Branching: ALEX CARVER, SIMON DENNY, BROOK HSU, RIM PARK, GUAN XIAO, EVIAN WENYI ZHANG
ALEX CARVER, SIMON DENNY, BROOK HSU, RIM PARK, GUAN XIAO, EVIAN WENYI ZHANG
Branching
Kraupa-Tuskany Zeidler, Munich (DE)
18.09.2026–31.10.2026
opening reception for Various Others Season Opening 17.09.2026 6–9 pm
Kraupa-Tuskany Zeidler is pleased to announce Branching, a group exhibition which considers how forms and images persist, mutate and acquire new meaning. Tying the works together is an approach to branching itself as a system of transformation, translation and exchange — a logic that runs through organic growth as much as through digital and technological systems. Drawing on natural materials such as trees, roots and anatomical fragments as well as digital structures and technologies of transmission, the works explore how meaning is continually mediated through memory, technology and material intervention.
Across the exhibition, this takes different formal expressions. Botanical and bodily elements sit alongside industrial components, mechanical processes, software and image technologies, creating a space where nature and systems are worked into and through one another, and forms recombine and branch into new configurations.
Appropriated texts, fragmented information graphics and medieval woodcuts form a dense image ecology in ALEX CARVER’s work. The paintings are populated with mesmerizing braille-like meshes, functioning sometimes as diagrams, spatial coordinates, or appearing like raised wounds over the surface of the skin. Branches, entrails and anatomical fragments accrete in sedimentary layers; the frottage-worked surface gives the composition the feel of something excavated rather than made: a painterly membrane stretched across art history’s collective imaginary, metadata made tactile.
SIMON DENNY makes artworks that unpack stories about technology using a variety of media. For his paintings, Denny uses custom software to manipulate brushes and paint with adapted CNC, plotting machines, and altered inkjet printers, creating rich layered surfaces that combine mechanical gestures with jagged-edged algorithmic relics. AI models blend together defense tech industry images and Italian Futurist motifs to generate the compositions, which are then executed by robotic arms with traditional brushes and sprayed ink, echoing both Futurist Aeropainting and early computer art of the 1950’s. Forming part of a broader research arc, the series explores the symmetry between the historical avant-garde and today’s Defense-Tech sphere.
GUAN XIAO combines a wide array of visual references in her practice, creating a pictorial language that breaks through historical and cultural boundaries by establishing diverse relationships between a variety of rich materials. Her works generate cohesive textures between binaries sourced from contrasting and even conflicting worlds, and fuse old and modern, digital and analogue, and natural and artificial modes. The natural form of the tree root appears recurrently in her sculptures, cast in brass and painted in a range of colours, brought into contrast with precision-engineered motorcycle parts, resulting in what the artist considers a sort of ‘readymade’ of contradictory associations.
BROOK HSU dedicates herself to painting in an ongoing engagement with the medium’s capacity to cast an aesthetically propulsive and emotionally charged orbit, intertwining personal narratives of human and non-human relationships, while connecting the act and the history of painting in dialogue with a range of further references. Hsu’s paintings are trans-temporal acts, which through repeated gestures and subjects, variations and echoes, appear as palimpsests and time frames. They evoke filmic time, especially stasis and slow temporality as narrative. She is interested in how the retelling of stories, the transmutative act of repetition, and by extension the relooking of paintings across time, could hold the viewer’s attention, while shifting meaning, both reinforcing and diverging from a narrative at once.
RIM PARK’s work captures her encounters with unspoiled, often remote landscapes, where she draws from her fieldwork to reinterpret nature’s forms in intricate, layered compositions. By incorporating found organic elements such as moss, tree roots, and pigments from the field, Park’s paintings and sculptures explore the delicate, ambiguous existence of beings seemingly detached from human interference, as if suspended in a timeless realm. In her practice, Park blends traditional Korean materials with pigments derived from nature, forging a dialogue between organic decomposition and synthetic preservation.
EVIAN WENYI ZHANG’s distinctive grid-based methodology examines contemporary image consumption and its hierarchical conditioning by both aesthetical and ideological principles. By deploying a particular technique that isolates and repeats instances of specific, enigmatic imagery, Zhang depicts these instances on small discrete canvases, which are then arranged into a grid. Her practice leads to a vast conversation about how grids appear in different forms, such as tabulations of imagery, repetitions in ornamental patterns, and metal lattices as cages. Attentive to processes of arbitrary selection and deconstruction across different areas of interest, Zhang selects a wide range of categories, whether personal or socially functional, to unsettle the infrastructures that shape the content-oriented ecology sustaining contemporary regimes of visibility.
