Schwanseestraße 92, 99423 Weimar, Deutschland
2025
In 1613, a catastrophic flood swept across Weimar. The so-called Thuringian Sintflut (german: Deluge) left its mark on the collective memory of the region: “Sint” – as “sin” – interpreted the disaster as divine punishment, a cleansing force meant to rid the world of human transgressions. Today, this religious-moral interpretation may sound foreign, and yet the idea feels strikingly contemporary. In the 21st century, much is said about “climate sins” – actions by which humans ruthlessly interfere with nature, disregard its needs, and thereby summon disasters themselves.
The consequences are not only rising temperatures and droughts, but also increasingly frequent and destructive floods. In the heart of Weimar, this connection becomes tangibl; as part of citywide flood-protection construction, the Asbach Canal, which runs through the city, will be redesigned. FLUTEN takes this neuralgic point as its starting ground – a cross-disciplinary cultural project that interweaves art, history, and the present. Along the canal and across all participating cultural venues, a rich program unfolds that makes the theme of flooding tangible from multiple perspectives.
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Hanazono Alley 5F 3-3-9 Ikenohata Taito-ku Tokyo
110-0008 Japan
photos © Noam Levinger
May - June 2024
Curated by Tomoya Iwata
The society consists of individuals. Each one of us navigates differently within public and private spaces. However, when we come together, norms are established within society, positioning some individuals inside and others outside. The subjective experiences and worldviews of those kept outside are forced in the periphery, while the norms are connected to the authority that leads to the establishment of systems. How can we deviate away from the dynamics of recurring exclusion?
This exhibition features the expressions of Nitsan Margaliot, Antoine Mermet and Joachim Perez. Their subjective narratives about urban or intimate spaces may serve as a catalyst to re-envision society from the perspective of “fit,” “unfit,” and everything that is in-between.Furthermore, “UN-FIT” aims to slightly shift the boundaries between two states. By engaging visitors in a world perceived from the perspective of those who question norms, it creates a new archive formed by live participation. Through this, we share the responsibility of shaping the norms of the future with you.
UN-FIT expands on Nitsan Margaliot work Untitled (by your side) from 2022.
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Bd Georges-Favon 19, 1204 Geneva, Switzerland
photos © Eric Bergoend
Geneva
May - June 2024
« Something like a stain in a garment that will not come out no matter how often one tries to wash it... »
Yukio Mishima, Forbidden Colors (禁色), 1951
Joachim Perez's work is always about the body, whether through his performances, installations or embroidery. The exhibition I DON'T WANT TO ANSWER WITH A SIMPLE YES explores the vast territories of desire through the prism of his own experience and the literary echoes that have shaped his artistic expression. Using antique textiles sourced from flea markets around the Tokyo, Kyoto and Chiba prefectures, the Franco-Swiss artist weaves a visual narrative in which every stitch and fold is charged with multiple and complex meanings.
Perez skillfully integrates the use of clothing patterns into his works, transforming these sewing guides into complex canvases that reveal human interaction, the marks of time, and the wear and tear of materials. These patterns, often seen as mere tools in the making of clothes, are here reimagined as vectors of desire and memory, revealing how every trace on the fabric can become an unexpected visual narrative. This transformation is paralleled with his prints, where black ink applied on the backs of cut linoleum pieces embodies a new visual language.
In this way, the elements do not simply coexist, but intermingle to form a poetics of relationship. This interweaving, far from simple juxtaposition, engages in a dialogue in which each texture and motif permeates the other, like Deleuze and Guattari's 'rhizome.'In their philosophy, they conceptualize the rhizome as a non-hierarchical, non-linear model of thought, where connections and heterogeneities meet and reinforce each other, allowing the creation of new ideas and forms without a predefined center or point of origin. Contrary to what a superficial glance might perceive, what strikes you when you look closely at Joachim Perez's works is that the textile is not a simple support; it becomes the actor of encounters. The fabric meets the body in an interaction that evokes a desire that is never fully satisfied, giving way to a never- ending quest and exploration.
