04.
ma_n-if——est / Lisboa
Kate Albrecht Fulton, "The loudspeaker - marking 296 steps
to the removal of wisdom", 2026
Placa metálica descartada, pertencente a um sistema de segurança
pessoal, corte em árvore Ginkgo Biloba localizada na Rua da Boavista,
Lisboa, 22,5 x 13 x 0,3 cm e 296 passos para a esquerda (Exterior).
Vista da Exposição, 2026
Vista da Exposição, 2026
Kate Albrecht Fulton, "A handful of views cast in doubt", 2026
Lentes e armações partidas de óculos de plástico encontradas nas ruas de Berlim empregues num jogo de knucklebones, dimensões variáveis.
Kate Albrecht Fulton, "Painful truth", 2026
Canto gasto e dobrado, partindo de uma folha de cartão de um artista, 1735 x 345 cm.
Noé Sendas, "Eye of Re", 2026 (Piso 0)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Piso 0)
Lápis policromado sobre tecido e impressão offset sobre papel (livros),
ferro (bala e pedra), algodão (coberta e corda),
200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 0)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 0)
Lápis policromado sobre tecido e impressão offset sobre papel (livros),
ferro (bala e pedra), algodão (coberta e corda),
200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 0)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm (detalhe).
Vista da Exposição, 2026
Kate Albrecht Fulton, "The half of One Divide", 2026 (Piso 0)
Primeira parte de duas secções recortadas de uma caixa de
infra-estrutura urbana partida, 38 x 15,5 x 14,5 cm.
Kate Albrecht Fulton, "bench mark/ richtwert / reference value", 2026
Painel de revestimento em imitação de mármore, em madeira, encontrado abandonado numa rua de Berlim, 76 x 41 x 0,8 cm.
Vista da Exposição, 2026
Noé Sendas, "View from sniuR", 2025 (Piso 0)
Técnica mista, colagem, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR", 2025 (Piso 0)
Técnica mista, colagem, 30 x 40 x 0,6 cm (detalhe).
Kate Albrecht Fulton, "Self-portrait of a_part: dedicated to Leonie", 2026
Secção de coluna de madeira, retirada de um antigo móvel abandonado,
fixa a parede falsa, 11,5 x 5,5 x 2 cm.
Vista da Exposição, 2026
Noé Sendas, "Untitled", 2026 (Piso 0)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão fotográfica em gelatina de prata, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Piso 0)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm.
Noé Sendas, "Sem título", 2026 (Piso 0)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm (detalhe).
Kate Albrecht Fulton, "Dreaming in German", 2012
Livro usado “wer aaahh sagt...” do autor Richard Gordon, em alemão, com páginas e texto removidos, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Livro usado “wer aaahh sagt...” do autor Richard Gordon, em alemão, com páginas e texto removidos, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Livro usado “wer aaahh sagt...” do autor Richard Gordon, em alemão, com páginas e texto removidos, 21 x 13,1 x 2,5cm (detalhe).
Kate Albrecht Fulton, "Latent devaluation", 2026
Extremidade de mangueira de jardim encontrada cortada, gesso, tinta acrílica cinzenta e restos de parede, 3,5 x 3,5 x 4 cm
Vista da Exposição, 2026
Kate Albrecht Fulton, "Autobiography", 2014 / "Quick fix obstacle to repair - with a diy latch for opening", 2026
Capa plástica A4, preta, 22 x 31 x 0,3 cm / Esquina de azulejo cerâmico, encontrado enterrado em canto escondido no espaço HAUNT - Berlin.
Fecho de cavalete descartado, depois de um artista desistir e deitar tudo fora, 9 x 5 x 5 cm
Vista da Exposição, 2026
Kate Albrecht Fulton, "Collapsed - support - withdrawn", 2026
Secções de brinquedos descartados, secções de mobiliário de madeira descartado, tinta acrílica cinzenta, 203 x 13,5 x 5,5 cm (detalhe)
Collapsed - support - withdrawn, 2026
Secções de brinquedos descartados, secções de mobiliário de madeira descartado, tinta acrílica cinzenta, 203 x 13,5 x 5,5 cm (detalhe)
Kate Albrecht Fulton, "Longing", 2014-2026
Reconstrução de um balaústre, surgido da desconstrução de uma coluna de madeira,
retirada de um antigo móvel abandonado, 60,5 x 8 cm ø
Vista da exposição, 2026
Kate Albrecht Fulton, "Safe alone", 2026
Fechadura metálica retirada de um armário antigo em desuso, fita adesiva transparente de dupla face, 68 x 43 x 5,5 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Letras removidas e recontextualizadas em lápis Koh-i-noor, encontrado e posteriormente serrado para quebra deliberada, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Letras removidas e recontextualizadas em lápis Koh-i-noor, encontrado e posteriormente serrado para quebra deliberada, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Letras removidas e recontextualizadas em lápis Koh-i-noor, encontrado e posteriormente serrado para quebra deliberada, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Blackbox recording of two", 2026
Dois tabuleiros de correspondência, em plástico, provenientes
de um escritório desocupado, 35 x 25,5 x 10 cm.
Vista da exposição, 2026
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros)
, ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros),
ferro (bala e pedra), algodão (coberta e corda),
200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda), 200 x 350 x 5 cm (detalhe).
Noé Sendas, "Eye of Re", 2026 (Piso 1)
Lápis policromado sobre tecido e impressão offset sobre papel (livros), ferro (bala e pedra), algodão (coberta e corda),
200 x 350 x 5 cm (detalhe).
Kate Albrecht Fulton, "The half of One Divided", 2026 (Piso 1)
Segunda parte de duas secções recortadas de uma caixa de infra-estrutura urbana partida, 35 x 20 x 14,5 cm.
Kate Albrecht Fulton, "The half of One Divided", 2026 (Piso 1)
Segunda parte de duas secções recortadas de uma caixa de infra-estrutura urbana partida, 35 x 20 x 14,5 cm (detalhe).
Vista da exposição, 2026
Kate Albrecht Fulton, "Everyone deserves care", 2014
Intervenção e recomposição de texto em tubo de creme hidratante,
deixado vazio, abandonado nas I.S. dos ateliers Malzfabrik, em Berlim,
12,5 x 5 x 3 cm.
