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Next: ⁠ 𝗪𝗲 𝗮𝗿𝗲 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝘆𝗼𝘂 𝗮𝗹𝗹, 𝗯𝘂𝘁 𝘄𝗲 𝗮𝗿𝗲 𝗻𝗼𝘁 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝗮𝗻𝘆𝗼𝗻𝗲 𝗲𝗹𝘀𝗲⁠

⁠ Im Rahmen ihrer Tätigkeit bietet diese innerhalb verschiedener Ausstellungs-, Veranstaltungs- und Projektformate jungen und internationalen Künstler*innen, Kurator*innen und dem Publikum ein Forum zur Vermi

ttlung und kritischen Auseinandersetzung von Fragen an den Schnittstellen von Kunst, Wissenschaft, Politik und Aktivismus. Sowohl das Programm in den eigenen Ausstellungsräumlichkeiten, als auch die nach außen gehenden Kooperationsprojekte sind stark von internationaler Vernetzung, einem lebendigen Gegenwartskunst-Begriff und transdisziplinärem Zugang zu divergierenden gesellschaftlichen, politischen und ökonomischen Verhältnissen geprägt.

21/04/2026

𝗗𝗶𝘀𝘀𝗼𝗹𝘂𝘁𝗶𝗼𝗻 𝗼𝗳 𝘁𝗵𝗲 𝗽𝗿𝗲𝘀𝗲𝗻𝘁⁠
⁠
⁠𝗢𝗽𝗲𝗻𝗶𝗻𝗴⁠
𝟮𝟭.𝟬𝟰.𝟮𝟬𝟮𝟲 𝟭𝟵:𝟬𝟬⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟮𝟮.𝟬𝟰–𝟮𝟵.𝟬𝟱.𝟮𝟬𝟮𝟲⁠
⁠
𝗙𝗲𝗮𝘁𝘂𝗿𝗲𝗱 𝗮𝗿𝘁𝗶𝘀𝘁: 𝗕𝗮𝘀𝗶𝗹𝗲 𝗗𝗶𝗻𝗯𝗲𝗿𝗴𝘀⁠
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Basile Dinbergs (b. 1985, Geneva, Switzerland) is an artist working primarily across performance and sculpture. He lives and works between Geneva and Canadà, Portugal, where he is involved in a collective agricultural project centred on olive oil production. His practice revolves around the French verb cueillir—to gather, forage, or find—drawing on found materials, anecdotes, and the narratives that emerge around them, often activating them through site-specific performances. Recent projects include LOGI, presented at the Swiss Performance Awards at Kunstmuseum Basel (2025); Quel câble couper, a collaborative performance with Lorenzo Lunghi at Palazzo Bronzo, Genova (2025); and These Tears Won’t Let Me Look at the Water, a solo exhibition and performance at the offspace Le Trou in Geneva (2024).

