as Exhibition Designer with ecoLogicStudio

‘Deep.Forest' is an immersive exhibition environment based on regional satellite data translated into a deconstructed woodland landscape. Arranged in a regular grid pattern, the spatial arrangement of Deep.Forest mirrors the vegetation density of the regional forests surrounding the Louisiana Museum, captured by Copernicus and Sentinel 2 satellites.

Processed by an algorithm mimiking the hidden arboreal network of mycelium, this satellite imagery dictates the planar organisation of the projects on show, arranging the aeration system of the photosynthetic reactors and guiding the visitors along suggested paths.

102 salvaged birch trunks host a variety of lychen species within the exhibition space. Lychen are created as a symbiosis between microalgae and mycelium. Deep.Forest deconstructs this natural collaboration and reconfigures it into 20 3D-scanned and printed trees containing mycelium cultures, as well as 44 glass vessels hosting living cultures of cyanobacteria and seaweeds that supply the museum’s room with fresh oxygen.

Credits:

Project Name: Deep Forest
Exhibition Info: Living Structures (part of Architecture Connecting series)
Dates: 8 November 2024 — 23 March 2025
Location: Louisiana Museum of Modern Art, Denmark
Artist: ecoLogicStudio (Claudia Pasquero, Marco Poletto)
Academic Partners: Synthetic Landscape Lab at Innsbruck University, Urban Morphogenesis Lab at the Bartlett UCL
Project Team: Prof Claudia Pasquero, Dr Marco Poletto with Jasper Zehetgruber, Beyza Nur Armagan, Xiao Wang, Alessandra Poletto
Prototyping Support Team: Konstantina Bikou, Korbinian Enzinger, Francesca Turi, Jonas Wohlgenannt, Marco Matteraglia, Michael Unterberger, Mika Schulz, Felix Humml, Bo Liu
Photographer: © Rasmus Hjortshøj

as Creative Director of the Panama Pavilion

‘Stories From Beneath The Water’ is the first national participation of Panama at the Biennale Architettura. The exhibition focuses on analyzing three different areas within the former Panama Canal Zone, that address issues of division and integration, namely [1] the divisive architectural structures and systems introduced during the era of canal construction, [2] the erased identities of communities submerged when the waters of the Chagres River were dammed to create Gatun Lake as part of the canal, and [3] the island of Barro Colorado, critically examined as a case study for the theme of the Biennale: ‘Laboratory of the Future’, questioning the overlaps between the notions of protection and control.

Credits:

Commissioner: Itzela Quiroz
Curation: Aimée Lam Tunon
Concept / Creative Direction: Jasper Zehetgruber

Participants / Research based on the works of:
Dante Furioso
Dr. Marixa Lasso
Danilo Perez
Joan Flores-Villalobos
Dr. Luis Pulido Ritter
Dr. Fahim Amir

PR Management: Désirée Lam Tunon
Production Design / Visual Research: Marvin Flores Unger
Graphic Identity / Web Archive: Finn Steffens & Conrad Weise
Research / Mapping Intern: Maik Stricker
Barro Colorado Island Installation: Marda Zenawi
Veranda Production: Emanuele Maria Marchi & Gaspard Diatta
Documentary Videography / Editing: Valentin Duggon
Exhibition Photography: Studio Naaro

Supported by:
Banco Nacional de Panama
Coast Eco Timber
Europanamena S.A
Fundación Strelitzia
Interamerican Development Bank
Linda Hall Library
Senacyt
Ximena Eleta de Sierra

Special Thanks:
Art Events
Francesca Noia
Peter Nicastro
The Smithsonian Institute

as Scenographer with z33

‘Fitting In’ is an exhibition developed for z33, House for Contemporary Art, Design & Architecture in Hasselt, Belgium. The exhibition is an answer in the human scale to the architectural scale of 'Composite Presence', the National Participation of Belgium at the Biennale Architettura 2021. Both exhibitions opened alongside each other at z33.

Curatorial statement:
“The world turns increasingly pluriverse. How can we, without losing ourselves, become part of a larger entity? That question forms the starting point of the group exhibition Fitting In. Artists and designers show how lavish our context can be, if we are open to the many voices around us. They understand identities as multi-layered or fluid. In conversation with you [the visitors] they explore the boundaries between fashion, visual art, photography, design and the world.”

Credits:

Pictures by Selma Gurbuz, courtesy of z33

Participating artists:
Christian Bakalov, Alia Ali, Lisa Konno & Sarah Blok, Mous Lamrabat, Berre Brans, Elisa Van Joolen, Das Leben am Haverkamp: Dewi Bekker, Anouk van Klaveren & Gino Anthonisse, The Fabricant & Teresa Manzo, CFGNY, Ines Alpha, Tom Van der Borght, Jo Cope & Boutique by Shelter, Marwan Bassiouni, Nazanin Fakoor, Helen Storey, Sanne Vaassen, ADIFF Angela Luna, Anais Hazo-Santorin, Elke Lutgerink, Lotje Heidingsfeld, Lucy & Jorge Orta, Mona Steinhaeusser, Sheltersuit, Thierry Geoffroy, Woman Cave Collective: Léticia Chanliau & Chloé Macary-Carney.

