DIOGO PASSARINHO STUDIO, Ossastrasse 34, Berlin (2026)

16/10/2026

D_P_S >> SCENOGRAPHY FOR “MUSEUM AS SUNDIAL” AT VAN ABBEMUSEUM, EINDHOVEN

Exhibition architecture and scenography by Diogo Passarinho Studio for Museum as Sundial, a reorientation of the Van Abbemuseum through one of humanity’s oldest technologies for finding direction. The exhibition returns to the museum’s original 1936 building, designed in dialogue with the movement of the sun, and asks how a museum might help us find direction in times of profound change.

Rather than building new, the scenography works through micro interventions. Elements left over from previous exhibitions are recovered, reassembled and repositioned, so the museum’s own material memory becomes the ground of the new show. The central gallery becomes the point of orientation, and the surrounding rooms extend outward like vectors.

Between them, a series of golden curtains act as portals. Each one marks a direction toward a place in the city or far beyond it, from De Witte Dame, ’t Karregat and Woenselse Poort to Ashiya Park and Göbekli Tepe. They also point toward the conceptual territories the exhibition moves through: the archaeological museum, the children’s museum and the city museum. To pass through a curtain is to change orientation.

2026, Van Abbemuseum, Eindhoven, NL Curators: Defne Ayas, Abril Cisneros Ramírez (Assistant Curator) Exhibition Architecture: Diogo Passarinho Studio Team: Diogo Passarinho, Gonçalo Reynolds Artists: Ana María Millán, ADEZIV Network, EDHV, Kiki & Joost, Adele Dipasquale, Gala Porras-Kim, Michael Portnoy, Paul Panhuysen, Ayumi Paul, Ei Arakawa-Nash, John Körmeling Loans: Rhoda Kellogg International Child Art Collection, National Archive of Brabant Folk Songs, mandala drawings by Anne Frank courtesy of the Anne Frank House Graphic Design: Studio Remco van Bladel October 17, 2026 t

16/10/2026

D_P_S >> SCENOGRAPHY FOR “MUSEUM AS SUNDIAL” AT VAN ABBEMUSEUM, EINDHOVEN

Exhibition architecture and scenography by Diogo Passarinho Studio for Museum as Sundial, a reorientation of the Van Abbemuseum through one of humanity’s oldest technologies for finding direction. The exhibition returns to the museum’s original 1936 building, designed in dialogue with the movement of the sun, and asks how a museum might help us find direction in times of profound change.

Rather than building new, the scenography works through micro interventions. Elements left over from previous exhibitions are recovered, reassembled and repositioned, so the museum’s own material memory becomes the ground of the new show. The central gallery becomes the point of orientation, and the surrounding rooms extend outward like vectors.

Between them, a series of golden curtains act as portals. Each one marks a direction toward a place in the city or far beyond it, from De Witte Dame, ’t Karregat and Woenselse Poort to Ashiya Park and Göbekli Tepe. They also point toward the conceptual territories the exhibition moves through: the archaeological museum, the children’s museum and the city museum. To pass through a curtain is to change orientation.

2026, Van Abbemuseum, Eindhoven, NL Curators: Defne Ayas, Abril Cisneros Ramírez (Assistant Curator) Exhibition Architecture: Diogo Passarinho Studio Team: Diogo Passarinho, Gonçalo Reynolds Artists: Ana María Millán, ADEZIV Network, EDHV, Kiki & Joost, Adele Dipasquale, Gala Porras-Kim, Michael Portnoy, Paul Panhuysen, Ayumi Paul, Ei Arakawa-Nash, John Körmeling Loans: Rhoda Kellogg International Child Art Collection, National Archive of Brabant Folk Songs, mandala drawings by Anne Frank courtesy of the Anne Frank House Graphic Design: Studio Remco van Bladel October 17, 2026 to February 21, 2027 Opening during Dutch Design Week.

12/10/2026

D_P_S>> EXHIBITION DESIGN FOR “HIMOYA” AT TSELINNY CENTER OF CONTEMPORARY CULTURE

Opening on 15 October at Tselinny Center of Contemporary Culture in Almaty, Kazakhstan.

Himoya evokes protection, shelter, guardianship, and the defence of vulnerability. Bringing together over 20 artists, the exhibition explores ancestral intelligence, matrilineal memory, oracular knowledge systems, and alternative ways of imagining collective futures rooted in care, reciprocity, and environmental custodianship.

