Running from 17 September to 4 October 2026, Ways of Knowing Otherwise brings together works developed during the three-month AIR-M Ebenböckhaus residency of Emilia de las Carreras (Buenos Aires, Argentina) and Fátima Rodrigo (Lima, Peru). Curated by NEBYULA by Rosa Stern Space e.V. in collaboration with Salta art and presented at SOSOSO Space, it reflects an intensive period of artistic research, experimentation, and local exchange.

Throughout their residency, both artists immersed themselves in Munich’s cultural and industrial landscape by visiting studios, engaging with regional practitioners, researching museum archives, and collaborating with local workshops and recycling initiatives.

The exhibition is organized and supported by Salta art and curated by NEBYULA by Rosa Stern Space e.V.

Emilia de las Carreras and Fátima Rodrigo are artists in residence at AIR-M Ebenböckhaus in Munich, from 7 July to 24 September 2026, through a collaboration between the Department of Arts and Culture of the City of Munich and Salta art, in partnership with ERA Foundation.

Exhibition text by Teresa Retzer.

Opening: Thursday, 17 September 2026, 4–8 PM

Exhibition: 17 September–4 October 2026

Opening Hours: Friday–Sunday, 12–5 PM, and by appointment at info@saltaart.org

Location: SOSOSO Space Lindenschmitstraße 27 Sendling, Munich

About the artists

Emilia de las Carreras explores the transformative potential of discarded urban and industrial materials collected across Munich. Drawing inspiration from research in medicine and biology, she refashions these salvaged objects through processes of weaving, connecting, and assembling. Her sculptural structures evoke living organisms, reflecting broader themes of ecological systems, adaptability, collective repair, and care.

Fátima Rodrigo continues her decade-long investigation into the translation and circulation of modernist aesthetics and popular visual cultures in Latin America. Drawing on research in Munich’s archives and collections, she examines how histories of design, industry, and exhibition practices intersect with her own artistic practice. Using beads, sequins, metallic threads, and industrial textiles, her immersive installations challenge postcolonial narratives, authorship, and conventional boundaries between traditional craft and avant-garde expression.

About SOSOSO Space

SoSoSo Space is an independent exhibition space for contemporary art in Munich’s Sendling district. It provides a platform for experimental artistic practices, exhibitions, and collaborative projects, fostering exchange between artists and local audiences.

About NEBYULA by Rosa Stern Space e.V.

NEBYULA by Rosa Stern Space is a free artistic production and presentation organization, which is used as an autonomous platform and interactive network beyond the logics of institutions and the market. Central to this is the examination of discourses, ideas and theories of space. We combine analog and digital exhibition formats and offer—physically and virtually—a participatory and discursive place for the mediation of contemporary art. The interdisciplinary projects focus is on technology, future-oriented contemporary issues and the emerging in-between spaces. The promotion of art education, (inter)national networking and transcultural exchange is made possible through a series of artistic interventions and collaborations.

The exhibition Luz del Sur presents works created by artist Gala Berger during her residency at AIR-M Ebenböckhaus.

Gala Berger works across disciplines, drawing from her involvement in independent spaces, textile practices, and collaborations within activist groups. These facets and cooperative works inform and nourish her textile collage pieces, blurring the boundaries between work and collective activity. Her practice unfolds through collecting materials, exchanging, and listening—approaches that shape both the content and form of her works.

A central concern in her practice is the construction of images from open archives to reflect on repair within the Latin American context. By assembling commonly circulated or underexamined visual material, she evokes overlooked narratives—especially those marginalized by colonial Western frameworks—and connects them to contemporary urgencies. Her installations incorporate a wide range of elements: water, fabrics, pigments, soil, digital files, tablecloths, paper, prints, and oral histories. These are composed into mobiles, wall hangings, and large-format textile works.

Luz del Sur [Südliches Licht] continues this line of work. Produced in Munich during the summer of 2025, the series takes its title from an electric utility company in Lima, where the artist currently lives. Here, the reference becomes a point of connection—between cities, between dim light and shadow, organic matter and industrial surfaces. The works also reflect Berger’s research on the history of German shadow theatre carried out during her residency, where she revisited local collections and archives to trace possible links with Latin American narratives. In this way, the exhibition expands her interest in hybrid traditions and in how images and stories migrate across geographies.
Fragmentation is another recurring element: multiplicity as a method. Like whispers from diverse backgrounds conversing simultaneously, the works emphasize a collective, plural, and mutable dimension—a kind of practice that speaks of many worlds.

