{"id":31429,"date":"2025-09-11T14:39:58","date_gmt":"2025-09-11T12:39:58","guid":{"rendered":"https:\/\/www.kunstmuseum.de\/?page_id=31429"},"modified":"2025-10-01T11:11:11","modified_gmt":"2025-10-01T09:11:11","slug":"utopia-texts","status":"publish","type":"page","link":"https:\/\/www.kunstmuseum.de\/en\/utopia-texts\/","title":{"rendered":"Utopia. The Right to Hope \u2013 Texts"},"content":{"rendered":"\n

Utopia. The Right to Hope<\/a><\/strong>
27.09.2025 \u2013 11.01.2026<\/p>\n\n\n\n

\u201cYou may say I\u2019m a dreamer, but I\u2019m not the only one,\u201d wrote John Lennon and Yoko Ono in the opening lines of \u201cImagine,\u201d one of the world\u2019s most famous songs. Though the song is more than half a century old, its vision of various utopian ideals remains relevant today: a world without war, hunger, greed, and hatred\u2014a peaceful, sustainable, and livable world for all people, in which they share with each other, care for one another, and treat each other with respect.<\/p>\n\n\n\n

Histo\u00adri\u00adcally, the emergence of utopias has usually been closely linked to dissa\u00adtis\u00adfac\u00adtion with a present that is perceived as negative. Even today, many people find the current times stressful, if not dystopian. In addition to wars, genocides, global refugee movements, the rise of populism and right-wing radica\u00adlism in many countries, and a spreading loss of trust in democra\u00adcies, it is above all the human-made climate catastrophe that dominates the thoughts and actions of many. This raises numerous pressing questions: How do we want to coexist and survive together in the future? In what condition will we leave the Earth to future genera\u00adtions? How can we use existing knowledge to make the world a place of solida\u00adrity and ecolo\u00adgical responsibility?<\/p>\n\n\n\n

The exhibi\u00adtion Utopia. The Right to Hope<\/em> sends a message of hope, empha\u00adsi\u00adzing the right to a livable future for all humans and non-human beings. Through artistic ideas, sugges\u00adtions, and visions, the exhibi\u00adtion opens new spaces for thinking about our own perspec\u00adtives, alter\u00adna\u00adtive paths and options for action, and the possi\u00adbi\u00adli\u00adties for a different, more just and sustainable world to which we can all contri\u00adbute at any time.<\/p>\n\n\n\n

When we demand the right to hope with this exhibi\u00adtion, we do not mean na\u00efvely waiting for miracles. Hope does not mean suppres\u00adsing or even denying realities and their complex challenges but rather confron\u00adting them and facing them with courage. Utopias paint a picture of a better world and offer concrete perspec\u00adtives for change. With Utopia<\/em>, we are taking a step in this direction. Let us dare to create more utopias together that spark hope and confi\u00addence in a better tomorrow!<\/p>\n\n\n\n

The exhibi\u00adtion, which spans the hall and gallery and features some sixty inter\u00adna\u00adtional artistic positions, is divided into seven thematic clusters, which are identi\u00adfied by large, color\u00adfully designed text panels. Each indivi\u00addual work in the exhibi\u00adtion is accom\u00adpa\u00adnied by a short text providing infor\u00adma\u00adtion about its content. The color codes on the signage clearly indicate which thematic cluster each work belongs to. Further infor\u00adma\u00adtion and in-depth texts can be found in the accom\u00adpanying publi\u00adca\u00adtion to the exhibi\u00adtion, which is available in our shop.<\/p>\n\n\n\n

Curators<\/em>
Andreas Beitin (idea and concept), Sebastian M\u00fchl, Dino Steinhof<\/p>\n\n\n\n

Curato\u00adrial Assistant <\/em>
Veronika Mehlhart<\/p>\n\n\n\n

Scien\u00adtific Advisory Board <\/em>
Inke Arns, Ann-Katrin G\u00fcnzel, J\u00f6rg Heiser, Wolfgang Kaleck, Ina-Maria Maahs, Manuel Rivera, Ludger Schwarte, Kerstin Wolff<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
Cluster 1
Utopias Between History and the Present<\/a><\/div>\n\n\n\n
Cluster 2
Democracy and Global Justice<\/a><\/div>\n\n\n\n
Cluster 3
Indivi\u00addual Utopias and Communities<\/a><\/div>\n\n\n\n
Cluster 4
The Right to a Future<\/a><\/div>\n\n\n\n
Cluster 5
Sustaina\u00adbi\u00adlity, Climate Activism, and the Rights of Nature<\/a><\/div>\n\n\n\n
Cluster 6
Solida\u00adrity Among Species<\/a><\/div>\n\n\n\n
Cluster 7
Utopias of Alter\u00adna\u00adtive Futures and Posthuman Beings<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
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Cluster 1<\/strong>

Utopias Between History and the Present<\/strong>

The exhibi\u00adtion Utopia. The Right to Hope <\/em>focuses largely on the present and the future. However, the first cluster initially features works that refer to histo\u00adrical utopias\u2014whether in the form of ideolo\u00adgies, symbols, or techno\u00adlo\u00adgies. In doing so, these works also address the crises and failures of past utopias. While the battered and rusted stars by Stephan Huber and Raimund Kummer (Firmament II<\/em>, 1991) can be inter\u00adpreted as a commen\u00adtary on the failed utopias in the socialist states, the video Try Again. Fail Again. Fail Better.<\/em> (2011) by Anetta Mona Chi\u015fa and Lucia Tk\u00e1\u010dov\u00e1 humorously plays with a fist inflated into a balloon as the familiar symbol of rebellion and revolu\u00adtio\u00adnary struggle. One of the great techno\u00adlo\u00adgical promises of the twentieth century was the virtually unlimited energy produc\u00adtion through nuclear fission: After the Chernobyl disaster, the nuclear catastrophe in Fukushima (Thomas Demand, Control Room,<\/em> 2011) also revealed its limita\u00adtions. The instal\u00adla\u00adtion Phantom Island<\/em> (2025) by Philipp F\u00fcrhofer, commis\u00adsioned especially for the exhibi\u00adtion, builds a bridge from Thomas More\u2019s famous island of Utopia to one of the central messages of the exhibi\u00adtion, namely to take action in the spirit of micro-utopias in order to change things for the better in the future.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Anetta Mona Chi\u015fa und Lucia Tk\u00e1\u010dov\u00e1<\/strong>

Try Again. Fail Again. Fail Better.<\/em>, 2011
1\u2011channel video, color, sound
7:57 min.

Courtesy the artists

In this video, a group of people release a giant, infla\u00adt\u00adable fist\u2014 a common symbol of protest movements\u2014into the air as if it were a balloon. However, the fist gradually deflates and collapses. While this could be inter\u00adpreted as an allegory of a waning protest, the limp fist can also be unders\u00adtood as a possi\u00adbi\u00adlity of libera\u00adtion from illusory or disap\u00adpointed beliefs and their symbolism, thereby creating space for new ideas, hopes, and utopias.<\/p>\n\n\n\n

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Chto Delat<\/strong>

Untitled (Tatlin Tower)<\/em>, 2013
Mixed media

mumok \u2013 Museum moderner Kunst Stiftung Ludwig Wien, on loan from the collec\u00adtion Ludwig, Aachen, Peter und Irene Ludwig Stiftung, 2021

The small Tatlin Tower <\/em>by the Russian art collec\u00adtive Chto Delat is a tribute to Vladimir Tatlin\u2018s unrea\u00adlized, 400-meter-tall Monument to the Third Inter\u00adna\u00adtional <\/em>(1919\u201320), which was consi\u00addered an exemplary testament to the utopian aspira\u00adtions of the artistic avant-garde in the early twentieth century. Nearly a century later, after the collapse of the socialist dream, Chto Delat\u2018s \u201csmall tower\u201d reminds us not to lose hope in a better world.<\/p>\n\n\n\n

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Thomas Demand<\/strong>

Control Room<\/em>, 2011
C\u2011print, Diasec
Ed. AP

Courtesy the artist and Matthew Marks Gallery \/ Spr\u00fcth Magers \/ Esther Schipper, Berlin \/ Taka Ishii Gallery

Thomas Demand builds detailed, three-dimen\u00adsional models of objects or places out of paper and cardboard. He then photo\u00adgraphs the models and destroys the originals. Control Room <\/em>depicts the destroyed control center of the Fukushima Daiichi nuclear power plant. Although, in contrast to the Chernobyl disaster, an earth\u00adquake caused the destruc\u00adtion here, the photo\u00adgraph is still a powerful metaphor for the failed utopian promise of unlimited energy produc\u00adtion through nuclear fission.<\/p>\n\n\n\n

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Philipp F\u00fcrhofer<\/strong>

Phantom\u00adinsel<\/em>, 2025
Acrylic on PVC, mirrors, truss system

Courtesy the artist

The instal\u00adla\u00adtion, created as a commis\u00adsioned work for the Utopia <\/em>exhibi\u00adtion, features painted palm trees and other enticing elements. Visitors are invited to enter the artifi\u00adcial island through the slats, only to be confronted with their own reflec\u00adtion. Phantom Island <\/em>serves as a metaphor for one of the exhibition\u2019s central messages: instead of searching for the osten\u00adsibly auspi\u00adcious island of Utopia, we should strive to make positive changes ourselves in the spirit of micro-utopias.<\/p>\n\n\n\n

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Stephan Huber und Raimund Kummer<\/strong>

