Summer: Sur Real Real — Lohaus Gallery, Munich, 2026
Group exhibition, Lohaus Gallery, Ottostraße 10, Munich, 2 July – 5 September 2026. harm.work: Summer: Sur Real Real; announcement: Summer group show Lohaus Gallery. The artist's note on the drawings: Early Plotter Drawings.
Summer: Sur Real Real was Lohaus Gallery's summer group show of 2026. The gallery had shown him with Vera Molnár's works in Angles Morts (2024), when it was still called LOHAUS SOMINSKY. He showed eight plotter drawings from 2017 and 2018 and a projection of Entfaltung, the series he was making that summer. Two new drawings were kept in stock. For this show he wrote a first-person text on the drawings, how each was made and how they group, which the wiki keeps as Early Plotter Drawings; this page records the exhibition around them.
The exhibition
The gallery's text, in its English version:
"SUMMER: SUR REAL REAL" explores summer as a condition suspended between physical intensity and media-shaped perception. Heat, light, and the stretching of time collide with algorithmic image worlds, artificial bodies, and fragmented identities. The exhibition brings together works by Harm van den Dorpel, Louisa Clement, Charlie Stein, Melanie Siegel, Matthias Bitzer, and Janina Roider that do not depict reality, but displace it—toward a state in which the real itself begins to appear unreal.
At the center of the exhibition lies the question: how does perception change when digital logics, artificial intelligence, and social media overlay our sensory experience? Summer becomes a metaphorical space of resonance—overexposed, exaggerated, almost hallucinatory.
The version on harm.work, also in the news item Summer group show Lohaus Gallery of 27 June 2026, words it slightly differently ("a state between physical intensity and media-overwritten perception"; "overexposed, heightened, almost hallucinatory").
The gallery's list of works names, besides his: paintings by Charlie Stein from the series Parthenogenesis and Virtually Yours (2024–25); works by Louisa Clement from Body Fallacy (2021) and Body of Knowledge (2025) and a piece called Poem (2026); three works by Matthias Bitzer (2025–26); two by Janina Roider (2025); and an untitled work by Melanie Siegel (2026).
The drawings
The eight drawings hang at one height on a freestanding white wall, in pale wooden frames with wide margins. From left to right: a blue thistle; the pale violet haze of Uttered Modality (2018); the red stems and white seed heads of Untitled Flower (2017); the dense blue rings of Diaphragm (2018); the yellow flower of Papaver Somniferum (2017); the bare branches of A tree (2017); the grey mesh body of Metaballs ⁱⁱ (2017); and a second blue thistle. The thistles are Thistle (left) and Thistle (right) (2017), traced from the same source and hung at the two ends. The mockup that opens the artist's note planned the same single line.
The hang mixes the two families the artist's note distinguishes: plants traced from 3D models, often open-source assets built for games, and geometric drawings from constructed meshes or generative line fields. The note describes how he interrupted the plotter throughout, to change colour, add pencil marks or replace a worn pen. Diaphragm is the last drawing his original plotter made before it failed and dragged the pen back to its origin. The construction of each sheet is in the artist's note (→ Early Plotter Drawings, Meditative Labour).
Entfaltung on the wall
Past the end of the row, on the far wall by the glass street door, a short-throw projector on a white plinth throws a figure of Entfaltung onto the wall: an octagonal form of pink and violet planes threaded with lines. The gallery lists it simply as "Entfaltung, 2026". It was the live work's first showing, an alpha; twenty-five of the 36 tokens were minted in October (→ Entfaltung, Entfaltung on Chain). A closer photograph of the projection is on How to display your NFT.
The juxtaposition runs across nine years. The drawings of 2017–18 trace three-dimensional models line by line on paper; Entfaltung turns a three-dimensional figure in real time, every point joined to every other.
Two drawings in stock
Diagonal Fault and Vesper (both 2026), the largest sheets, were held at the gallery rather than hung. Both plot outputs of the Stained Unravel algorithm and each comes with its source NFT (→ Stained Unravel). harm.work lists them with the eight older drawings under the exhibition; the gallery's own list of works does not include them.
The theme and the work
The gallery's text is about images that "do not depict reality, but displace it". The artist's note answers from the side of the drawings: a plant survives in them "only as a mesh of straight line segments, yet it reads as a plant", and a simple rule run long enough "begins to look organic, weathered, grown rather than constructed". The gallery placed the drawings in a show about the real appearing unreal; the note's own claim is that organic and geometric form lie on one continuum (→ Randomness and Pattern).
See also
- Early Plotter Drawings — the artist's note written for this show
- Entfaltung — the series first projected here
- How to display your NFT — the projection as a way to show a screen work
- Angles Morts (2024) — the two-person show with Vera Molnár at the same gallery