Roaring Winds Radio Dublin Set (2026)

David Habets and Eva Posas, working as their family collective Mbuchi, present Roaring Winds Radio Dublin Set (2026), a silkscreened kite and a portable emergency radio. Before ships navigated by chart and compass, the wind carried life between continents: spores, pollen, and other forms of life crossed the open water.
This project traces aerial transmission from lichen to language, broadcast to breath, drawing on the history of radio and the kite-assisted experiments of Guglielmo Marconi at Crook haven—not far from Glenkeen Garden—site of some of the earliest transatlantic wireless transmissions. Roaring Winds Radio is the first instalment of an ongoing series imagining the invisible space made of air moving between worlds and lungs.

TBC

The collective Forerunner arrived at Glenkeen Garden during a period of deliberate slowing-down—stepping outside the usual pressures of deadline and outcome to find what a practice looks like when given room to breathe. The works that emerged from this time begin from unexpected places: questions about where art ends up once it leaves the studio, and what forms might hold that uncertainty. Their contribution to ‘Gathering Winds’ carries the spores of thinking-in-progress, from galvanised air-conditioning ducts to a stained-glass hand dryer. Skull and Heart (2024)

Sonya Schönberger’s photographic triptych Skull and Heart (2024) combines two close up studies of stones with a central self-portrait. The skull- and heart-shaped stones appear threaded with lava-like structures, conveying a frozen movement, primal and grounded. The self-portrait depicts the artist in a staged, ritualistic setting. Perhaps lost, perhaps hiding. Oscillating between the natural and the artificial, the work connects body and landscape, raising questions on possession, appropriation, and cultural trans formation. About the artists

Eva Posas is a curator, writer, and editor working at the intersection of curatorial and editorial practices, the politics of language, non-Western imaginaries, subtlety, and intergenerational memory. She is the initiator of Xigagueta, a programme of art, writing, and thought from Binnizá land, and the author of Mbuchi: Turtle Words. On Forbidden Mother Tongues (PrintRoom, 2024). Since 2024, she has been curator of Resquicio at Casa del Lago, UNAM, and from 2026 she will be Head of the Master’s Programme Phantom Scores at Sandberg Instituut, in collaboration with If I Can’t Dance I Don’t Want To Be Part Of Your Revolution. She has collaborated with institutions across Latin America, Europe, and the United States. David Habets creates place-based art installations and material performances at the intersection of visual art, landscape architecture, and philosophy. For over fifteen years he has produced large-scale site-specific works as a core member of RAAAF. His collaborative practice explores mental and physical pollution through fragile installations that decay or disappear over time, often working with artists and scientists across disciplines. Habets has shown work at HKW Berlin and KNAW and is currently pursuing a PhD in arts and philosophy titled Landscapes of Stress. Forerunner is the collaborative practice of Tom Watt, Tanad Aaron, and Andreas Kindler von Knobloch. Since their first exhibition in 2016, they have worked with architectural form, building materials, and the gallery as a site of staging. Drawing on their backgrounds as gallery and theatre technicians, their installations emphasise temporality and testing, positioned between production and display, and introduce notions of use-value into the exhibition space. Central to their practice is the idea that the viewer is a material, with engagement forming the work itself. Through familiar materials and established construction methods, they create spaces that audiences can comfortably navigate, a concept they describe as “material navigation.” Their objects, processes, and spatial compositions communicate directly with viewers. Forerunner has produced exhibitions, public artworks, and permanent installations in Ireland and internationally, including projects in the UK, Croatia, and Japan. Recent works include exhibitions at The Lab Gallery and IMMA in Dublin, public and permanent installations in Wexford, Cork, Wicklow, and Galway, and international projects with Grizedale Arts in the UK and collaborative installations in Japan. Sonya Schönberger is a Berlin-based artist whose work explores biographical ruptures and personal memories amid political and social change. Through in-depth biographical conversations, participants share experiences of loss, transition, and renewal connected to historical events, forming the basis of her artistic archives. Schönberger works with both self-constructed and found archives, which she recontextualises in her practice. In 2018, she initiated Berliner Zimmer, a long-term video archive of personal narratives that reflects Berlin’s urban complexity and ongoing transformation.

The series is curated by Ben Livne Weitzman.