Firmament II<\/em>, 1991
60 cast-iron stars

Private collec\u00adtions, courtesy the artists

The \u201cstar field\u201d consists of around forty heavy, five-pointed stars made of cast iron. Many of the stars\u2019 points have broken off. Therefore, the loss is twofold: first, contrary to the title, the stars no longer shine high in the sky; second, they are all damaged. If one inter\u00adprets the five-pointed stars as a symbol contained in the flags of many former or existing socialist states, then the piece can be read as a commen\u00adtary on the failed utopias of the twentieth century.<\/p>\n\n\n\n

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Sven Johne<\/strong>

Heilpflanzen im Todes\u00adstreifen<\/em>, 2021
25 inkjet prints on Fine Art paper, framed
Ed. 3\/3

Courtesy the artist, Klemm\u2019s, Berlin, and Galerie Nagel Draxler, Cologne

Sven Johne\u2019s twenty-five-part photo\u00adgra\u00adphic series explores a prominent yet largely unknown place in the history of divided Germany: the former death strip. Together with his children, Johne walked the entire 1,400-kilometer length of the former inner-German border in search of his own family memories. Given the abundance of medicinal plants that still thrive in the once restricted area, the series serves as a medita\u00adtion on history, separa\u00adtion, healing, and reconciliation.<\/p>\n\n\n\n

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Mischa Kuball<\/strong>

DYS(U)TOPIA<\/em>, 2021
Video instal\u00adla\u00adtion, color, sound, mesh textile
2:55 min.

Courtesy Studio Mischa Kuball

At night, the bright lettering \u201cDYS(U)TOPIA\u201d appears on a truck as it drives through various cities. As the \u201cU\u201d is switched on and off, it oscil\u00adlates between a positive and negative prognosis for the future. With this mobile instal\u00adla\u00adtion, Kuball refers to the permanent danger of utopias failing and asks how we want to shape the future coexis\u00adtence of society against the backdrop of current political challenges.<\/p>\n\n\n\n

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Cluster 2<\/strong>

Democracy and Global Justice<\/strong>

Histo\u00adri\u00adcally, utopias have often provided answers to the question of just rule and how a good state should be unders\u00adtood. The works brought together in this cluster show that such questions have lost none of their relevance, especially with regard to democracy. For even if democracy is no longer a matter of course for some and must be fought for by many people around the world, it remains the most just form of government in which the utopia of nonvio\u00adlent commu\u00adni\u00adca\u00adtion can be pursued. Artists such as Marina Naprush\u00adkina and Jasmina Cibic ask about the ideal president and the optimal gift for a divided nation, respec\u00adtively. The group Soci\u00e9t\u00e9 R\u00e9aliste envisions a utopia of global trans\u00adna\u00adtio\u00adna\u00adlity that trans\u00adcends nation states. The works of IRWIN, AES+F, Chto Delat Inter\u00adna\u00adtional, and Mischa Leinkauf directly or indirectly point to factual borders that exist between states, sometimes as insur\u00admoun\u00adtable hurdles, by addres\u00adsing aspects of legal affilia\u00adtion, the status of refugees, and the disso\u00adlu\u00adtion of borders as a possible utopia.<\/p>\n\n\n\n

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Kader Attia<\/strong>

To Resist is to Remain Invisible<\/em>, 2011
Color, matte and glossy

Courtesy the artist

Resis\u00adtance is the theme of this site-specific work. Here, Kader Attia points to everyday, albeit often invisible, forms of rebellion against prevai\u00adling power systems, such as the attempt to evade or even negate them. The title is written in black paint, almost invisibly, on a black wall, in different languages depending on the context. Avoiding visibi\u00adlity, as well as turning anonymity into an offensive position in the sense of mimicry, can be the basis of a politics of change.<\/p>\n\n\n\n

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Chto Delat Inter\u00adna\u00adtional<\/strong>

Fell Down \u2013 Get Up, A magical play after Werner T\u00fcbke<\/em>, 2025
Multi\u00admedia instal\u00adla\u00adtion

Songs of Hope and Despair. Performed by Bundschuh, Fish, Fox Tail, Rainbow, Dead Drummer, Muse-Leaving Germany and by other agencies<\/em>, 2025
With the engaged parti\u00adci\u00adpa\u00adti\u00adonof friends, starring Manuel Muerteas Magician and the choir Wilder\u00adChor\u00adYander 1\u2011channel video, color, sound
80 min.

What If an Apoca\u00adlypse Is Now the New Normal?<\/em>, 2025
A mini-lecture by Oxana Timofeeva on apoca\u00adlypses
1\u2011channel video, color, sound
8:30 min.

17 Episodes: A Brief Guide to the Film \u201cSongs of Hope and Despair\u201d<\/em>
A Series of Sketch-Collages and a Board Game Table<\/em>
Realized by Dmitry Vilensky and Nikolay Oleynikov
24 collages, table, wood, mixed media

Courtesy the artists This musical fairy tale explores themes such as hope and despair, revolu\u00adtion and failure, and the question of whether miracles can save us from today\u2019s seemingly hopeless situation. The video centers on the magician Manuel Muerte. During his perfor\u00admance in the market square of Hettstedt, Germany, he trans\u00adforms a group of Russian migrants into figures from Werner T\u00fcbke\u2019s monumental Peasants\u2019 War panorama Early Bourgeois Revolu\u00adtion in Germany <\/em>(1976\u201387) and sends them on a \u201cdangerous\u201d journey.<\/p>\n\n\n\n

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Jasmina Cibic<\/strong>

The Gift<\/em>, 2021
1\u2011channel video (4K), color, sound
20 min.

Courtesy the artist

This three-channel video by Jasmina Cibic explores the question of the perfect gift for a divided nation and the utopia of political recon\u00adci\u00adlia\u00adtion. The film\u2019s sets feature examples of archi\u00adtec\u00adtural gifts, including Oscar Niemeyer\u2019s French Communist Party Headquar\u00adters in Paris (a gift from the architect to the PCF), the Palais des Nations in Geneva (with gifts from the inter\u00adna\u00adtional community), the 25 May Museum in Belgrade (a gift to former Yugoslav President Tito by the nation), and the Buzludzha Monument on Hadzhi Dimitar Peak in Bulgaria (given to the Bulgarian Communist Party by the nation).<\/p>\n\n\n\n

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Jordi Colomer<\/strong>

X\u2011VILLE<\/em>, 2015
1\u2011channel video instal\u00adla\u00adtion, color, sound, bench, screen, 24 cardboard boxes, paint
Dimen\u00adsions variable
23 min.

Courtesy the artist and Michel Rein, Paris \/ Brussels

In 1974, the architect Yona Friedman formu\u00adlated his thoughts on realiz\u00adable utopias\u2014utopias that emerge from a collec\u00adtive response to a shared dissa\u00adtis\u00adfac\u00adtion. Friedman\u2019s ideas are the basis for Colomer\u2019s video essay, in which he presents an imaginary city X, where it is possible to rethink the way time and life are currently organized. The video essay was produced in close colla\u00adbo\u00adra\u00adtion with students and with the parti\u00adci\u00adpa\u00adtion of residents of the city of Annecy, France.<\/p>\n\n\n\n

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Mischa Leinkauf<\/strong>

Fiktion einer Nicht-Einreise<\/em>, 2019
1\u2011channel video (4K), color, sound
17 min.

Courtesy the artist and alexander levy, Berlin

In his video, Mischa Leinkauf addresses the supposed insur\u00admoun\u00adta\u00adbi\u00adlity of national borders, including those between Israel, Jordan, and Egypt, as well as those in the Mediter\u00adra\u00adnean between Spain and Morocco. While the respec\u00adtive borders are guarded and secured milita\u00adrily on land based on political agree\u00adments, a seemingly boundless landscape reveals itself under\u00adwater. As a diver, the artist under\u00admined the \u201carchi\u00adtec\u00adtures of partition,\u201d as Leinkauf puts it, and created a space of freedom far removed from terri\u00adto\u00adrial control.<\/p>\n\n\n\n

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Muoto archi\u00adtectes und Georgi Stanishev + Cl\u00e9mence La Sagna<\/strong>

Ball Theater \u2013 La f\u00eate n\u2019est pas finie<\/em>, 2023
Instal\u00adla\u00adtion, steel, other materials

Courtesy Studio Muoto, Georgi Stanishev, and Cl\u00e9mence La Sagna

The Ball Theater <\/em>aims to rekindle our longing for utopia. Its hemis\u00adphe\u00adrical shape can be inter\u00adpreted as a globe or an oversized disco ball, symbo\u00adli\u00adzing an era of freedom and lighthe\u00adar\u00adted\u00adness. At its center is a vision of alter\u00adna\u00adtive futures. The instal\u00adla\u00adtion invites visitors to reflect and engage in communal activi\u00adties, so as to move beyond crises to explore new narra\u00adtives through art, archi\u00adtec\u00adture, and partying.<\/p>\n\n\n\n

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Marina Naprush\u00adkina<\/strong>

I want a president<\/em>, 2021
Acrylic on canvas

Courtesy the artist and PSM, Berlin

This instal\u00adla\u00adtion pays tribute to Zoe Leonard\u2019s 1992 poem and to Maria Kales\u00adni\u00adkava, a Belaru\u00adsian musician and activist who has been a political prisoner of Alexander Lukashenko\u2019s regime in Belarus since 2020. Kales\u00adni\u00adkava was a member of the Coordi\u00adna\u00adtion Council, which was formed to facili\u00adtate a peaceful transfer of power following the rigged 2020 presi\u00adden\u00adtial election. Given the failure of the Belaru\u00adsian democracy movement, Naprushkina\u2019s work serves as a wake-up call for solida\u00adrity and an unresolved demand on the future.<\/p>\n\n\n\n