The title of the exhibition, I DON’T WANT TO ANSWER WITH A SIMPLE YES, suggests an intrinsic complexity in responding to an unspoken question, reflecting the multiple dimensions and interweaving of the works. This choice of title evokes the often elusive and enigmatic nature of desire, a central theme in Joachim Perez’s works inspired by the writings of Jean Genet, Pier Paolo Pasolini, and Walt Whitman, where desire is rarely simple and unidirectional but rather a complex weaving of emotions, identities, and relationships.
– Chiara Caterina Ortelli
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Lützowstraße 32, 10785 Berlin
Berlin, Germany
“Wrestling on a Paper Boat” (2024) is a site-specific installation designed for the enclosed space of a bunker. Crafted on tarp—an unconventional material for embroidery—the piece combines the coarse texture of tarp with intricate stitches, embodying a fragile yet resilient vessel navigating themes of masculinity and vulnerability
89 Chemin de La Dame, 1222 Vésenaz
photos © Noa Grandchamp
Geneva
19 March - 10 June 2026
The exhibition brings together the works of Joachim Perez and Laurent Goumarre around a shared question: how do images produce forms of belief?
In Joachim Perez’s work, this question unfolds through textile. His pieces place in dialogue two seemingly distant iconographic worlds: Christian imagery and the spectacular visual culture of Mexican lucha libre. Yet both share a similar dramaturgy of the body, where faith, performance, and the construction of heroic masculine figures converge. Using silhouettes made from old fabrics — often repaired and reworked — the artist allows the materials’ previous lives to surface. Marks of use and gestures of repair disrupt the legibility of the images, introducing a sense of fragility and softness that contrasts with the spectacular and heroic dimension of these figures.
In Laurent Goumarre’s work, the reflection on the image takes the form of an almost philosophical experience. Beginning with Spinoza’s famous formula Deus sive Natura, the artist lingers on what lies between the two: the moment of the “that is to say,” as if it were an injunction to articulate the world through images. Photography becomes a gesture of revelation. From the medieval paintings of the Petit Palais in Avignon to the landscapes of Arles, Goumarre seeks the instant when an image imposes itself with clarity—like a visual epiphany in which everything suddenly seems to be expressed.
Between textile and photography, the works presented in the exhibition explore different ways in which images emerge: as collective narratives embedded in popular symbols, or as intimate experiences of revelation. In both cases, they question how images carry, shift, and transform our beliefs.
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Strada Doctor Carol Davila 101, București 061344, Romania
Bucharest
May - September 2022
The exhibition SHOW ME A BETTER WAY, presents a new series of embroidery, lino work and a video installation made for Cazul 101. Joachim Perez creates poetic scenarios that focus on social and historical issues as well as his personal environment. His work revolves around everyday objects and situations while exploring spaces between identity, desire and memory. Perez is attentive to the shifts and distortions that arise from working with embroidery while inviting the viewer to lose himself in the layers of fabric and wool. His work points to the materiality itself, which becomes part of the subject. He creates what he calls “Sequences", in which he assigns a particular dimension and medium that generates a uniformity and provides a certain symmetry in space : Pink Dot (2022) or Keyhole (2022)
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Jebensstraße 2, 10623 Berlin
Berlin, Germany
Dec 2022 - Jan 2023
Technologien, die schöpferisch-imaginative Erzeugnisse wie Texte, Musikkompositionen und Bilder hervorbringen, waren lange Zeit Gegenstand unerreichbar erscheinender Science-Fiction-Erzählungen. Heute sind sie nicht nur real, sondern bereits im Begriff, den Bereich künstlerischer Produktion wesenhaft zu verändern. An diesem Scheidepunkt der Kunstgeschichte versammelt die 18.Ausgabe von SeenByinsgesamt zehn Positionen, die fernab von Kulturpessimismus und dennoch kritisch die Entwicklung technischer Kreativität und die sich daraus ergebenen Möglichkeiten künstlerisch erforschen.
Hier gibt’s alles
Chem. de la Justice 20, 2000 Neuchâtel, Switzerland
Neuchâtel
November - December 2021
Au travers de Hier gibt’s alles, Joachim Perez aborde la question du chaos des désirs individuels.