Gala Berger (b. 1983, Argentina) is an artist, curator, and researcher based between Lima and Mexico City. Her work is grounded in Latin America and often unfolds through the creation of independent platforms. She is a member of Retablos por la memoria, a collective producing street interventions for human rights in Peru, and Colección Cooperativa, an experimental project exploring collective ownership in art. From 2018 to 2025, she co-founded and ran Casa MA, a space dedicated to diverse identities in Central America.
Berger was a fellow at ICI Kampala, Uganda (2022), and at RAW Académie CURA #6 in Senegal (2019). In Buenos Aires, she co-founded La Ene – New Energy Museum of Contemporary Art (2010–2020) and the Paraguay Printed Art Fair. Her work has been presented in exhibitions across cities including Santo Domingo, São Paulo, Lima, Los Angeles, Mexico City, Buenos Aires, Seoul, Querétaro, Sorocaba, Medellín, Montreal, Tampere, Rio de Janeiro, San Juan, San José, Guatemala City, Stockholm, Santiago, and Rosario.
Since 2022, Berger has collaborated with policymakers from the European Commission’s Directorate-General for Environment and researchers from the Joint Research Centre on a project concerning agriculture in the Amazon. This initiative also includes Shipibo artist Metsá Rama and explores the intersections of art, ecology, and Indigenous knowledge.

Organised by Salta art, in collaboration with Space nn.
Berger is currently an artist in residence at AIR-M Ebenböckhaus, a collaboration between the City of Munich’s Department of Arts and Culture and Salta art.

Exhibition text by curator Laura Ganda.

Opening: Wednesday, September 17, 6 PM

Opening hours: Friday–Sunday, 2–6 PM

Or by appointment: info@saltaart.org

Join artist Mercedes Azpilicueta on a performative walk through Munich, retracing the footsteps of Anna Mary Howitt as described in her book An Art Student in Munich (1850). This collective, embodied act unfolds through key locations, where selected passages from Howitt’s writings will be read aloud, bridging her reflections with the present. The walk includes a visit to Azpilicueta’s exhibition at Luitpoldblock, where she expands this dialogue, before concluding at Bayerischer Hof, where Howitt stayed in 1873.

Date: Thursday, May 8, 5 PM

Starting point: Instituto Cervantes München, Alfons-Goppel-Straße 7, 80539 Munich

Ending point: 6 PM, Bayerischer Hof, Promenadeplatz 2-6, 80333 Munich

The walk takes place in the frame of the exhibition An Art Student in Munich, on view at Luitpoldblock, Salvatorplatz 4, 80333 Munich, until May 18. In collaboration with Instituto Cervantes München and as part of Various Others.

Metabolic Sessions, a project exploring contemporary creation by the Instituto Cervantes in Munich, promotes the vision of Spanish-speaking artists of various nationalities. Inspired by Clémentine Deliss’s idea of renewing museums, this project rethinks cultural activities to uncover new perspectives. In 2025, Salta art presents an exhibition by artist Mercedes Azpilicueta.

By revisiting the book An Art Student in Munich, Argentine artist Mercedes Azpilicueta connects the protofeminist perspective of Anna Mary Howitt, who navigated the male- dominated art world of the 19th century, with contemporary themes of diversity, equity and inclusion. Known for exploring radical education and spirituality in art, Azpilicueta amplifies the historically marginalized contributions of women. Her analysis shows how artists like Howitt challenged conventions, highlighting a legacy of voices in the artistic discourse long before their formal recognition.

Through textile works, performance, and installations with objects and drawings, Azpilicueta rethinks art history, giving poetic voice to overlooked narratives and reexamining the legacies of women in art. Aware of the gender inequalities and hierarchies that restricted women’s access to academies, training spaces, and exhibitions in the late 19th and early 20th centuries, Azpilicueta recovers female figures who, despite the limitations they faced, made significant contributions to culture.

For the exhibition, Azpilicueta focuses on the years British artist Anna Mary Howitt spent in Munich, where she arrived in 1850. Associated with the Pre-Raphaelite Brotherhood and the daughter of a suffragist mother, Howitt published articles about her life in Germany, which were compiled in the book An Art Student in Munich (1853). Denied the opportunity to develop a career as a painter alongside her male colleagues, Howitt turned to spiritualism, becoming a medium and using drawing to communicate with the beyond. Her mystical drawings are expressions of abstract art, created long before Kandinsky, Mondrian, and other avant-garde artists abandoned figuration. Howitt’s forms do not correspond to empirical experience, and it is precisely this detachment from the visible world that makes her drawings approach the spiritual and the mysterious.