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Neue Slowe\u00adni\u00adsche Kunst (NSK)<\/strong>

NSK State in Time<\/em>, 1992\u2013ongoing

Neue Slowe\u00adni\u00adsche Kunst (NSK) *<\/strong>
NSK Passport<\/em>, 1993
Passport

IRWIN **<\/strong>
NSK Territory Suhl<\/em>, 1993
Black-and-white photo\u00adgraph

IRWIN **<\/strong>
NSK Consulate Umag<\/em>, 1994
Photo\u00adgraph; photo by Franci Virant

New Collec\u00adti\u00advism *<\/strong>
NSK Stamps<\/em>, 1994
Paper, edition

IRWIN (Du\u0161an Mandi\u010d) **<\/strong>
The Ribbon \u2013 D. M.<\/em>, 2000
Silver leaf on wood relief, oil paint, cotton, paper, plexi\u00adglass

IRWIN (Borut Vogelnik) *<\/strong>
The Flag for the Vehicle \/ Left, Right,<\/em>
Up, Down<\/em>, 2001
Water\u00adcolor on silk, silkscreen on cotton

IRWIN **<\/strong>
Ministry of Foreign Affairs \/ NSK<\/em>
Passports<\/em>, 2007
Print, framed

IRWIN *<\/strong>
Distri\u00adbu\u00adtion of the NSK State in Time Passport Holders<\/em>, 2008
Wall appli\u00adca\u00adtion

IRWIN **<\/strong>
Time for a New State, Lagos<\/em>, 2010
Photo\u00adgraph

IRWIN (Andrej Savski) **<\/strong>
Time for a New State<\/em>, 2016
Wood, tar, oil on canvas

IRWIN in coope\u00adra\u00adtion with<\/strong> Fatmir Mustafa-Karllo *<\/strong>
NSK Territory Prishtina<\/em>, 2022
Photo\u00adgraph; photo by Atdhe Mulla

IRWIN (Borut Vogelnik) **<\/strong>
I Declare This Territory Mine<\/em>, 2023
Pencil and stamp ink on paper

* Courtesy the artists

++ Gregor Podnar, Vienna

The project NSK State in Time <\/em>by the artist collec\u00adtive Neue Slowe\u00adni\u00adsche Kunst \/ New Slovenian Art (NSK) is a utopian state par excel\u00adlence: an artistic \u201cstate structure\u201d without real territory, manifes\u00adting itself in the form of temporary embassies or consu\u00adlates. Anyone can become a citizen of this \u201cstate\u201d regard\u00adless of their own citizenship or natio\u00adna\u00adlity. The passports issued by the NSK State in Time <\/em>not only look decep\u00adtively real but have already proven helpful in crossing borders.<\/p>\n\n\n\n

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Soci\u00e9t\u00e9 R\u00e9aliste<\/strong>

U.N. Camou\u00adflage<\/em>, 2012
50 of 193 flags, digital print on polyester

Courtesy the artists, Galerie J\u00e9r\u00f4me Poggi, Paris, and acb Gallery, Budapest

The expansive flag instal\u00adla\u00adtion U.N. Camou\u00adflage <\/em>envisions a utopia in which nation-states are overcome and their borders are dissolved. Using a pattern software, the flags of all nation-states were abstracted to the point that their symbolic and identity-forming functions were under\u00admined. Given current political develo\u00adp\u00adments and the relevance of inter\u00adna\u00adtional organiz\u00ada\u00adtions such as the United Nations, Soci\u00e9t\u00e9 R\u00e9aliste\u2019s trans\u00adna\u00adtional utopia seems more urgent than ever.<\/p>\n\n\n\n

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Cluster 3<\/strong>

Indivi\u00addual Utopias and Commu\u00adnities<\/strong>

\u201cClassical\u201d utopias generally pursued a univer\u00adsa\u00adlist claim, as they usually attempted to realize an order that included all indivi\u00adduals, but this often led to coercion and did not rule out the risk of totali\u00adta\u00adria\u00adnism. The idea associated with utopias today, on the other hand, can only be redeemed if it offers emanci\u00adpa\u00adtion, equal rights, and freedom for all\u2014social libera\u00adtion movements such as Black Lives Matter with their slogan \u201cNobody\u2019s free, until everybody\u2019s free\u201d are impres\u00adsive proof of this. When reflec\u00adting on whose freedom is meant, the question arises of whose utopias are actually assumed\u2014a question that the artist Cao Fei poses almost program\u00adma\u00adti\u00adcally for the works brought together in this cluster in her video Whose Utopia<\/em> (2006). The subjec\u00adtive nature of many utopias often comes to the fore, as do collec\u00adtive and indivi\u00addual dreams. On the other hand, works such as those by Cauleen Smith, Jaanus Samma, and Chitra Ganesh refer to the role of commu\u00adnities, counter\u00adcul\u00adtures, and possible places of retreat in which queer, non-binary, Indige\u00adnous, and other groups and indivi\u00adduals affected by discri\u00admi\u00adna\u00adtion can tempora\u00adrily experi\u00adence the freedom that is often denied to them in society as a whole.<\/p>\n\n\n\n

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AES+F<\/strong>

Mare Mediter\u00adra\u00adneum<\/em>, 2018
Porcelain, paint
Unless otherwise specified Ed. 5\/6 + 3 AP

Mare Mediter\u00adra\u00adneum #1<\/em>, 2018

Mare Mediter\u00adra\u00adneum #2<\/em>, 2018

Mare Mediter\u00adra\u00adneum #3<\/em>, 2018

Mare Mediter\u00adra\u00adneum #4<\/em>, 2018

Mare Mediter\u00adra\u00adneum #5<\/em>, 2018

Mare Mediter\u00adra\u00adneum #6<\/em>, 2018

Mare Mediter\u00adra\u00adneum #7<\/em>, 2018

Mare Mediter\u00adra\u00adneum #8<\/em>, 2018

Mare Mediter\u00adra\u00adneum #9<\/em>, 2018

50 \u00d7 68 \u00d7 33 cm

Courtesy the artists

This group of nine porcelain sculp\u00adtures trenchantly exposes the inequa\u00adli\u00adties of the present day. While refugees fleeing to a life of safety experi\u00adence the Mediter\u00adra\u00adnean as a deadly barrier, the luxury desires of a decadent elite seem to know no bounds. Tradi\u00adtional porcelain art, with its own history of Asian-European migration, proves to be a fitting medium for reflec\u00adting on borders.<\/p>\n\n\n\n

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Martin Beck<\/strong>

Headlines<\/em>, 2010
Silkscreen on cardboard

Headlines<\/em>, 2010
Silkscreen on cardboard

mumok \u2013 Museum moderner Kunst Stiftung Ludwig Wien

The headlines in this bipartite work are based on keywords and captions from various issues of The Modern Utopian<\/em>, a magazine published in the 1960s and 1970s which covered alter\u00adna\u00adtive hippie and commune culture in the United States. The Headlines <\/em>document aspects of contem\u00adporary American counter\u00adcul\u00adture, revealing its utopian ambitions as well as its abysses and failures.<\/p>\n\n\n\n

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Cao Fei<\/strong>

Whose Utopia<\/em>, 2006
1\u2011channel video projec\u00adtion, color, sound
20:21 min.

Courtesy Spr\u00fcth Magers and Vitamin Creative Space

Cao Fei\u2019s video asks, in an indivi\u00addual and universal way, whose utopias we are actually basing our lives on. The artist spent several months with workers at an Osram light bulb factory in China\u2019s Pearl River Delta, asking them to visualize their personal wishes and dreams for the future on camera. This poetic work reveals the everyday utopias of migrant workers in modern-day China and places them in the context of globa\u00adliz\u00ada\u00adtion and indus\u00adtrial modernization.<\/p>\n\n\n\n

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Chitra Ganesh<\/strong>

A city will share her secrets if you know how to ask<\/em>, 2020\/2025
Site-specific instal\u00adla\u00adtion, adapted for the Kunst\u00admu\u00adseum Wolfsburg, vinyl foil on window panes

Courtesy the artist

In her drawings, collages, and paintings inspired by comics and anime, Chitra Ganesh combines elements of specu\u00adla\u00adtive science fiction, South Asian history, religion, and mythology with queer\u00adfe\u00admi\u00adnist narra\u00adtives. The window piece, adapted especially for the exhibi\u00adtion Utopia: The Right to Hope<\/em>, is a powerful statement in favor of queerness and empowerment.<\/p>\n\n\n\n

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Otobong Nkanga<\/strong>

In a Place Yet Unknown<\/em>, 2017
Woven fabric, metal reservoir, ink, dye
Ed. 1\/4

Associa\u00adzione Genesi, Milan Otobong Nkanga\u2019s tapestry poeti\u00adcally reflects on processes of trans\u00adfor\u00adma\u00adtion as funda\u00admental charac\u00adte\u00adris\u00adtics of societies and identi\u00adties. Soaked in ink-black liquid at the bottom, the tapestry displays a poem by the artist that reads: \u201cIn a place between stillness \/ fear and a slow meltdown \/ a new form grows \/ visible only to the heart\u201d\u2014an expres\u00adsion of burgeo\u00adning hope and confi\u00addence in dark times.<\/p>\n\n\n\n

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Jaanus Samma<\/strong>

Riga Postcards<\/em>, 2020
Digital print on silk, metal stands, flower arran\u00adge\u00adment

Courtesy the artist

The instal\u00adla\u00adtion presents a booth from a fictional travel trade show from the 1970s and 1980s, in which Riga is shown as a utopian retreat for the queer community in the USSR. Due to its attrac\u00adtive location on the Baltic Sea and its distance from the political center of the Soviet Union, Riga offered the queer community relative anonymity and freedom of movement. Given the (renewed) surge in repres\u00adsion in many post-Soviet bloc states, Samma\u2019s work remains highly relevant today.<\/p>\n\n\n\n

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Cauleen Smith<\/strong>

Sojourner<\/em>, 2018
1\u2011channel video instal\u00adla\u00adtion, color, sound, bench, disco balls, turntable, wallpaper
22:41 min.

