TABLEAU VIVANT (2026) at k48, Vienna

Tableau Vivant was an exhibition and performance project presented at k48 – Projektraum Oliver Hangl in Vienna in March 2026.

The exhibition unfolded as a constellation of works centered on body-printing, material transmutations, and post-digital and ecological reflection.

The main installation, Tableau Vivant (2026), consisted of a double-sided UV-printed cloth depicting a disfigured world map of contemporary armed conflicts, challenging the dispositif and power structures embedded in the medium of cartography. One side presented a materially unstable map of ongoing violence, while the reverse side carried body prints produced through embraces with audience participants using menstrual blood and liquid chlorophyll. The cloth was subsequently treated with a urea solution, initiating crystallization processes that gradually formed mineral-like structures across the surface.

The exhibition also included Casting Sun and Oxygen for a Collective Rebirth (2024), a body-printing performance documented through a single-channel video (22:02 min) and two body prints on incontinence sheets. The performance brought together menstrual blood and liquid chlorophyll as what the artist terms “life matters”, staging a ritual gesture of regeneration grounded in ecological interdependence.

Red Drops (2026) was an installation composed of a medical dissection kit, the artist’s menstrual blood, and a sterile medical bandage. The work evoked global and historical violence while drawing on the concept of the “red drop” from tantric subtle-body cosmology, placing it in dialogue with ecological philosophy and ideas of material entanglement, vulnerability, and compassionate interdependence.

Inhale Life (2026) was a spatial installation of A4 glossy prints generated through intentionally miscalibrated printing commands, producing glitch-like tonal instability and semi-transparent surface effects. The work explored the aesthetics of error and the fragility of digital authority, while referencing the vibrant matters used across the exhibition.

Love Is Who You Are (2026) was presented as a vitrine inscription functioning as a secular litany and ethical counter-motto. The text extended the contemplative dimension of the exhibition by proposing a horizon of ecological reciprocity, care, and radical imagination.

Together, the works formed a reflective environment addressing corporeality, violence, transformation, and more-than-human interdependence through performance, installation, and material research.