Soon in Tschumi: Tschumi Inside
About this activity.
The Tschumi Pavilion is returning to its roots! The tilted glass greenhouse opened in 1990 as a video gallery, and will resume that role this summer: Susanna Inglada, Serge Onnen, Antonia Rehnen, Robbie Cornelissen and Fynn van der Ziel will be exhibiting their video art there from 19 August to 26 September.
What makes this even more special is that, for the duration of the exhibition, you’ll also be able to go inside the pavilion!
Entry is free; you can visit at the following times:
đī¸ 20 August to 26 September
đ Every Thursday, Friday and Saturday
đ 3.00 p.m. – 7.00 p.m.
đž Or come to the opening:
đī¸ Wednesday 19 August
đ From 5.00 p.m.
Curious what to expect? Read on below to find out more about the video artworks and their creators:
Susanna Inglada | Animation diptych Rumours + Can We Be Birds
Can We Be Birds and Rumours reinterpret the biblical story of Susanna and the Elders through contemporary animation. Using expressive drawings, fragmented figures, and symbolic movement, Susanna Inglada explores themes of power, gender inequality, the male gaze, and the spread of judgment. Rather than presenting the story as a historical narrative, the animations connect it to present-day experiences of harassment, public scrutiny, and the way rumors shape social perception. Birds become a metaphor for freedom, vulnerability, and the possibility of escaping oppressive structures, while distorted bodies and shifting compositions emphasize emotional tension. Inglada combines theatrical storytelling with hand-drawn imagery to create a poetic yet unsettling atmosphere. The works invite viewers to question how authority, violence, and collective silence continue to influence society. Instead of offering clear answers, the animations encourage reflection on justice, empathy, and the importance of challenging inherited narratives and unequal power relations.
About Susanna Inglada
Susanna’s work examines power relations, authority, corruption, complicity, and gender inequality. She is inspired by the CAT and ES culture, history, and politics that surround her. Her installation/drawings function as chapters of a story in which these topics are presented on the basis of pressed together, struggling bodies. In these scenarios of wriggling characters, which are set up as if on a theater set, the viewer enters a scene in which he or she promptly becomes one of the actors. Or as if you were walking through life-size picture books where you were allowed to make up the words yourself.
Serge Onnen | Maner Wortey + Deaf Coins + White Hole
One of the techniques Serge Onnen uses is the phenakistoscope. This invention, which predates the cinema, makes it possible to create a short animated film using just a single stroboscopic rotating drawing. The original drawings that Onnen creates on paper measure 155 x 155 cm and exist as static works of art, whilst the animations are a rotating reproduction of that work, accessible to everyone and capable of being copied endlessly. Maner Wortey deals with the trade in drinking water, Deaf Coins with economic language, and White Hole with censorship.
About Serge Onnen
The body of work by Serge Onnen (Paris, 1965) largely explores systems and concepts of value devised by humans, both emotional and financial.
His work spans various media, often taking drawing as its starting point. Onnen’s drawings have appeared in books in the Netherlands and the United States, and his work has been exhibited in museums and at biennials both at home and abroad. The animated films he makes in collaboration with Sverre Fredriksen have been screened worldwide. Their third film, Dromodriller, inspired by the French philosopher Paul Virilio, is due for release in 2027. Earlier this year, his first major shadow puppet show, PuPaFiTam, had its world premiere at Bozar (Brussels). Onnen lives and works in Amsterdam and Brussels
Antonia Rehnen | Blau
Blau explores a quiet confrontation with loneliness, where nature and the emotional depth of the color blue provide comfort. Imaginative and dreamlike, the film unfolds a world in which a small music box transforms into mechanical parts, melodies, and clocks, while a wrinkled piece of paper gives rise to flocks of birds forming the shape of a house. Through poetic, associative imagery and an almost untouched gaze on the world, Blau reflects on fragility, solitude, and the subtle beauty of creative power.
About Antonia Rehnen
Antonia Rehnen, born in Haren, Germany, lives and works in Groningen, the Netherlands. Her artistic practice centers on collage, which forms the foundation of her work. By integrating stop-motion animation, digital media, and printmaking, she creates collages, films, and artist´s books. She approaches her practice as a visualisation of streams of thought, using them as starting points to create immersive worlds.