Courtesy the artist and Mor\u00e1n Mor\u00e1n

Central themes in Cauleen Smith\u2019s artistic work include healing, feminism, Black history, and Afrofu\u00adtu\u00adrism. In her video Sojourner<\/em>, set in the California desert, Smith depicts a feminist utopia: a collec\u00adtive of women of color who create a futuristic society. Excerpts from various texts are heard on transistor radios, including the \u201cCombahee River Collec\u00adtive Statement\u201d from 1977, which protested the multiple forms of oppres\u00adsion experi\u00adenced by Black women and called for freedom and equality.<\/p>\n\n\n\n

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Cluster 4<\/strong>

The Right to a Future<\/strong>

The right to hope also implies the right to a future worth living and the overco\u00adming of political, social, economic, and other diffe\u00adrences, which are overcome and recon\u00adciled in the sense of healing.
However, hope does not mean na\u00efvely waiting for a miracle or some kind of salvation. Nor does it mean repres\u00adsing or even denying realities with their complex challenges but rather confron\u00adting them and facing them with courage.
In addition to a \u201cguiding star\u201d (\u00d3lafur El\u00edasson, Naviga\u00adtion star for utopia<\/em>, 2022), the perspec\u00adtives of children can offer guidance because they should be listened to in parti\u00adcular, as the future belongs to them: In Cornelia Parker\u2019s two-channel video THE FUTURE:<\/em> Sixes and Sevens<\/em> (2023), children talk about their indivi\u00addual wishes for the future, but also about their fears. Young climate activists have their say in Rory Pilgrim\u2019s video The Under\u00adcur\u00adrent<\/em> (2019\u2013ongoing). And even if it is almost too good to believe: In Nasan Tur\u2019s Good News<\/em> (2009), there is only good news in the newspaper. A brave new world?<\/p>\n\n\n\n

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Olafur Eliasson<\/strong>

Naviga\u00adtion star for utopia<\/em>, 2022
Stainless steel, wood, colored glass, brass, paint, LED lights

Courtesy the artist, Tanya Bonakdar Gallery, New York \/ Los Angeles, and neuger\u00adriem\u00adschneider, Berlin

For many years, Olafur Eliasson has been interested in scien\u00adtific instru\u00adments and naviga\u00adtion. The Naviga\u00adtion star for utopia <\/em>resembles an oversized, three-dimen\u00adsional compass rose composed of stainless-steel rings, colored glass, and light. Integrated LEDs illumi\u00adnate the interior and shine outward. References to orien\u00adta\u00adtion and movement play just as much of a role in the work as the pursuit of better futures. The work reminds us that people are often drawn to the idea of utopias, and symbo\u00adlizes that in our quest for them, we are guided not only by geogra\u00adphical coordi\u00adnates, but also by an inner explo\u00adra\u00adtion of ideals.<\/p>\n\n\n\n

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Cornelia Parker<\/strong>

THE FUTURE: Sixes and Sevens<\/em>, 2023
2\u2011channel video instal\u00adla\u00adtion, color, sound
8:55 min.

Courtesy the artist and Frith Street Gallery, London

In this video instal\u00adla\u00adtion, a class of primary school students is asked questions about the future. The six- and seven-year-olds talk about their fears, worries, and hardships and reveal an astonis\u00adhing awareness of contem\u00adporary social, political, and ecolo\u00adgical issues, such as the climate crisis. The children also describe their wishes, dreams, and hopes and talk about how they themselves want to contri\u00adbute to a better society as adults.<\/p>\n\n\n\n

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Rory Pilgrim<\/strong>

The Under\u00adcur\u00adrent<\/em>, 2019\u2013ongoing
1\u2011channel video (HD), color, sound
50 min.

Courtesy Maureen Paley, London

Based on an online open call, The Under\u00adcur\u00adrent <\/em>was created in colla\u00adbo\u00adra\u00adtion with ten young climate activists in Boise, Idaho. In the HD video, Rory Pilgrim sensi\u00adtively explores how the climate crisis, an overwhel\u00adming global problem, is dealt with on a personal level. How does climate change relate to other aspects of the activists\u2019 lives, such as family, friendship, and the need for a home? What emotional tools are necessary to cope with the crisis?<\/p>\n\n\n\n

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Sputniko!<\/strong>

Drone in Search for a Four-Leaf Clover<\/em>, 2023
2\u2011channel video (4K), color, sound
9:36 min.

Creative coder: Riku Ueno (P.I.C.S. Tech) \/ Creative director: Hironori Terai (P.I.C.S. Tech) \/ Technical producer: Yoshitaka Yuge (P.I.C.S. Tech) \/ Produc\u00adtion manager: Kokoro Kanzaki (P.I.C.S. Tech) \/ Sound composer: Jaermulk Manhattan

Courtesy Sputniko!

Four-leaf clovers are commonly regarded as symbols of luck, love, and hope. For this video, a drone was equipped with artifi\u00adcial intel\u00adli\u00adgence (AI) to identify the rare, auspi\u00adcious leaves in clover fields. The work deliber\u00adately plays with the ambiva\u00adlence of AI and drone techno\u00adlogy: while this techno\u00adlogy makes finding four-leaf clovers easier, it also raises the question of whether they can truly bring us luck.<\/p>\n\n\n\n

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Nasan Tur<\/strong>

Good News<\/em>, 2009
2 of 5,000 newspa\u00adpers, each consis\u00adting of 21 posters

Courtesy the artist

The newspaper Good News<\/em>, consis\u00adting of twenty-one posters, documents a contem\u00adporary history of good news. The press photo\u00adgraphs, sourced from newspa\u00adpers and magazines from the 1970s to the 2000s, bear witness to a hopeful and optimistic world through histo\u00adrical moments. By combining utopia and media criticism, Nasan Tur addresses the still-relevant question of the role of visual media and the evalua\u00adtion of social progress and regression.<\/p>\n\n\n\n

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Cluster 5<\/strong>

Sustaina\u00adbi\u00adlity, Climate Activism, and the Rights of Nature<\/strong>

Contem\u00adporary utopias can spark hope for concrete solutions to the crises of our time, social and economic injus\u00adtices, and the human-made climate catastrophe. The positions gathered in this thematic cluster show that sustainable thinking and action are often already being success\u00adfully imple\u00admented against the backdrop of a solution-oriented, activist, and legally sound under\u00adstan\u00adding. While the rethink*rotor<\/em> project (2022\u2013ongoing) by OX2architekten is testing innova\u00adtive solutions for repur\u00adpo\u00adsing disused wind turbine rotor blades as reused building elements in an archi\u00adtec\u00adtural context, the Team Fungal Mycelium at the Ostfalia Univer\u00adsity of Applied Sciences is resear\u00adching sustainable composite materials using the example of mycelium\u2014the under\u00adground network of fungal threads. The artist and activist Haley Mellin combines photo\u00adrea\u00adlistic paintings of forests with concrete nature conser\u00adva\u00adtion in her works. Ursula Biemann and Tom\u00e1s Saraceno, on the other hand, deal with questions regarding the rights of nature. Biemann\u2019s two-channel video, Forest Law<\/em> (2014), documents a court case in which the rights of the Amazonian forest in Ecuador were recognized. In 2020, Saraceno undertook the world\u2019s most sustainable balloon flight, powered purely by solar energy, in Argentina, while also protes\u00adting against lithium mining together with local Indige\u00adnous communities.<\/p>\n\n\n\n

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Pablo Albarenga<\/strong>

Seeds of Resis\u00adtance \u2013 Daniela<\/em>, 2019
C\u2011print on Aludibond

Courtesy the artist

Daniela is an LGBT activist from the Prainha II community on the Tapaj\u00f3s River. She fights for LGBT recogni\u00adtion and defends her territory from the expansion of agribusi\u00adness. Surroun\u00adding the natural reserve where she lives are vast soybean fields.
Left: One of the soybean fields adjacent to Daniela\u2019s territory.
Middle: Daniela lying on her land.
Right: The boundary between the rainfo\u00adrest where Daniela resides and the soybean fields stret\u00adching to the horizon.
Prainha Community, Tapaj\u00f3s River, Par\u00e1, Brazil, 2019 Text: Pablo Albarenga, 2019<\/p>\n\n\n\n