Il nous propose par le biais de sa pratique artistique, qui réunit broderies et gravures, de nouvelles perspectives narratives qui mettent en scène son corps, sa poésie, ses fantasmes. Ses oeuvres s’apparentent à des reliques, à l’image de l’inceuls, dont émergent des récits fragmentés. L’ensemble crée un univers tactile au sein duquel nous sommes incités à nous perdre.
Stadtkirche 09648 Mittweida, Sachsen Deutschland
Berthold Leibinger Stifung
Chemnitz 2025 Purlpe Path
Chemnitz Kulturhauptstadt Europas 2025
October 2025
“A time to tear, and a time to sew; a time to keep silence, and a time to speak.” - Ecclesiastes 3:7
Situated within the church’s architectural frame, this installation engages the textile’s ritual and symbolic function across Judeo-Christian traditions.
The textile forms are anchored to a grounded by the church chairs. These chairs, usually bearing the weight of bodies in prayer, reflection or absence, become the foundation of the work. Scattered, they speak of congregation, memory and the invisible presence of those who have come and gone. The structure evokes a collective body, a monument made from shared rituals. The textile pieces inhabit this space. They rest over the surfaces, slip between the slats, cling to the legs. Cloth and wood intertwine, forming a topography of lives once gathered, prayers once shared. Here, the installation becomes a quiet reckoning with presence.
Sihlquai 133, 8005 Zürich, Switzerland
Zürich
January 2025
The first part of an ongoing series, a potential configuration of setups, biographies, relationships, and even careers. It is not fixed in form, but rather, a fluid exploration, shifting between multiple constellations as it evolves: a suitcase, a Mexican cantina, a Romanian theatre, and an undefined space in Brussels. At its core, this exhibition is loosely built around the concept of hosting—one space hosting another, friends hosting each other, an idea paving the way for further ideas, and a work holding yet another work.
Curated by Julia Künzi & Robert Bajenaru
Photography: Conradin Frei
Der erste Teil einer fortlaufenden Serie, eine potenzielle Konfiguration von Aufbauten, Biografien, Beziehungen und sogar Karrieren. Sie ist nicht in einer festen Form, sondern vielmehr eine fließende Erkundung, die sich zwischen mehreren Konstellationen verschiebt, während sie sich weiterentwickelt: ein Koffer, eine mexikanische Cantina, ein rumänisches Theater und ein undefinierter Raum in Brüssel. Im Kern basiert diese Ausstellung lose auf dem Konzept des Gastgebens – ein Raum, der einen anderen Raum beherbergt, Freunde, die sich gegenseitig empfangen, eine Idee, die den Weg für weitere Ideen ebnet, und ein Werk, das ein anderes Werk hält.
Kuratiert von Julia Künzi & Robert Bajenaru
Fotografie: Conradin Fre
Extended Acts Of Repair
Stadtkirche 09648 Mittweida, Sachsen Deutschland
Berthold Leibinger Stifung
Chemnitz 2025 Purlpe Path
Chemnitz Kulturhauptstadt Europas
October 2025
Kapuzinergasse 24, 40213 Düsseldorf, Germany
Düsseldorf
November 2023 - March 2024
LRRH_ showcases the group exhibition Devenir Feuillage (engl. Become Foliage), a cooperation with POUSH (Paris) and curated by Hugo Holger Schneider (Berlin).
Skalitzer Str. 68, 10997 Berlin
Berlin
June - August 2021
In his works, Joachim Perez confronts sexuality, desire and masculinity with the limits - physical, philosophical or simply set by space - of the environment around us. Men have always depicted naked women. Joachim Perez took this observation as a starting point, appropriating a medium codified as feminine — embroidery — to depict male bodies. Working primarily with sewing and embroideries, he began to create large-scale installations that explore masculinity and sexuality in a defined space. Following his residency at the Musée Jenisch (Vevey, Switzerland), where the classicism of the paintings in the permanent collection clashed with the elasticity of his works, Perez presents a new series of embroideries at Motto, this time on tarpaulin. Limited to the gallery’s glass cabinets, his embroideries stress a back and forth in his practice between the male body displayed in an unaffected manner and the constraints imposed by the space in which it is exhibited. Indeed, Perez’s works speak of our gaze, tensions and the internal dialogue that results from the tendency to both desire and reject eroticism. The partial unveiling of the works engages the visitor to develop
a narrative aroused by the latent violence of bodies kept in glass cages.
