House of Nisaba: New Stories of Painting

The exhibition takes its title from Nisaba, the Mesopotamian goddess of writing and storytelling. As a figure associated with the passage between oral and written cultures, Nisaba offers a way of thinking about another transition: from analogue forms of knowledge to algorithmic ones, where stories, images and meaning are continuously reorganised and rewritten.

The exhibition begins with a simple idea: before entering it, visitors first encounter it as an object within the museum. A continuous perimeter defines its boundary while simultaneously becoming part of the exhibition itself, marking the threshold between the museum and the world constructed inside it.

Within this enclosure, straight and curved cardboard walls create partitions rather than a sequence of rooms. There is no prescribed route through the exhibition. Visitors move along multiple paths, encountering works from different perspectives and in changing relationships with one another. The architecture encourages looking across spaces as much as moving through them, allowing unexpected connections to emerge between paintings.

The installation is built entirely from cardboard. The material was chosen not simply for its economy or recyclability, but because it carries the quality of a full-scale mock-up: provisional, lightweight and intentionally unfinished. The architecture presents itself as an open process, something that could still be adjusted, reconsidered or rebuilt.

In this sense, the exhibition resembles a prototype more than a finished architecture. It does not seek to impose a definitive reading of the paintings but to provide a structure within which relationships can emerge, shift and evolve. Like the stories gathered under the name of Nisaba, the exhibition remains open to revision, interpretation and the continuous rewriting of meaning.