»tracks, taps« explores the entanglement of desire and exhaustion in an image-saturated world. Foregrounding the plasticity of images, the exhibition brings together Mia Gap (1993, Germany) and Freja Sofie Kirk (1990, Denmark), pairing two image-making strategies grounded in dissection, exposure, and concealment. The exhibition is curated by Guilherme Vilhena Martins.
Mia Gap approaches the digital everyday as a dynamic synthesis of relations uncoupled from geographic distance and linear time. Drawing on painterly, photographic, and sculptural strategies, Gap transforms digitally conceived scenarios into physical objects, probing the unstable boundaries between authenticity, reality, and simulation. Her compositions emerge through the accumulation of temporal and spatial layers, in which everyday tropes are collected, sampled, and reworked into dense material assemblages. This process mirrors the mechanisms of image production to which Gap’s work directly responds: accumulation, endless sampling, and the temporal compression of the digital present.
Through her ongoing engagement with photography and video, Freja Sofie Kirk examines the inner mechanisms of images and the reciprocal relationship between media and everyday life. Kirk’s works are characterized by a hypnotic affective force, drawing viewers into narratives of power, architecture, commodities, fetishism, and the choreography of labor. Above all, she stresses how media is absorbed into social relations and routines, and how these, in turn, become absorbed into media. Kirk directly addresses these dynamics, foregrounding the entanglement of desire and mortality embedded within entertainment industry imagery.
Taken together, their practices reveal the image as a mutable material, capable of moving between physical, digital, and affective registers. They trace opposing yet complementary movements: while Gap’s panels materialize digitally conceived worlds as physical objects, Kirk mobilizes the virtual to reshape perception through sensorial and cinematic strategies, twisting images beyond the limits of the two-dimensional frame. tracks, taps unfolds through this tension, positioning the image as a site where seduction, materiality and simulation coexist rather than resolve.
Abbildung: Freja Sofie Kirk, Cookie 5 / Cookie 6, 2026, Inkjet print on Hahnemühle Baryta paper, 20 x 40 cm © Freja Sofie Kirk / Klemm’s