The exhibition features a large-scale installation that includes sculptures, drawings, and carpets inspired by Anna Mary Howitt’s experiences in 19th-century Munich. Three modular sculptures, crafted from second-hand easels, period furniture, leather, and repurposed materials, reference the shared studio space Howitt described in her book. These sculptures, designed in collaboration with Katharina Kasinger, are transformable, emphasizing fluidity, hybridity, and the merging of subjectivities. Azpilicueta’s drawings, integrated into carpets, provide a poetic reimagining of Howitt’s journey, bridging historical narratives with contemporary feminist perspectives. The installation as a whole invites reflection on women’s artistic contributions and the resilience of overlooked histories.

In revisiting Munich—a city that has long nurtured the imagination of artists—she uncovers hidden stories, reaffirming the significance of these silenced voices in shaping culture.

Opening: Friday, 21 March, 6 PM

Duration: 21 March – 18 May

Opening Hours: Thursdays to Sundays, 12-6pm, visits also possible by appointment at info@saltaart.org

Location: Salvatorplatz 4, Luitpoldblock, 80333 Munich

Production in collaboration with Katharina Kasinger

Exhibition design in collaboration with Vanina Scolavino

Presented in collaboration with Instituto Cervantes Munich.

Mercedes Azpilicueta (La Plata, Argentina, 1981) is a visual and performance artist from Buenos Aires who lives and works in Amsterdam. Her artistic practice brings together various characters from the past and present who approach the vulnerable or collective body from a decolonial feminist perspective. Through fluid and associative connections, she counters rigid historical narratives to dismantle them and create space for affective and dissident voices to emerge. Her work manifests in performative and sculptural installations, inspired by speculative and fictional Latin American literature, neobaroque art history, contemporary popular culture, and new materialism theory. Through collaborative and interdisciplinary practices, she combines “precarious” craft-based techniques—historically associated with obsolete domestic knowledge—with industrialized productions.

She was a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam
in 2015-16 and received the Pernod Ricard Fellowship in 2017. Her solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); and MAMBA, Buenos Aires (2018). Her work has been presented at Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all in 2018); CA2M, Móstoles (2017); Onomatopee, Eindhoven (2016); TENT, Rotterdam (2015); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

This exhibition showcases works created by resident artists Julia Retz and Andrés Aizicovich during their residency, focusing on memory, the body, and tradition. Through sculpture, video, and performance, the artists examine the weight of history, architecture, and collaboration.

Julia Retz transforms architectural imagery into tactile objects using latex, evoking qualities of both skin and structure to explore what buildings conceal beneath their façades. In dialogue, Andrés Aizicovich presents a hybrid sculpture—a wind instrument activated by three performers—that reflects themes of cooperation, transmission, and harmony.Organized by Salta art in collaboration with space n.n.

Opening: Friday, 13th December at 6 PM.

The exhibition will reopen on January 7th, running until January 17th, by appointment at info@saltaart.org only.

Salta art invites curators from South America for the second and final edition of its collaboration with Sorry Press and its space in Munich’s Wiener Platz. The exhibition features a public intervention by the renowned Chilean artist Alfredo Jaar, curated by Espacio Temporal as part of Various Others. The work consists of 14 flags presented around the square, as well as a selection of printed posters available inside the kiosk for visitors to take. In addition, the posters are displayed in 78 different U-Bahn stations across the city of Munich, for 10 days during the run of the exhibition. The visual language of the posters is symbolically charged, presented in colors representing different European national flags, the European flag and, in conjunction with the Gramsci quotation, directs attention to a much-needed poetic and political intervention.
This exhibition is supported by Salta art.

Alfredo Jaar (Santiago, 1956) is an artist, architect, and filmmaker who lives and works in New York. His work has been shown extensively around the world. He has participated in the Venice Biennial (1986, 2007, 2009, 2013), São Paulo Biennial (1987, 1989, 2010, 2021) as well as Documenta in Kassel (1987, 2002).

