Three Distinct Voices on the Broken Lines of Reality: “Perceptual Territories” at neugerriemschneider
What remains when that unshakable assumption called reality is cut, split, and separated into layers? The group exhibition titled “Perceptual territories — cut, split, layered”, displayed at the Linienstraße 155 space of the neugerriemschneider gallery in Berlin, presents precisely this radical question as a program of action. Three powerful names in international contemporary art—Shilpa Gupta, Renata Lucas, and Haegue Yang—address perception itself as a political arena, bringing dominant historical and political narratives into question. Open to visitors until August 15, 2026, the exhibition promises visitors a profound experience that shakes conventional ways of seeing.
Born in Mumbai and based in India, Shilpa Gupta targets bureaucratic language, border politics, and power mechanisms through her sound, text, object, and performative installations. Gupta’s practice prefers indirect and subtle pathways to make obscured social fractures visible: rather than direct and crude agitation, she establishes an elegant yet striking form of resistance operating through the fragile layers of language and meaning.
Brazilian artist Renata Lucas, on the other hand, is known for her spatial interventions, urban interruptions, and installations that transform everyday objects. Using urbanization practices, roads, buildings, and urban discontinuities as both material and a means of inquiry, the São Paulo-based artist shifts the invisible boundaries of public space from under the viewer’s feet. The space constructed by Lucas transforms into both a physical and an allegorical field of reckoning.
Haegue Yang, who works between Seoul and Berlin, greets the viewer with a complex installation world woven from venetian blinds, clotheslines, scents, sounds, and industrial objects. Yang’s works investigate cultural displacement, migration stories, and the deep emotional memory loaded onto everyday ordinary objects. In her hands, an ordinary blind or a scent transforms into both a concrete presence and a poetic symbol of unbelonging.
The fundamental element bringing together these artists from three different geographies under the same roof is their shared will to disrupt dominant regimes of visibility shaping perception. Demonstrating how we are conditioned to see and which perspectives are pushed outside the center, this selection achieves this without taking refuge in the shouting of a manifesto, but by exhibiting the act itself.
The fact that the gallery, which hosted Pae White’s material-focused poetic world at its Christinenstraße venue throughout the summer, opens space for a conceptual and political language at this courtyard space on Linienstraße 155 also reveals the flexibility of its institutional identity. Closing its doors on August 15—just before the Berlin Art Week marathon—the exhibition is a highly valuable stop for questioning how we look at power relations.
