This exhibition takes drawing as its point of departure, but not in its conventional, medium-specific sense. Among Other Things – Drawing as Expanded Practice brings together artists whose works challenge, stretch, and reimagine what drawing can be. The selected works range from two-dimensional pieces to sculptural and spatial interventions that intersect with other disciplines – such as installation, video, performance, and object-making.
The exhibition embraces drawing as an open-ended, conceptual, and experimental field. It explores how line, gesture, trace, and mark-making extend beyond paper or surface – into space, movement, and materiality. By foregrounding this plurality, the show offers a platform for diverse interpretations of drawing: as process, as notation, as structure, as action, and as a thinking tool.
The title, Among Other Things, reflects the layered nature of this expanded practice  drawing as one element among many, coexisting and interacting with other modes of making and perceiving. The exhibition invites viewers to reconsider familiar boundaries, and to engage with drawing not as a fixed category, but as a dynamic, evolving language across media.

Rascunhos de Cordas (String Drafts) is derived from the full-length film Ceci n’est pas une guitar. In this version for video installation, the work explores creative ways of performing bodies within guitar assemblages across three scenes. These performances emphasize the strings as lines – writing and sketching sounds and affects – making non-sonorous forces become sonorous.

www.pandufilmes.com

www.instagram.com/pedro.aspahan

www.arturmirandaazzi.com

www.instagram.com/mirandaazzi

Nora Mona Bach pushes the concept of drawing to its physical limits. Pulverized charcoal—archaic and mythically charged—forms the core of her process. Dense, pigment-saturated surfaces merge with gestural marks, while pastel accents create deliberate contrasts. Increasingly, cut-outs and elements detached from the sheet extend the pictorial field, as if the drawing itself were expanding into space and absorbing movement. The paper is challenged, absorbing particles like dark clouds, becoming part of the charcoal’s sphere. The viewer, too, is drawn into this tension: the works oscillate between figuration and abstraction, geology and atmosphere, photogram and landscape. They are sediment layers of memory, perception, and material—drawings that set the gaze in motion.

www.nora-mona-bach.com

www.instagram.com/noramonabach

Sarah Casey is an artist-researcher working through drawing. She often works with researchers outside the arts to explore shared concerns with precarity and material existence, developing drawings that are typically contingent on time, light or environmental conditions. Since 2020 she has been working with glacial archaeologists in Switzerland in response to archaeology emerging from alpine ice. One outcome is shadow drawings made on glass using rock flour left behind by retreating glaciers. Solo exhibitions of her work have been held at Henry Moore Institute, Kensington Palace, The Bowes Museum and Ryerson University, Toronto. She has been awarded national and international residencies including with the Royal Drawing School (2021), Musée d’Art du Valais (2023) and British School at Rome (2025). Recent prizes include John Muir Trust 3D Prize, Royal Scottish Academy William Littlejohn Award (2024) and John Ruskin Prize (2024). She also writes on drawing and is co-author of Drawing Investigations: graphic relationships with science, culture and environment (Bloomsbury 2020). She lives in Scotland and is Professor of Fine Art and its Histories at Lancaster University, UK.

www.sarahcasey.co.uk 

www.instagram.com/drawingthedelicate

„地図のない地図/A map without a chart
The series is titled City Map, but the objects are not printed maps; they merely evoke associations. The formats and folds are reminiscent of sightseeing maps that everyone has seen or used on tours. Picking them up, they remind you of a city map or a car route planner. Before navigation devices, these maps were the means of choice for getting from A to B. How much excitement, hope, and curiosity lie in the imaginative act of unfolding, where we move from the individual to the whole and gain a different perspective.
Edo's City Maps, however, show neither our current location nor a destination or an overall view. Instead, they invite us to enter a fantasy city without a starting point or destination. Through the imaginary act of unfolding, however, we might be enabled to approach a comprehensive view of “world views.”
Edo's card series includes three monochrome color variations. The blue evokes the sky or sea, the contrasting gray evokes earth and buildings, and the white symbolizes the future, purity, and purification.
Satomi Edo says that art opens our eyes.

www.satomi-edo.com

www.instagram.com/edo_satomi_artist

Vanessa Enríquez’s transdisciplinary practice approaches drawing as a contemplative and investigative process for cultivating metaphysical awareness. Rooted in physics, cosmology, and non-dual philosophies, her work explores the hidden rhythms and patterns of nature. Through repetitive gestures, intricate geometries and morphologies unfold. Extending beyond traditional surfaces, her works inhabit space and sound, forming immersive diagrams and scores that evoke the multidimensional, interconnected nature of reality. 
Enríquez holds a BFA in Graphic Design from Mexico City and an MFA from Yale University (2000). She has received grants from the Pollock-Krasner Foundation, the Stiftung Kunstfonds, and the Mexican National Fund for Culture and Arts. Her work has been presented at the Maison de l’Amérique latine, Paris (2024–25); Aomori Center for Contemporary Art, Japan (2022); Drawing Lab, Paris (2021); Museo de Arte Contemporáneo de Querétaro (MACQ) (2019); Museo de Arte Contemporáneo de Oaxaca (MACO) (2020); and Museo de Arte Contemporáneo Juan Soriano, Cuernavaca, Mexico (2021), among others.