Kate Albrecht Fulton, "Everyone deserves care", 2014
Intervenção e recomposição de texto em tubo de creme hidratante, deixado vazio, abandonado nas I.S. dos ateliers Malzfabrik, em Berlim, 12,5 x 5 x 3 cm.
Noé Sendas, "Sem título", 2026 (Piso 1)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm.
Noé Sendas, "Sem título", 2026 (Piso 1)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm (detalhe).
Noé Sendas, "Sem título", 2026 (Piso 1)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm.
Noé Sendas, "Sem título", 2026 (Piso 1)
Metais diversos, madeira, pvc, vidro, algodão, pedra e antiga impressão
fotográfica em gelatina de prata, 75 x 76 x 140 cm (detalhe).
Noé Sendas, "View from sniuR,", 2025 (Piso 1)
Técnica mista, colagem, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Piso 1)
Técnica mista, colagem, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Piso 1)
Técnica mista, colagem, 30 x 40 x 0,6 cm.
Vista da exposição, 2026
Kate Albrecht Fulton, "Quotation marks", 2026
Chaves de um tempo passado, moedas de 2 cêntimos, tampas reutilizadas de pacotes de leite, recipientes de plástico de spray nasal e secções removidas
do suporte de madeira de um quadro partido, tinta acrílica, 109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Quotation marks", 2026
Chaves de um tempo passado, moedas de 2 cêntimos, tampas reutilizadas
de pacotes de leite, recipientes de plástico de spray nasal e secções
removidas do suporte de madeira de um quadro partido, tinta acrílica,
109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Incorrect address", 2026
Cabo telefónico obsoleto, parafusos encontrados, sobras de prancha de espuma isolante, tinta acrílica, gesso, 32,5 x 6 x 2 cm.
Kate Albrecht Fulton + Noé Sendas
+ Info
04.
ma_n-if——est / Lisboa
ma__n–if——est integra um ciclo de exposições desenvolvidas em torno do livro Seis Propostas para o Próximo Milénio, de Italo Calvino, e contesta a noção de Visibilidade que o autor identificou como fundamental para pensar o século XXI. Este ciclo de exposições - In The Present Now – parte de uma ideia original do Kindred Spirit e desenvolve-se em parceria com outras instituições, dentro e fora de Portugal.
ma__n–if——est integra obras de Kate Albrecht Fulton (Warrnambool, 1974) e Noé Sendas (Bruxelas, 1972), é comissariada por Sérgio Fazenda Rodrigues e Stephan Klee, numa parceria entre os espaços Kindred Spirit e frontviews / Haunt-Berlin, e desenvolve-se em duas partes, apresentadas em Berlim de Março a Abril de 2026, e em Lisboa de Maio a Julho de 2026.
ma__n–if——est explora a ideia de algo que se manifesta, desponta ou surge por vontade própria, de modo subtil e alargado, sem limitar a percepção à evidência do visível. A exposição busca situações ancoradas à memória, real e efabulada, em que a imprecisão esbate o rigor e a certeza dos factos.
Noé Sendas apoia-se na ideia de déjà-vu, duplicando a presença das suas obras nos dois pisos da exposição. Esta situação decorre da junção de duas bibliotecas no seu atelier, salientando o encontro com um conjunto de livros repetidos e suas implicações. Lidando com a incerteza de forma nostálgica e contemplativa, o artista estabelece relações entre um corpo, um lugar e o seu desaparecimento, reportando-se ao imaginário de um tempo passado, algures entre a antiguidade clássica e os meados do século XX.
Kate Fulton apresenta um conjunto de trabalhos que surgem associados a uma ideia de falta, induzida pela ausência, mas também pela inviabilização de um uso anterior.
As obras gravitam entre o enigmático e o obsoleto, partindo do encontro com situações e locais específicos, em Lisboa e Berlim. A artista explora ideias como o desgaste, o eco e a ausência para configurar uma ideia poética de impermanência.
Concebendo a afirmação de algo que se esbate, ambos desenvolvem o seu trabalho entre a atenção e a intuição, instaurando um diálogo entre as obras, o espaço e os observadores, em torno de temas como o desaparecimento, a ocultação e o obliteramento.
Sérgio Fazenda Rodrigues e Stephan Klee
ma_n-if——est / Lisboa
21.05 - 10.07.2026
Kindred Spirit
Lisboa, PT
Artistas
Kate Albrecht Fulton
(AU)
+
Bio
Kate Albrecht Fulton (Warrnambool, 1974) vive e trabalha em Berlim desde 2008. É licenciada em Belas-Artes pela Deakin University, Warrnambool (1994) e possui um Diploma de Pós-Graduação em Artes Visuais pelo Victorian College of the Arts, Melbourne (2001). Entre 2004 e 2006 foi bolseira do programa de residência do Gertrude Contemporary Studio, em Melbourne.
A sua prática artística compõe-se de objectos escultóricos, instalações espaciais e intervenções arquitectónicas que recorrem a referências autobiográficas e a vestígios do quotidiano para explorar temas como desenraizamento, inacessibilidade e apagamento. Trabalhando com materiais encontrados e apropriados a partir de elementos descartados do meio urbano, cria deslocações de percepção que desfamiliarizam discretamente o quotidiano. A sua composição, caracteristicamente contida e por vezes imperceptível, revela-se em incrementos subtis para explorar a tensão entre o visível e o invisível, o interno e o externo.
O seu trabalho tem sido apresentado em exposições individuais e colectivas, em contextos como a Malzfabrik (Berlim); HomeBase (Berlim); RMIT Gallery (Melbourne); Centre for Contemporary Photography (Melbourne); Gertrude Contemporary Art Spaces (Melbourne); MINUS SPACE (Nova Iorque); Care/of Contemporary Art Centre (Milão); e Han Jeon Gallery (Seul), entre outros. Em 2026, apresentará a exposição de dupla Manifest, com Noé Sendas, em Berlim e Lisboa.
