From 11 September to 17 October 2026, Berlin gallery alexander levy hosted Sinta Werner’s solo exhibition, Modul im Modell. Bringing photography and sculpture into dialogue through architectural constructs, the show offered a close study of how Werner continually reconstructs space through material, light, and the viewer’s corporeal movement.
At the core of the artist’s practice are the grid systems of mid-twentieth-century modernism, predicated on rationality and the promise of an unyielding order. Yet, moving through the gallery, it became evident that Werner does not accept these rigid structures at face value; instead, she deliberately subverts them, shifting them off-axis and situating them within altered optical contexts. Glass assumed a critical role throughout: standing before works such as Proportionierte Leere – Achsen des Lichts (2026)—fashioned from antique glass, UV prints, and brass hinges—the material operated simultaneously as a structural support and an optical filter bending the gaze. Reflections and overlapping transparent planes completely dissolved what is conventionally accepted as an absolute, monocular perspective.
In Werner’s staging, space ceases to be a static backdrop, emerging instead as a living process animated by our strides and shifting vantage points. Circumnavigating Gerüst und Gewand III (2026), with its layered, laser-cut archival pigment prints, one witnessed the unraveling of geometric certainty; rigid structures gave way to a cinematic interplay of light and void, choreographed to the very rhythm of the viewer’s gaze.