20/04/2026

𝗗𝗶𝘀𝘀𝗼𝗹𝘂𝘁𝗶𝗼𝗻 𝗼𝗳 𝘁𝗵𝗲 𝗽𝗿𝗲𝘀𝗲𝗻𝘁⁠
𝗛𝘂𝗻𝘁𝗲𝗿 𝗟𝗼𝗻𝗴𝗲⁠
𝘄𝗶𝘁𝗵 𝗮 𝘁𝗲𝘅𝘁 𝗯𝘆 𝗟𝘂𝘇𝗶𝗲 𝗠𝗲𝘆𝗲𝗿⁠
𝗣𝗲𝗿𝗳𝗼𝗿𝗺𝗮𝗻𝗰𝗲 𝗯𝘆 𝗕𝗮𝘀𝗶𝗹𝗲 𝗗𝗶𝗻𝗯𝗲𝗿𝗴𝘀⁠
⁠
𝗢𝗽𝗲𝗻𝗶𝗻𝗴⁠
𝟮𝟭.𝟬𝟰.𝟮𝟬𝟮𝟲 𝟭𝟵:𝟬𝟬⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟮𝟮.𝟬𝟰–𝟮𝟵.𝟬𝟱.𝟮𝟬𝟮𝟲⁠
⁠
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Hunter Longe is originally from California (b. 1985). Recent solo and group exhibitions have been at Salts, Basel (2025); MACRO Museum of Contemporary Art of Rome (2025); Lateral, Rome (2025); Centre d’art de Neuchâtel (2024); Soft Opening, London (2024); 427, Riga (2024); Kunsthaus Langenthal (2023); Last Tango, Zurich (2023); Centre d’Art Contemporain Genève (2021); Et al. Gallery, San Francisco (2018); LambdaLambdaLambda, Pristina (2017); Hordaland Kunstsenter, Bergen (2017). ⁠
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1. cover⁠
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2. Hunter Longe, Immolation, 2023. Standfieldite in slag from prehistoric sacrificial burning site in Goldbichl, Austria, 67 x 40 x 40 mm (video dimensions variable)⁠
Photo: Mattia Angelini⁠
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3. Hunter Longe, Immolation, 2023. Detail. Photo: Killian Bannwart⁠
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4. Installation view of the exhibition Hunter Longe and Paulo Wirz at Last Tango, Zurich, CH. Curated by Linda Jenson and Arianna Gellini. Photo: Killian Bannwart⁠
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5. Hunter Longe, The past inserts a finger into a slit on the skin of the present, and pulls, 2024⁠
Fossilized coral (~152 million years old, Jura, CH), ultraviolet lasers, L*D blotter tab⁠
Dimensions variable. Installation view at 427, Riga, Latvia. Photo: Līga Spunde⁠
⁠
6. Hunter Longe, Afterlife Navigator (for Amy), 2025. Fossil sea urchins (~120 million years old), L*D blotter tabs, 4.2 x 1.24 x 3.6 cm. Photo: Luana Rigolli.

13/04/2026

𝗗𝗶𝘀𝘀𝗼𝗹𝘂𝘁𝗶𝗼𝗻 𝗼𝗳 𝘁𝗵𝗲 𝗽𝗿𝗲𝘀𝗲𝗻𝘁⁠
𝗛𝘂𝗻𝘁𝗲𝗿 𝗟𝗼𝗻𝗴𝗲⁠
𝘄𝗶𝘁𝗵 𝗮 𝘁𝗲𝘅𝘁 𝗯𝘆 𝗟𝘂𝘇𝗶𝗲 𝗠𝗲𝘆𝗲𝗿⁠
𝗣𝗲𝗿𝗳𝗼𝗿𝗺𝗮𝗻𝗰𝗲 𝗯𝘆 𝗕𝗮𝘀𝗶𝗹𝗲 𝗗𝗶𝗻𝗯𝗲𝗿𝗴𝘀⁠
⁠
𝗢𝗽𝗲𝗻𝗶𝗻𝗴⁠
𝟮𝟭.𝟬𝟰.𝟮𝟬𝟮𝟲 𝟭𝟵:𝟬𝟬⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟮𝟮.𝟬𝟰–𝟮𝟵.𝟬𝟱.𝟮𝟬𝟮𝟲⁠
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The solo exhibition by Geneva-based artist Hunter Longe brings together sculptural works and in-situ installations that explore the perception and compression of various temporal scales, as well as the notion of offerings—both destined for and⁄or originating from the past or the dead. Several of the artworks contain stone fragments from the prehistoric immolation site of Goldbichl, Austria, where sacrificial burning caused animal remains to fuse with rock, forming new mineral species. Alongside these curiously charged stones is a series of heavily eroded gypsum sculptures that the artist considers “dissolving relics of an evaporated sea.” Carefully modulated light and undulating sound bathe these bodies of work, creating an ambient atmosphere that lends itself to a potential slippage in time.⁠
⁠
The exhibition features a text by artist Luzie Meyer and a performance by fellow Geneva-based artist Basile Dinbergs that will take place at the opening.