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Pablo Albarenga<\/strong>

Seeds of Resis\u00adtance \u2013 Drica<\/em>, 2019
C\u2011print on Aludibond

Courtesy the artist

Drica was the first woman elected as the Quilom\u00adbola Territory Coordi\u00adnator, repre\u00adsen\u00adting five commu\u00adnities along the Trombetas River in the Brazilian Amazon. The first challenge these commu\u00adnities face is the pressure from loggers eager to strike deals with them. A second challenge comes from a bauxite mine downstream, which has been construc\u00adting dams that threaten the entire Trombetas River. However, for Drica, the greatest challenge is a large hydroelectric dam project that is likely to be approved by the government, endan\u00adge\u00adring the river\u2019s ecosystem and displa\u00adcing the commu\u00adnities from their ancestral lands.
Left: An aerial view of the Rio do Norte bauxite mine adjacent to Drica\u2019s territory.
Right: Drica lying on her ancestral land.
Trombetas River, Par\u00e1, Brazil, 2019

Text: Pablo Albarenga, 2019<\/p>\n\n\n\n

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Pablo Albarenga<\/strong>

Seeds of Resis\u00adtance \u2013 Daniela Silva<\/em>, 2023
C\u2011print on Aludibond

Courtesy the artist

Daniela is a strong woman who continues to resist and strive to transform Altamira, her hometown, into a better place for future genera\u00adtions. She and many others lost their homes due to the construc\u00adtion of one of the world\u2019s largest hydroelectric power dams. With this signi\u00adfi\u00adcant project, Altamira has become one of the most violent cities in Brazil.
Left: Dead trees, left behind in large numbers after the flooding of the Xingu River after comple\u00adtion of the Belo Monte dam, decay in the water.
Right: Daniela Silva poses for a portrait lying in the spot where her house used to stand in the \u201cbaix\u00f5es de Altamira\u201d (Altamira lowlands). According to Daniela, families were removed from this area because it was supposed to be flooded, but that has not happened. Today, it remains a barren square.
Altamira, Par\u00e1, Brazil, 2023

Text: Pablo Albarenga, 2023<\/p>\n\n\n\n

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Ursula Biemann<\/strong>

Forest Law<\/em>, 2014
2\u2011channel video instal\u00adla\u00adtion, color, sound,
38 min.

Courtesy Ursula Biemann and Paulo Tavares

This instal\u00adla\u00adtion documents court cases in which the rights of forests are asserted. The starting point is the 2012 lawsuit that the Sarayaku, a Quechua (Kichwa) community in the Ecuado\u00adrian Amazon, won against the Ecuado\u00adrian government, which had allowed oil drilling in the Indige\u00adnous community\u2019s habitat. The Ecuado\u00adrian Amazon is one of the most species- and mineral\u00adrich regions on Earth and continues to be seriously threa\u00adtened by the extrac\u00adtion of raw materials.<\/p>\n\n\n\n

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Andreas Greiner<\/strong>

1713 (Eternal Line)<\/em>, 2025
Various tree seeds arranged in a parametric pattern

Collec\u00adtion 888, Hamburg<\/p>\n\n\n\n

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Folke K\u00f6bber\u00adling<\/strong>

Lasting Signs of Jubilee<\/em>, 2022
Wood, wool, plants, other materials
245 \u00d7 180 \u00d7 420 cm

The \u201cJubilee Car,\u201d which was origi\u00adnally conceived in colla\u00adbo\u00adra\u00adtion with the Univer\u00adsity of Vienna, is made entirely of renewable materials, including wood and raw wool. QR codes allow exhibi\u00adtion visitors to listen to lectures on topics such as sustaina\u00adbi\u00adlity, habitat conser\u00adva\u00adtion, and biodi\u00adver\u00adsity inside the car. Covered in wool, the car provides an acousti\u00adcally pleasant space where people can engage with important topics in peace, even in an urban environment.<\/p>\n\n\n\n

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Haley Mellin<\/strong>

Northern Highlands, Guatemala<\/em>, 2025
Gouache, acrylic, charcoal, and ink on canvas, framed

Tree Fall (Between Worlds)<\/em>, 2025
Gouache, charcoal, and ink on canvas, framed

Where the Sky Touches Earth<\/em>, 2025
Gouache, charcoal, and ink on canvas, framed

The wood used for the frames was offset by a donation to the nonprofit One Tree Planted

Courtesy the artist and DITTRICH & SCHLECHTRIEM

\u201cI paint outdoors while suppor\u00adting the permanent conser\u00adva\u00adtion of the landscape,\u201d explains the artist and activist Haley Mellin. Her photo\u00adrea\u00adlistic paintings, created with nontoxic materials like water-based gouache instead of oil paint, result from precise obser\u00adva\u00adtions of nature. For the exhibi\u00adtion Utopia: The Right to Hope<\/em>, Mellin created three new works, which she painted in the Northern Highlands of Guatemala. With her founda\u00adtion Art into Acres, she is also committed to the preser\u00adva\u00adtion of forests.<\/p>\n\n\n\n

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Achim Mohn\u00e9<\/strong>

The_Vegan_Scanning_Printing_Cooking_Project<\/em>, 2018\u2013ongoing
Cooking perfor\u00admance with seasonal and regional vegeta\u00adbles and edible plants, scanner, computer, printer

Edelkas\u00adtanie [Castanea sativa]<\/em>, 2017
Pigment print on Hahne\u00adm\u00fchle, framed

L\u00f6wenzahn [Taraxacum]<\/em>, 2017
Pigment print on Hahne\u00adm\u00fchle, framed

Magnolie [Magnolia]<\/em>, 2017
Pigment print on Hahne\u00adm\u00fchle, framed

Roter Fingerhut [Digitalis Purpurea]<\/em>, 2017
Pigment print on Hahne\u00adm\u00fchle, framed

Courtesy the artist

Whether dande\u00adlions, chestnuts, or blackberries\u2014regional and seasonal plants are first scanned and then turned into vegan dishes as part of cooking events. With their fasci\u00adna\u00adting sharpness of detail, the scans have a much higher resolu\u00adtion than photo\u00adgraphs. Mohn\u00e9 does not approach his project as a moralistic appeal to go vegan. Rather, he sees it as an oppor\u00adtu\u00adnity to show alter\u00adna\u00adtive ways of eating that are ecolo\u00adgi\u00adcally conscious and healthy.<\/p>\n\n\n\n

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Ina-Marie Orawiec, OX2architekten \/ Marcin Orawiec, h_da<\/strong>

rethink*rotor<\/em>, since 2022
Project for the reuse of disused rotor\u00adblades from wind turbines
Rotor blade, banner

Courtesy OX2architekten

The award-winning CreativeLab by OX2architekten focuses on appli\u00adca\u00adtion ideas and construc\u00adtive solutions that creatively harness the durabi\u00adlity and perfor\u00admance of a full-sized rotor blade while minimi\u00adzing impact on form and material. Instead of destroying rotor blades dismantled from wind turbines, they use them as struc\u00adtural building elements to reduce the raw material requi\u00adre\u00adments of the construc\u00adtion industry and to drive optimiz\u00ada\u00adtion processes in architecture.<\/p>\n\n\n\n

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Oliver Ressler<\/strong>

Contours of the Coming World<\/em>, 2024
Ink drawings on paper, framed
Drawings: Claudia Schioppa

Courtesy the artist, \u00e0ngels Barcelona, and The Gallery Apart, Rome

With phrases such as \u201cBreak up concrete. Plant trees\u201d and \u201cWarmth through solida\u00adrity,\u201d Oliver Ressler\u2019s drawings call for collec\u00adtive action to protest environ\u00adment\u00adally damaging economic systems and lifestyles. In light of the effects of climate catastrophe on planetary life, the drawings can be seen as pointed calls to action that are more urgent than ever.<\/p>\n\n\n\n

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Tom\u00e1s Saraceno<\/strong>

Fly with Pacha, Into the Aerocene<\/em>, 2017 \u2013 ongoing
1\u2011channel video, color, sound
67:15 min.
Directed by: Maximi\u00adliano Laina and Tom\u00e1s Saraceno \/ Script: Claudia Aboaf, Tom\u00e1s Saraceno, Iosi Havilio.

Aerocene Backpack AE009<\/em>, 2016
Mallard, brown textile
Developed by the Aerocene Community and Founda\u00adtion

Courtesy Aerocene Founda\u00adtion

In the Andean culture, Pacha is a superior energy that organizes and harmo\u00adnizes all inhabi\u00adtants in the Cosmos. A message, a film, a journey around the sun with Pachamama, a space-time towards eras of comple\u00admen\u00adta\u00adri\u00adties, Fly with Pacha, into the Aerocene <\/em>portrays the long-standing relati\u00adonship between many ever-growing commu\u00adnities across multiple conti\u00adnents, documen\u00adting the ongoing colla\u00adbo\u00adra\u00adtion between Aerocene and the Indige\u00adnous Commu\u00adnities of Salinas Grandes and Laguna de Guaya\u00adtayoc, in Jujuy, Northern Argentina.

Initiated in 2017, with additional archival fragments dating from 2006 onwards, this project is an ongoing dialogue with Kollas Indige\u00adnous Peoples, protec\u00adting their ancestral lands from lithium extrac\u00adtion, for eco-social justice in the name of the peoples of the Global South.

In Jujuy in January 2020, the aerosolar sculpture Aerocene Pacha rose using only the air and the sun, comple\u00adtely free from fossil fuels, batteries, lithium, helium, and hydrogen, becoming the most sustainable flight in human history. This journey set 32 world records, recognised by the F\u00e9d\u00e9ra\u00adtion A\u00e9ronau\u00adtique Inter\u00adna\u00adtio\u00adnale (FAI), with Aerocene pilot Leticia Noemi Marques, who flew with the message: \u201cWater and Life are Worth More than Lithium\u201d, written by the Indige\u00adnous Commu\u00adnities of Salinas Grandes and Laguna de Guaya\u00adtayoc.

