Float Element emerged as a co-curatorial project in conversation directly with the artist. The exhibition grows from changed gears, where in the spirit of Aura Space to inquire into objects and materials, we dwell into the process that guides the present exhibited series. 

Searching was the verb that defined the work of Miroslav Šutej. An important figure in the formation of a new visual language in Croatia and a member of the international Op Art Movement, he came to prominence through The Responsive Eye exhibition at MoMA. His work challenged sight, and has pushed the boundaries of perception - from the Bombardment of the Optic Nerve to Bum-Bum (Boom-Boom), optical friction played with the viewer’s perception. 

The static nature of prints is through Šutej’s hands reimagined through the presentation and implementation of modular graphics - inviting the audience to rotate the work’s segments, adding new identities. Each motion added a new layer to the work and enabled the audience to actively play and redefine prints in their own parameters. 

Thinking Through Drawing brings together Álvaro Siza Vieira’s recent sketches, drawings, and research—spanning architectural plans from Braga to Croatia, design studies, and figurative explorations. In times dominated by digital interfaces, this exhibition invites us to reconsider the irreplaceable thought process, ideas and intimacy of the hand-drawn line that emerge. 

Rather than presenting a traditional curatorial text, through the following interview we center the architect’s own voice. Through a series of dialogues, Siza reflects on how drawing as an action functions as —a space where intuition, memory, knowledge and precision collide. Here, drawings are not preparation or study work but acts of thinking in its raw form made visible. We invite you to the architect’s process as it unfolds, —and to consider what might be lost if we abandon analog ways of seeing.

In the exhibition Drift Along, artist Gai Qizheng invites us on a journey that intertwines personal history, local knowledge, and the universal symbolism of rafts as vehicles of migration, survival, and cultural memory. Through his multidisciplinary practice, Gai explores how rafts, as both functional objects and cultural artefacts, carry systems of knowledge and reveal personal, familial, and communal histories. In our initial conversation with the artist, he credited the work, Current of Contemporary Art, by the art group The Play—with its focus on aimless adventure—as the starting point for his inquiry into floating devices. His research into rafts ultimately spans and ties the three areas and different projects—through his work we are immersed into the knowledge systems of Chao Bai River, Zuo Tan, and Qingdao.  

Measure This reflects the artist’s encounters with trees during his daily walks through the forests of Kamenjak in Istria. Kamenjak, a natural reserve near Premantura, sits at the edge of the Medulin Archipelago. From its coastline, the sea moves toward the island of Lošinj. On these walks, Martinis assumes the role of curator, documenting trees in the surrounding forests as both subjects and systems of knowledge. The word “curator” derives from the Latin cura, meaning “to take care,” and Martinis views the trees as living archives and artefacts—storied witnesses of time, environmental shifts, and human interventions in the landscape.