Dora Budor, Jana Euler, Jasper Marsalis, Simon Dybbroe Møller, Nina Porter, Margaret Raspé, Davide Stucchi.
I Ciclopi (Eye, Camera, Myth)
2 April – 28 June 2026
Curated by Saim Demircan
In a short text titled ‘Art Through the Camera’s Eye’ (c.1971), Robert Smithson imagined the camera store as a setting for a horror film based on the Ancient Greek myth of the Cyclops, in which the “camera’s eye alludes to many abysses.” One of the first digital cameras, developed in California in 1975 by Cromemco, was named Cyclops, creating another connection between the singular eye and the camera’s lens. Taking up this analogy, I Ciclopi (Eye, Camera, Myth) brings together artworks that demonstrate forms of cyclopic vision by alluding to, repurposing, or modifying camera technologies, to consider how we see images through a one-eyed point of view.
Dora Budor (b. Zagreb, Croatia) is a New York-based artist and writer. Trained as an architect, Budor surveys the sites where the built environment and subjectivity work upon one another, honing in on the dissolution of life as a shared and consistent social form. Working with a wide range of media—including video, sculpture, installation, and sound—Budor’s exhibitions are developed in response to spatial and psychosocial conditions.
Budor’s work has been featured in major international exhibitions, most recently the Whitney Biennial (2024), the 15th Gwangju Biennale (2024), and the 59th Venice Biennale (2022). Her upcoming and recent solo institutional exhibitions include Bonner Kunstverein (2026), Neue Berliner Kunstverein / n.b.k. (2026), Nottingham Contemporary (2024), Kunsthaus Bregenz (2022), and Kunsthalle Basel (2019). She is currently a professor at the Städelschule in Frankfurt.
Jana Euler (b. 1982, Friedberg, Germany) lives and works in Frankfurt and Brussels.Since the mid-2000s, Euler has produced a heterogeneous body of work diagnosing painting's social, material, and historical bases. Known for her exacting technique and a cast of characters both real and imagined — from Leonardo to Duchamp, Ed Sheeran to Whitney Houston — she bloats, vaporizes, or perverts her sources to render the familiar inscrutable. Euler manipulates the conventions of figuration to find new outlets for painterly realism.
Selected solo exhibitions of Euler: the Leopold-Hoesch-Museum, Düren (2024–25); WIELS, Brussels (2024); Artists Space, New York (2020); Stedelijk Museum, Amsterdam (2017); Portikus, Frankfurt (2015), and Kunsthalle Zürich and Bonner Kunstverein (2014–15). Significant group shows include the 59th Venice Biennale, The Milk of Dreams (2022); Museum Brandhorst (2023); The Museum of Modern Art (MoMA), New York (2023); Kunstmuseum Basel (2022); Fondazione Prada, Milan (2021); KW Institute for Contemporary Art, Berlin (2021); Manifesta 13, Marseille, France (2020); Museum für Moderne Kunst, Frankfurt (2019); Tai Kwun, Hong Kong (2019); mumok, Vienna (2018); ICA Miami (2017–18); Musée d’art moderne et contemporain, Geneva (2017); and the Whitney Museum of American Art, New York (2013).
Jasper Marsalis (b. 1995, Los Angeles, US) lives and works in London, UK. Working across painting, sculpture, music and text, Jasper Marsalis elaborates a parallel between the space of the artwork and a performer on stage, both of which entail an experience of being consumed by audiences. Glaring spotlights are depicted throughout his work, obscuring their intended objects and acting as obstacles to vision. The tension of impermeability is mirrored in the sculptures whose surface fractures seem to chisel at opacity. By troubling perception, Marsalis interrogates the ocular centrism of visual art and the associated role of spectacle and access.
He graduated with a BFA from The Cooper Union in 2017. His upcoming and recent solo exhibitions include Chisenhale Gallery, London, UK (2026); Aspen Art Museum, US (2025), Emalin, London, UK (2024), Kristina Kite Gallery, Los Angeles, US (2023); Emalin, London, UK (2022); Midway Contemporary Art, Minneapolis, US (2020); Kristina Kite Gallery, Los Angeles, US (2020); and Svetlana, New York, US (2018).