Three years later, in January 2023, we gathered once again for The Alfarcito Gathering, as national and inter\u00adna\u00adtional geopo\u00adli\u00adtical and commer\u00adcial interests continue to pressure the basin. Faced with the worsening of the climate crisis and the urgency of the energy transi\u00adtion, the commu\u00adnities\u2019 message is clear: We no longer want to be a sacrifice zone. The Global North\u2019s \u201cgreen\u201d transi\u00adtion cannot reproduce the same extrac\u00adti\u00advist, neoco\u00adlo\u00adnial politics that have been imposed on the Peoples of the South, ampli\u00adfying social, ethnic and environ\u00admental inequa\u00adli\u00adties. During this encounter, the indige\u00adnous commu\u00adnities declared their ancestral lands as a Subject of Rights. The Rights of Nature movement is striving for rivers, lakes, and mountains to bear legal rights in the same, or at least a similar, manner as human beings. We must listen to the voices of the terri\u00adto\u00adries, in defense of water, salt flats and the commons, for an ecosocial energy transi\u00adtion!

Aerocene is an era-in-the-making, a community, a non-profit foundation.We would like to thank especially: Ver\u00f3nica Ch\u00e1vez, Maris\u00adtella Svampa, Alicia Chalabe, Graciela Speranza, Joaqu\u00edn Ezcurra, Melisa Argento, In\u00e9s Katzen\u00adstein, Claudia Aboaf, Antonia Alampi, Alicia Andersen, Maximi\u00adliano Laina, DaeHyung Lee and BTS, Manuela Mazure Azcona, Lars Behrendt, Claudia Mel\u00e9ndez Rivera, Sarah Kisner, Gabriela Sorbi, Alberto Pesavento, Till Hergen\u00adhahn, Leticia Marqu\u00e9s, Ver\u00f3nica Fiorito, Sasha Engelman, Jol Thomson, Hans-Ulrich Obrist, Emma Enderby, Rebecca Lamarche-Vadel, Yasmil Raymond, Francesca von Habsburg, Bronis\u0142aw Szerszy\u0144ski, Pablo Su\u00e1rez, Nick Shapiro, Garance Primat, Carlos Almeida, Bill McKenna, Ludovica Illari, Daniel Birnbaum, Molly Nesbit, Barbara Bulc, Violeta Bulc, Sven Steudte, Josep Mar\u00eda Llaid\u00f3, Gustavo Alonso Seraf\u00edn, Ilka T\u00f6dt, Dario Lagan\u00e0, Enrique Viale, and Gast\u00f3n Chillier.

The Aerocene Founda\u00adtion is made possible by the generous support of Espace Muraille, Eric and Caroline Freymond.

Thank you also to Andersen\u2019s, Copen\u00adhagen; Ruth Benzacar, Buenos Aires; Tanya Bonakdar Gallery, New York\/Los Angeles; Pinksummer contem\u00adporary art, Genoa, and neuger\u00adriem\u00adschneider, Berlin.

You are invited to be part of this movement for eco-social justice at aerocene.org<\/a>.<\/p>\n\n\n\n

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Tom\u00e1s Saraceno<\/strong>

Live(s) on Air \u2013 Movement 2<\/em>, 2023
Inkjet print on Hahne\u00adm\u00fchle Photo Rag
Ed. 2\/6

Live(s) on Air \u2013 Movement 3<\/em>, 2023
Inkjet print on Hahne\u00adm\u00fchle Photo Rag
Ed. 2\/6

Live(s) on Air \u2013 Movement 5<\/em>, 2023
Inkjet print on Hahne\u00adm\u00fchle Photo Rag
Ed. 2\/6

neuger\u00adriem\u00adschneider, Berlin<\/p>\n\n\n\n

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Team Myzel der Ostfalia Hochschule (MyB)<\/strong>

My[co]Future<\/em>, 2025
Fungal mycelium, wood chips, wood

Research project \u201cFungal Mycelium as a Composite Material for Use in Product Develo\u00adp\u00adment and Archi\u00adtec\u00adture\u201d in the Institute for Recycling at Ostfalia Univer\u00adsity of Applied Sciences: Ingo Johannsen, Annalena Manz, Luisa Kisten\u00adbr\u00fcgger, Bj\u00f6rn Kendel\u00adba\u00adcher

Energy and raw materials are becoming scarce\u2014so ecolo\u00adgical alter\u00adna\u00adtives are needed. Mycelium, the fine root network of fungi, grows in plant fibers or wood chips, forming stable, light\u00adweight, and compost\u00adable material. As a substi\u00adtute for various materials, such as wood, plastics, packaging, or insula\u00adtion, it offers great potential for a circular, sustainable economy of the future. This project is part of the ongoing research project \u201cFungal Mycelium as a Composite Material for Use in Product Develo\u00adp\u00adment and Archi\u00adtec\u00adture\u201d in the Institute for Recycling at Ostfalia Univer\u00adsity of Applied Sciences in Wolfsburg.<\/p>\n\n\n\n

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Terreform ONE<\/strong>

Post Carbon City<\/em>, 2014
Digital rendering

Courtesy Mitchell Joachim, Terreform ONE

This nonprofit think tank for sustainable urban develo\u00adp\u00adment focuses on \u201cliving archi\u00adtec\u00adture\u201d made from biolo\u00adgical materials. The Post Carbon City <\/em>project envisions a climate-neutral utopia for New York: Manhattan will be renatured and deliber\u00adately flooded, and new zones for solar energy, vertical agricul\u00adture, and sustainable mobility will be created to realize a climate-resilient, biodi\u00adver\u00adsity-promoting metro\u00adpolis after the age of fossil fuels.<\/p>\n\n\n\n

\n\n\n\n

Liam Young<\/strong>

The Great Endeavor<\/em>, 2023
1\u2011channel video, color, sound, costumes
Different dimen\u00adsions
9 min.

Designed and directed by Liam Young, VFX Super\u00advisor Alexey Marfin \/ Costume produc\u00adtion: Ane Crabtree \/ Original
sound\u00adtrack: Lyra Pramuk

Courtesy the artist

This specu\u00adla\u00adtive short film addresses the efforts needed to remove CO2 from the atmos\u00adphere and compares this process to the 1969 Moon landing: once again, a global race is urgently needed. The visually impres\u00adsive animation depicts a technical utopia with almost radical optimism and calls for collec\u00adtive action, while also raising critical questions about power, infra\u00adst\u00adruc\u00adture, and global cooperation.<\/p>\n\n\n\n

\n\n\n\n

ZK\/U and KUNST\u00adre\u00adPU\u00adBLIK<\/strong>

BeeDAO<\/em>, 2019\u2013ongoing
Instal\u00adla\u00adtion, sensor kits, bee data, Raspberry Pi, monitors, metal, wood, paint, chalk, vinyl, textiles

Courtesy the artists

Although bees generate more than 200 billion euros in global economic output annually, their habitat is threa\u00adtened by humans, climate crisis, diseases, and invasive species. BeeDAO<\/em>, which stands for Bee Decen\u00adtra\u00adlized Autono\u00admous Organiz\u00ada\u00adtion, is a Web3 organiz\u00ada\u00adtion that aims to secure and improve the well-being of bees worldwide. BeeDAO <\/em>is an inter\u00adac\u00adtive instal\u00adla\u00adtion of human and nonhuman actors that promotes inter\u00adspe\u00adcies democracy, wealth sharing, and knowledge creation.<\/p>\n\n\n\n

\n\n\n\n

Cluster 6<\/strong>

Solida\u00adrity Among Species<\/strong>

In a world of ecolo\u00adgical crises, how can we conceive new ways of living together with animals, plants, and other life forms? The works in this cluster question the dominant human perspec\u00adtive and invite us to explore empathy, care, and coexis\u00adtence as the basis of a new relati\u00adonship among species, a unifying kinship that trans\u00adcends the bounda\u00adries between species. For example, Hermann Weber documented his life\/coexistence with a crow that he raised and released into the wild over several years. The work of Lin May Saeed, who has always campai\u00adgned for animal rights in her work, speci\u00adfi\u00adcally calls for the \u201clibera\u00adtion of animals from their cages.\u201d U\u00fdra Sodoma trans\u00adforms herself into a hybrid creature in her impres\u00adsive perfor\u00admances and photo\u00adgraphs to advocate for biodi\u00adver\u00adsity in the Brazilian Amazon region and to draw attention to its devas\u00adta\u00adting explo\u00adita\u00adtion. In Khvay Samnang\u2019s video, Calling for Rain<\/em> (2021), it is the animals themselves who, through their cohesion, defeat the fire dragon, a symbol of human-made climate change. These artistic confron\u00adta\u00adtions open up utopian spaces in which a fairer, more respectful and deeper connec\u00adtion between all forms of life becomes conceivable.<\/p>\n\n\n\n

\n\n\n\n

melanie bonajo<\/strong>

Night Soil \u2013 Nocturnal Gardening<\/em>, 2016
HD video, color, sound
49:47 min.

