the divine inevitability of pillipo brunellecchi: fermata
JANUARY — MARCH 2026
hans aue studio presents a sculptural work invoking brunelleschi’s innovation in linear perspective, which he first demonstrated in florence c. 1415–1420, through philological and physical representation.
encased in suspended animation, a found handwritten note reflects an intimate creative spark, transforming into a sculptural representation akin to a fermata: the final note held in suspended time that draws attention and lends weight before the conclusion of a composition.
the tense geometry inherent in the cubic structure mirrors the didactic strictures of the florentine academy (1563), whose rules often solidified into constraints that boxed in individual expression.
within a modern context, the work becomes a reflection of how institutional frameworks simultaneously enable and confine creative freedoms.
EUCHARIST
NOVEMBER — DECEMBER 2025
hans aue studio presents EUCHARIST, a performance work that brings three cultural artifacts of enduring legacy into one space: jamón, jamón carver, and prie-dieu reclinatorio de comunión. each criterion carries its own lineage that when brought together form a gesture at once familiar and simultaneously unbound.
jamón is inseparable from spanish identity. early records of jamón serrano appear in medieval castile, while jamón ibérico carries an origin tied to the dehesa landscapes of western spain, where iberian pigs grazed since the 14th century.
the jamón carver, or cortadora de jamón, represents a discipline rooted in centuries of craft. the modern practice of carving jamón, formalized in the 20th century, imparts a skill handed down through generations—becoming a choreographed work of blade and flesh, both ceremonial and artisinal in nature.
the prie-dieu belongs to a deeper register of history. designed for kneeling devotion, its presence is documented in european churches by the late middle ages, and in spain, while its use spread widely in the 16th and 17th centuries.
presented together, these materials reveal a space where participants enter their own dialogue through an encounter of assembled tokens—a moment of engagement that becomes free and open to interpretation.
if i live until tomorrow: la banalité d’œuvre
SeptembeR — October 2025
hans aue studio presents its inaugural event comprised of three paintings [the trenchant space between object and viewer, a nonsensical critique of nothing, and im tired of meeting new people ] accompanied by a performance piece titled maquina de escribir.
the act of authoring letters without limitation transforms into an inquiry of the everyday: further evolving into a current and fictitious dialogue between maker, performer, and observer. "la banalité d’œuvre" may be interpreted as the ordinariness of the work, a waggish perspective suggesting that a particular piece of art, literature, or creative output lacks originality, depth, or distinctive qualities.
this preclusive critique offers a counter-expectation of the "works." it underscores the uncertainty of process and creates a dialogue which ultimately challenges expectation, purpose, and mortality.
MAQUINA DE ESCRIBIR
evokes segovias rich poetic heritage to introduce a literary dialogue that awakens cultural connection through a silent, boundless performance. author, chair, table, and typewriter invite individuals to engage in a space of shared metaphysical connection, transcending spoken language. keys strike the blank page to become vessels of sound, emotion, insight, and discovery–an observation of of the moment that resonates far beyond it.
POEM
EDITION 01/0011
13 SEPTEMBER 2025