Entre as suas distinções contam-se uma bolsa de residência no HomeBase LAB, Berlim (2010-11); ser finalista do Keith And Elisabeth Murdoch Travelling Scholarship, Victorian College of the Arts (2003); a obtenção do Pat Corrigan Artist Grant, National Association for the Visual Arts (1998); e o Salon Exhibition Award do Melbourne Fringe Festival (1996).
A sua prática expandida inclui a autoria do projecto conceptual Artist Funded (desde 2004), a coordenação da primeira edição do mapa de espaços artísticos independentes theMAP em Melbourne (2005), e a participação activa no colectivo de artistas frontviews / HAUNT, em Berlim.
Noé Sendas
(B)
+
Bio
Noé Sendas (Bruxelas, 1972) vive e trabalha entre Berlim, Madrid e Lisboa.
Estudou no Atelier Livre da Escola António Arroio e no Ar.CO, em Lisboa, frequentou o Royal College of Arts, em Londres, e o Art Institute of Chicago. Recebeu o 1º Prémio Citydesk de escultura em 2010. Participou em residências artísticas na Künstlerhaus Bethanien, Berlim; Atelier Real, Lisboa; Casa Velázquez, Madrid; Contretype, Bruxelas; Cité Internationale des Arts, Paris; Peggy Guggenheim, Veneza.
Sendas vem desenvolvendo, desde meados da década de 1990, uma consistente carreira nacional e internacional. A sua prática artística utiliza referências — explícitas e implícitas — a artistas e criações literárias, cinematográficas ou musicais como matéria-prima. O seu trabalho aborda preocupações específicas sobre a reflexão e a prática das artes visuais, tais como: o corpo, como entidade simultaneamente teórica e material; os mecanismos de percepção do observador; e o potencial discursivo dos métodos expositivos.
Outras exposições individuais recentes da obra de Sendas incluem Goin´Home na Brotéria, Lisboa (2024), e On Thin Ice no MNAC - Museu Nacional de arte Contemporânea (2025). His work has also been featured in numerous group shows, em instituições como o Yerba Buena Center for the Arts (São Francisco, EUA); Kunsthalle Bonn (Alemanha); Akademie der Künste (Berlim); Le Plateau/FRAC Île-de-France (Paris); Museu Colecção Berardo (Lisboa); Museu Calouste Gulbenkian (Lisboa); C/O Berlin (Alemanha); MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisboa), entre outras. A sua obra integra colecções públicas e privadas, na Europa e Estados Unidos da America, destacando-se a Fundação Calouste Gulbenkian, Lisboa; Contretype – Centre d’Art Contemporain pour la Photographie, Bruxelas; Culturgest, Lisboa; MAAT – Museu de Arte, Arquitectura e Tecnologia, Lisboa; MAR – Museu de Arte do Rio, Rio de Janeiro, Brasil; MEIAC – Museu Extremenho e Ibero-Americano de Arte Contemporânea (Badajoz, Espanha); Colecção NOVO BANCO, Lisboa; Colecçāo Serralves, Porto, Portugal; Colecção SP, Portugal.
Curadores
Sérgio Fazenda Rodrigues
(PT)
+
Bio
Sérgio Fazenda Rodrigues (Lisboa, 1973) é arquitecto, curador e editor. Foi professor na Universidade dos Açores, na Escola Universitária Vasco da Gama (Coimbra) e na Faculdade de Belas Artes, da Universidade de Lisboa, dedicando-se à divulgação, crítica e curadoria de artes visuais. É membro da Associação Internacional de Críticos de Arte (AICA), tendo participado em 2015 na sua direcção, em Portugal.
É fundador director e curador do espaço independente Kindred Spirit, em Lisboa, com eventos desenvolvidos em Lisboa, Madrid, Elvas e Berlim. Com Celina Brás, foi sócio da empresa Making Art Happen, agregando a revista Contemporânea e a APP Portugal Art Guide, para quem foi editor convidado e para a qual continua a escrever. Tem artigos publicados em revistas, catálogos e livros da especialidade.
Foi assessor cultural permanente do Governo Regional dos Açores / Direcção Regional da Cultura, tendo entre 2010 e 2012 sido responsável pela gestão da Colecção de Arte Contemporânea do Governo Regional dos Açores e pela programação de exposições no Arquipélago – Centro de Artes Contemporâneas. Integrou júris de apoio e premiação do Governo Português / Direcção Geral das Artes, Governo Regional dos Açores / Direcção Regional da Cultura, Ágora - Cultura e Desporto / Câmara Municipal do Porto, EGEAC-Galerias Municipais de Lisboa (Atelier-Museu Júlio Pomar), Fundação Luso-Americana e da CACE-Colecção de Arte Contemporânea do Estado, entre outros. O seu trabalho centra-se numa abordagem poética à esfera antropológica e social da arte contemporânea, privilegiando tópicos que lidam com ideias de tempo e espaço. O seu trabalho tem sido desenvolvido de forma independente, em colaboração com instituições, galerias, coleccionadores e espaços independentes em Portugal, Espanha, Bélgica, Inglaterra e Alemanha.
Stephan Klee
(DE)
+
Bio
Stephan Klee (Potsdam, 1977) é um curador que vive e trabalha em Berlim. Após cinco semestres de filosofia e história moderna alemã na Universidade Humboldt, estudou na Universidade de Artes Visuais de Berlim (UdK), formando-se como mestre em Belas-Artes no verão de 2009. Desde 2006, a sua prática curatorial concentra-se na fenomenologia do espaço público, explorando interacções entre uma realidade partilhada e a criação artística. Os temas variam de intervenções no espaço sócio-arquitectónico e dispositivos filosóficos contemporâneos até à exploração de novos media e da virtualidade em expansão. Desde 2018, o seu trabalho centra-se no fim previsível da ecologia global, contextualizado num sistema capitalista tardio.
As possibilidades de génese colectiva destacam-se nas suas actividades, materializadas em projectos de trabalho cultural independente e colaborativo. Entre os parceiros das suas colaborações incluem-se a Artitude e.V., a Haus am Lützowplatz e.V., o Dockville Festival Hamburgo, o Institut für Raum Experimente, o Goethe-Institut Atenas, a State of Concept Atenas, a REMAP Atenas, o Museu Herzliya Tel Aviv, o Hamburger Bahnhof Berlim, o Centro Pompidou Paris e o Kunstverein Göttingen, entre outros.