Diedenhofer Stra8e 20 110 405 Berlin
Musée Jenisch
Vevey
April - 2021
Of Monkeys And Men
Rue des Vollandes 15, 1207 Genève, Switzerland
November 2022
Au travers de cette exposition, Joachim Perez interroge notre architecture commune et pose un regard sur l’interconnexion entre les humains, les animaux et les objets inanimés.
À un moment où l’habitabilité de la planète est de plus en plus compromise en raison de l’activité humaine, les oeuvres exposées à l’Espace Ruine abordent la nécessité collective de redéfinir notre rôle en tant que partie d’un tout et de repenser les frontières de notre espèce. Joachim Perez traite des changements environnementaux et idéologiques actuels en s’efforçant de briser la supposée univocité de nombreuses images.
Brodant sur différentes variantes de tissus, de préférence anciens et élimés, ses médiums s’amoncellent et se mélangent autour de ses sujets. La laine, à la fois durable et souple, possède toutes les caractéristiques dont il a besoin pour manipuler et sculpter ses personnages. Avec des techniques mixtes, du dessin à la performance en passant par l’installation, il nous encourage à observer le monde à travers un spectre élargi. Son processus de création, lent et répétitif, permet à ses souvenirs, flous et imprécis, de se cristalliser sous une forme visuelle et tangible. Passant de nombreuses heures à leur donner corps, Joachim Perez sonde le flux discontinu d’images pour nous plonger dans une atmosphère qui nous est aussi familière qu’étrangère.
2022
Red like the Sea
Mariannenpl. 2, 10997 Berlin
Berlin
November - 2023
Der Titel bezieht sich auf den Vorgang der Rekontextualisierung, welcher von Zineb Sedira in einem Künstlergespräch angesprochen wird:
„The sea that is supposed to be blue is perhaps coming closer to the red color now, you know…..“
Thematisch betrachtet gibt es, wie jetzt allgemein im gegenwärtigen Kunstgeschehen, die Identitätsproblematik, die Genderproblematik und andere sozio-politische Thematiken, Fragestellungen zu Figuration und Abstraktion, Fragen zu Neuinterpretationen, zu Rekontextualisierungen von Kunstproduktionen des kulturellen Erbes. Es gibt meditative Arbeiten, humorvolle, ironisch- sarkastische, poetische Beiträge, Allegorien und Arbeiten, in denen psychische Ausnahmezustände visualisiert werden. Die Auseinandersetzung mit neuen Technologien und das Verhältnis zwischen Technik und Individuum werden angesprochen.
joachimprz@gmail.com
@joah_joachim
Joachim Perez is a French-Swiss artist whose practice explores the inscriptions of power and gender through textile-based installation. His work takes the language of fabric as a lens through which to question how bodies and histories are shaped. His practice is informed by a sustained engagement with craft traditions and embodied forms of knowledge. Trained in industrial design at Parsons School of Design in New York, Perez’s trajectory reflects a deliberate shift away from production and efficiency toward practices grounded in gesture and duration.
His work has been exhibited internationally, with shows in Germany, Japan, Switzerland, France, Romania, and the United States.