Diogo Passarinho Studio develops an exhibition design that responds to the building’s history as a Soviet era cinema, reimagining it as a space for non-imperial projection, convivial habitation, and expansive dreaming.

Across the exhibition’s constellation of Orta, the design introduces disparate material interventions that create a connective topography between artworks, architecture, and narratives. Engaging with the building’s cloud-like spatial language, the scenography establishes a landscape for encounters, circulation, and the exchange of embodied knowledge, bringing the exhibition’s diverse artistic positions into a shared spatial experience.

Curator: Natasha Ginwala
Exhibition Design: Diogo Passarinho Studio
Team: Diogo Passarinho, Gonçalo Reynolds
Participating artists: Ahmed Umar, Almagul Menlibayeva, Ana María Millán, Areez Katki, Aziza Kadyri, Citra Sasmita, Guzel Zakir, Haegue Yang, Hoa Dung Clerget, Jazgul Madazimova, Nara Beibit, NAOMI, Oyjon Khayrullayeva, Radina Yasueva, Rajni Perera, Rithika Pandey, Thania Petersen, Umida Akhmedova, Yelaman Muqtarkhan, and Zilola Saidova.

16/09/2026

D_P_S >> COASTAL LINE 26

Six months on, our work has moved from tide to cliff face, from what the sea gives back to what it wears away. This edition of our emotional landscape series gathers five scenography projects that shaped the last season.

Independent 26 For Independent Art Fair’s return to Pier 36, we designed the entrance, reception, circulation and riverside restaurant. The scenography encompassed the work by artist Nikolas Ventourakis, with SO-IL responsible for the exterior architecture. We’re happy to announce we’ll be back for May’s next edition, continuing collaborations with different artists and designers.

Bloom Up! At Badisches Landesmuseum and Kunsthalle Baden-Baden, Bloom Up! traces 2,500 years of flowers as carriers of emotion, pairing historical artifacts with contemporary work. Our scenography stages each era’s language of flowers within one continuous space.

Eye(s) Open Curated by Hicham Khalidi with Judith Öfner at Eye Filmmuseum, New Perspectives on Colonial Film Heritage invites eleven artists into its collection of 2,000 colonial era films. Our scenography gives each intervention room to confront what the archive shows.

House of the Leaking Sky Curated by Natalia Sielewicz for the Estonian Pavilion in Venice, artist Merike Estna paints live across a 22 by 6 metre canvas above thousands of hand painted tiles. Our scenography holds both the work and its making in view.

Radicalisation At The 22 July Centre in Oslo, Radicalisation explores how far-right extremist content spreads through social media, drawing on firsthand accounts of how radicalisation unfolds. Our scenography gives this testimony room to unfold without spectacle, built to carry the weight of what’s being told.

Next tide Next month we open two new projects. Museum as Sundial, curated by Defne Ayas at Van Abbemuseum, turns its building into a functioning sundial. Himoya: Matrilineal Energies, Oracular Kin, curated by Natasha Ginwala at Tselinny Art Centre, gathers twenty artists working with protection and ancestral knowledge across Central Asia. More soon.

DPS IMAGE BY GONÇALO REYNOLDS

14/09/2026

D_P_S>> SCENOGRAPHY FOR “BLOOM UP! DIE SPRACHE DER BLUMEM”, AT KUNSTHALLE BADEN-BADEN

Exhibition architecture and scenography by Diogo Passarinho Studio for Bloom up! , a major special exhibition at the Staatliche Kunsthalle Baden-Baden. The show traces 2,500 years of the cultural history of the flower, from the lotus of ancient Egypt through the roses of Art Nouveau to digital floral fantasies of today. Flowers emerge as universal symbols of beauty, love, memory, power, protest, and transience, continually taking on new meaning as emblems of political movements, expressions of longing and resistance, or vessels for personal memory.

Conceived as two museums presenting one exhibition, it brings together historical artifacts from the Badisches Landesmuseum with newly commissioned and existing works by eight contemporary artists: Ketuta Alexi Meskhishvili, Allora & Calzadilla, Belia Zanna Geetha Brückner, Petrit Halilaj & Álvaro Urbano, Jonas Mekas, Willem de Rooij, Taryn Simon, and Sissel Tolaas.

