Comprehensive studies on the material characteristics, construction techniques, and decorative practices of architectural components excavated from Wolji, Gyeongju, remain limited despite the site'...

An internal molecular clock coordinates daily plant growth rhythms by interacting with smoke-related growth regulators to optimize development under changi

used to sell Cadillac! Check it out on Google Maps.

It’s summer vacation and all middle school student Suyeon wants to do is to go down to Gorong Village to spend time with her granny. But the moment she gets there, she is greeted by wondrous sight - a...

## Reparaturgesellschaft at the Wewerka Pavilion in Münster **Reparaturgesellschaft** at the Wewerka Pavilion in Münster, curated by **Jonas Roßmeißl** , ran through August 2, 2026. **Reparaturgesellschaft** **Artists:** Rieke Albertin, Yooyoung An, Leona Egelkamp, Maurice Fey, Finn Froböse, Max Hedderich, Suyeon Prana Kim, Junsun Park **Exhibition:** Reparaturgesellschaft **Venue:** Wewerka Pavilion **City:** Münster, Germany **Dates:** July 1, 2026 – August 2, 2026 **Address:** Aasee-Uferweg, 48143 Münster, Germany **Curator:** Jonas Roßmeißl **Photography:** Kunstakademie Münster, Hyesung Ryu **Image Courtesy:** Courtesy Kunstakademie Münster The Wewerka Pavilion on the Aasee has never settled into a single identity. Legally a sculpture, used like architecture, closed to the public yet permanently exposed to weather and passersby, it has spent decades accumulating exactly the kind of wear that was probably never anticipated. Reparaturgesellschaft, installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.Reparaturgesellschaft, installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster. Eight artists from Kunstakademie Münster spent July inside that contradiction, treating the pavilion's condition as raw material rather than a problem to solve. ### Curatorial Note by Jonas Roßmeißl “What exactly is the Wewerka Pavilion? It is certainly not an exhibition space, because for reasons of building and zoning regulations, it is off-limits to the public. This very circumstance also renders its designation as a sculpture—as architecture that can be experienced autonomously—absurd.” (Sabine Maria Schmidt, Stadtblatt, May 1988) Reparaturgesellschaft, installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster. The question that Sabine Maria Schmidt posed as early as 1988 at the inauguration of the Wewerka Pavilion still seems to have no definitive answer today. Legally declared a sculpture, yet treated as architecture by custom, this ambivalence is reflected above all in the pavilion’s current condition. Its patina does not signify an aestheticized ruin, but merely reveals the ravages of time, to which even the most resistant materials of our industrial production are subject. ****Reparaturgesellschaft,**** installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.Reparaturgesellschaft, installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.Reparaturgesellschaft (detail), Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.****Reparaturgesellschaft,**** installation view, Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster. Every use of the sculpture distances it from its original form. Authorship, ownership, and the right of use have never been one and the same. We have decided to treat the pavilion as what it legally is: a sculpture with which—and against which—we work. Let’s imagine a construction site where all participants put their own vision of change into practice. Where does this contradiction of change lead? Reparaturgesellschaft-8.jpg) CAPTION: Reparaturgesellschaft (detail), Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.Reparaturgesellschaft (detail), Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster. Can the ** _enhancement of a surface_** become a form of destruction, or can the deconstruction of an existing structure generate new value? Who throws or lays the first stone? This exhibition is also meant to explore these questions. * * * ### **Follow and support:** Rieke Albertin on Instagram Yooyoung An on Instagram Leona Egelkamp on Instagram**** Maurice Fey on Instagram Finn Froböse on Instagram Max Hedderich on Instagram Suyeon Prana Kim on Instagram Junsun Park on Instagram Reparaturgesellschaft (detail), Wewerka Pavilion, Münster, 2026. Photo: Hyesung Ryu. Courtesy Kunstakademie Münster.

On September 10th, I married (officiated actually, it’s not a 3-way union) Suyeon Kim and Mauro Refosco. Mauro and I have worked together since the mid ‘90s. He’s a great musician and friend, and his ...

Translation JP : HAN SUYEON

Translation JP : HAN SUYEON