Stephan Klee é membro fundador e integrante da direcção do colectivo artístico Frontviews, uma associação internacional de artistas e académicos.
04.
ma_n-if——est
Kate Albrecht Fulton, "The loudspeaker - marking 296 steps
to the removal of wisdom", 2026
Found discarded metal sign belonging to a personal safety system,
cut Ginkgo Biloba tree located on Rua Boavista, Lisbon
22,5 x 13 x 0,3 cm and 296 steps to the left (Outdoor)
Exhibition view, 2026
Exhibition view, 2026
Kate Albrecht Fulton, "A handful of views cast in doubt", 2026
Found plastic lenses and broken frames of spectacles, collected from the streets of Berlin, used in a game of knucklebones, variable dimensions.
Kate Albrecht Fulton, "Painful truth", 2026
Worn-out, curled-up corner from a sheet of cardboard from an artist, 1735 x 345 cm.
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books), iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord),
200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord),
200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Exhibition view, 2026
Kate Albrecht Fulton, "The half of One Divide", 2026 (Downstairs)
First part of two cut out sections from a broken box of city
infrastructure,
38 x 15,5 x 14,5 cm.
Kate Albrecht Fulton, "bench mark/ richtwert / reference value", 2026
Discarded wooden veneer panel found on a street in Berlin, 76 x 41 x 0,8 cm.
Exhibition view, 2026
Noé Sendas, "View from sniuR", 2025 (Downstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR", 2025 (Downstairs)
Mixed media, collage, 30 x 40 x 0,6 cm (detail).
Kate Albrecht Fulton, "Self-portrait of a_part: dedicated to Leonie", 2026
Cut section from a wooden column removed from a discarded antique
cabinet, embedded into plaster wall, 11,5 x 5,5 x 2 cm.
Exhibition view, 2026
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver
gelatin photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver gelatin photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver
gelatin photographic prints, 75 x 76 x 140 cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm (detail).
Kate Albrecht Fulton, "Latent devaluation", 2026
Found cut-off end of a garden hose, grey acrylic wall paint and wall remains, 3,5 x 3,5 x 4 cm
Exhibition view, 2026
Kate Albrecht Fulton, "Autobiography", 2014 / "Quick fix obstacle to repair - with a diy latch for opening", 2026
Black plastic A4 application folder , 22 x 31 x 0,3 cm / Found buried wedge of ceramic tile from the ’blind corner‘ at HAUNT artists project space in Berlin,
discarded easel latch after an artist gave up and threw everything away, 9 x 5 x 5 cm
Exhibition view, 2026
Kate Albrecht Fulton, "Collapsed - support - withdrawn", 2026
Sections of discarded toys, sections of discarded wooden furniture,
grey acrylic paint, 203 x 13,5 x 5,5 cm (detail)
Kate Albrecht Fulton, "Collapsed - support - withdrawn", 2026
Sections of discarded toys, sections of discarded wooden furniture,
grey acrylic paint, 203 x 13,5 x 5,5 cm (detail)
Kate Albrecht Fulton, "Longing", 2026
Reconstruction of a handrail from a deconstructed wooden column,
removed from a discarded antique cabinet, 60,5 x 8 cm ø
Exhibition view, 2026
Kate Albrecht Fulton, "Safe alone", 2026
Metal keyhole from a discarded antique cabinet, clear double-sided adhesive tape, 68 x 43 x 5,5 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Blackbox recording of two", 2026
Two plastic in/out trays from a vacated office space,
35 x 25,5 x 10 cm.
Exhibition view, 2026
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books), iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord),
200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books), iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord),
200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books), iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord),
200 x 350 x 5 cm (detail).
Kate Albrecht Fulton, "The half of One Divided", 2026 (Upstairs)
Second part of two cut out sections from a broken box of city infrastructure, 35 x 20 x 14,5 cm.
Kate Albrecht Fulton, "The half of One Divided", 2026 (Upstairs)
Second part of two cut out sections from a broken box of city infrastructure, 35 x 20 x 14,5 cm (detail).
Exhibition view, 2026
Kate Albrecht Fulton, "Everyone deserves care", 2014
Text intervention and recomposition on a tube of moisturiser left
empty and laying in the bathrooms at the Malzfabrik Ateliers Berlin,
12,5 x 5 x 3 cm.
Kate Albrecht Fulton, "Everyone deserves care", 2014
Text intervention and recomposition on a tube of moisturiser left
empty and laying in the bathrooms at the Malzfabrik Ateliers Berlin,
12,5 x 5 x 3 cm.
Noé Sendas, "Untitles", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage gelatin
silver photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage gelatin
silver photographic prints, 75 x 76 x 140 cm (detail).
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage
gelatin silver photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage gelatin
silver photographic prints, 75 x 76 x 140 cm (detail).
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Exhibition view, 2026
Kate Albrecht Fulton, "Quotation marks", 2026
keys that belong to the past, 2 cent pieces, repurposed lids from milk cartons, sections of plastic nasal spray containers,
removed sections from the wooden backing of a broken picture frame, acrylic paint, 109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Quotation marks", 2026
keys that belong to the past, 2 cent pieces, repurposed lids from milk
cartons, sections of plastic nasal spray containers,
removed sections from the wooden backing of a broken picture frame,
acrylic paint, 109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Incorrect address", 2026
Outdated telephone cable, found screws, discarded offcuts of foam board, acrylic paint, plaster, 32,5 x 6 x 2 cm.
Kate Albrecht Fulton + Noé Sendas
+ Info
04.
ma_n-if——est / Lisbon
ma__n–if——est is part of a program of shows developed around Italo Calvino’s book Six Memos for the Next Millennium. The show challenges the notion of Visibility, which the author identifies as a fundamental concept to understand the 21st century. This program of shows — In The Present Now — stems from an original idea by Kindred Spirit and is developed in partnership with other institutions of international focus.
ma__n–if——est brings together works by Kate Albrecht Fulton (Warrnambool, 1974) and Noé Sendas (Brussels, 1972), curated by Sérgio Fazenda Rodrigues and Stephan Klee as a collaboration between Kindred Spirit and frontviews / Haunt-Berlin. This show unfolds in two parts: the first presented in Berlin from March to April 2026, and the second in Lisbon from May to July 2026.
