ONGOING

Woven Maps, Woven Lands (solo)
curated by Yara Sonseca Mas
Staircase Gallery Rosewood Hotel Munich
until October 2026

ONGOING

Ngüren 1km

(temporary installation)

UniCredit HVB KunstCube Munich

until Oktober 2026

UPCOMING

Scythia -16th

International Biennial on Textile & Fibre Art Ivano-Frankivs'k, Ukraine

OPENING 03.06.2026

With Woven Maps, Woven Lands, Constanza Camila Kramer Garfias inaugurates the new Staircase Gallery at Rosewood Munich. Curated by Yara Sonseca Mas, the exhibition marks the opening of the hotel’s new space for contemporary art and brings together works from several series across the vertical architecture of the stairwell.

Installed across multiple levels of the staircase, the exhibition unfolds through movement, shifting perspectives and the act of passing through space. Large-scale Jacquard weavings are suspended freely within the stairwell, visible from above and below, accompanied by embroidered textile works and painted interventions on historical prints.

The exhibition engages with colonial image-making, cartography and historical systems of representation. Taking the 1507 world map by Martin Waldseemüller and Ferdinand Magellan’s naming of Patagonia as points of departure, the works examine how territories, bodies and cultures have been named, classified and transmitted through Western perspectives. Historical maps, archival illustrations and colonial narratives become material for a process of interruption, translation and reinterpretation.

As part of its long-standing commitment to contemporary art, HypoVereinsbankhas established the KunstCUBEs in Berlin and Munich to create visibility for emerging artistic positions beyond established exhibition spaces. The KunstCUBE exhibitions run for one year, providing space for artistic experimentation, discourse, and encounter.

From October 2025 to October 2026, Constanza Camila Kramer Garfias presents her installation Ngüren 1kmat the HVB KunstCUBE “K4” in Munich. The work engages with weaving as a collective and cultural practice, drawing on a large-scale action by 426 Mapuche weavers in Chile. It reflects on questions of community, memory, and resistance.

he Mapuche are an Indigenous people of southern Chile and Argentina, whose textile practices carry generations of knowledge, narratives, and social structures. Within this context, weaving operates not only as craft but as a form of cultural continuity and self-determination.

Textile art, as well as textiles more broadly—from prehistoric spindle whorls to bicycle costumes for women and many other objects—have accompanied the Frauen Museum Wiesbadensince its beginnings.

With the exhibition Threads Create Worlds, which brings together works by twelve outstanding contemporary artists, the museum enters new territory. The artists employ textile techniques traditionally associated with women’s domestic labor to question the boundaries of art and to shift those between art and textile art. They address themes of corporeality and vulnerability, as well as identity and collective memory, and engage with political issues, drawing on the subversive potential of sensorial, tactile works. Textile practices are combined with high-tech approaches, resulting in hybrid objects—such as lace-like cables—alongside the incorporation of non-textile materials, digitally conceived pictographic designs, and more.

Textile art often moves between art and craft, intimacy and public space, functional object and symbolic carrier, tradition and innovation. This apparent ambivalence has made it a powerful medium for artistic expression—one that engages with current political and social discourses and renders (collective) identities visible. The materiality of textile works makes “fabric”—a term that refers both to content and to material—almost physically tangible.

The Studio Award, initiated by the Bavarian State Ministry of Science and the Arts in collaboration with the BBK Bayern and presented for the first time this year, recognizes not only artistic quality but also provides space—quite literally—for artistic work. It sets a strong example: for art, for artists, and for contemporary artistic practice in Bavaria.

A studio is not a luxury. A studio is a necessity. It is a workshop and a laboratory, an archive and a stage, a workplace, a place of retreat, a space for thinking, a storage for materials, and a field of experimentation—in short, a place where art can come into being. Without space, there is no artistic development. Without art, there is no living culture.

At a time when cultural budgets are being reduced in many places, Bavaria’s introduction of this new Studio Award sends a clear signal in the opposite direction: 30 independent visual artists with studios in Bavaria are each awarded €8,000—as recognition, as support, and as an investment in artistic development.

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Gallery Kendra Jayne Patrick will show new works by Ada Friedman and Constanza Camila Kramer Garfias in a duo presentation at Independent 2025. Both artists possess unique and committed approaches to the materials undergirding their respective mediums. Ada paints on paper fortified by highly specific paraphernalia, entirely harmonized by the way she moves the paint. Constanza’s textile works toggle between

construction and its opposite, commanding threads to both repel and support one another. Their works are exemplary in a world of constant digital impressions, prevailing because they call attention to physicality rather than surface.

