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	<pubDate>Tue, 01 Sep 2026 12:26:04 +0000</pubDate>
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Selected works and exhibitions, Other, CV
	
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Folded O&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;HamletScenen&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Untitled&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
&#38;nbsp;A trap well laid&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
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Luis Maria Sulzmann &#38;amp; Julia O. Laszczka

Folded O at Rififi space

July 11, 2026 - September 06, 2026

L. Waryńskiego 28, Warsaw
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Falter, 2026, single channel slide projection consisting of 79 colour slides (35 mm)


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		<title>HamletScenen</title>
				
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Luis Maria Sulzmann

HamletScenen

March 20, 2026 - March 25, 2026

Q Gallery, Peder Skrams Gade 2

1054 Copenhagen



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A studio flash fires intermittently in the space, disconnected from any camera and therefore incapable of producing an image. The burst of light briefly illuminates the room before disappearing, leaving no record behind. Exposure occurs without the possibility of an archive. 


Throughout the gallery, framed photographs depict interiors of Kronborg Castle, rooms that are themselves carefully staged historical environments. Artificial fireplaces, electric lighting, and arranged furniture simulate a past that predates the technologies used to display it. The photographs record a representation of history that is already mediated and constructed.


Kronborg is also widely associated with Elsinore, the fictional setting of Shakespeare‘s Hamlet, a work that begins with the brief appearance of a ghost that emerges from darkness before its presence can be fully grasped. The intermittent flashes in the exhibition follow this same logic of apparition: momentarily revealing itself only to withdraw again. The exhibition moves between two paradoxical states: an event without animage, and images without an event.
This structure echoes Hamlet‘s play within the play, in which a staged performance is used to expose a hidden truth. Here too, layers of representation accumulate, a historical site reconstructed as a museum interior, photographed, and presented again within the gallery.






	































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		<title>Ping Pong</title>
				
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		<pubDate>Tue, 01 Sep 2026 12:16:23 +0000</pubDate>

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Luis Maria Sulzmann

Kongens Nytorv 1

Ping Pong Basement,

Copenhagen, Denmark








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&#60;img width="5200" height="3900" width_o="5200" height_o="3900" data-src="https://freight.cargo.site/t/original/i/009a00730e217135039be72feefa2888157c4deee58e6dc0a09a938bf3c5bfc5/DSCF0295.JPG" data-mid="253073595" border="0"  src="https://freight.cargo.site/w/1000/i/009a00730e217135039be72feefa2888157c4deee58e6dc0a09a938bf3c5bfc5/DSCF0295.JPG" /&#62;


	











&#38;nbsp; &#38;nbsp; &#38;nbsp;











&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Passage, 2025, painted

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; cardboard, plaster
























&#38;nbsp; &#38;nbsp; &#38;nbsp; untitled, 2025, semi-

&#38;nbsp; &#38;nbsp; &#38;nbsp; transparent Plasticfoil,

&#38;nbsp; &#38;nbsp; &#38;nbsp; found object, Fur.
















&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

















&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Passage II, 2025,

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Cardboard, flash-

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;light, plaster



&#38;nbsp; &#38;nbsp; 












&#38;nbsp; &#38;nbsp;&#38;nbsp; 













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	<item>
		<title>G10</title>
				
		<link>https://luissulzmann.com/G10</link>

		<pubDate>Tue, 01 Sep 2026 12:26:04 +0000</pubDate>

		<dc:creator>luissulzmann</dc:creator>

		<guid isPermaLink="true">https://luissulzmann.com/G10</guid>

		<description>
	






















Luis Maria Sulzmann

in der Grafenstr. 10

G10 Projektraum,

„A trap well laid“,

Darmstadt, Deutschland








&#60;img width="7130" height="4753" width_o="7130" height_o="4753" data-src="https://freight.cargo.site/t/original/i/9b0fd1459586fe7fc663a5335145261b65fed44838127ba0c830242e4ccb7dda/_DSC6191-2.jpg" data-mid="251731379" border="0"  src="https://freight.cargo.site/w/1000/i/9b0fd1459586fe7fc663a5335145261b65fed44838127ba0c830242e4ccb7dda/_DSC6191-2.jpg" /&#62;
&#60;img width="7480" height="4987" width_o="7480" height_o="4987" data-src="https://freight.cargo.site/t/original/i/0ee40108ad7bec1e7555c7804ca5ad6c4685c29e3b2eb7f5a4d95b88cd38df3f/_DSC6145.jpg" data-mid="251731380" border="0"  src="https://freight.cargo.site/w/1000/i/0ee40108ad7bec1e7555c7804ca5ad6c4685c29e3b2eb7f5a4d95b88cd38df3f/_DSC6145.jpg" /&#62;
&#60;img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/2d352f4a2ce416cd329e906de5c450fc9d385ad16c50cd5d9c7021ab71d66615/_DSC6176.jpg" data-mid="251731381" border="0"  src="https://freight.cargo.site/w/1000/i/2d352f4a2ce416cd329e906de5c450fc9d385ad16c50cd5d9c7021ab71d66615/_DSC6176.jpg" /&#62;
&#60;img width="5928" height="4579" width_o="5928" height_o="4579" data-src="https://freight.cargo.site/t/original/i/7274924a0e434d571b840b7b223702c801a66c96a987571be16b41f6907212fc/_DSC6134.jpg" data-mid="251731382" border="0"  src="https://freight.cargo.site/w/1000/i/7274924a0e434d571b840b7b223702c801a66c96a987571be16b41f6907212fc/_DSC6134.jpg" /&#62;
&#60;img width="2694" height="1599" width_o="2694" height_o="1599" data-src="https://freight.cargo.site/t/original/i/9b83b3d255bc5bb963e2dc78b47653a5974818bb96957d9a8037ad8c67d811be/Bildschirmfoto-2025-04-13-um-22.38.34.jpg" data-mid="251731383" border="0"  src="https://freight.cargo.site/w/1000/i/9b83b3d255bc5bb963e2dc78b47653a5974818bb96957d9a8037ad8c67d811be/Bildschirmfoto-2025-04-13-um-22.38.34.jpg" /&#62;