Robbie Cornelissen | Terra Nova
For his major retrospective exhibition at the Kunsthalle Mannheim in 2021, Robbie Cornelissen created the monumental animated film Terra Nova, composed of around 18,000 drawings. The film opens with a bird’s-eye view of a deserted Earth. This is followed by various scenes, such as a rain cloud, a volcanic island and a spaceship.
The images evoke familiar associations, but their meaning is deliberately left open. Cornelissen combines elements from nature with science fiction, thereby creating a world that balances between dream and reality. The film sketches out a possible future in which questions concerning the survival of our planet take centre stage.
What will happen if pollution renders the Earth uninhabitable? Will humans one day have to relocate to another planet? Terra Nova offers no clear answers, but invites reflection. It is precisely this uncertainty that leaves the viewer with a sense of vulnerability and confronts us with concerns about the future of the world in which we live.
About Robbie Cornelissen
Robbie Cornelissen (Utrecht, 1954) lives and works in Utrecht. He graduated as a biologist and ecologist from Utrecht University, after which he trained as a visual artist at the Gerrit Rietveld Academy in Amsterdam. He has worked as a lecturer at BEAR ArtEZ Arnhem and regularly gives masterclasses on drawing.
Cornelissen has made a name for himself with his virtuoso pencil drawings of futuristic interiors and urban landscapes in which memory and imagination converge. Cornelissen explores the field of drawing and continually expands its boundaries through his animated films, installations and works in which the public participates. His work is exhibited worldwide, from New York to Beijing, Montreal and Paris.
Fynn van der Ziel | Bewogen Woerde
Bewogen Woerde is an animation about a house damaged by earthquakes, in which the process of assessing the damage spirals into a bizarre drama. It is a story in which a twisted and sometimes dark reality is portrayed in a strange and playful way using various animation techniques.
The idea for this arose from the need to tell the story of the absurd situation surrounding the end of gas extraction in Groningen, where the bureaucracy has woefully failed to deal with the damage.
About Fynn van der Ziel
Fynn van der Ziel (1996) is an illustrator and animator. As a versatile artist, he has an affinity for all kinds of stories and characters, which he seeks to bring to life using a variety of techniques, from drawing to modelling, riso printing and animation.
He graduated from the Minerva Academy in 2021 with an experimental animation about the earthquakes in Groningen. In 2025, he completed the Comic Art course in Brussels, where he produced a number of booklets, including *VIS*, for which he won the Small Press Award.
Furthermore, he has been working as a poster designer for the VERA music venue in Groningen since 2021 and is fondly known as the creator of Bartel Gloepman and Broeder Roeland, comic characters through whom he humorously explores human arrogance.
About Tschumi Inside
What many people do not (or no longer) realise is that the Tschumi Pavilion was originally conceived as a video gallery for the art festival What a Wonderful World! Music videos in architecture, which took place in Groningen in 1990. The tilted glass pavilion, designed by Bernard Tschumi, has stood on the Hereplein ever since.
Whilst it was originally intended as a showcase facing outwards, for Tschumi Inside we’re turning that on its head, and during the exhibition period you’ll be able to visit the Tschumi Pavilion from the inside at set times.
Inside, we are presenting the work of five artists in five separate spaces: Susanna Inglada, Serge Onnen, Antonia Rehnen, Robbie Cornelissen and Fynn van der Ziel. Each presents their own perspective on the world. The works explore social themes such as exclusion, abandonment and insignificance, as well as absurdity.
The selection of works showcases a range of animation art, with the common thread being that all the videos are characterised by the intensive creative process involved in their making. The craftsmanship required to create these films is evident, as are the analogue techniques employed.
Kunstpunt Groningen.
Kunstpunt Groningen (voorheen CBK) is hét knooppunt voor beeldende kunst. Wij lenen kunstwerken uit, begeleiden kunstopdrachten in de openbare ruimte en bij bedrijven, ontwikkelen educatieprojecten voor scholen en organiseren tentoonstellingen en activiteiten.
Kunstpunt Groningen (formerly CBK) is the hub for visual arts. We lend works of art, supervise art assignments in public spaces and at companies, develop educational projects for schools and organize exhibitions and activities.
Location.
Tschumipaviljoen
Hereplein 1
Groningen
tel (050) 317 17 07
www.kunstpuntgroningen.nl