Gabriela Albergaria creates Care as a Fundamental Right (2026), a living installation made from branches, trunks, mosses, leaves, soil and plants gathered on the grounds. Growth, decay, fungi and insects will continue to transform the artwork throughout the exhibition.

In the historic library, Leonor Antunes develops a new installation that takes the architecture, the seventeenth-century stucco ceiling and the archives as its starting point. Craftsmanship, the transmission of knowledge and often invisible labour are central to the work. A concert featuring music by Éliane Radigue will later activate the work through sound.

In Semblance of Self (2026), Ana María Caballero takes as her starting point poems commemorating women entering a religious community. Through poetry, moving image and a specially developed AI model, she explores what historical documents made visible — and which individual voices they caused to disappear.

Tarik Kiswanson is developing a pneumatic sculpture for the historic refectory that slowly inflates and deflates like a breathing body. The work is inspired by the parachutes used to drop Steinway pianos to soldiers during the Second World War and connects vulnerability, conflict, music and the possibility of a new beginning.

Irene Kopelman works from the biodiversity of the abbey site. Together with scientists, she studies moths recorded on the grounds during previous surveys. Drawing becomes a way of connecting scientific observation with an artistic way of seeing.

Brussels-based Hana Miletić delved into historical songbooks of the Norbertine nuns of Gempe preserved at the abbey. Handwritten dedications, melodies and traces of use are translated into new textiles and new vocal compositions, performed by Amina Szecsödy.

Felipe Mujica discovered historical compass roses in seventeenth-century surveying manuscripts. For Rosa de los vientos (2026), he translates them into large textile banners. Workshops with local communities will further expand the project.

High above the library, Laure Prouvost creates a new site-specific landscape among the historic timber roof structure. Branches, ceramic birds, nets and found objects nestle among the beams, allowing visitors to literally view the abbey from a different perspective.

For a new version of La Pensée Férale, Daniel Steegmann Mangrané takes as his starting point a dead tree on the grounds that has since become an important habitat for woodpeckers, wild bees, insects and fungi. Its exact form is cast in bronze, placing permanence alongside ecological transformation.