Arakawa-Nash, Maximiliane Baumgartner, Nicolás Guagnini, Adam Harrison and Archiv Reinhard Mende. The exhibition centers on Belgian artist Jef Geys, who taught the subject 'Positive Aesthetics' from 1960 to 1989 and conceived art as a collective, social learning process. In dialogue with his approach, the participating artists foreground pedagogical, social, and linguistic questions, highlighting art as a shared form of learning and knowledge production today.
Gallery weekend opening hours:
Friday, May 1st, 11am to 9pm
Saturday, May 2nd, 11am to 6pm
Sunday, May 3rd, 11am to 6pm
@jef.geys.estate @ei.arakawa.nash @maximilianebaumgartner @studioadamharrison #nicolasguagnini @archivmende
Image: Jef Geys, Fruit Bowl, 1967, iron plate, four fruits and one leaf magnet, 60 x 60 cm
LAST CHANCE TO SEE
Portrait (S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
#annaoppermann #lorettafahrenholz #tishanhsu
📸 Loretta Fahrenholz, Limits and Fits IT2, 2024. Photo by Ingo Kniest
ART DÜSSELDORF 2026
Booth F03
April 17 - 19
with works by:
Ei Arakawa-Nash
Maximiliane Baumgartner
Adam Harrison
Tobias Hohn & Stanton Taylor
#eiarakawanash #maximilianebaumgartner #adamharrison #tobiashohnstantontaylor #artdüsseldorf
📸 Johannes Bendzulla
OPENING SOON
Art Düsseldorf 2026
Booth F03
with works by
Ei Arakawa-Nash, Maximiliane Baumgartner, Adam Harrison, Tobias Hohn & Stanton Taylor
April 17- 19, 2026
Preview day: April 16, 2026
#eiarakawanash #maximilianebaumgartner #adamharrison #tobiashohnstantontaylor #artdüsseldorf @artduesseldorf
Image: Adam Harrison, The Queen of the Prom (Decommissioned), 2025
CONSTELLATIONS | WARSAW
APRIL 10-12, 2026
Wschód hosting Galerie Max Mayer (Berlin)
@wschodgallery
@maxmayerdotnet
Featuring: Cudelice Brazelton IV, Tobias Hohn & Stanton Taylor, Nicolás Guagnini
@cudelice__
@happinessdevoursthefuture
@tobias_hohn_
–
Cudelice Brazelton IV
Polished Plume, 2026
shoe polish, graphite on canvas
55 × 40 cm
Tobias Hohn & Stanton Taylor
Reinforcement II, 2025/26
UV cured ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel
45 × 60 cm
CONSTELLATIONS | WARSAW
APRIL 10-12, 2026
Wschód hosting Galerie Max Mayer (Berlin)
@wschodgallery
@maxmayerdotnet
Featuring: Cudelice Brazelton IV, Tobias Hohn & Stanton Taylor, Nicolás Guagnini
@cudelice__
@happinessdevoursthefuture
@tobias_hohn_
–
Cudelice Brazelton IV
Polished Plume, 2026
shoe polish, graphite on canvas
55 × 40 cm
Tobias Hohn & Stanton Taylor
Reinforcement II, 2025/26
UV cured ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel
45 × 60 cm
CONSTELLATIONS | WARSAW
APRIL 10-12, 2026
Wschód hosting Galerie Max Mayer (Berlin)
@wschodgallery
@maxmayerdotnet
Featuring: Cudelice Brazelton IV, Tobias Hohn & Stanton Taylor, Nicolás Guagnini
@cudelice__
@happinessdevoursthefuture
@tobias_hohn_
–
Cudelice Brazelton IV
Polished Plume, 2026
shoe polish, graphite on canvas
55 × 40 cm
Tobias Hohn & Stanton Taylor
Reinforcement II, 2025/26
UV cured ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel
45 × 60 cm
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
ON VIEW
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna
Oppermann
until April 18th, 2026
In the exhibition, all three artists transfer the (work-) body across different systems, the work thereby becomes an open interim state of archiving, remembering and self-interrogation. Their work process can be understood as the development of a new syntax, a grammar that responds to (new) media-structural conditions. These are anticipated in the work of Anna Oppermann, reflected upon in the work of Tishan Hsu and taken as a natural given in the work of Loretta Fahrenholz. Syntax here does not imply a rational overview, but rather a form of dysphoria: a network of images that refuses immediate coherence.
@annaoppermannestate @tishanhsu #lorettafahrenholz #annaoppermann #tishanhsu #portraitherrs
📸 Ingo Kniest
OPENING SOON
Portrait(S)
Loretta Fahrenholz, Tishan Hsu and Anna Oppermann
March 13th - April 18th, 2026
Opening reception: March 13th, 6pm
Galerie Max Mayer is pleased to announce Portrait(S), a group exhibition with works by Loretta Fahrenholz, Tishan Hsu and Anna Oppermann.
#lorettafahrenholz #tishanhsu #annaoppermann @tishanhsu @annaoppermannestate
Image: Anna Oppermann, Untitled, 1967, pencil and colored crayon on paper, 39.5 x 33.2 cm (framed)
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
Image 1/2: The Nature of Love, 2026
beech wood, steel, foam, polyvinyl butyral, plexi glass, reflectors, acrylic paint, acrylic lacquer, screws; 30 x 30 x 33 cm
Image 3: Reinforcement III, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 4: Reinforcement IV, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
Image 5: Reinforcement II, 2025/26
UV cured ink, chrome ink, acrylic paint, acrylic primer, varnish and newspaper on beech panel; 45 x 60 x 3 cm
#tobiashohnstantontaylor
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
ON VIEW
Tobias Hohn & Stanton Taylor
Eat Pay Love
until March 7th, 2026
The exhibition Eat Pay Love transforms the gallery into a space where interaction, feedback, and decision-making can be experienced directly. Through a series of spatial interventions, it both enables and restricts forms of participation, shifting the roles between visitors and other actors.
The recent works by Tobias Hohn & Stanton Taylor take their cue from theories of learning developed in early behavioral psychology and cybernetics, where learning is understood less as a subjective phenomenon, and more as the product of predetermined environments and routine interactions. Applied across the exhibition, this logic treats the gallery’s architecture and infrastructure as active material rather than neutral support.
#tobiashohnandstantontaylor #tobiashohn #stantontaylor #eatpaylove #galeriemaxmayer
📸 Ingo Kniest
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.