Thoughts in No Particular Order, Given the Circumstances

with Clémentine Adou, Anna Budniewski, Mara Jenny, Troy Montes-Michie, Kofi Møller & Ceidra Moon Murphy and a text by SoiL Thornton

Thoughts in No Particular Order, Given the Circumstances, a group exhibition with Clémentine Adou, Anna Budniewski, Mara Jenny, Troy Montes-Michie, Kofi Møller, and Ceidra Moon Murphy, takes its title from a chapter in Félix Guattari’s The Anti-Oedipus Papers – a diaristic, fragmentary text in which thought proceeds associatively, resistant to the organising pressures of argument or conclusion. The chapter was shared with each participating artist not as a thematic directive but as a shared material: something each was invited to read according to their own practice, to engage selectively, to misread, redirect, or resist. What each work makes of the text – whether it is absorbed, deflected, or left largely untouched – remains as open as the reading itself; Guattari’s writing functions not as a frame that determines meaning in advance, but as a surface across which individual interpretive decisions become legible.

It is within this investment in the indeterminate that Guattari’s distinction between Chronos – the measured time of logistics, institutional infrastructures, the reduction of practice to the calculable – and Aion, the open, non-linear time of making and of decisions that cannot be fully prescribed in advance, becomes structuring for the exhibition. The exhibition does not resolve this tension so much as inhabit it – testing whether the measured and the open might coexist within the same object, the same gesture, the same space.

Developed through conversations around the history of Kunstverein Kevin and its former function as a furniture storage space for an antique shop located in Vienna’s first district, the exhibition takes as its material premise a simple constraint: each invited artist was given an empty cardboard box, and the completed work must fit inside it for delivery to and from the exhibition space. The box operates simultaneously as a circumstance of production, a means of transport, and an element of display – its role in relation to the work left open for each artist to determine. Between the box’s arrival empty and its return full, or otherwise transformed, constraint and possibility are tested here as co-constitutive rather than opposed – a question of whether limits might open rather than foreclose.

The exhibition is accompanied by a text by SoiL Thornton.

Clémentine Adou (b. 1988, lives and works in Paris) examines through sculpture, installation, and sound, how power, surveillance, and consumption shape our perceptions and behaviors. Her practice is grounded in an economy of means, employing processes of displacement and covering using everyday materials. The resulting forms reveal the mechanisms of visibility and constraint that guide the ways we move through and perceive environments. Selected solo and duo exhibitions include: Spare room #1, Paris (2026); Public, Tunnel tunnel, Lausanne (2025); Xmas, Les Bains-Douches, Alençon (2024); Daddy long legs’ hands, Tonus, Paris (2023), and AUTO, DOC, Paris (2021). Recent group exhibitions include: Everything must go, Au Passage, Paris (2026); Promise, Derosia, New York (2025); What Continues, Kunstverein Freiburg, Freiburg (2025); The Ordinary of the Ordinary, Super Super Markt, Berlin (2025); All the Messages are Emotional, Crumbling, and, The Antiseptic Beauty, Fondation Pernod Ricard, Paris (2024); 8BALL, Lagune Ouest, Copenhagen (2024); Acacia Seeds, Balice Hertling, Paris (2024); The Sunday of Life, Bel Ami, Los Angeles (2025). Her work is held in the collections of the Frac Île-de-France, the Frac Corse, and the MNAM – Centre Pompidou.

Anna Budniewski’s (b. 1993, lives and works in New York City) artistic practice includes installations and sculptural settings using textiles, text, photography, and performance, often collaboratively. In her work, she critically examines the structures of art-making itself. Budniewski is a member of various artist groups, such as Ortolana, and is the co-founder of the project space Container in New York. As an author, she has published articles, catalog essays, and artist books. As a lecturer, she teaches at the intersection of art and literature. She has exhibited and/or performed her work at Kunstverein Bielefeld (2026), Linienstraße, Düsseldorf (2025); Studio Speziale, Düsseldorf (2025); Cittipunkt, Berlin (2025); Monday Gallery, Münster (2025); Container, NYC (2024); Kunsthalle Barmen, Wuppertal (2024-25); Museum Morsbroich, Leverkusen (2022); Lantz’scher Skulpturenpark, Düsseldorf (2021); and Kunsthaus Rhenania, Cologne (2020).