Courtesy melanie bonajo and AKINCI

Care and affection for fellow human beings, animate and inanimate nature, and more-than-human species are the central themes of this video, which portrays various women\u2019s groups that are already imple\u00admen\u00adting utopian models of solida\u00adrity-based coexis\u00adtence and anti-capita\u00adlist economic practices. These groups explore new ways of coexis\u00adting and address issues such as sustainable land use, animal welfare, and environ\u00admental protection.<\/p>\n\n\n\n

\n\n\n\n

<\/strong><\/p>\n\n\n\n

Chitra Ganesh<\/strong>

Never forget the smell of wet earth<\/em>, 2025
Mixed media on paper

Courtesy the artist

In her drawings, collages, and paintings inspired by comics and anime, Chitra Ganesh combines elements of specu\u00adla\u00adtive science fiction, South Asian history, religion, and mythology with queer\u00adfe\u00admi\u00adnist narra\u00adtives. The collage, created especially for the exhibi\u00adtion, expresses a deep connec\u00adtion with nature and the animal kingdom.<\/p>\n\n\n\n

\n\n\n\n

Rosana Paulino<\/strong>

A geometria \u00e0 brasi\u00adleira: azul n. 1<\/em>, 2021
Acrylic and collage on canvas

Teixeira Collec\u00adtion, Lisbon, Portugal

Rosana Paulino addresses racism within the Brazilian diaspora, which has its roots in the enslave\u00adment and depor\u00adta\u00adtion of Black people from the African continent. However, her work is also charac\u00adte\u00adrized by hope and the possi\u00adbi\u00adlity of healing emotional trauma. In A geometria \u00e0 brasi\u00adleira:  azul n. 1<\/em>, she references exoti\u00adci\u00adzing stereo\u00adtypes of Brazil as a paradi\u00adsiacal utopia. The triptych features a spiritual being, a godlike \u201ctree woman,\u201d who merges with nature and refers back to the towering jatob\u00e1 tree.<\/p>\n\n\n\n

\n\n\n\n

Lin May Saeed<\/strong>

The Libera\u00adtion of Animals from their Cages XXII \/ Woman with Kid<\/em>, 2019
Steel, lacquer

Courtesy Lin May Saeed Estate and Jacky Strenz, Frankfurt am Main

The central theme of Lin May Saeed\u2019s work is the relati\u00adonship between humans and animals, which she expressed poeti\u00adcally through her sculp\u00adtures and drawings. As an animal rights advocate, she used her art to raise awareness and to promote under\u00adstan\u00adding of animals within human conscious\u00adness. Her animal sculp\u00adtures, often made of Styrofoam, are in the tradition of Arte Povera and reflect the relati\u00adonship to the Anthropo\u00adcene and the Petrol Age\u2014an era defined by human domina\u00adtion over nonhuman species.<\/p>\n\n\n\n

\n\n\n\n

Khvay Samnang<\/strong>

Calling for Rain<\/em>, 2021
1\u2011channel video, color, sound, 5 mask sculp\u00adtures (woven vines, steel)
30:42 min.

Ed. 2\/5 + 2 AP

The work was commis\u00adsioned for the Children\u2019s Biennale by the National Gallery of Singapore.

Courtesy the artist

Inspired by the epic poem Reamker<\/em>, the Cambodian version of the Indian national epic Ramavana<\/em>, Khvay Samnang\u2019s video tells a contem\u00adporary story about the destruc\u00adtion of the rainfo\u00adrest and the effects of climate change. The focus is on actors wearing animal masks who perform the story of Kiri, a monkey who falls in love with Kongea, a fish, and defeats the fire dragon with the help of other animals to save the dying forest.<\/p>\n\n\n\n

\n\n\n\n

U\u00fdra Sodoma<\/strong>

S\u00e9rie A \u00daltima Floresta \u2013 Terra Pelada<\/em>, 2017
Print on Aludibond

S\u00e9rie Elementar \u2013 Lama<\/em>, 2017
Print on Aludibond

S\u00e9rie A \u00daltima Floresta \u2013 FOGO<\/em>, 2017
Print on Aludibond

Courtesy U\u00fdra Sodoma

U\u00fdra Sodoma, an alter ego of the nonbinary artist and biologist Emerson Pontes, embodies a spiritual entity committed to biodi\u00adver\u00adsity and the preser\u00adva\u00adtion of Indige\u00adnous habitats. Through perfor\u00admances that blend environ\u00admental activism with mytho\u00adlo\u00adgical elements and aesthetic forms of expres\u00adsion borrowed from the drag community, U\u00fdra Sodoma draws attention to the devas\u00adta\u00adting conse\u00adquences of indus\u00adtrial explo\u00adita\u00adtion and defore\u00adsta\u00adtion in the Brazilian Amazon region.<\/p>\n\n\n\n

\n\n\n\n

Hermann Weber<\/strong>

B\u00fccher \/ Der G\u00f6tter\u00adbote, <\/em>2019\u20132022
14 linen-bound books

G\u00f6tter\u00adbote<\/em>, 2024
Oil on birch bark

Courtesy the artist

Hermann Weber lives out the often-called for \u201cinter\u00adspe\u00adcies kinship\u201d every day: for many years, he has been meeting with a crow that he has raised and released into the wild, together with its partner. He meticu\u00adlously documents these encoun\u00adters in illus\u00adtrated diaries, as well as in works of art, such as Messenger of the Gods<\/em>.<\/p>\n\n\n\n

\n\n\n\n

Cluster 7<\/strong>
Utopias of Alter\u00adna\u00adtive Futures and Posthuman Beings<\/strong>

Utopias of alter\u00adna\u00adtive futures, Afrofu\u00adtu\u00adrism, and visions of digital bodies and experi\u00adences form the starting point of this cluster. The positions gathered here focus on, among other things, (bio)technological develo\u00adp\u00adments, prost\u00adhetic bodies, and digital or hybrid spaces, and the associated utopian imagi\u00adna\u00adtions of a libera\u00adting, emanci\u00adpa\u00adtory, and trans\u00adfor\u00adma\u00adtive intert\u00adwi\u00adning of humans and techno\u00adlo\u00adgies. In the video game Morpho\u00adgenic Angels: Chapter 1<\/em> (2023) developed by the Keiken collec\u00adtive, players are immersed in a post-capita\u00adlist science fiction scenario in which humans appear angelic and possess the conscious\u00adness of all species, both human and nonhuman. Cao Fei addresses the metaverse in her work Oz<\/em> (2022): A non-binary avatar, a chimera between human, machine, and octopus, glides through its digital spheres. Yael Bartana imagines an entirely different narrative in her multi\u00admedia work group Light to the Nations<\/em> (2024): What if human destruc\u00adtion made the Earth uninha\u00adbi\u00adtable? With a genera\u00adtion ship, part of humanity could be saved and travel through space indefi\u00adni\u00adtely or return once our planet has regene\u00adrated. In contrast, Yinka Shonibare sculpture Refugee Astronaut XII<\/em> (2025) strides across the Earth and becomes a symbol of flight, migration, and the hope for a better life elsewhere.<\/p>\n\n\n\n

\n\n\n\n

aLifve\u00adForms (fed and cared for by JP Raether)<\/strong>

Trans\u00adfor\u00admella, TRANSFORMELLA 4.4.5 (2015)<\/em>, 2019
C\u2011print, framed

Protek\u00adtorama, ORGANIC LIGHT EMMITTING PROCESSIORAMA [5.5.4] (2014)<\/em>, 2020
C\u2011print, framed

Schwarm\u00adwesen, KARACHI TRADER 6.1.6.0 (2019)<\/em>, 2020
C\u2011print, framed

Courtesy the artists and Kraupa-Tuskany Zeidler, Berlin \/ M\u00fcnchen

Trans\u00adfor\u00admella, Schwarm\u00adwesen (Swarm Creatures), and Protek\u00adtorama are the names of the avatars created by aLifve\u00adForms. JP Raether embodies these avatars in perfor\u00adma\u00adtive inter\u00adven\u00adtions in consumer contexts, such as at IKEA or in Apple Stores. In their multi\u00adlayered, changing, and constantly evolving incar\u00adna\u00adtions, these humanoid avatars\u2014also known as \u201cAlter\u00adIden\u00adti\u00adties\u201d or \u201cSelfSis\u00adters\u201d\u2014 engage with contem\u00adporary techno\u00adlo\u00adgical phenomena, challen\u00adging construc\u00adtions of identity, language, and reality. They demons\u00adtrate that, in every reality, the possi\u00adbi\u00adlity of a different, utopian world is conceivable.<\/p>\n\n\n\n

\n\n\n\n

Yael Bartana<\/strong>
Light to the Nations<\/em>, 2024

Doreet LeVitte Harten, Interview<\/em>, 2024
1\u2011channel video, color, sound
11:30 min.

Genera\u00adtion Ship<\/em>, 2024
3D print, stainless steel, thermo\u00adplastic polyester (PETG), nylon\u00adpo\u00adlymer (PA12), mirror, wood

Life in the Genera\u00adtion Ship<\/em>, 2024
3D rendering (VR version), color, sound
21 min.

Light to the Nations \u2013 poster series \/ Farewell, <\/em>2023
Fine Art Print

Light to the Nations \u2013 poster series \/ Tikkun Olam, <\/em>2023
Fine Art Print

Light to the Nations \u2013 poster series \/ Otherland, <\/em>2023
Fine Art Print

Light to the Nations \u2013 poster series \/ The Ten Spheres of the Genera\u00adtion Ship, <\/em>2025
Fine Art Print

Courtesy Annet Gelink Gallery, Amsterdam \/ Sommer Contem\u00adporary Art, Tel Aviv \/ Galleria Raffaella Cortese, Milan \/ Petzel Gallery, New York \/ Capitain Petzel, Berlin, and Cecilia Hillstr\u00f6m Gallery, Stockholm

At the center of the multi\u00admedia work group is a spaceship designed for several genera\u00adtions and for an indefi\u00adnite period of time, in order to leave Earth after its destruc\u00adtion caused by humans. Based on the Kabba\u00adlistic concept of tikkun olam <\/em>(repairing the world), the spaceship offers the utopian\u2014and simul\u00adta\u00adne\u00adously dystopian\u2014opportunity to transport its crew to a new planet, travel endlessly through space, or return them after Earth has been regenerated.<\/p>\n\n\n\n

\n\n\n\n

Nuotama Frances Bodomo<\/strong>

Afronauts<\/em>, 2014
HD video, b\/w, sound
14 min.

