Gala Porras-Kim examines how institutions shape inherited codes and how objects, in turn, influence their contexts. Recent exhibitions include the Denver Museum of Art (2025) and Storefront for Art and Architecture (2024). The New York Times described her work as being “at odds with museums”—yet museums, paradoxically, “cannot get enough of her.”

For Pina, Porras-Kim expands on research from Delfina Foundation and Gasworks (2021–22), examining the legal and material conditions of an Egyptian statue in the British Museum. Believed to house the Ka (life-force) of Nenkheftka, the statue has been forced to teach museum-goers Egyptian history since arriving in the UK in the 1800s. Porras-Kim’s proposed NGO petitions London’s Camden Council to merge British law with ancient Egyptian beliefs, advocating for both institutional stewardship and the statue’s spiritual autonomy. The exhibition presents this legal letter with annotations, offering a “director’s cut” into the complexities of reconciling these systems.

A conversation between Porras-Kim and curator Adam Kleinman, now Director of Kunsthalle Trondheim, accompanies the project. The original short fiction “Bedtime Story” by Jessi Jezewska Stevens (The New Yorker, The Paris Review) explores the “bureaucracy of souls” and their passage between worlds.

Asad Raza creates participatory, multisensory works that challenge disciplinary boundaries and emphasise dialogue. His site-responsive practice includes inviting Mediterranean winds into a Manifesta 15 venue (2024) and channeling Frankfurt’s river through Portikus’ gallery (2022).

For Pina, Raza continues this exploration, engaging with the materiality of an exhibition space made of paper, and the light that bounces off to the reader’s eye. “Array” traces the journeys of these elements in a minimalist yet hallucinatory meditation on time and transformation, activated with each turn of the page. Raza questions the exhibition as a site beyond representation, prioritising encounters and their shapeshifting potential.

In conversation with Raza is physicist and philosopher Karen Barad, who expands on the concept of “intra-action”—the idea that things come into being through their encounters. Their discussion unpacks the interplay of deep time, materiality, and perception within “Array”. The exhibition is accompanied by “The Tree Daughter”, an original short story by Akil Kumarasamy, exploring morphing bodies and memories carried in trees, soil, roots, and teeth.