Spider Piece
„She traps things in her web; she embroiders her tiny corner of the universe“
(Rachel Cusk, Louise Bourgeois: Suites on Fabric, 2019)
Miia Rinne, Mirka Raito, Gosia Machon, Niina Lehtonen Braun, Piia Rinne, Alice Chauchat
February 6–15, 2026
HilbertRaum, Berlin
Opening: Friday, February 6, 2026, 6–10 pm
with the live installation River Eye by Piia Rinne & Miia Rinne
Dance piece: Alice Chauchat, Sunday, February 8, 5 pm
Finissage / Sunday Salon: Sunday, February 15, 2026, 4–7 pm
SPIDER PIECE brings together installative, painterly, performative, and musical works that thread through the space like strands of a web. The exhibition sees the spider not merely as a metaphor, but as a model of thinking and perception; an entity that embodies both productivity and captivity, care and control, sensitivity and ambivalence.
The pieces respond differently to recurrent motifs throughout art history—specifically the work of Louise Bourgeois—such as: the duality of motherhood, corporeality, and artistic labour. The spider is industrious, precise, enduring; it weaves structures out of itself that are at once shield, archive, and trap. It remains bound to one place, yet perceives its surroundings with the utmost attention.
The participating artists contribute to the spider’s lexicon without defining it absolutely. Their works move between intimacy and display, between inner sensations and outer structures. Here, perception is not a stable state, but something fragile and fluctuating—a constant spinning, loosening, and repairing.
Miia Rinne develops a new installation for HilbertRaum that draws together elements of her earlier work Trapeze Net and extends them further atmospherically. Sound, moving images, and space interlock; audio material from C-cassettes becomes experienceable via headphones. Perception here becomes bodily, selective, and unreliable—a fabric of memory, repetition, and disturbance.
Mirka Raito’s pieces consider the phenomenon of ASMR: that difficult-to-describe tingling that can be triggered by whispering, rustling, or observing highly concentrated activities. In her work she examines ASMR as a threshold experience between space, body, and attention—between gently rushing past euphoria. Drawings, objects, and connective elements stretch into a quiet, charged installation.
Gosia Machon presents small-format works on paper in which psychological states, body images, and natural scenes overlap. Her images appear at once open and condensed—like mental landscapes in which desire, secrecy, and reverence permeate one another.
Niina Lehtonen Braun develops an installative arrangement of collages, objects, painting, and stop-motion animation. The works unfold as a spatial narrative of images, notes, and associations in which layers, ruptures, and repetitions negotiate corporeality and experience.
The exhibition is further expanded through a series of performative interventions:
At the opening on 6 Feb, Miia Rinne and Piia Rinne show a joint sound-video performance in which analogue cassette sounds, tape loops, and video material are live-woven together.
On Sunday, 8 Feb, Alice Chauchat performs a solo dance piece within the exhibition—a bodily engagement with space, time, and attention that temporarily sets the assembly of works in motion.
SPIDER PIECE understands the exhibition space as a living structure: a place in which artistic processes, bodies, sounds, and images touch, become entangled, and loosen again. A web that does not so much capture as make visible.
Text: Katharina Schilling
Translation: Sylvie Ringer
https://www.facebook.com/events/2298229287345679/