From January 23rd to March 8th, 2026, Berlin’s Halle am Berghain becomes the setting for Liminal by Pierre Huyghe, a monumental new exhibition that transforms quantum uncertainty into an immersive artistic experience. Commissioned by LAS Art Foundation in collaboration with Hartwig Art Foundation, the project marks Huyghe’s first solo institutional presentation in the German capital and positions technology, perception and matter in a fragile state of becoming. From the outset, the exhibition signals a bold engagement with A.I. technologies and speculative storytelling, set against the raw industrial architecture of the former power station.
A modern myth of uncertainty and becoming
At the heart of Liminals lies a large-scale film environment that the artist frames as a modern myth. Rather than following a linear narrative, the work introduces a faceless, human-like entity that drifts through unstable states of existence. Time, space and identity dissolve, replaced by a continuous flow in which matter is never fixed and every moment holds multiple possibilities. The figure’s repeated attempts to communicate, transform or escape a singular reality reflect a world where boundaries between the living and the non-living, the inner and the outer, are in constant flux.
Huyghe uses this allegorical structure to explore liminality as a condition rather than a transition—an in-between space where several states can coexist at once. The exhibition invites viewers to inhabit this suspended moment, before perception settles and meaning becomes defined.
Sound, vibration and quantum systems
Beyond the film, Liminal by Pierre Huyghe unfolds as a fully immersive environment composed of sound, vibration, light and architectural resonance. One key project focuses on the translation of quantum processes into sensory form. Working alongside quantum physicist Tommaso Calarco and researchers in Germany, Huyghe used simulations from a 100-qubit quantum computer to model oscillations of matter. These abstract data sets were then transformed into a dense sonic landscape, allowing visitors to physically experience patterns normally confined to theoretical physics.
Another layer of the exhibition explores uncertainty through sound design itself. Low-frequency vibrations travel through the space, blurring the line between what is heard and what is felt, reinforcing the sense that matter and perception are inseparable.
A.I. technologies and the “Radical Outside”
A third strand of the exhibition introduces A.I. technologies as a tool for visualising what Huyghe describes as a reality beyond human ontology. In collaboration with philosopher Tobias Rees, the artist employed a quantum noise-based AI model to generate specific scenes within the film. These sequences resist conventional logic, producing images shaped by indeterminacy rather than intention. Here, artificial intelligence does not replicate human creativity but instead becomes a conduit for the unknown—a way of accessing what lies outside stable consciousness.
Together, these projects form an ecosystem rather than a collection of discrete works. The exhibition proposes a space where body, matter and consciousness intersect, and where the human presence is no longer central but one element among many.
With Liminals, Pierre Huyghe offers more than an exhibition: he constructs an experiential field in which uncertainty is not a problem to be solved, but a condition to be sensed. Set within the cavernous halls of Halle am Berghain, this ambitious commission asks whether we can relate to realities that resist definition—and what it might mean to coexist with multiple states of being at once.
PIERRE HUYGHE
Liminals, 2025. Film stills
Commissioned by LAS ART FOUNDATION and HARTWIG ART FOUNDATION. Courtesy the artist. © PIERRE HUYGHE / VG BILD-KUNST, Bonn, 2026
