Of Place and Passage: Actions and Images by Stephan Koplowitz
Of Place and Passage: Actions and Images by Stephan Koplowitz explores the creative practice of internationally acclaimed choreographer and interdisciplinary artist Stephan Koplowitz, whose work transforms architecture, landscapes, and public spaces into sites of movement, perception, and encounter. Bringing together photography, video, installation, and archival materials, the exhibition reveals the interconnected processes through which performance is conceived, documented, and remembered.
Rather than treating photography and moving image as records of completed performances, Koplowitz uses them as integral choreographic tools—ways of observing, composing, and reimagining the relationships between bodies, place, and time. Across the exhibition, visitors encounter works that trace the evolution of ideas from intimate studies of movement to ambitious, large-scale performances unfolding across cities, waterways, and architectural landmarks.
Organized around themes of seeing, repetition, reflection, and the choreography of public space, Of Place and Passage invites audiences to experience movement beyond the stage. The exhibition offers a rare opportunity to explore the breadth of Koplowitz’s artistic practice while considering how performance continues to shape the ways we perceive our built and natural environments. Through image, motion, and spatial experience, the exhibition encourages viewers to look closely, move thoughtfully, and discover choreography embedded within the everyday.
Unfinished Histories: Jann Haworth and the Celebration of Equality
Unfinished Histories: Jann Haworth and the Celebration of Equality examines the artist’s six-decade career through the lens of feminist ‘making’, collective visibility, and the ongoing work of rewriting art history. A pioneer of soft sculpture and co-designer of the iconic Sgt. Pepper’s Lonely Hearts Club Band album cover, Haworth has consistently used alternative materials (fabric, vinyl, clay, cardboard), and collaboration to challenge the gendered hierarchies of both history and public memory.
Central to the exhibition is Haworth and Liberty Blake’s Work in Progress, an expansive and collaborative mural that undertakes a feminist revision of art history by decentering the patriarchal canon and foregrounding women across disciplines, periods, and identities. Featuring more than 500 figures, the mural exemplifies Haworth’s enduring commitment to equality and historical credit through acts of communal authorship and structural inclusion.
Haworth's solo work, encompassing stitched figures, hand-sewn pop culture imagery, and intricate portraits, elevates traditionally private and feminized crafts like sewing, fiber arts, and domestic labor into serious forms of artistic expression. Her work challenges the imbalance that women face across society, the traditions of ‘accepted materials’ for art making, and the subjects that are worthy of attention.
This exhibition reframes Haworth’s soft sculptures and collaborative mural practice not simply as aesthetic innovations, but as feminist strategies for reshaping who gets remembered, and which form is key to their representation.
Uprooted: sitework
Uprooted: sitework positions soil as both unstable and generative material. Drawn from landscapes marked by industrial residue and environmental precarity, these works move through cycles of maintenance, erosion, and renewal. The search for ground—material, ecological, and conceptual—unfolds within a terrain where stability is increasingly uncertain, asking what it means to take root in compromised conditions. Repair emerges not as resolution, but as a sustained, provisional act.