Without confining perception to the boundaries of the visible, the show seeks out situations anchored in memory, both factual and fictional, supported by a broad sensory engagement.
ma__n–if——est dwells on something that emerges or appears by its own will, in a subtle yet expansive way, in which the subjectivity of memory softens the rigour and certainty of reality.
Noé Sendas draws on the idea of déjà-vu to duplicate the presence of his works, creating connections between the two floors of the exhibition space. This evolves from the reunion of two diferente libraries in his studio, making visible a set of twin books, and its implications. Evoking imagery from a bygone era, somewhere between classical antiquity and the mid 20th century, the works assume a nostalgic, contemplative character, exploring the relationship between body, place and disappearance.
Kate Fulton presents multiple works that depict the idea of physical absence. This is conveyed both through the absence of elements and through the altered or lost functions those elements might once have held. The artist creates objects that hover between the enigmatic and the obsolete, arising from personal experiences and found objects, both in Lisbon and Berlin — Albrecht Fulton explores ideas of wear, echo and absence to shape a poetic approach to impermanence.
Both artists operate between attention and intuition, establishing a dialogue between the works, the space and the viewer around themes of disappearance, concealment and erasure — subtly evoking what has become illegible.
Sérgio Fazenda Rodrigues and Stephan Klee
ma_n-if——est / Lisbon
21.05 - 10.07.2026
HAUNT - Berlin
Berlin, DE
Artists
Kate Albrecht Fulton
(AU)
+
Bio
Kate Albrecht Fulton (Warrnambool, 1974) has lived and worked in Berlin since 2008. She holds a Degree in Fine Arts from Deakin University, Warrnambool (1994) and a Postgraduate Diploma in Visual Arts from the Victorian College of the Arts, Melbourne (2001). From 2004 to 2006, she was a resident fellow in the Gertrude Contemporary Studio programme in Melbourne.
Her artistic practice comprises sculptural objects, spatial installations, and architectural interventions that employ autobiographical references and traces of the everyday to explore themes such as displacement, inaccessibility, and erasure. Working with found and appropriated materials sourced from urban detritus, she creates perceptual shifts that discretely defamiliarise the everyday. Her composition, characteristically restrained and at times imperceptible, reveals itself through subtle increments to explore the tension between the visible and the invisible, the internal and the external.
Her work has been featured in numerous solo and group exhibitions at venues including Malzfabrik (Berlin); HomeBase (Berlin); RMIT Gallery (Melbourne); Centre for Contemporary Photography (Melbourne); Gertrude Contemporary Art Spaces (Melbourne); MINUS SPACE (New York); Care/of Contemporary Art Centre (Milan); and Han Jeon Gallery (Seoul), among others. In 2026, she will present the two-person exhibition Manifest with Noé Sendas in Berlin and Lisbon.
Her distinctions include a residency fellowship at HomeBase LAB, Berlin (2010–11); being a finalist for the Keith and Elisabeth Murdoch Travelling Scholarship, Victorian College of the Arts (2003); receiving the Pat Corrigan Artist Grant from the National Association for the Visual Arts (1998); and the Salon Exhibition Award from the Melbourne Fringe Festival (1996).
Her expanded practice includes authoring the conceptual project Artist Funded (since 2004), coordinating the first edition of the independent art spaces map theMAP in Melbourne (2005), and active participation in the artists' collective frontviews / HAUNT in Berlin.
Noé Sendas
(BE)
+
Bio
Noé Sendas (Brussels, 1972) lives and works between Berlin, Madrid, and Lisbon. He studied at the Atelier Livre of the António Arroio School and at Ar.CO in Lisbon, attended the Royal College of Art in London, and the School of the Art Institute of Chicago. He has participated in artistic residencies at Künstlerhaus Bethanien, Berlin; Casa de Velázquez, Madrid; Cité Internationale des Arts, Paris; Peggy Guggenheim Collection, Venice; and Atelier Real, Lisbon.
His artistic practice uses references—both explicit and implicit—to artists and literary, cinematic, or musical creations as raw material. His work addresses specific concerns regarding the reflection and practice of the visual arts, such as: the body as a simultaneously theoretical and material entity; the mechanisms of viewer perception; and the discursive potential of exhibition methods.
The artist has presented his work in numerous solo and group exhibitions at institutions including the Yerba Buena Center for the Arts (San Francisco, USA); Kunsthalle Bonn (Germany); Akademie der Künste (Berlin); Le Plateau/FRAC Île-de-France (Paris); Berardo Collection Museum (Lisbon); Bordalo Pinheiro Museum (Lisbon); MAAT – Museum of Art, Architecture and Technology (Lisbon); Calouste Gulbenkian Museum (Lisbon); MEIAC – Museo Extremeño e Iberoamericano de Arte Contemporáneo (Badajoz); C/O Berlin (Germany); MNAC – National Museum of Contemporary Art (Chiado, Lisbon); and Camões Berlim (Germany), among others.
In 2018, he was part of the group exhibition The State of Things, inaugurated at Camões Berlim.
His work is held in public and private collections, notably the Calouste Gulbenkian Foundation (Lisbon, Portugal); MAAT – Museum of Art, Architecture and Technology (Lisbon, Portugal); Contretype – Centre for Contemporary Art and Photography (Brussels, Belgium); Culturgest (Lisbon, Portugal); MEIAC – Museo Extremeño e Iberoamericano de Arte Contemporáneo (Badajoz, Spain); MAR – Museum of Art of Rio (Rio de Janeiro, Brazil); NOVO BANCO Collection (Lisbon, Portugal); Serralves Museum (Porto, Portugal); and the SP Collection (Portugal).
Curators
Sérgio Fazenda Rodrigues
(PT)
+
Bio
Sérgio Fazenda Rodrigues (Lisbon, 1973) is an architect, curator, and editor. He was a professor at the University of the Azores, at Vasco da Gama University School (Coimbra), and at the Faculty of Fine Arts, University of Lisbon, and is currently dedicating himself to the dissemination, critique, and curation of the visual arts. He is a member of the International Association of Art Critics (IAAC), having participated in its Portuguese administration in 2015.