The exhibition „A Trap well laid“ by Luis Maria Sulzmann brings together various objects used in beekeeping businesses. These are tools and equipment for honey production that have been perfected over centuries to maximize yields. This capitalist and industrial approach views nature and living creatures as quantifiable resources, whose enhanced performance is expected to generate predictable growth and profit. 
Through the absence of insects, G10 Projektraum becomes a resonating chamber for the buzzing and eager activity of bees. Sulzmann questions the common human perspective, the anthropocentric point of view and opens new fields of vision concerning an endangered group of insects.


The works presented in G10 are reminiscent of readymades, industrially manufactured objects removed from their original context and presented as artworks without modification. A beehive modeled by Sulzmann is based on a historical and scientific 19th-century design. This model revolutionized beekeeping with its modular structure, allowing beekeepers to intervene directly and observe the

honeycombs. It is surprising that this device is still in use today, it seems to signal a return to older practices. While contemporary technologies are evolving so rapidly it’s almost impossible to keep up, time appears to have stood still for the beehive; its form remains pre-industrial and pre-technological.


Sulzmann‘s presentation appears objective. It is reminiscent of scientific textbooks, which promote a rational understanding of broader contexts while allowing for emotional detachment. However, upon closer inspection, unequal power dynamics are exposed: humans exploit nature as a resource for economic gain, repeatedly

undermining the fundamental principles of life.


Text by Carolina Madde






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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 












&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;untitled, 2024,

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Goosewings.



























&#38;nbsp; &#38;nbsp; &#38;nbsp; 










A trap well laid, 2024,

&#38;nbsp; &#38;nbsp; &#38;nbsp; carbonised wood, found object.




















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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Imkerpfeiffe, 2024,

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; found object.







&#38;nbsp; &#38;nbsp; 












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</description>
		
	</item>
		
		
	<item>
		<title>CV</title>
				
		<link>https://luissulzmann.com/CV</link>

		<pubDate>Thu, 30 Jun 2022 11:45:44 +0000</pubDate>

		<dc:creator>luissulzmann</dc:creator>

		<guid isPermaLink="true">https://luissulzmann.com/CV</guid>

		<description>Luis Maria SulzmannHanau, Germany / 1998Lives and works in Copenhagen
My practice begins with photography, not only as a medium but as a way of thinking. I work through image-making and its technical and conceptual conditions. I’m interested in how objects and forms can be understood as images, how making can resemble photographic processes of imprinting, developing, and fixing. Part of the fascination of photography for me is that it produces something new from what is already there, an activity that feels closer to hunting and gathering than to invention.


I work conceptually and often site-specifically, responding to the spatial, architectural, and institutional conditions of a place. I see spaces not as neutral containers but as carriers of memory, where gestures, habits, and traces accumulate over time. Through subtle interventions, I aim to make visible things a space or institution does not fully recognize as part of itself.







	Education
	
2019&#38;nbsp;Hochschule für Gestaltung Offenbach am Main2023 Athens School of Fine Arts2025 Master of Fine arts at the Royal Academy Copenhagen
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;class of Simon Dybbroe Møller
Exhibitions
2021 Spedition in the Parkside Studios, Offenbach am Main Exhibition organised by students, aided by die Johannes Mosbach Stiftung, Hessisches Ministerium für Wissenschaft und Kunst2022 show at Zollamt-gallery curated by Julia Eichler2022 Spedition, Hanauer Kunstverein2023 I cant do the thumbs, Magma Maria, Offenbach curated by Mike Bouchet and Christian Jankowski2023 Ein Haufen Holz, Museum der Stadtgeschichte Offenbach2024 part of the Groupexhibition „BEERS“ at Kunst Byens Kro Copenhagen2024 homemadeblankfiringpistoldisassembled2 got choosen for the Benefizauction at MAK (Museum für angewandte Kunst) Frankfurt Jury: Prof. Yasmil Raymond (Rektorin der Städelschule), Prof. Bernd Kracke (Präsident der HfG), Barbara von Stechow (Galerie von Stechow), Heike Eichhorn (Vorstandsmitglied Freunde des MMK e.V.), Dr. Doris Voll (Lang &#38;amp; Cie.).2024 “The last thing i saw was a red herring, now I’m stuck in limbo” Dou-Show with Jan Trinkaus at Bok Gallery Offenbach am Main
2025 solo show “A trap well laid” at G10 Darmstadt
2026 solo show “HamletScenen” at Q Space, Copenhagen, DenmarkAwards / Scholarships
2021 Scholarship of Johannes-Mosbach-Stiftung2023 Scholarship of Studienstiftung des dt. Volkes2024 Project Grant by HAB Foundation2024 Travelling Grant Los Angeles by Hans und Annemarie Weidmann-Stiftung
2025 Scholarship of Hesse Stiftung
2025 Marschner Scholarship



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