vanessaenriquez.net

www.instagram.com/_vanessa.enriquez_

"Over the past ten years, three constants have characterized Petra Fiebig's work: the interior as a subject, the pencil as a drawing tool, and the extension of her visual explorations into the third dimension. However, within these parameters, her work is marked by a lively development.
The interior—without the presence of people—is a concept that originated in the 19th century but has not lost its relevance or appeal to this day. The viewer catches a glimpse of an unfamiliar world and thereby assumes the role of an uninvited guest. Their situation remains ambivalent. Natural curiosity and the awareness of crossing a boundary blend together. This ambivalence is heightened in Petra Fiebig's works through the different spatial realities the viewer encounters and the mixture of actual present and drawn, fictional objects. The pencil, often applied in short, hatch-like strokes and layered multiple times to achieve the desired tonal value, ensures both painterly qualities and precise lines. The monochrome nature of the works evokes, in our colorful world today, the restrained beauty of old black-and-white photographs and emphasizes what is essential. Petra Fiebig's works are not loud, but they are very present." (Dr. Veronika Wiegartz, 2018, excerpt from Petra Fiebig. Interior.)

www.petrafiebig.de

www.instagram.com/petrafiebigartist

The installation Eternal Return by Bjørn Hegardt explores transience, transformation, and the relationship between humans and nature. Drawings and animations in frames are mounted on pedestals of varying heights, blurring the line between moving image and drawing on paper. The animations show continual transformations – abstract patterns and geometric forms shift into depictions of nature and cosmic structures. The ordered arrangement of pedestals recalls a city or topographic landscape, linked by a continuous black line that creates a visual network, uniting the works into a shared space and narrative. Eternal Return invites reflection on cyclical processes and the bond between nature, humanity, and the cosmos.
Bjørn Hegardt (*1974) is an artist and editor based in Berlin and Oslo. His work combines drawing, animation, and installation to examine themes of impermanence and transformation. Founder and editor of FUKT Magazine, he has exhibited widely in Europe and the USA.

www.bjornhegardt.com

www.instagram.com/bjorn_hegardt

The work of theCologne-based artist Wolfgang Lüttgens defies all conventional categorisations. His works can combine aspects of drawing, photography, painting and sculpture without being clearly categorised in any one medium. By applying his artistic means and options as diversely as possible, working simultaneously with digital and analogue techniques, with two- and three-dimensionality, Lüttgens has created an enormously broad field of experimentation. This is also evident in his contribution to the Vorgebirgspark Skulptur 2022.

www.wolfgang-luettgens.de

www.instagram.com/wolfgang_luettgens

 Small-format geometric linear, angled shapes are installed horizontally and vertically on a wall surface, creating fields of “wall structures.”
The outer form, color, and number of individual elements in the “wall structures” depend on the given surface, the external conditions of the room, and the light.They range from dense arrangements to loose scattering of forms…
With their different colors, they alternate in their diversity of form and arrangement between calm and dynamism, they interact with the space, define and structure it, create new possibilities of perception, and change the surrounding space.

www.ekkehardneumann.de

For Sandra Opitz, drawing is a central form of reflection about herself and the world. Drawing is the basis of her artistic work. Through drawing, she discovers herself or finds a return to herself: it allows her orientation and (re)ordering, creating insights. 
What their works have in common is the encounter with the diverse forms of nature. Animal, plant, and human elements, as well as objects, lines, and painted areas, become part of a great, changing metamorphosis. Everything is alive and in constant transformation, constantly being recreated. She relates her observations of herself and nature to, among other things, art historical and scientific contexts, mythological narratives, art and literature. Your own body always remains the starting point and often even appears in action. Diary-like recordings and stories emerge – an associative play with external and internal images becomes visible! New explorations of femininity are being explored. Her own inner struggles and the search for self, as well as her own growth, are addressed.

www.sandra-opitz.de

www.instagram.com/_sandraopitz

Piia Rossi (b. 1968) is a visual artist and art educator based in Espoo, Finland. She studied visual arts at The National College of Art and Design, Ireland, and trained in jewellery making in Finland. Rossi’s work often explores identity and belonging through installation, sculpture, and contemporary craft. For this exhibition, she presents small objects made during intuitive one-hour walks in her locality, using found materials. These were created through a fast, responsive method where observation and materials act as a form of spatial drawing, a brainstorm in matter. Drawing, in its multiple forms, for Rossi is not just a visual trace but a way of perceiving and being present. She has exhibited widely in Finland and abroad, and her work can be found in both public and private collections.

www.instagram.com/piia.rossi