Exhibited artists

Magdalena Abakanowicz, Caroline Achaintre, Anni Albers, Gertrud Arndt, Stéphanie Baechler, Bakuba (CD), Susi Berger, Lis Beyer, Lili Binder-Wipf, Leonie Bosshard, Estelle Bourdet, Verena Brunner, Elisabeth Burri, Teresa Byszewska, Chancay (PE), Lia Cook, Sonia Delaunay-Terk, Erna Duttweiler, Jeanne-Odette Evard, Luggi Forster, Tetsuo Fujimoto, Shigeki Fukumoto, Lissy Funk, Blanche Gauchat, Maria Geroe-Tobler, Elsi Giauque, Kazimiera Gidaszewska, Helen Frances Gregor, Wenzel Hablik, Susanne Hanhart, Christoph Hefti, Sheila Hicks, Gottfried Honegger, Florence Jessie Hösel, Heinrich Otto Hürlimann, Irma Iberg, Johannes Itten, Valerie Jorud, Lilly Keller, Ulrike Kessl, Masakazu Kobayashi, Irma Kocan, Benita Koch-Otte, Constanza Camila Kramer Garfias, Isabelle Krieg, Shigeo Kubota, Isabelle Kurfürst, Hedwig Kümin, Gertrud Kümpel-Amsler, Rafael Kouto, Dominique Lanz, Margret Leischner, Jean Lurçat, Märta Måås-Fjetterström, Edith Naegeli, Corinne Odermatt, Claes Oldenburg, Julie Pfau, Frenzi Rigling, Adrien Rovero, Stefanie Salzmann, Lydia Schenkel, Moik Schiele, Margrit Schlumpf-Portmann, Talaya Schmid, Maria Schynder, Marie Schumann, Elsy Sieber, Verena Sieber-Fuchs, Liselotte Siegfried, Gertrud Sonderegger, Doris Stauffer, Traugott Stauss, Margot Stieger, Gunta Stölzl, Luise Strasser, Sophie Taeuber-Arp, Lenore Tawney, Textilklassen Vorläuferinstitutionen ZHdK, Hedy Uehlinger, Victor Vasarely, Bianca Wassmuth, Käthi Wenger, Krystyna Wojtyna-Drouet, Masao Yoshimura, Lea Zanolli, Claire Zeisler, Andrea Zittel, Various anonymous designers, ...

Inbackwards along the river, Kramer Garfias critically examines the colonial historiography of Patagonia and its visual representations. She begins with Ferdinand Magellan’s expedition report from 1520, in which he described the indigenous peoples of Patagonia as “giants” due to their unfamiliar appearance. His spurious tall tales morphed into mythology and then solidified into European cultural truth, ultimately justifying the horror show that was the European conquest of the ‘Americas.’

Based on historical records and engravings, Kramer Garfias has created a series of large-scale jacquard and raffia works appropriating the visual conventions of colonial- era travelogues. In them, she playfully and thoughtfully dismisses and responds to their trumped-up depictions of her ancestors, offering nonrepresentational, material abstraction as a counter to propagandized (and thus politically abstracted) tales of sixteenth-century Patagonian society.

Works in this exhibition utilize material and conceptual deconstruction-via- reconstruction of colonial cartography. In her magnificently scaled jacquard maps, the first item of business is overlaying the territorial names imposed by European explorers with the originary names given by native communities. The second is the disruption of symbols of colonial power, accomplished by literally weaving over, around, through, and under them on the map. This is cogent work in our current political context wherein former colonies are legally renaming territories, stripping European languages from their governing status, demanding the return of looted art, and so on.

Jacquard tapestries were traditionally prestige items in royal courts, serving as expressions of power, status, and territorial grip. Thence Kramer Garfias’ impetus to work with the technique. Elaborate craftsmanship, often incorporating precious or rare materials, reinforced the objects’ authority. Kramer Garfias deliberately breaks with this history in other jacquard works, embellishing them with synthetic raffia yarn instead of noble fibers, thus stripping the Tapestry of its historical authority. For these works depicting people and scenes in hand-stitched raffia, Kramer Garfias first weavesthe textile, then she paints on top of it as another way of bringing the material intoan alternate reality. While the paint and jacquard meld to form a richly-colored and textured background, she patiently embroiders idyllic scenes of ancestral futures atop this repurposed colonial substrate.