Simon Dybbroe Møller As a prominent exponent of an art that emphasises connection, juxtaposition and relationality, Simon Dybbroe Møller’s works engage with the relationship between the weighty materiality of sculpture, and their photographic representation and mediation. Simon Dybbroe Møller explores what sculpture is or can be, in a world that is dictated by the photographic; a world where our economy and attention has shifted from the object to the image. Rather than settling into one medium or style, he continuously probes new territories, moving between film, photography, found objects, sculpture, writing, curating and teaching. Having studied at Kunstakademie Düsseldorf and Städelschule in Frankfurt am Main, Simon Dybbroe Møller is currently Professor at the Royal Danish Academy of Fine Arts School of Sculpture in Copenhagen where he curates the performance series Why Words Now.
Simon Dybbroe Møller had solo shows at Kunsthal Charlottenborg in Copenhagen Contemporary Art Centre in Vilnius, CAPC in Bordeaux, Kunsthalle Sao Paulo, Belvedere 21 in Vienna, Fondazione Giuliani in Rome, Kunstverein Hannover and Frankfurter Kunstverein. His work was included in the 1st Klaipėda Biennial; the 14th Taipei Biennial, the 5th Moscow Biennial, the 9th Berlin Biennial, the 2nd Turin Triennial, Momentum - the 6th Nordic Biennial and in group exhibitions at Barbican in London, MAST in Bologna, SMK National Gallery in Copenhagen, Palais de Tokyo in Paris, MOCA Detroit, CCA Wattis in San Francisco, Centre Pompidou in Paris, Hamburger Bahnhof in Berlin, MMK Frankfurt am Main, Museum of Contemporary Art Tokyo, Art Sonje in Seoul, Museum Ludwig in Cologne and KW in Berlin.
Nina Porter (b. London, 1994) lives and works between London and Frankfurt. Recent exhibitions have been held at Theta, New York; a. SQUIRE, London; Sweetwater, Berlin and Petrine, Paris.
Margaret Raspé (1933–2023) explored structures of perception across five decades, encompassing film, performance, and installation. She is best known for her camera helmet films from the 1970s and 80s, which captured a first-person perspective of housework and routine tasks. Her later works addressed ecology, sustainability, and spirituality while remaining grounded in the study of perception.
Raspé’s films gained early international recognition at venues like Anthology Film Archives and the Hayward Gallery. Her Berlin home served as a significant site for artistic exchange with groups like the Vienna Actionists and Berlin Fluxus. In 2023, her work was the subject of a major retrospective at Haus am Waldsee, Berlin, and is held in public collections including Museum Ludwig and mumok.
Recent and upcoming exhibitions include Museum Tinguely, Basel (2026); EMST, Athens (2025); and Musée d’Art Moderne de Paris (2024).
Davide Stucchi (b. 1988) lives and works in Milan. Davide Stucchi’s practice operates through minimal interventions, often acts of subtraction or alteration applied to pre-existing materials. His installations summon the presence of absent bodies, placing them in silent exchange with vulnerable objects within spaces marked by intimacy and private memory. These environments, at once physical and psychological, are shaped by a precision that resists ornament and excess.
Recent solo exhibitions include Cen- tro Pecci, Prato, Italy (2025); Martina Simeti, Milan, Italy (2024, 2021); Deborah Schamoni (2020); Sundogs, Paris, France (2019); Gregor Staiger Zurich, Switzerland (2019). His work has been featured in group exhibitions at Museion, Bozen, Italy (2024); Palazzo Ducale, Geno- va, Italy (2023); Fitzpatrick Gallery, Paris, France (2021); MACRO museum, Rome, Italy (2020); Quadriennale di Roma, Palazzo Delle Esposizioni, Rome, Italy (2020); Stadtgalerie Bern, Switzerland (2020); Fondazione Sandretto Re Rebaudengo, Turin, Italy (2018); Kunstv- erein Düsseldorf, Germany (2017); Quadriennale di Roma, Palazzo Delle Esposizioni, Rome, Italy (2016).