The scenography unfolds across the Kunsthalle’s sequence of historic, skylit rooms, each treated as its own chapter. Oversized floral forms are suspended overhead at monumental scale, set in direct dialogue with historical objects from the Landesmuseum’s collection. Color and light shift architecturally from room to room, marking changes in mood and period, while moments of scent, sound, and projection connect seeing, smelling, and spatial perception throughout.

Curated by Christina Lehnert and Christiaan Veldman, with curatorial assistance from Emely Steiner. Presented by the Staatliche Kunsthalle Baden-Baden in collaboration with the Badisches Landesmuseum, and supported by the Baden-Württemberg Ministry of Science, Research and Arts.

2026, Staatliche Kunsthalle Baden-Baden, DE
Exhibition Architecture: Diogo Passarinho Studio
Team: Diogo Passarinho, Gonçalo Reynolds
Artists: Ketuta Alexi Meskhishvili, Allora & Calzadilla, Belia Zanna Geetha Brückner, Petrit Halilaj & Álvaro Urbano, Jonas Mekas, Willem de Rooij, Taryn Simon, and Sissel Tolaas
Photography: © Staatliche Kunsthalle Baden-Baden, Stefan Altenburger Photography, Zürich
June 13, 2026 to January 10, 2027

10/09/2026

D_P_S >> SCENOGRAPHY FOR “RADICALISATIO” AT 22 OF JULY CENTRE

Exhibition architecture and scenography by Diogo Passarinho Studio for Radicalisation, a temporary exhibition at The 22 July Centre exploring how far-right extremist content spreads through social media algorithms targeting young people.

Drawing on firsthand accounts, the exhibition traces how radicalisation unfolds gradually, revealing the humour, coded language, and appealing aesthetics extremists use to normalise harmful ideologies.
Radicalisation happens gradually, step by step, and is reinforced by the platforms’ own algorithms. Those behind the content use subtle and disguised methods. Through humour, coded language, and an appealing aesthetic, dehumanising and racist ideas slowly take hold.
 
Social media platforms are designed to capture our attention and keep it. Far-right extremist groups exploit these commercial algorithms to draw people deeper into their content until extremist ideas begin to feel normal. When these ideas become normalised, they pose an ongoing threat to democracy and society.
 
This exhibition is based on conversations with young people who have themselves been drawn into these environments and embraced these ideologies. Their stories provide valuable insight into how radicalisation unfolds and highlight the importance of shining a light on this hidden landscape.
 
2026 22 July Centre, NO Exhibition Architecture: Diogo Passarinho Studio Team: Diogo Passarinho, Gonçalo Reynolds Client: The 22 July Centre, Oslo Producers: Alexandra Perez-Seoane Photography: 22 July Centre

31/08/2026

D_P_S >> SCENOGRAPHY FOR “WE FELT A STAR DYING” AT GRAND PALAIS

For the Grand Palais’ nave, the scenography holds a single, continuous sensory environment beneath one of Europe’s largest glass roofs: porous and atmospheric, structured by sensation rather than walls. Visitors move through a tunnel at the entrance before releasing into the full volume of the nave, where light shifts from enclosed and directional to the vast, diffuse daylight of the glass roof above. That threshold does the work an exhibition wall would normally do: it marks a change of state, not a change of room. The nave’s height becomes vertical distance for suspended objects to hang across; its glass roof becomes ambient light rather than a ceiling to work around.

Materially, the design leans into spatialised sound, low filaments that brush against visitors as they pass, platforms and sandbank-like ground surfaces that soften the nave’s hard architecture, and an enveloping cushion built for lying down and watching rather than standing and viewing. Lighting swings between the dazzling and the near-dark, keeping visitors’ bodies, not just their eyes, inside the piece.

Each element is a physical translation of an idea from the work (entanglement, scale, the indeterminacy of matter) into something a body can stand inside. Part of an ongoing collaboration with Laure Prouvost across the three venues that have hosted this work, and a broader approach to scenography as “emotional landscape”: architecture as the thing that lets an audience feel a concept, not just look at its depiction.