He is the founder, director, and curator of the independent exhibition space Kindred Spirit in Lisbon, with events developed in Lisbon, Madrid, Elvas, and Berlin. Jointly with Celina Brás, he was a partner in the company Making Art Happen, which consolidated the Contemporânea art magazine and the APP Portugal Art Guide, for which he was guest editor and to which he continues to contribute. He has articles published in specialized magazines, catalogs, and books.
He was a permanent cultural advisor to the Regional Government of the Azores / Regional Directorate of Culture, having been responsible for the management of the Contemporary Art Collection of the Regional Government of the Azores and the programming of exhibitions at the Archipelago - Contemporary Arts Center between 2010 and 2012. He has served on various consultation and award juries for the Portuguese Government / Directorate-General for the Arts, the Regional Government of the Azores / Regional Directorate of Culture, Ágora - Culture and Sports / Porto City Council, EGEAC - Municipal Galleries of Lisbon (Julio Pomar Atelier-Museum), the Luso-American Development Foundation, and CACE - State Contemporary Art Collection, among others.
His work focuses on a poetic approach to the anthropological and social sphere of contemporary art, privileging topics that deal with ideas of time and space. His practice has been developed autonomously, in collaboration with institutions, galleries, collectors, and independent spaces in Portugal, Spain, Belgium, England, and Germany.
Stephan Klee
(DE)
+
Bio
Stephan Klee (Potsdam, 1977) is a curator who lives and works in Berlin. After five semesters of philosophy and modern German history at Humboldt University, he studied at the University of Visual Arts Berlin (UdK) and graduated as a master student of fine arts in summer 2009. Since its beginnings in 2006, his curatorial practice has primarily focussed on the phenomenology of a ‘public space’. He is fundamentally interested in the interactions between a shared reality and the creation of artistic form. The subject matter ranges from interventions in social-architectural space and contemporary philosophical dispositives to explorations of new media and expanding virtuality. Since 2018, the foreseeable end of global ecology in the course of a late capitalist system has been at the centre of his work.
The possibilities of collective genesis often play a major role in his activities. He realises various forms of independent, collective cultural work in different collaborations with various partners. These partners include Artitude e.V., the Haus am Lützowplatz e.V., the Dockville Festival Hamburg, the Institute für Raum Experimente, the Goethe Institute Athens, State of Concept Athens, REMAP Athens, the Herzliya Museum Tel Aviv, the Hamburger Bahnhof Berlin, the Centre Pompidou Paris, the Kunstverein Göttingen and many more.
Stephan Klee is a founding member and board member of the art collective Frontviews, an association of international artists and art scholars.
04.
ma_n-if——est
Kate Albrecht Fulton, "The loudspeaker - marking 296 steps
to the removal of wisdom", 2026
Found discarded metal sign belonging to a personal safety system,
cut Ginkgo Biloba tree located on Rua Boavista, Lisbon
22,5 x 13 x 0,3 cm and 296 steps to the left (Outdoor)
Exhibition view, 2026
Exhibition view, 2026
Kate Albrecht Fulton, "A handful of views cast in doubt", 2026
Found plastic lenses and broken frames of spectacles, collected from the streets of Berlin, used in a game of knucklebones, variable dimensions.
Kate Albrecht Fulton, "Painful truth", 2026
Worn-out, curled-up corner from a sheet of cardboard from an artist, 1735 x 345 cm.
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books), iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Downstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Exhibition view, 2026
Kate Albrecht Fulton, "The half of One Divide", 2026 (Downstairs)
First part of two cut out sections from a broken box of city infrastructure /
38 x 15,5 x 14,5 cm.
Kate Albrecht Fulton, "bench mark/ richtwert / reference value", 2026
Discarded wooden veneer panel found on a street in Berlin, 76 x 41 x 0,8 cm.
Exhibition view, 2026
Noé Sendas, "View from sniuR", 2025 (Downstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR", 2025 (Downstairs)
Mixed media, collage, 30 x 40 x 0,6 cm (detail).
Kate Albrecht Fulton, "Self-portrait of a_part: dedicated to Leonie", 2026
Cut section from a wooden column removed from a discarded antique
cabinet, embedded into plaster wall, 11,5 x 5,5 x 2 cm.
Exhibition view, 2026
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver gelatin photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver gelatin photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Downstairs)
Various Metals, wood, pvc, glass, cotton, stone and vintage silver gelatin photographic prints, 75 x 76 x 140 cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm.
Kate Albrecht Fulton, "Dreaming in German", 2012
Removed text and pages from the found secondhand German Book ‘wer aaahh sagt...’ by Richard Gordon, 21 x 13,1 x 2,5cm (detail).
Kate Albrecht Fulton, "Latent devaluation", 2026
Found cut-off end of a garden hose, grey acrylic wall paint and wall remains, 3,5 x 3,5 x 4 cm
Exhibition view, 2026
Kate Albrecht Fulton, "Autobiography", 2014 / "Quick fix obstacle to repair - with a diy latch for opening", 2026
Black plastic A4 application folder , 22 x 31 x 0,3 cm / Found buried wedge of ceramic tile from the ’blind corner‘ at HAUNT artists project space in Berlin, discarded easel latch after an artist gave up and threw everything away, 9 x 5 x 5 cm
Exhibition view, 2026
Kate Albrecht Fulton, "Collapsed - support - withdrawn", 2026
Sections of discarded toys, sections of discarded wooden furniture,
grey acrylic paint, 203 x 13,5 x 5,5 cm (detail)
Kate Albrecht Fulton, "Collapsed - support - withdrawn", 2026
Sections of discarded toys, sections of discarded wooden furniture,
grey acrylic paint, 203 x 13,5 x 5,5 cm (detail)
Kate Albrecht Fulton, "Longing", 2026
Reconstruction of a handrail from a deconstructed wooden column,
removed from a discarded antique cabinet, 60,5 x 8 cm ø
Exhibition view, 2026
Kate Albrecht Fulton, "Safe alone", 2026
Metal keyhole from a discarded antique cabinet, clear double-sided adhesive tape, 68 x 43 x 5,5 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil
that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil
that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Fear or courage", 2014-2026
Removed letters to reconstruct meaning on a found Koh-i-noor pencil
that was later sawn to break, 17 x 5 x 0,6 cm.