Constanza Camila Kramer Garfias' textile installation "Ha! Patagón!" takes its title from an exclamation attributed to Ferdinand Magellan. In 1520, Magellan reportedly expressed surprise at the towering stature and large footprints of the indigenous people living in what is now southern Chile.

The term "Patagón," roughly translated as "Bigfoot," inspired the name of the land he claimed—Patagonia—and gave rise to the myth of the Patagonian giants. In the 16th century, Europeans exploited this myth by displaying these people, whose height ranged from 175 to 180 cm, in degrading public exhibitions at popular fairs.

Kramer Garfias draws on Magellan's accounts and the copper engravings they inspired, circulating widely across Europe. Using Jacquard fabrics, she challenges viewers to rethink Magellan's narratives and the names he imposed on Patagonia. Her installation opens a space for reconsidering the region's history from a decolonial perspective.

Woven human silhouettes in the entrance area and stairwell reflect the historical prints that are also part of the installation and were reworked by the artist. In the institute's foyer, Kramer Garfias presents a world map where she overlays colonial place names with the indigenous names of native groups. These names honor communities that continue to exist or were erased by colonialism.

Traditionally, tapestries represented royal opulence. Crafted from luxurious materials like silk, gold, and silver threads, they symbolized wealth and power while serving as tools to establish hierarchies, narrate myths, and spread constructed stories globally.

The exhibition “Meet Me Here Tomorrow (Again)” places individual ontological consideration by artists Lauren Baccus, Nuveen Barwari, William Bigby, Constanza Camila Kramer Garfias, Sophia Mainka, Ian O’Hara, Diana Sinclair and Malaika Temba into a space of contemporary dialogue that transcends personal experiences to discuss the coexistence of artifact and the artificial, the Anthropocene, postcoloniality and extended interpretations of magical realism.

Using textile, mixed media and photography, the artists present works that carry tradition and cultural heritage into a potential future that allows for a dismantling and reconstruction of existing ideologies and create a counter-narrative.

How do we respect and honor the ideas of what was and learn from ancestral hands to guide us? Identifying a space where tradition and technology intersect, the artists create works that allow for an intentional departure.

For the inaugural edition of The Salon, Gallery Kendra Jayne Patrick will offer a spirited perspective on the contemporary avant-garde. This presentation features artworks by...

Exhibited artists

Manuela Morales Délano
Constanza Camila Kramer Garfias
André Magaña
Eva & Franco Mattes
Robyn Tsinnajinnie
Qualeasha Wood

The association CeU sees itself as „the modern voice of female entrepreneurs in business, politics and society“. In almost all sectors, women have a harder time than their male colleagues.

With the CeU Award “CeU loves Kunst”, the Club Europäischer Unternehmerinnen aims to deliberately promote and celebrate female artists.

After their success in 2023 they will be presenting the award again in 2024. It is a particular honor that this award is the only art prize in Germany that is exclusively dedicated to women, since the Gabriele Münter Prize was last awarded in 2017. The CeU is delighted about the competent support from art historian, columnist, art consultant and CeU member Mon Muellerschoen, who will support this art prize with her expertise and know-how.

The target group is young female artists up to age 40. The candidates can apply themselves or be nominated. The competition is advertised throughout Germany, within the CeU, by the sponsors, partners and in the media for six months before the award ceremony. The prize is intended to show public appreciation for the award-winning artist and be an incentive for others, as well as set social, high-profile accents. It promotes the artistic achievements of women to highlight their importance in business, politics and society.

The American Tapestry Alliance presents Beyond: Tapestry Expanded, an exhibition of national and international contemporary artists exploring the language of textiles within their work. 

Beyond: Tapestry Expanded is an ATA-sponsored exhibition that explores the expansive properties of tapestry. Using the definition of tapestry as a nonfunctional, handwoven pictorial structure, artists included in the exhibition combined both hand and digital processes, using non-traditional materials, to create three-dimensional forms or multi-media components.

Beyond: Tapestry Expanded is curated by Erica Warren, scholar and former curator at the Art Institute of Chicago, in accompaniment with jurors Jade Yumang, Associate Professor of Fiber & Material Studies at the School of the Art Institute of Chicago, and Alexa Griffith Winton, co-curator of A Dark, A Light, A Bright: the Designs of Dorothy Liebes at the Cooper Hewitt Museum. Together, they selected work from emerging and established artists who represent diverse perspectives within the field of tapestry.