2015 - 2019 BFA Product Design, Parsons School of Design, New York, USA (Dean’s BFA Scholarship)
Tokyo, Japan
2024 I don’t want to answer with a simple yes, Wilde Gallery Geneva, Switzerland
2024 This Is Not A Boy Machine, La Galerie Univ’Paris 8,
Paris, France
2022 Of Monkeys and Men, Espace Ruine
Geneva, Switzerland
2022 Show me a better way, Cazul 101
Bucharest, Romania
2021 Hier giebt’s alles, Galerie du Griffon
Neuchâtel, Switzerland
2021 Désirer ne pas voir, Motto,
Berlin, Germany
2020 Hors Cadre, CCM
Geneva, Switzerland
2019 NoTech, Ace Hotel
New York, USA
Munich, Germany
2026 Dieu, c’est à dire la nature, Window Fourteen
Geneva, Switzerland
2026 Art Geneve, Wilde Gallery,
Geneva, Switzerland
2025 Chemnitz Kulturhauptstadt, Stadtkirche
Mittweida Germany
2025 Fluten, Stockwerk Project,
Weimar, Germany
2024 The house, the paste, the weather, BINZ39
Zürich, Switzerland
2024 RAD Art Fair, Cazul 101
Bucharest, Romania
2023 Devenir Feuillage, LRRH
Düsseldorf, Germany
2023 Red Like The Sea, Kunstquartier Bethanien
Berlin, Germany
2023 Foreland Bach and Britten, St Matthäus Kirche
Berlin, Germany
2023 RAD Art Fair, Cazul 101
Bucharest, Romania
2022 Seen #18, Museum für Fotografie
Berlin, Germany
2022 Positions Berlin, Ivan Gallery
Berlin, Germany
2022 Untitled (by your side), SomosArt
Berlin, Germany
2022 Into the wild, Wilde Gallery
Geneva, Switzerland
2022 Instinct #10, Village
Berlin, Germany
2022 Love: 15, Radialsystem
Berlin, Germany
2019 Disaster Preparedness, Design Center Kobe (KIITO), Kobe, Japan
2018 Arnold and Sheila Aronson Galleries
New York, USA
2016 UN Global Compact Summit
New York, USA
2016 Labors of Love, Parsons
New York, USA
2015 Greenpoint Gallery
Brooklyn, USA
Tokyo, Japan
2024 An elegy for Eccentricity, LRRH
Düsseldorf, Germany
2022 Journal, We Are Village
Berlin, Germany
2021 Désirer ne pas voir, Motto
Berlin, Germany
Munich, Germany
2021 Musée Jenisch
Vevey, Switzerland
2021 Numéro Berlin AW 21, Artists to watch
NYC, USA
Berlin, Germany
2025 Collective Threads, Museum of European Culture
Berlin, Germany
Last Updated 24.10.31
67 x 30 cm
Embroidery on Japanese fabrics
Embroidery and appliquê on Kaya fabrics
80 x 45 cm
Appliqué on Japanese and German fabrics
43 x 30 cm
Appliqué on found textiles
80.5 x 32 cm
Appliqué on found textile
61 x 59 cm
Appliqué on Japanese found textiles
21 x 14 cm
Graphite and color pencil on paper
30 x 28 cm
Appliqué on vintage japanese fabric , white and red thread
70 x 50 cm
Embroidery on linen, cotton, vintage textiles
33.5 x 46 cm
Appliqué on vintage textiles
119 x 75 cm
Embroidery on linen and antique fabrics
20,5 x 20,5 cm
Embroidery on handkerchief
55 x 35 cm
Appliqué on white cotton fabric
30 x 28 cm
Appliqué on vintage japanese fabric , white and red thread
81 x 63 cm
Embroidery on Japanese fabrics
40 x 30 cm
Appliqué on Japanese textile
34 x 25.5 cm
Appliqué on found textiles
30 x 28 cm
Appliqué on vintage japanese fabric , white and red thread
20 x 20 cm
Appliqué on vintage cotton fabric , white thread
series of five floating sculptures
belgium linen and japanese wool embroidery
10 x 400
embroidery on linen roll
38 x 32 cm
wool and cotton embroidery on linen
work made for Nitsan Margaliot choreopraphic piece
80 x 45 cm
Appliqué on Japanese and German fabrics
80 x 60 cm
Appliqué and embroidery on tarp
20,5 x 20,5 cm
Embroidery on handkerchief
15 x 400 cm
embroidery on linen roll
30 x 28 cm
Appliqué on vintage japanese fabric , white and red thread