Espacio Temporal is an independent, non-profit exhibition space in France dedicated to fostering dialogues between contemporary artistic practices from Latin America, the Caribbean, and Europe. This innovative platform presents exhibitions, publications, architecture, film, music, and performance. As an ephemeral project that defies institutional norms, it serves as an experimental and collaborative space for friendships and creative energies. Curator Sofía Lanusse and artist Iván Argote have spearheaded Espacio Temporal since 2020.

This exhibition is supported by Salta art, in collaboration with Espacio Temporal and Sorry Press.

Opening Hours: Mon – Fri 1-5pm, Sat – Sun 12-6pm

Address: Wiener Platz 9. 81667 Munich

Gabriela Mureb
Crash

23–24 September, 2 –7pm
Opening 22 September, 6pm

Florida Lothringer 13
In collaboration with Salta art

Crash presents the first public viewing of resident artist Gabriela Mureb’s new film shot at the BMW Recycling & Demontage Centre (RDZ). Gabriela is in the final stage of her three-month residency and the film will present her latest research into machines and mechanical processes informed by and produced at the site of the recycling plant.

Mureb’s work addresses relationships among body, technology and the world, proposing that we listen to machines as a way of listening to the path that produced them, continuously reenacted in their movements. Filmed at the BMW Recycling & Demolition Centre (RDZ), Crash provides an opportunity to observe Western world’s industrial heritage through the insides of a technical event.

Gabriela Mureb lives and works in Rio de Janeiro and is currently in residency at AIR-M Ebenböckhaus in Munich – a collaboration between Salta art and the Department of Arts and Culture of the City of Munich.

We’d like to thank to the BMW group, specifically Janine Thies and Christiane Pyka for facilitating this great collaboration, and the Florida team for hosting the project!

Exhibition text by curator Sarah Theurer.

The exhibition is supported by Florida Lothringer 13, the Department of Arts and Culture of the City of Munich and Salta art.

Maria Noujaim has developed an artistic language from the relationship of sculptural form, live performance, and dance notation. Currently based in the highlands of Mantiqueira, Brazil, Noujaim’s practice departs from collaborative, workshop-based ways of making and involves rigorous observations and communion with flora and fauna.

At Schwabinggrad, Noujaim presents Leda and the Swan. An installation of two sculptures activated by Noujaim’s dance, the work is a minimal retelling of the aforementioned myth. Depicted in classical and modern painting, sculpture, poetry, and more, Leda and the Swan is the myth of the Spartan queen Leda, pursued by Zeus, who seduces and rapes her in the disguise of a swan. From this ignoble union, Leda gave birth to Helen, later known as Helen of Troy, the famous “face that launched a thousand ships” of the Trojan War. Like the Rape of Europa and other Greek myths of sexual violence and warfare, Leda and the Swan speaks to the brutal force of sexual subjugation that still resonates today.

Using her signature minimal sculptural forms, Noujaim creates an arena in which the narrative of Leda and the Swan is implied. Yet the space also offers itself as both a stage and a score for Noujaim’s performance: it provides the place where the performance happens as much as it ascribes the kind of movements that are possible. Based on her extensive studies of dance notation, Noujaim’s installations form a new kind of choreographic art that expresses itself equally though dance as through sculpture.

Curated by Giampaolo Bianconi

Check our insights section for a teaser of the performance!

Opening

Saturday, 10 Sep 2022, 5pm

Supporters

City of Munich Department of Arts and Culture

Schwabinggrad

Salta art

Maria Noujaim graduated in Dance from the Angel Vianna School (RJ) and Art History from PUC-Rio. Born in 1986, she lives and works in Rio de Janeiro and São Paulo. Her work stems from movements conformed between sculpture and language, with investigations into form and poetry. From a practice that begins in the body, it carries its own spatiality through the use of materials, drawings and the production of scores in the work with interpreters. The artist frequently expands her practice through pedagogical exercises and since 2019 she has been working with psychiatric patients from CAPS EAT at Engenho de Dentro, Rio de Janeiro. She had a solo show, “Restarts: four beginnings,” at Jaqueline Martins Gallery (São Paulo) and has participated in group shows in independent and institutional spaces such as Observatório (São Paulo), Change-Change (Budapest), Oi Futuro (Rio de Janeiro), Casa França-Brasil (Rio de Janeiro), Galeria Bruno Múrias (Lisboa), among others.  In 2020, she was selected for the Grants and Commissions Program Award of Cisneros Fontanals Art Foundation (Miami, USA).