Infinite Play by Marina Pinsky

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About Infinite Play by Marina Pinsky

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Through the eyes of Marina Pinsky

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Klara Pompidou x Infinite Play

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Conversation with Zoë Gray

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Masonic Modernism by Mostafa Heddaya

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Mixed feelings by Charlie Usher

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Lawrence, Perpendicular Music

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Marina Pinsky

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Marina Pinsky

Infinite Play by Marina Pinsky aims to level the social hierarchies built into the site’s historical architecture as amasonic temple. Forgoing the symbolic languages of the building’s past use, the artist overlays an entirely different complex of symbols, rituals and games. The exhibition’s central hall is rebuilt as a space for open-ended conversation. The arrangement of the interior is centred around a group of digital embroideries based on an early 20th century proposal from American industrialists for a thirteen month calendar. In our present, these meditations on divisions of time, and their arbitrariness, become a ground for lighthearted imaginings of new social dynamics.


Marina pinsky examines the way in which we can read images as material, spatial, and ideological models of the world. Using photography as a basis, she creates artworks in a range of media that expand lens-based ways of seeing into three dimensions, often using sculptural means. Recently, she produced 1000, a major public commission for Brussels City Hall. The work consists of twenty bronze models placed on Belgian bluestone and powder-coated steel bases representing different districts of Brussels.

Among other notable Brussels presentations, she presented Circuit for Europalia in 2021, an exhibition set in the old train museum inside Brussels- North railway station. Her work has been shown in institutions such as the Museum of Modern Art,New York; Hammer Museum, Los Angeles; WIELS, Brussels, Belgium; Vleeshal,Middelburg, Netherlands; SMAK, Ghent, Belgium; and Kunstverein Düsseldorf, Germany. In 2021, Pinsky presented a solo exhibition, Undertow at Simian, Copenhagen. Her work was included in the 13th Biennale de Lyon in 2015, the 1st edition of the Riga Biennial in 2018, and the 2nd edition of the Hammer Museum’s biennial exhibition Made in LA in 2014. Dyed Channel, a solo presentation, opened at Kunsthalle Basel in 2016. In 2018, she was also part of the residency programme at GLUCK 50 in Milan.

Image: Marina Pinsky, Layout for Shadow Pyramid Calendar, 2023, courtesy of the artist