On Stage

We are all spectators of our own theatre of life. Today’s mediascape pushes us deeper into the seats, positioning us more as audience than as actors in the story. We observe creators expressing their ideas from a distance, and as this distance grows—especially when mediated through screens—the experience risks becoming superficial and easily replicated.

This exhibition asks what happens when that distance is reduced.

In Satoshi Fujiwara’s site-specific work, presented as a wallpaper in this living room, we can look at those who are looking. The photographs show visitors at the Berlin erotic fair Venus, capturing the expressions of voyeurs as they raise their cameras toward hidden subjects. Curiosity, excitement, and arousal appear on their faces at the moment they attempt to record what they see. In Fujiwara’s work, the audience itself becomes the subject of observation, and the roles of viewer and artwork begin to collapse into one.

In the corridor of the apartment, works from a series Fujiwara created during COVID isolation extend this situation. Reflecting on domestic life, solitude, and the psychological weight of interior spaces, they reinforce the exhibition’s exploration of private and public visibility within a real, lived-in environment where the boundaries between host, guest, viewer, and performer begin to overlap.

The situation continues through performance. Throughout the evening, performers activate the living room through music and movement, transforming it into a shared stage between the private and the public, the observer and the observed.

Kata Kwiatkowska’s dance work draws on intimacy, memory, and the quiet power of the body. Through movement, she creates spaces where tenderness meets rawness, and care becomes a radical act of attention. Her practice investigates ritual through dance, sound, and bodily awareness. At Salotto, she explores the experience of being watched.

Shira Shiryan is a Berlin-based artist working in movement direction and performance. Her practice grows out of contemporary dance, urban, and ballroom styles, creating a distinct movement language that merges expressive presence, sharpness, and fragility. At Salotto, she presents a delicate dance that emerges quietly from within the crowd itself.

Flavio Gonnellini approaches music through improvisation and transformation. Starting from simple melodic fragments, he searches for melodies that invite change and gradually dissolve into improvisation. Using delay effects across multiple speakers, each sound produces a shifting “ghost harmony” that stretches and distorts the original melody over time, evolving within the space and gradually escaping the performer’s direct control.

Pei Shan Lee works across photography, video, generative imagery, and installation, combining digital processes with a sculptural approach to material. Her practice explores the relationship between technology, memory, myth, and the body, often depicting unstable digital forms that melt, repeat, or fragment. Using generative tools together with materials such as ceramics, artifacts, and debris, she constructs what she calls speculative rituals where beauty and disintegration coexist.

Salotto 4 - On Stage reminds us that audience and artists are part of the same scene. Meaning is not produced by the work alone, but also by the way we encounter it. How we look at things—where we stand, how we pay attention, and how present we are—becomes part of the work itself.