10/04/2026

𝗪𝗲 𝗮𝗿𝗲 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝘆𝗼𝘂 𝗮𝗹𝗹, 𝗯𝘂𝘁 𝘄𝗲 𝗮𝗿𝗲 𝗻𝗼𝘁 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝗮𝗻𝘆𝗼𝗻𝗲 𝗲𝗹𝘀𝗲⁠
𝗡𝗼𝗼𝗿 𝗔𝗯𝘂𝗮𝗿𝗮𝗳𝗲𝗵⁠
𝘄𝗶𝘁𝗵 𝗮 𝘁𝗲𝘅𝘁 𝗯𝘆 𝗛𝗮𝘆𝘁𝗵𝗮𝗺 𝗲𝗹 𝗪𝗮𝗿𝗱𝗮𝗻𝘆 ⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟴.𝟬𝟯–𝟭𝟰.𝟬𝟰.𝟮𝟬𝟮𝟲⁠ ⁠
⁠
1. cover⁠
⁠
2. exhibition view⁠
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3. “Your Story is Our History”⁠
2017-2021, print on tracing paper, part of the novel “The Earth Doesn’t Tell its Secrets, chapter 9, 120x66cm⁠
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4. What Remains when Nothing is on Display⁠
2017, prints on glass, from the Novel “The Earth Doesn’t tell its Secrets”⁠
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5., 6. “Only The Earth Doesn’t Tell its Secrets”⁠
2017-2021, prints, part of the novel “The Earth Doesn’t Tell its Secrets”, chapter 10, 24x34cm⁠
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7. The Moon is a Sun Returning as a Ghost⁠
2023, one channel video, 10’00"⁠
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8. - 10. Am I the Ageless Object at the Museum?⁠
2018, Video Installation, 15’00"

01/04/2026

𝗪𝗲 𝗮𝗿𝗲 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝘆𝗼𝘂 𝗮𝗹𝗹, 𝗯𝘂𝘁 𝘄𝗲 𝗮𝗿𝗲 𝗻𝗼𝘁 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝗮𝗻𝘆𝗼𝗻𝗲 𝗲𝗹𝘀𝗲⁠
𝗡𝗼𝗼𝗿 𝗔𝗯𝘂𝗮𝗿𝗮𝗳𝗲𝗵⁠
𝘄𝗶𝘁𝗵 𝗮 𝘁𝗲𝘅𝘁 𝗯𝘆 𝗛𝗮𝘆𝘁𝗵𝗮𝗺 𝗲𝗹 𝗪𝗮𝗿𝗱𝗮𝗻𝘆 ⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟴.𝟬𝟯–𝟭𝟰.𝟬𝟰.𝟮𝟬𝟮𝟲⁠
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Noor Abuarafeh lives and works between Jerusalem, Rotterdam, and Vienna.⁠
Her practice explores how history is represented within colonized contexts, looking beyond the structures of the archive and the museum institutions shaped by the modern division of time into past, present, and future. She looks at different practices around archives that differ from traditional representations, seeking alternative ways to think about memory and preservation. Through her work, she questions how history can be represented when the past is still present.⁠
Abuarafeh is currently pursuing a PhD in Practice at the Academy of Fine Arts in Vienna, where she examines the possibility of narrating history beyond its materiality, replacing space with time, and objects with practices. Drawing on diverse sources of knowledge, she constructs historical narratives that weave together oral stories, rumors, myths, gossip, and imagination, envisioning a reality that happened in the past but was never documented.

