In Collective Statement, the works of Hitoshi Nakasato, Max Wechsler, Mateo Revillo, Sawako Nasu, João Trevisan, Amanda Ziemele, Daniel Brusatin, and Guy Haddon Grant occupy the gallery without being forced into a single narrative or a rigid hierarchy. The exhibition moves away from the idea of art as illustration or symbolism; instead, it focuses on the raw mechanics of making—the calibration, structural clarity, and material decisions that define each practice.

What connects these eight artists is a shared resistance to the theatrical. Each work follows its own internal logic, yet enters into relation with the others through the room’s pacing, distances, and silences. Meaning is not announced but emerges through proximity and the time spent in the space. The gallery becomes a field in which distinct positions coexist without being merged into a single voice.

Integrated directly onto the walls is a layer of documentary material and photography. These elements do not function as explanatory labels, but as a surface of information that links the finished works to the traces of their formation. The viewer moves between object and record, presence and source, allowing both to remain active without one subordinating the other. The space not only shows the works, but the thought that sustains them.

In this sense, the exhibition aligns with a lineage of exhibition-making historically associated with figures such as Harald Szeemann, where shows are conceived as constellations of autonomous positions, held together by spatial intelligence and necessity rather than by a predetermined theme. Differences are maintained in tension, allowing each practice to retain its clarity.

Ultimately, Collective Statement proposes a different mode of encounter. It privileges attention over immediacy, coherence over spectacle, inviting viewers to remain, to shift their position, and to allow meaning to surface through the relations between works, documents, and the space that holds them.

This exhibition is the result of four years of sustained work at the gallery, from its nomadic beginnings in 2021 to the present. During this time, the gallery’s program has taken shape through dialogue with curators and artists of different generations, visual languages, and practices, developing a way of working grounded in attention, continuity, and coherence. This exhibition reflects this process: NISO appears here not as an external organiser, but as an operative body formed through the relations it has cultivated over time.

Alongside this exhibition and to accompany the work developed at the gallery, the gallery will launch in February its first annual editorial project. Conceived not as documentation but as an extension of the gallery’s program, it opens an editorial space where works, texts, and images continue the dialogue initiated in the exhibition space.