2026 Grand Palais, FR Design: Diogo Passarinho Studio Team: Diogo Passarinho and Gonçalo Reynolds Artists: Laure Prouvost Curator: Barbara Kroher - Head of Exhibition Programming at the Grand Palais Adjunct Curator: Carly Whitefield - Head of Programme at LAS Art Foundation Photography: © Grégoire Edouard for GrandPalaisRmn,2026 Production and installation: MWB This exhibition is adapted from WE FELT A STAR DYING, originally commissioned by LAS Art Foundation, Berlin, and co-commissioned by OGR Torino in 2025 28 June — 28 July 2026

25/08/2026

D_P_S >> SCENOGRAPHY FOR EYE(S) OPEN: NEW PERSPECTIVES ON COLONIAL FILM HERITAGE, EYE FILMMUSEUM   
For Eye(s) Open, Diogo Passarinho Studio designed the spatial framework for eleven artists’ responses to Eye Filmmuseum’s archive of roughly 2,000 colonial-era films from Indonesia and Suriname. The exhibition brings together ten newly commissioned works, film installations, multi-channel pieces, an AI-based reconstruction, each engaging critically with material shot from the perspective of the occupying power.
 
The scenography was conceived to hold this range of formats and tones within a single, legible sequence: room-scale film installations, quieter essayistic works, and archival material sit in dialogue rather than competition, with the design mediating between the historical weight of the source footage and the contemporary, often confrontational, artistic responses built on top of it.
 
In line with the studio’s broader interest in how spatial design shapes emotional and bodily experience, the layout paces the visitor’s movement through difficult material, allowing each work the isolation it needs while keeping the collection’s shared colonial history legible as a throughline across the show.
 
 

2026 Eye Filmmuseum, NL
Design: Diogo Passarinho Studio
Team: Diogo Passarinho and Gonçalo Reynolds 
The exhibition was curated by Hicham Khalidi, in close collaboration with Judith Öfner.
Artists: Paula Albuquerque (Portugal/Netherlands), Timoteus Anggawan Kusno(Indonesia), Esther Figueroa (Jamaica), Sabine Groenewegen (Netherlands), Jongsma + O’Neill (Eline Jongsma and Kel O’Neill) (Netherlands/United States), Miranda Pennell (United Kingdom), Jameisha Prescod (United Kingdom), Afrian Purnama (Indonesia), Riar Rizaldi (Indonesia) and Mahardika Yudha (Indonesia).
Photography: Studio Hans Wilschut
3 April — 6 September 2026

07/06/2026

D_P_S >> WE FELT A STAR DYING AT GRAND PALAIS, PARIS

This month marks ten years of collaboration with Laure Prouvost.

WE FELT A STAR DYING, commissioned by and first presented at Kraftwerk Berlin in 2025, has since been presented at and now opens at , Paris, on 10 June 2026.

D_P_S developed the scenography across all three presentations, adapting a multi-sensory installation of video, sculpture, sound, scent, and light to three radically different spaces.

The commission grows from two years of research into quantum physics and asks: how could we sense reality from a quantum perspective?

2025 Kraftwerk, Berlin, DE
2025 OGR, Torino, IT
2026 Le Grand Palais, Paris, FR
Artist:
Scenography:
Team: .reynolds.pombo
Production: MWB

16/05/2026

Entrance space at Independent Art Fair 2026, Pier 36, New York.
For its 17th edition, Independent relocated from Spring Studios in Tribeca to Pier 36 on the East River, more than doubling its footprint and opening new possibilities for the scale and ambition of the exhibition. The vision behind the move was led by founder Elizabeth Dee, whose ambition shaped the entire new chapter for the fair.
D_P_S served as consultants on the layout and designed the interior spaces, including the entrance area, reception, circulation and the restaurant facing the river, where a light installation forms an almost secondary roof, suspending the space between structure and atmosphere. The work pursues a raw, dystopian energy that reflects the layered and complex history of this waterfront and its piers.
The entrance was conceived alongside artist Nikolas Ventourakis, whose commissioned installation frames the threshold between the city and the fair, between the outside and the work within. The exterior transformation of the pier was by SO–IL.
Interior design: D_P_S
Diogo Passarinho, Gonçalo Reynolds
Entrance installation: Nikolas Ventourakis
Exterior architecture: SO–IL
Scenography DPS SOIL NikolasVentourakis ArtFair ContemporaryArt NewYorkArtWeek