15/03/2026

𝗪𝗲 𝗮𝗿𝗲 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝘆𝗼𝘂 𝗮𝗹𝗹, 𝗯𝘂𝘁 𝘄𝗲 𝗮𝗿𝗲 𝗻𝗼𝘁 𝘁𝗲𝗹𝗹𝗶𝗻𝗴 𝗮𝗻𝘆𝗼𝗻𝗲 𝗲𝗹𝘀𝗲⁠
𝗡𝗼𝗼𝗿 𝗔𝗯𝘂𝗮𝗿𝗮𝗳𝗲𝗵⁠
𝘄𝗶𝘁𝗵 𝗮 𝘁𝗲𝘅𝘁 𝗯𝘆 𝗛𝗮𝘆𝘁𝗵𝗮𝗺 𝗲𝗹 𝗪𝗮𝗿𝗱𝗮𝗻𝘆 ⁠
⁠
𝗢𝗽𝗲𝗻𝗶𝗻𝗴⁠
𝟭𝟳.𝟬𝟯.𝟮𝟬𝟮𝟲 𝟭𝟵:𝟬𝟬⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟴.𝟬𝟯–𝟭𝟰.𝟬𝟰.𝟮𝟬𝟮𝟲⁠
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The exhibition “We are telling all of you, but we are not telling anyone⁠ else” presents works by Noor Abuarafeh, including video, video⁠ installations, and prints. The works explore refusal as a way of⁠ engaging with history from the present, proposing alternative forms⁠ of remembrance beyond the institutional frameworks of archives⁠ and museums.⁠
⁠
Drawing on decades of unfulfilled promises to establish museums⁠ in Palestine, Abuarafeh questions the museum as a form and its relevance⁠ in a context where the past remains insistently present. She⁠ asks what may be considered history within a colonised condition.⁠
⁠
The narratives unfold through conversations with individuals who⁠ have developed distinctive relationships to archives, museums, and⁠ artworks—relationships grounded not in material possession but⁠ in releasing objects from their physical form. These gestures include⁠ preserving the memory of a missing exhibition from 2005, refusing⁠ nostalgia toward historical photographs, engaging with objects⁠
never meant for display, or protecting artworks and archives from⁠ colonial institutions by burning or burying them.⁠
⁠
Each gesture redefines the bond between objects and history, transforming⁠ acts of disappearance into acts of emancipation.

10/03/2026

𝗞𝗜-𝗗𝗜𝗣𝗙𝗜𝗘𝗦⁠
𝗖𝗼𝗺𝗽𝘂𝘁𝗲𝗿 𝗟𝗮𝗿𝘀, 𝗟𝗲𝗮𝗻𝗱𝗲𝗿 𝗚𝘂𝘀𝘀𝗺𝗮𝗻𝗻⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟯.𝟮.–𝟭𝟬.𝟯.𝟮𝟬𝟮𝟲 ⁠
⁠
1. cover⁠
2.-9. exhibition views

02/03/2026

𝗞𝗜-𝗗𝗜𝗣𝗙𝗘𝗟 – 𝗚𝗜𝗣𝗙𝗘𝗟𝗧𝗥𝗘𝗙𝗙𝗘𝗡⁠
𝗖𝗼𝗺𝗽𝘂𝘁𝗲𝗿 𝗟𝗮𝗿𝘀, 𝗟𝗲𝗮𝗻𝗱𝗲𝗿 𝗚𝘂𝘀𝘀𝗺𝗮𝗻𝗻⁠
⁠
𝟯.–𝟲.𝟬𝟯.𝟮𝟬𝟮𝟲⁠
𝟭𝟳:𝟬𝟬–𝟮𝟬:𝟬𝟬⁠
𝗘𝗶𝗻𝘁𝗿𝗶𝘁𝘁 𝗳𝗿𝗲𝗶⁠
⁠
During these four evenings, we will work together to create a new AI-based political party for Linz. We will draft the party statutes, develop a local program, discuss the kinds of candidates that might be needed, and plan how the party will present itself to the public. Our main focus will be on setting clear procedures, making rules transparent, and defining the role and limits of AI in political decision-making.⁠
AI will be part of the process by suggesting wording, organizing texts, and being carefully reviewed. Together, we will build a practical structure for the party, which will be officially founded in April 2026 and presented to the public in June 2026. The aim is to create a structure that could appear on a Linz ballot in 2027. Everyone interested is welcome to join. Admission is free.⁠
⁠
More details on our website(link in bio)⁠
‍⁠
Due to limited space, we kindly request you to register at kupfticket.com (free admission!).⁠
‍⁠
A local fork of synthetic politics by Computer Lars (DK) and Leander Gussmann (AT) within the frame of the exhibition KI-DIPFIES.⁠
‍⁠
This project is being done in partnership with the Art x Science School for Transformation⁠
(Johannes Kepler Universität Linz).