Kate Albrecht Fulton, "Blackbox recording of two", 2026
Two plastic in/out trays from a vacated office space, 35 x 25,5 x 10 cm.
Exhibition view, 2026
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm.
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Noé Sendas, "Eye of Re", 2026 (Upstairs)
Polychrome pencil on canvas and offset inks on paper (books),
iron (bullet and stone), cotton (blanket & cord), 200 x 350 x 5 cm (detail).
Kate Albrecht Fulton, "The half of One Divided", 2026 (Upstairs)
Second part of two cut out sections from a broken box of city infrastructure, 35 x 20 x 14,5 cm.
Kate Albrecht Fulton, "The half of One Divided", 2026 (Upstairs)
Second part of two cut out sections from a broken box of city infrastructure, 35 x 20 x 14,5 cm (detail).
Exhibition view, 2026
Kate Albrecht Fulton, "Everyone deserves care", 2014
Text intervention and recomposition on a tube of moisturiser left empty and laying in the bathrooms at the Malzfabrik Ateliers Berlin,
12,5 x 5 x 3 cm.
Kate Albrecht Fulton, "Everyone deserves care", 2014
Text intervention and recomposition on a tube of moisturiser left empty and laying in the bathrooms at the Malzfabrik Ateliers Berlin, 12,5 x 5 x 3 cm.
Noé Sendas, "Untitles", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage gelatin
silver photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage gelatin silver photographic prints, 75 x 76 x 140 cm (detail).
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage
gelatin silver photographic prints, 75 x 76 x 140 cm.
Noé Sendas, "Untitled", 2026 (Upstairs)
Various metals, wood, pvc, glass, cotton, stone and vintage
gelatin silver photographic prints, 75 x 76 x 140 cm (detail).
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Noé Sendas, "View from sniuR,", 2025 (Upstairs)
Mixed media, collage, 30 x 40 x 0,6 cm.
Exhibition view, 2026
Kate Albrecht Fulton, "Quotation marks", 2026
keys that belong to the past, 2 cent pieces, repurposed lids from milk cartons, sections of plastic nasal spray containers,
removed sections from the wooden backing of a broken picture frame, acrylic paint, 109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Quotation marks", 2026
keys that belong to the past, 2 cent pieces, repurposed lids from milk cartons, sections of plastic nasal spray containers,
removed sections from the wooden backing of a broken picture frame, acrylic paint,
109,5 x 7 x 7 cm.
Kate Albrecht Fulton, "Incorrect address", 2026
Outdated telephone cable, found screws, discarded offcuts of foam board, acrylic paint, plaster, 32,5 x 6 x 2 cm.
04.
ma_n-if——est / Lisbon
ma__n–if——est is part of a program of shows developed around Italo Calvino’s book Six Memos for the Next Millennium. The show challenges the notion of Visibility, which the author identifies as a fundamental concept to understand the 21st century. This program of shows — In The Present Now — stems from an original idea by Kindred Spirit and is developed in partnership with other institutions of international focus.
ma__n–if——est brings together works by Kate Albrecht Fulton (Warrnambool, 1974) and Noé Sendas (Brussels, 1972), curated by Sérgio Fazenda Rodrigues and Stephan Klee as a collaboration between Kindred Spirit and frontviews / Haunt-Berlin. This show unfolds in two parts: the first presented in Berlin from March to April 2026, and the second in Lisbon from May to July 2026.
Without confining perception to the boundaries of the visible, the show seeks out situations anchored in memory, both factual and fictional, supported by a broad sensory engagement.
ma__n–if——est dwells on something that emerges or appears by its own will, in a subtle yet expansive way, in which the subjectivity of memory softens the rigour and certainty of reality.
Noé Sendas draws on the idea of déjà-vu to duplicate the presence of his works, creating connections between the two floors of the exhibition space. This evolves from the reunion of two diferente libraries in his studio, making visible a set of twin books, and its implications. Evoking imagery from a bygone era, somewhere between classical antiquity and the mid 20th century, the works assume a nostalgic, contemplative character, exploring the relationship between body, place and disappearance.
Kate Fulton presents multiple works that depict the idea of physical absence. This is conveyed both through the absence of elements and through the altered or lost functions those elements might once have held. The artist creates objects that hover between the enigmatic and the obsolete, arising from personal experiences and found objects, both in Lisbon and Berlin — Albrecht Fulton explores ideas of wear, echo and absence to shape a poetic approach to impermanence.
Both artists operate between attention and intuition, establishing a dialogue between the works, the space and the viewer around themes of disappearance, concealment and erasure — subtly evoking what has become illegible.
Sérgio Fazenda Rodrigues and Stephan Klee
ma_n-if——est / Lisbon
21.05 - 10.07.2026
HAUNT - Berlin
Berlin, DE
Artists
Kate Albrecht Fulton
(AU)
+
Bio
Kate Albrecht Fulton (Warrnambool, 1974) has lived and worked in Berlin since 2008. She holds a Degree in Fine Arts from Deakin University, Warrnambool (1994) and a Postgraduate Diploma in Visual Arts from the Victorian College of the Arts, Melbourne (2001). From 2004 to 2006, she was a resident fellow in the Gertrude Contemporary Studio programme in Melbourne.
Her artistic practice comprises sculptural objects, spatial installations, and architectural interventions that employ autobiographical references and traces of the everyday to explore themes such as displacement, inaccessibility, and erasure. Working with found and appropriated materials sourced from urban detritus, she creates perceptual shifts that discretely defamiliarise the everyday. Her composition, characteristically restrained and at times imperceptible, reveals itself through subtle increments to explore the tension between the visible and the invisible, the internal and the external.
Her work has been featured in numerous solo and group exhibitions at venues including Malzfabrik (Berlin); HomeBase (Berlin); RMIT Gallery (Melbourne); Centre for Contemporary Photography (Melbourne); Gertrude Contemporary Art Spaces (Melbourne); MINUS SPACE (New York); Care/of Contemporary Art Centre (Milan); and Han Jeon Gallery (Seoul), among others. In 2026, she will present the two-person exhibition Manifest with Noé Sendas in Berlin and Lisbon.