Constanza Camila Kramer Garfias is an accomplished textile artist whose 2023 Autodrift series includes some of her most daring and dynamic works to date. This series merges notions of traditional textiles with cutting-edge drift-style car racing, handcraft with industrial production. Eat, Sleep, Drift, and Repeat is her first solo exhibition, now on view at Gallery PERG in Ludwigsburg, Germany. 

For more than a decade Kramer Garfias has been weaving jacquard, a technique that can be traced back to fifteenth-century Italy. Building upon traditional handweaving and luxury textile production, she has honed and developed her methods and incorporated a multitude of materials. The artist visualizes her textiles—an artform typically associated with traditional historical themes—to treat modern subjects such as car races and automobiles. Kramer Garfias has previously broken the norms of her medium with the Autobahn series, in which metallic yarns and hand-deconstruction were used to encapsulate the speed of racing, geometricized checkered flags, and the sheen of the cars. She has reached a new level with the Autodrift series, which delves deeply into drift driving, which was pioneered in 1970s Japan and popularized in the West through, for example, the Fast and Furious film series. The complexity of contemporary drift races moves far beyond these sources.

Kramer Garfias is drawn to drift’s artistry, contigent materials, egalitarian structure, and mix of professional and amateur, familial relationships. She worked with an internationally successful racing team from Ravensburg, the Swabian Drift Foxes. They introduced the artist to modern drift events such as lead-chase races, during which two drivers must maneuver in unison, performing choreography while their cars remain in close physical contact.

Constanza Camila Kramer Garfias’ artistic practice disintegrates the traditional notions and motifs of textile art. The Chilean-German artist’s large-scale serial works open up new thematic references and explorations within a medium that is steeped in tradition, demonstrating how multi-layered textiles can be as a genre in their own right in the context of visual arts. Her large-scale wall works and spacious installations are playful explorations and reinterpretations of materials and materiality, combining the techniques of textile art with an interest in Digital Cultures.

In Galerie der Künstler*innen Kramer Garfias shows a new series of Jacquard works, which reference the fleet of cars of a Ravensburg racing team and take up the aesthetic language and materiality of motorsport, in particular that of drift racing. Through a playful experimentation with forms and material combinations, Kramer Garfias transfers the changing corpora of the vehicles – due to the choreographed movements of drifting and the high driving speed – into the fabric.

Working in expansive, intricatelystructured material languages, Teresa Baker, Sharona Franklin and Constanza Camila Kramer Garfias amalgamate fantasy, reality, and alternate continuums of space-time at thelocation of their respective socio-political coordinates. At once theartists analyze and ignore their “place” in societies governed by Western civic conventions.

These women share an immersive approach to overcoming the fissure between the to overcoming the fissure between the conceptual object and the material thing. Their works convene elaborate sets of references: AstroTurf, gelatin,medical accoutrement, buffalo hyde, and weaves that seem to be falling apart,all of which tight rope the borderbetween self and society.

The objects we will show at Art Basel Miami Beach are connected by the artists’ most cryptographic habits. Here, making is an act of sorcery, of summoning the familiar for the telling of entirely new stories, of consulting the ancestors for their crisp takes on how we might better assemble the Future.

Constanza Camila Kramer Garfias is a Chilean, Munich-based artist who secritical examination of textiles as amedium and subject reflects hercultural roots and personal resonance with theories of postcolonialism.Stemming from a theoretical,structural, and historical engagement with looms, her approach is characterized by exhausting their algorithms with deconstruction as her point of departure.

Text by Gallery Kendra Jayne Patrick

After a long year of postponed exhibitions, it is a great honor to announce that one Jacquard piece from the HYPERISM project has won the Honorable Mentions Award including 300.000 ¥ price money in Toyama, Japan.

All award winners have the privilege to participate in an official exposition, which will be held at the Toyama Prefectural Museum of Art & Design from 25th February to 4th April in Japan.

The International KOGEI Award in Toyama is for craftspeople under 50 years of age, including artists, artisans, and designers. This award encourages craftspersons all over the world in their expressions, techniques, and ideas.

The award aims to draw the future vision of crafts by reconsidering the stereotypical concept of traditional handcrafts. KOGEI Award captures the global trends in handcrafts and creates new opportunities for international networks and collaboration.

It is a great honor to know that Reiko Sudo, one of Japan‘s most famous textile artists and part of the NUNO textile label, is part of the KOGEI Judges who chose the HYPERISM textile piece. The award aims to draw the future vision of crafts by reconsidering the stereotypical concept of traditional handcrafts. KOGEI Award captures the global trends in handcrafts and creates new opportunities for international networks and collaboration.