Mara Jenny’s (b. 1994 lives and works in Vienna) practice spans multiple media and often deals with identification and projection. Focusing on the emotional tension of identifying with images, stories and iconography, she explores questions of figuration, form, representation and the impossibility of universality. She is interested in moments of disillusionment, misunderstanding, and ambivalence. She teaches at the Art University in Linz, Austria. Her work has recently been shown in a solo exhibition at Janitor, Brussels (2026), recent group exhibitions include Hours Space, Berlin (2026), Bistro 21, Leipzig (2026), Gauli Zitter, Brussels (2024), Kunsthalle Mechelen (2024), and Rinde am Rhein, Düsseldorf (2024).

Troy Montes Michie (b. 1985, lives and works in Los Angeles) works at the intersection of collage, archival practice, and the politics of the gaze, assembling counter-narratives from the fragments that dominant culture has rendered invisible or hypervisible in equal measure. Drawing on the diasporic tradition of the counter-archive, from the scrapbook to zine culture, his practice treats preservation as inseparable from resistance. Most recently presented in his first European institutional solo exhibition, The Jawbone Sings Blue, at Kunsthalle Basel (2025), his work refuses the terms under which marginalized subjects have historically been looked at, asking instead what it means to tend to what remains. He is a recipient of the 2025 Joan Mitchell Fellowship and will present new work in the 9th Photo Triennial Hamburg (2026).

Kofi Møller (b. 2001, lives and works between Frankfurt and Copenhagen) works with the infrastructure of meaning-making. Through sculpture, installation, text and the staging of situations, he seeks to examine the mechanics of storytelling at both mundane and dramatic scales, often by interweaving a multiplicity of positions within given or constructed frameworks. These positions might contradict, misunderstand, flirt with, or deceive each other and can take the form of everything from social attitudes to physical approaches to a room. He is especially interested in disruptions between setup and outcome, and in the field of possibility that may open when scripts fail and temporary metaphysics emerge. Møller is studying at the Academy of Fine Arts in Vienna and at Städelschule in Frankfurt am Main. Previous exhibitions include Okay, lets reduce the room, Yellow wallpaper (2024), 875 paint splatters, Sklad M1 (2025), That´s a terrible hiding spot, bendyman (2025) and Ombré blowout taper fade (with Johanna Stolze) (2025), both at Kurzbauergasse at the Academy of Fine Arts in Vienna. A selection of his written work can be found on theidiotbox.info.

Ceidra Moon Murphy (b. 1998, lives and works in London) employs sculpture, photography, and writing to investigate the dysfunctional dynamics of governance. Focusing on spaces and policies in which politics is materially embedded, Murphy examines how governments mobilise law to inhibit transparency, and how the concept of the public good is stretched, manipulated, or rendered elastic in order to legitimise particular interests. Her work traces how such mechanisms bear upon individuals, and at the same time, reflects on the limits of inquiry, and the persistent, perhaps futile, insistence on looking anyway. Forthcoming and recent exhibitions include Nightingale, Peer, London; GMT (group), presented by Emalin, Sadie Coles HQ, a. SQUIRE, Brunette Coleman, and Hot Wheels Athens London, Athens (2025); Accessories, Diana, Milan (2025); Groundwork, Galerie für Gegenwartskunst, E-WERK Freiburg, Germany (2025); Public Interest, a. SQUIRE, London (2025); 118 ½ (group), Emalin, London (2024); Buffer, a. SQUIRE, London (2023); and Earwitness, Southbank Centre, London (2022). Her work is in the collection of Kadist.

SoiL Thornton’s (b. 1990, lives and works in New York City) art crosses boundaries of media, ranging from painting, sculpture, and photography to installation art. SoiL grapples with identity politics, diversity, systems of order, and regulative apparatuses. Recent exhibitions include 8 Hours of Rest: SoiL Thornton, The Wattis Institute, San Francisco (2026); The Rest, Galerie Neu, Berlin (2025); candidate screening methods, Progetto, Lecce (2025); Choosing Suitor, Secession, Vienna (2023); Painting, the shorter of the longest, Maxwell Graham, New York (2023); and Decomposition Evaluation, Kunstverein Bielefeld (2022).