Her distinctions include a residency fellowship at HomeBase LAB, Berlin (2010–11); being a finalist for the Keith and Elisabeth Murdoch Travelling Scholarship, Victorian College of the Arts (2003); receiving the Pat Corrigan Artist Grant from the National Association for the Visual Arts (1998); and the Salon Exhibition Award from the Melbourne Fringe Festival (1996).
Her expanded practice includes authoring the conceptual project Artist Funded (since 2004), coordinating the first edition of the independent art spaces map theMAP in Melbourne (2005), and active participation in the artists' collective frontviews / HAUNT in Berlin.
Noé Sendas
(BE)
+
Bio
Noé Sendas (Brussels, 1972) lives and works between Berlin, Madrid, and Lisbon. He studied at the Atelier Livre of the António Arroio School and at Ar.CO in Lisbon, attended the Royal College of Art in London, and the School of the Art Institute of Chicago. He has participated in artistic residencies at Künstlerhaus Bethanien, Berlin; Casa de Velázquez, Madrid; Cité Internationale des Arts, Paris; Peggy Guggenheim Collection, Venice; and Atelier Real, Lisbon.
His artistic practice uses references—both explicit and implicit—to artists and literary, cinematic, or musical creations as raw material. His work addresses specific concerns regarding the reflection and practice of the visual arts, such as: the body as a simultaneously theoretical and material entity; the mechanisms of viewer perception; and the discursive potential of exhibition methods.
The artist has presented his work in numerous solo and group exhibitions at institutions including the Yerba Buena Center for the Arts (San Francisco, USA); Kunsthalle Bonn (Germany); Akademie der Künste (Berlin); Le Plateau/FRAC Île-de-France (Paris); Berardo Collection Museum (Lisbon); Bordalo Pinheiro Museum (Lisbon); MAAT – Museum of Art, Architecture and Technology (Lisbon); Calouste Gulbenkian Museum (Lisbon); MEIAC – Museo Extremeño e Iberoamericano de Arte Contemporáneo (Badajoz); C/O Berlin (Germany); MNAC – National Museum of Contemporary Art (Chiado, Lisbon); and Camões Berlim (Germany), among others.
In 2018, he was part of the group exhibition The State of Things, inaugurated at Camões Berlim.
His work is held in public and private collections, notably the Calouste Gulbenkian Foundation (Lisbon, Portugal); MAAT – Museum of Art, Architecture and Technology (Lisbon, Portugal); Contretype – Centre for Contemporary Art and Photography (Brussels, Belgium); Culturgest (Lisbon, Portugal); MEIAC – Museo Extremeño e Iberoamericano de Arte Contemporáneo (Badajoz, Spain); MAR – Museum of Art of Rio (Rio de Janeiro, Brazil); NOVO BANCO Collection (Lisbon, Portugal); Serralves Museum (Porto, Portugal); and the SP Collection (Portugal).
Curators
Sérgio Fazenda Rodrigues
(PT)
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Bio
Sérgio Fazenda Rodrigues (Lisbon, 1973) is an architect, curator, and editor. He was a professor at the University of the Azores, at Vasco da Gama University School (Coimbra), and at the Faculty of Fine Arts, University of Lisbon, and is currently dedicating himself to the dissemination, critique, and curation of the visual arts. He is a member of the International Association of Art Critics (IAAC), having participated in its Portuguese administration in 2015.
He is the founder, director, and curator of the independent exhibition space Kindred Spirit in Lisbon, with events developed in Lisbon, Madrid, Elvas, and Berlin. Jointly with Celina Brás, he was a partner in the company Making Art Happen, which consolidated the Contemporânea art magazine and the APP Portugal Art Guide, for which he was guest editor and to which he continues to contribute. He has articles published in specialized magazines, catalogs, and books.
He was a permanent cultural advisor to the Regional Government of the Azores / Regional Directorate of Culture, having been responsible for the management of the Contemporary Art Collection of the Regional Government of the Azores and the programming of exhibitions at the Archipelago - Contemporary Arts Center between 2010 and 2012. He has served on various consultation and award juries for the Portuguese Government / Directorate-General for the Arts, the Regional Government of the Azores / Regional Directorate of Culture, Ágora - Culture and Sports / Porto City Council, EGEAC - Municipal Galleries of Lisbon (Julio Pomar Atelier-Museum), the Luso-American Development Foundation, and CACE - State Contemporary Art Collection, among others.
His work focuses on a poetic approach to the anthropological and social sphere of contemporary art, privileging topics that deal with ideas of time and space. His practice has been developed autonomously, in collaboration with institutions, galleries, collectors, and independent spaces in Portugal, Spain, Belgium, England, and Germany.
Stephan Klee
(DE)
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Bio
Stephan Klee (Potsdam, 1977) is a curator who lives and works in Berlin. After five semesters of philosophy and modern German history at Humboldt University, he studied at the University of Visual Arts Berlin (UdK) and graduated as a master student of fine arts in summer 2009. Since its beginnings in 2006, his curatorial practice has primarily focussed on the phenomenology of a ‘public space’. He is fundamentally interested in the interactions between a shared reality and the creation of artistic form. The subject matter ranges from interventions in social-architectural space and contemporary philosophical dispositives to explorations of new media and expanding virtuality. Since 2018, the foreseeable end of global ecology in the course of a late capitalist system has been at the centre of his work.
The possibilities of collective genesis often play a major role in his activities. He realises various forms of independent, collective cultural work in different collaborations with various partners. These partners include Artitude e.V., the Haus am Lützowplatz e.V., the Dockville Festival Hamburg, the Institute für Raum Experimente, the Goethe Institute Athens, State of Concept Athens, REMAP Athens, the Herzliya Museum Tel Aviv, the Hamburger Bahnhof Berlin, the Centre Pompidou Paris, the Kunstverein Göttingen and many more.
Stephan Klee is a founding member and board member of the art collective Frontviews, an association of international artists and art scholars.