Kunstverein Braunschweig

The small works made of glass float through "Attic" by ANNETTE SENNEBY (), curated by Emily Fahlén (), in a composition inspired by birdsong. The prisms are produced through a lamination process that uses UV light to bond the layers of glass together. Between the layers, small paintings appear, created with an airbrushing technique using thin tubes connected to paint reservoirs. The prisms reflect the shifting light throughout the day. Senneby’s wall-mounted works of glass, steel, and canvas engage the viewer’s bodily awareness of the space and its shifting orientations in the room: What is in front? What is below?

Sues Eye (Series of 10), 2006 – 2016
Waterjet-cut, UV-laminated glass with pigment between layers
Variable dimensions

Aura, 1989
Cold blued steel
18 x 17 x 2 cm

Marcel, 2008
Waterjet-cut, UV-laminated glass with pigment between layers
19 x 19 cm

Attic, 1992
Cold blued steel
28 x 20 x 0,2 cm

Flame, 2013 – 2022
Pigment, canvas
54 x 56 x 4,5 cm

Waterjet-cut, UV-laminated glass with pigment between layers
20 x 20 cm

"Attic" is curated by Emily Fahlén () in dialogue with Cathrin Mayer ().

Credit: (1–5, 8–10) Annette Senneby, Attic, exhibition view. Courtesy the artist. Photos: Frank Sperling. (6–7) Annette Senneby, Attic, exhibition view. Courtesy the artist. Photos: Gloria May Berthold ().

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The group of works "Ring 1–3" (2026), developed for the final two rooms, consolidates the central motifs of the previous works. Responding to the existing windows, LIESL RAFF () installed circular stainless steel sheets exceeding their openings. Along their edges, gathered latex forms voluminous, corporeal structures whose folds recall the art-historical tradition of drapery as sensitive surfaces inscribing inner states and tensions. Mounted in front of the windows, the works confuse architectural functions and enter into dialogue with the nearby classicist figures of Roman goddesses.

Ring 1–3, 2026

Metal, latex, pigment, talcum powder

Approx. 190 cm diameter

Credit: Liesl Raff, Slant, exhibition view. Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna. Photos: Frank Sperling.

“Weeds,” a few weeks later. The work by FONDATION TSCHUESS (Fondation Tschuess) takes shape through the vegetation left undisturbed in the courtyard of the Kunstverein, continuously changing with the seasons, and the passage of time.

“Weeds”, 2026, is an instruction-based architectural program looking into both the construction and upkeep of an image. In the broadest sense, the term refers to any plant growth in an undesired location, making it a subjective and socially constructed category. The work’s instructions define upkeep as the cultivation of naturally occurring growth.

FONDATION TSCHUESS
Weeds, 2026
Wild growth
Dimensions variable

Credit: Courtesy Fondation Tschuess. Photos and video: Kunstverein Braunschweig.

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Join us this September at Kunstverein Braunschweig to explore the current exhibitions through guided tours. Find the full program on our website.

Guided Tour with MICHAEL RAY-VON () and JUNIA THIEDE ()
Saturday, September 19, 2026, 4 pm
Free of charge, plus admission
In English

Public Guided Tours
Thursdays 6 pm and Sundays 3 pm
Free of charge, plus admission
In German

A reminder for your visit: admission is free on Sunday, September 6!

Beautiful moments from our annual Summer Dinner with our loyal funding members and valued partners.

Looking back on an evening filled with warmth, connection, and celebration. A heartfelt thank you to everyone who helped make this special evening possible, and a very special thank you to Uki Munte for her wonderful and thoughtful table decorations.

Thank you to everyone who made this evening so memorable.

Photos: Kunstverein Braunschweig.

"Punctured Noguchi" (2026) offers a world landscape on a modest scale. The work consists of a Vitra reproduction of a table lamp designed by Isamu Noguchi, with a fine perforation added to its washi paper shade. The lamp is illuminated by an amber-colored darkroom bulb. Through the small hole, we can catch a glimpse of the interior. Only when the viewer’s line of sight aligns with the hole and the bulb does the hole appear. The traditionally candle-lit lamp was updated by Noguchi’s design with an electric bulb for domestic use. At the same time, the lamp as a sculpture evokes the pastoral: the traditional washi material comes to the foreground, while the modern light source recedes into the background. Similar to "Pasture", the perforation in "Punctured Noguchi" creates a landscape of perception, in which foreground and background emerge only through the viewer’s position. Depending on the viewer’s movement, the hole appears or disappears, placing different historical moments in tension.

Punctured Noguchi, 2026

Modified Vitra Akari 1AD, darkroom safelight bulb

39 x 25 cm

Credit: Michael Ray-Von, Interference Pattern, exhibition view. Courtesy the artist. Photos: Frank Sperling.

Although based on a two-dimensional surface, the holograms contain a virtual three-dimensional space whose sculptural depth only unfolds through shifting perspective. On the table, the surplus light of the laser projects the shadows of the holographic plates onto the partition walls behind them, which were salvaged from an architectural model of the Remise. By reintroducing the exhibition space disorganized and reduced in scale, the exhibition itself is framed as an imaging medium shaped by historically formed regimes of viewing and showing.

Pasture, 2026

Holographic films on glass plates, laser diode modules, foam boards, hardware

Various dimensions

Credit: Michael Ray-Von, Interference Pattern, exhibition view. Courtesy the artist. Photos: Frank Sperling.