MUNICH.- All Woodcarvings Remain Slow Motion Mobiles suggests a paradox at the center of Matt Browning’s work in wood. Objects that appear fixed and inert are in fact the result of prolonged movement—weeks of repeated cutting and carving—and remain subject to the wood’s own slow movement over time. What appears as stillness is not the absence of motion but its residue, a form temporarily stabilized through sustained physical engagement.

Since 2013, Browning has worked steadily in carving. The exhibition brings together works produced during this time, all carved in Douglas fir. All of the works take the form of chain-link carvings cut from a single piece of wood, through which interior voids, grids, and frames emerge without assembly. Rather than constructing space from separate parts, material is removed until space grows from the block itself. The resulting forms hold an ambiguous position between solid mass and open lattice, at once dense and permeable.

Each sculpture is produced through an exacting reductive process in which the same gestures are performed thousands of times, with little possibility of revision once material has been removed. What remains is not a demonstration of skill but an accumulation of decisions, a record of time made visible as structure. Though they appear motionless, the sculptures are held in a state of latent movement, capable of unfolding or collapsing despite being carved from a solid block. Installed together, they establish a measured field of relations—distances, alignments, intervals—through which carving becomes less a technique of representation than a means of organizing space and duration.

All Woodcarvings Remain Slow Motion Mobiles is Matt Browning’s first institutional solo exhibition, realized in collaboration with Mies van der Rohe Haus, Berlin. The exhibition is accompanied by a publication with contributions by Rhea Anastas and Matt Browning, edited by Tom Engels.

Dorothea Lasky: Roses
presented in the Schaufenster by Jason Dodge / Fivehundred Places, translated by Vera Lutz
March 21–June 14, 2026

Since 2012, the artist Jason Dodge has published fivehundredplaces, a poetry imprint dedicated to the circulation of contemporary writing outside conventional literary channels. Invited to develop a sequence of contributions for the Schaufenster of the Kunstverein München, Dodge presents a poem for each exhibition chapter, selected in collaboration with the institution from volumes that will appear later this year. In this way, new writing enters public space ahead of its publication, unfolding gradually over the course of the program.

Roses, a new poem by the American poet Dorothea Lasky from her forthcoming volume Flowers for 500places, inaugurates this collaboration. Installed as a luminous text in the garden-facing window visible from the Hofgarten at all hours, it meets the city without mediation. It addresses passersby as much as intentional visitors, entering the flow of daily movement while remaining available to sustained attention.

Presented in German translation by the artist Vera Lutz, the poem acquires a second voice that subtly shifts its rhythm and inflection. Suspended between languages and between interior and exterior, it unfolds through repetition and return: encountered at a glance, reread in passing, or absorbed almost unconsciously. Over time, the text may come to be encountered less as an object of attention than as a quiet presence, registering differently with distance, light, and time.

New visual identity by Julie Peeters

Kunstverein München introduces a new visual identity developed in close collaboration with the Belgian graphic designer Julie Peeters. After more than twenty years, during which the abbreviation "km" served as the institution’s primary symbol, the Kunstverein returns to a logotype that spells out its full name, presenting "Kunstverein München" as something to be read in full rather than encountered as an acronym.

Set in the serif typeface Bembo, rooted in the early history of book printing and long associated with literary publishing, the logotype emphasizes continuity and legibility over graphic immediacy. Its measured proportions contrast with the visual urgency typical of contemporary branding, inviting a slower form of attention. A distinctive feature is the treatment of the umlaut in “München,” redesigned by the typographer Chiachi Chao and integrated into the character itself, which echoes a historical inscription on the building’s exterior without reproducing it directly.

Peeters previously collaborated with Kunstverein München between 2015 and 2019. Her return has offered an opportunity to reconsider the institution’s graphic identity across time, building on earlier work while responding to present conditions.

Curated by Tom Engels and realized with Line Ebert and Lucie Pia.