Furore

with
Nina Paszkowski

Graphic: Nora Keilig

Exhibition

5/6/2026 – 21/02/2027
Opening: 4/6/2026, from 6 PM

The solo exhibition by Nina Paszkowski, titled “Furore”, refers to the spectacle that has long shaped the Bärenzwinger: the principle of display and staging—whether through living animals, ideologically charged urban identity, or contemporary art. “Furore” describes a form of public attention that moves between fascination and unease. What attracts and excites can also turn into indignation or anger. Paszkowski approaches this anger through mythological figures whose name resonates in the exhibition title: the Furies. In Greek mythology, they appear as furious avengers who, through an act of mercy, undergo a process of becoming human and transform into the benevolent Eumenides.

In “Furore”, the Furies appear as larger-than-life guardians. Against the backdrop of the site’s history—where spectacle has long been intertwined with control and violence—it remains uncertain whether they will enact revenge or grant mercy here. In Paszkowski’s work, anger does not remain confined to destruction. Instead, it appears as a force capable of breaking open existing conditions and making new forms of coexistence imaginable. The transformation of the Furies is mirrored in a changing constellation of works within the Bärenzwinger itself: over the nine-month duration of the exhibition, anger erupts from the walls of the former bear enclosure in the form of ceramic proliferations, carving out new paths. What remains are open wounds that inscribe vulnerability into the space and raise questions about the persistence of violence and the possibility of healing.

Curated by Janine Pauleck, Annika Reketat and Tina Quednau

Nina Paszkowski lives and works in Cologne. In her artistic practice, she engages with themes such as desire, power, and the interdependence of living beings. She works with ceramics and paper, developing spatial installations that examine the tension between individuality and interconnectedness.

Her installations often consist of large-scale paper cut-outs, for which she partly produces the paper herself, as well as ceramic sculptures. Both bodies of work address notions of fragility and permeability, treating these not as fixed conditions but as shifting states within spatial and relational structures.