Curators:
Annelies Thoelen, Branko Popovic and Marnix Rummens

as Mixed Reality Fabricator with Mamou Mani x FabPub

A 30-metre Whale Shark installation, conceived by Balich Wonder Studio as a tribute to Qatar’s endangered marine species and as a symbol of the country’s interest in conserving and protecting its natural environment. The sculpture was produced by Fab.Pub and Mamou Mani in London, using custom mixed reality fabrication technology and is now suspended 20 meters above Lusail Plaza, among four towers designed by Norman Foster’s architectural firm Foster + Partners.

co-produced with: Lisa Carina Maier, Marie Stege, Finn Steffens / Supported by: DAAD United Kingdom

'How is the weather is a lecture-performance and verbatim theatre exploring questions such as: How can science be communicated to the public? Does art have the ability to channel our attention toward the climate crisis? If our understanding of the world is increasingly mediated through deliberately created narratives, how can we use such narratives ourselves for inducing change on multiple scales? The performance explored a future vision of London in 2050, constructed by interviews of current residents, served as a launch event of yet another technical innovation, and engaged with climate crisis experts in a live panel discussion.

UAL Central Saint Martins, MA Research

'Analog Anthology' is an audiovisual archive exploring the hopes and risks of gradient-based mapping, sensemaking and computation, contrasting the status-quo of the binary paradigm.




'Weaving Worlds' is a case study within this archive, investigating the contemporary human understanding of reality defined by a process of fragmentation and categorisation: human vs nature, female vs male, good vs evil, national vs foreign, local vs global. Ultimately this process leans towards the essentialist binary of digital computation 1 vs 0. Ants perceive differently: They make sense of the world by communicating through pheromone gradients. Avoiding categorisation this method of sensemaking is comparable to an analog computer, operating analogously to the fluctuating gradients of reality, instead of digitally separating it into distinct elements.

‘Soft Talk’ is a research project exploring socially distanced communication and ASMR in the public space of RAUM in Leidsche Rijn, Utrecht.

A lack of touch can increase the feeling of loneliness. Our brains produce less Oxytocin, colloquially called the 'cuddle hormone'. Oxytocin increases empathy and is also released through the phenomenon of ASMR.

The project 'Soft Talk' or 'Do microchips whisper about electric trees?' investigates if ASMR can occur collectively in public space. The utilised material of copper has antibacterial properties and offers a lower survival rate of COVID-19 compared to other materials. It is also commonly used in audio and information technology.

Credits:

Project: Jasper Zehetgruber & Marvin Unger

Photo Credit, Drone Shot: Igor Roelofsen
Prod. Copper Cones: Drückerei Hommel

Soft Talks Panel Discussion
Moderator: Tiiu Meiner
Panelists: Julie Rose Bower, Marijn Bril, Sigrid Merx, Dr. Giulia Poerio, James Taylor-Foster

RAUM Utrecht
Projectleader: Larissa Koers
Curator: Rinke Vreeke
Marketing, Communication: Iris Loos
Website: Leonie Dijkstra
Production Programming: Joost Ruijter

Facilities Management: Quentin Davelaar
Preconception: Jacob Herrie
Director: Donica Buisman
Direction: Jop Japenga, Olga van Lingen, Marije Hobo, Anouk Diemel, Dennis Vlietinck
Production: Dennis Mulder, Jesper Groen

Membranes uses mechanisms native to the world of cellular biology as metaphors to analyse social divisions in transition.

Membranes provides an analytical reading of the complexity of human behaviours in an acute crisis situation, the COVID-19 pandemic. The project challenges designed divisions on a variety of scales, highlighting the human need for security in the context of an incomprehensible situation and its instrumentalization for political control.

The metaphor of the biological membrane provides a framework to grasp the problematic, reflecting Timothy Morton’s thoughts on the ‘Hyperobject’. Across all scales, Membranes are separating, while simultaneously, connecting entities.

The project was reexhibited as part of the 'Between Normals' exhibition at S/ash Gallery within Worm, Rotterdam.

Credits:

Project: Jasper Zehetgruber & Marvin Unger
Visual Effects: Simon Gehring
Audio Consultant: StePHan Schmidt
Voice Over in order of appearance: Elizabeth Balado, Amy Lewis, Zoë Prifti, Ellen Pearson, Emily Aquilina, Tiiu Meiner, Emma Gregoline, Fiona Herrod, Kaiu Meiner, Johanna Schneider
Curator: Martina Muzi
Editor: Jeannette Petrik

as Exhibition Design Intern with AMO, think tank of the Office for Metropolitan Architecture in Rotterdam, responsible for:
Editing several large-scale video installations, such as the introductory world-map video-installation as well as detailing of large-scale print-media

'Countryside, The Future' is an exhibition conceived for the S.R. Guggenhein Museum in new York City, addressing urgent ecological, political and socio-economic issues from the perspective of architect and urbanist Rem Koolhaas and Samir Bantal, director of AMO, the think tank of the Office for Metropolitan Architecture (OMA). The exhibition examines large-scale technological transformations in the rural, remote and wild areas of our planet, across centuries of human civilization which are summarised here under "Countryside" or 98% of the earth's surface which is not occupied by cities.

'The Beauty of Giving', BA Design Academy Eindhoven, Graduation Project

Throwing a coin into a wishing well, clamping a lock to a bridge, or building a stone tower along a hiking trail – all of these are contemporary rituals with a cumulative effect. 'Volière' connects such a ritual with an altruistic purpose, visualizing the phrase that “every coin matters”, while simultaneously ironising the culture of the wealthy to buy art as an investment. The decentralized construction method references organic growth and new economic possibilities like Bitcoin, as (block)chains gradually appear across the structure. As co-creators, we can witness the effect of our donations. Throwing a coin transforms the individual wish into a collective one and questions what we ‘value’.