BERLIN.- At a time when climate change is often communicated through data charts, satellite imagery and urgent headlines, a new exhibition in Berlin invites visitors to slow down and reconsider how we actually perceive weather and climate. Shifting weathers, now on view at Villa Heike Kunstverein through May 2, 2026, brings together works by Susanne Kriemann, Jasmijn Visser and Luiz Zanotello in a thoughtful exploration of how climate is seen, felt and understood.

Rather than focusing on dramatic images of environmental catastrophe, the exhibition takes a quieter, more reflective approach. It asks a deceptively simple question: what if weather is not just something we observe, but something that continuously shapes our perception of time, memory and experience?

Curated by Sarie Nijboer under the direction of Michael Schäfer, Shifting weathers unfolds as a layered investigation into the relationship between climate and image-making technologies. While modern tools—from satellites to predictive models—make climate visible in increasingly precise ways, the exhibition suggests that many of its most significant processes unfold slowly, often beyond immediate human perception.

At the heart of the show is a shared interest in expanding how we think about climate beyond data and disaster. Each artist offers a distinct perspective, using artistic practice to reveal dimensions of climate that are often overlooked.

Susanne Kriemann’s work, Datadust, skin of sand, examines landscapes as repositories of human activity. Her research-driven approach reveals how microplastics—now embedded within natural systems—circulate through ecosystems over time. Carried by wind, water and erosion, these particles become part of the earth itself. Kriemann’s work makes visible the long-term imprint of human presence, suggesting that climate is not just a condition but an ongoing process of accumulation and transformation.

In contrast, Jasmijn Visser, working in collaboration with game developer Ingmar König, approaches the subject through a speculative lens. Their interactive video game, The weather has been cancelled, imagines a world in which weather no longer exists. Players move through a fragmented, poetic environment that resists linear storytelling. The experience mirrors the complexity of climate change itself—diffuse, difficult to grasp, and deeply entangled with cultural memory and collective emotion. Rather than offering answers, the work invites reflection on absence, loss and the limits of representation.

Luiz Zanotello’s installation, Tempo-imagem, turns to real-time data streams, drawing on publicly accessible weather cameras from around the globe. By feeding these images into a machine-learning system and translating its processes into a visual narrative, Zanotello shifts attention toward places and temporalities that often go unnoticed. His work reframes weather observation as an act that is not neutral, but inherently political—shaped by where we look, what we record, and whose environments are made visible.

Together, the three artists create a compelling dialogue about the limits of representation and the possibilities of artistic inquiry. The exhibition suggests that understanding climate requires more than measurement—it requires new ways of seeing and thinking.

A one-day symposium on April 11 will expand on these ideas, bringing together discussions on image production, climate knowledge and the politics of perception. The event is expected to draw artists, researchers and audiences interested in the intersection of art, science and environmental discourse.

With Shifting weathers, Villa Heike Kunstverein offers a timely reminder that climate is not only a scientific or political issue, but also a perceptual and cultural one. In stepping away from spectacle, the exhibition opens space for a deeper, more nuanced engagement with the forces that shape our world—often quietly, and over time.

The exhibition is supported by the Berlin Senate Department for Culture and Social Cohesion, the Embassy of the Kingdom of the Netherlands and the Mondriaan Fund.