16/02/2026

𝗞𝗜-𝗗𝗜𝗣𝗙𝗜𝗘𝗦⁠
𝗖𝗼𝗺𝗽𝘂𝘁𝗲𝗿 𝗟𝗮𝗿𝘀, 𝗟𝗲𝗮𝗻𝗱𝗲𝗿 𝗚𝘂𝘀𝘀𝗺𝗮𝗻𝗻⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟯.𝟮.–𝟭𝟬.𝟯.𝟮𝟬𝟮𝟲 ⁠
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Computer Lars is an Aarhus-based art collective founded by Asker Bryld Staunæs, Benjamin Asger Krog Møller, and Marcel Proust, merging AI-driven aesthetic research with anti-political experiments. Known internationally for The Synthetic Party—a provocation on algorithmic democracy cited in the global bourgeoisie via VICE, Le Figaro, Al Jazeera, and TRT World—their work spans contemporary art, political theory, and speculative computation. By transforming art galleries into a multi-agent parliament—bringing together the world’s virtual politicians and international AI parties—they invite visitors to hack, fork, and reinterpret democracy, articulating a broader syntheticism that ideologizes how machine intelligence has, and perhaps should, take over the political sphere, and how democracy itself persists as a mutable artwork.⁠
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1. cover⁠
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2. "ComputerLars " By Marcel Proust, Asker Bryld Staunæs and Benjamin Asger Krog Møller", Exhibited as part of "We Have Already Won – Too-Late Iconoclasm and the Formalism of Psychoenergetic Motions", Curated by the Organ of Autonomous Sciences, 8. Salon, Hamburg, 2025. Photo: Benjamin Asger Krog Møller⁠
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3. "Larsochivo." ⁠
Ujazdowski Castle Centre for Contemporary Art, 2025.⁠
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4. “Under Bugten: Disputations on the ComputerLars Spectacle.” ComputerLars and respectively Peter Borum, Maja Bak Herrie, Sally Dalgaard and Mikkel Bolt. Curated by The Organ of the Autonomous Sciences, AarhusBugt Center for Kunst, 2023. Photo: Tobias Dias⁠
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5.-6. Frame from Theory Tragedy: “Post-Farce Protocol.”⁠
Collaboration between ComputerLars and Simiyya, Kunsthal Aarhus 2025⁠
link: https://www.youtube.com/watch?v=Wa5qOAfnkj0&t=1401s

23/12/2025

𝗠𝗲𝗺𝗽𝗵𝗶𝘀 𝗘𝗱𝗶𝘁𝗶𝗼𝗻𝗲𝗻 𝟮𝟬𝟮𝟱⁠
𝗠𝗮𝗿𝘂š𝗮 𝗦𝗮𝗴𝗮𝗱𝗶𝗻⁠
⁠
𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻⁠
𝟭𝟬.–𝟯𝟭.𝟭𝟮.𝟮𝟬𝟮𝟱⁠
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⁠ Edition "Tears" by Maruša Sagadin is available here:⁠
→ https://www.memphismemph.is/product/tears⁠
⁠
Maruša Sagadin first completed a degree in architecture at the Graz University of Technology. She then studied Performative Arts and Sculpture at the Academy of Fine Arts in Vienna. From 2012 to 2017 she worked as a university assistant at the Academy of Fine Arts Vienna, and in 2023 and 2024 she held a guest professorship in Sculpture at the Academy of Fine Arts in Prague.⁠
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As in Legacy Russell’s Glitch Feminism, where identities and conventions are renegotiated, Maruša Sagadin invites us to question familiar perspectives on everyday materials and urban structures. Her works communicate this above all through ambiguity: in their material appearance, in the use of language, in their colors. Using bodily forms such as noses and eyes, the artist conceals the screws and seams necessary for structural stability, while at the same time highlighting these utilitarian points with postmodern fascination by revealing them through building elements she refers to as “props.” Humor and exaggeration are essential stylistic elements in her installations. She turns the large into the small and the small into the large, and with her material experiments she scratches at the boundaries of vulnerability and disgust. (Marie Oucherif)

Adresse

Untere Donaulände 12
Linz
4020

Öffnungszeiten

Montag	14:00 - 18:00
Dienstag	14:00 - 18:00
Donnerstag	14:00 - 18:00
Freitag	14:00 - 18:00

Telefon

+43 699 18116616

Webseite

http://memphismemph.is/

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