Courtesy the artist

The film Afronauts <\/em>references the Zambian space program initiated by Edward Mukuka Nkoloso in the 1960s, which aimed to beat the Soviet Union and the United States in the race to land on the Moon. The focus is on the woman astronaut Matha Mwamba, just seventeen years old at the time. Racism and gender discri\u00admi\u00adna\u00adtion in histo\u00adrical space programs is as much a theme as the design of an Afrofu\u00adtu\u00adrist utopia.<\/p>\n\n\n\n

\n\n\n\n

Egl\u0117 Budvytyt\u0117<\/strong>

Songs from the compost: mutating bodies, imploding stars<\/em>, 2020
1\u2011channel video (4K), color, sound
30 min.

Courtesy the artist

Egl\u0117 Budvytyt\u0117\u2019s video visua\u00adlizes the utopia of a symbiotic coexis\u00adtence of human and nonhuman natures and forms of conscious\u00adness. The young perfor\u00admers do not walk upright but rather crawl through the landscape to hypnotic sounds as part of a choreo\u00adgraphy. Their bodies appear as sites of activity, mutation, and hybridity, challen\u00adging tradi\u00adtional catego\u00adriz\u00ada\u00adtions and hierarchies.<\/p>\n\n\n\n

\n\n\n\n

Margret Eicher<\/strong>

Inter\u00adcul\u00adtu\u00adra\u00adlists have arrived 2<\/em>, 2025
Digital montage \/ jacquard
270 \u00d7 358 cm

Courtesy the artist and Galerie Michael Janssen, Berlin

In Margret Eicher\u2019s work, tradi\u00adtional tapestry meets the artifi\u00adcially generated aesthe\u00adtics of the modern infor\u00adma\u00adtion society. In the digital montage, rodents in space\u00adsuits and flying saucers surround the pop icon Beyonc\u00e9, a Black Barbie, and Kenza Layli, a Moroccan lifestyle influ\u00adencer who became the first Miss AI in 2024. Are they emissa\u00adries repre\u00adsen\u00adting inclusion, diversity, and empower\u00adment on a foreign planet? Or are they hyperreal simula\u00adtions posing as mirages against the ruins of a failed utopia?<\/p>\n\n\n\n

\n\n\n\n

Cao Fei<\/strong>

Oz<\/em>, 2022
2\u2011channel video instal\u00adla\u00adtion, color, sound, two screens, speakers, artifi\u00adcial plants, bark mulch
Dimen\u00adsions variable
1:36 min.
Ed. 1\/6 + 2 AP
Music: Ma Haiping

Courtesy Spr\u00fcth Magers and Vitamin Creative Space

The avatar Oz <\/em>was developed speci\u00adfi\u00adcally for the metaverse in the work Duotopia<\/em>. With ist andro\u00adgy\u00adnous appearance and cyborg-like tentacles reminis\u00adcent of an octopus, Oz <\/em>embodies a nonbinary, fluid identity. The avatar radiates equani\u00admity as it looks calmly and hopefully at existence in the metaverse.<\/p>\n\n\n\n

\n\n\n\n

Robert Gabris<\/strong>

Insec\u00adtopia<\/em>, 2020
Perfor\u00admance and instal\u00adla\u00adtion: 10 insect \u201cautoprints,\u201d ink on silk, 2 swings, bamboo sticks, white bondage rope; 6 masks, bamboo sticks, string; perfor\u00admance artifacts on paper with body imprints
Dimen\u00adsions variable

mumok \u2013 Museum moderner Kunst Stiftung Ludwig Wien, 2024

The work of Robert Gabris centers on the human body, its capacity for trans\u00adfor\u00adma\u00adtion, and questions of identity. For this instal\u00adla\u00adtion, he covered silk panels with impres\u00adsions of his own body. The resulting silhou\u00adettes in black ink resemble oversized insect bodies. For Gabris, a member of the Roma community, this artistic process of trans\u00adfor\u00adma\u00adtion is also an act of resis\u00adtance against racism.<\/p>\n\n\n\n

\n\n\n\n

Keiken<\/strong>

Morpho\u00adgenic Angels: Chapter 1<\/em>, 2023
HD PC game with Xbox controller, color, sound
Game duration ca. 50\u201370 min.

Courtesy the artists

In this inter\u00adac\u00adtive work, the Keiken collec\u00adtive (Tanya Cruz, Hana Omori, and Isabel Ramos) presents a postca\u00adpi\u00adta\u00adlist future where humans acquire trans\u00adhuman abilities through organic changes, giving them the conscious\u00adness of all human and nonhuman species. This immersive controller game tells the story of a romance between two avatars and explores techno\u00adlo\u00adgical develo\u00adp\u00adments in the metaverse as well as the utopian hopes attached to hybrid, nonbinary, and trans\u00adhuman identities.<\/p>\n\n\n\n

\n\n\n\n

Yinka Shonibare CBE RA<\/strong>

Refugee Astronaut XII<\/em>, 2025
Fiber\u00adglass sculpture, Dutch wax fabric, net, posses\u00adsions, astronaut helmet, moon boots

Courtesy the artist

This life-size figure wears a space suit made of colorful Dutch wax fabric and carries various belon\u00adgings on its back. The astronaut becomes a symbol of global migration, uprooting, and climate catastrophe, while also repre\u00adsen\u00adting the Afrofu\u00adtu\u00adrist concept of seeking refuge in outer space. The work combines post-colonial criticism with a warning about the conse\u00adquences of environ\u00admental destruc\u00adtion and unbridled growth.<\/p>\n\n\n\n

\n\n\n\n

Maja Smrekar<\/strong>

K\u20119_topology: Hybrid Family<\/em>, 2016
2 C\u2011prints, framed

Courtesy Maja Smrekar and Manuel Vason

The \u201cmaking of kin\u201d between species is literally at the heart of this series. For several months, the artist went into isolation with her dogs. With her hormone balance altered through inter\u00adven\u00adtions, she breastfed the puppies. Smrekar\u2019s work is a feminist homage to Joseph Beuys\u2019s perfor\u00admance I Like America and America Likes Me <\/em>(1974) with a live coyote, while also directly imple\u00admen\u00adting Donna Haraway\u2019s call for solida\u00adrity and respon\u00adsi\u00adbi\u00adlity between species.<\/p>\n\n\n\n

\n\n\n\n

Rhoda Ting und Mikkel Bojesen<\/strong>

Mycoge\u00adnesis<\/em>, 2021
Fungi, yeast, bacteria microbes, glass, resin, iron

Courtesy the artists

This living sculpture was created in colla\u00adbo\u00adra\u00adtion with fungi, yeast, and bacteria. It raises questions about the meaning of intel\u00adli\u00adgence beyond the human perspec\u00adtive of reason and ratio\u00adna\u00adlity. Taking inspi\u00adra\u00adtion from fungi as a decen\u00adtra\u00adlized and symbiotic form of intel\u00adli\u00adgence, Mycoge\u00adnesis <\/em>focuses on sensual, embodied, and relational knowledge and paves the way for a specu\u00adla\u00adtive future.<\/p>\n\n\n\n

\n\n\n\n

P\u0131nar Yolda\u015f<\/strong>

An Ecosystem of Excess<\/em>, 2014 \u2013 fortlau\u00adfend
Instal\u00adla\u00adtion, 3D print, glass vases, water, water pumps, LED lights, acrylic, wood, color, and vinyl

Courtesy the artist

There are currently over 150 million tons of plastic in our oceans. Can new life forms emerge under these preca\u00adrious condi\u00adtions? Based on global overcon\u00adsump\u00adtion, P\u0131nar Yolda\u015f has designed a posthuman ecosystem: the \u201cplastis\u00adphere.\u201d Featuring creatures that metabo\u00adlize plastic, Yolda\u015f\u2019s work responds to the ecolo\u00adgical disaster resulting from our consumer behavior.<\/p>\n\n\n\n

\n","protected":false},"excerpt":{"rendered":"

Utopia. The Right to Hope 27.09.2025 \u2013 11.01.2026 \u201cYou may say I\u2019m a dreamer, but I\u2019m not the only one,\u201d wrote John Lennon and Yoko Ono in the opening lines of \u201cImagine,\u201d one of the world\u2019s most famous songs. Though the song is more than half a century old, its vision of various utopian ideals [\u2026]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":""},"yoast_head":"\nUtopia. The Right to Hope \u2013 Texts - Kunstmuseum Wolfsburg<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.kunstmuseum.de\/en\/utopia-texts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Utopia. The Right to Hope \u2013 Texts - Kunstmuseum Wolfsburg\" \/>\n<meta property=\"og:description\" content=\"Utopia. The Right to Hope 27.09.2025 \u2013 11.01.2026 \u201cYou may say I\u2019m a dreamer, but I\u2019m not the only one,\u201d wrote John Lennon and Yoko Ono in the opening lines of \u201cImagine,\u201d one of the world\u2019s most famous songs. 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