Minor Corrections: Gernot Wieland

T H E  P I L L® is thrilled to host Austrian artist Gernot Wieland’s first solo exhibition in Paris on view from 24 April to 30 May 2026. Titled Minor Corrections, the exhibition follows the artist’s first monographic exhibition in France, Songs for the Unwanted, recently presented at MAMC+ Saint-Étienne, and launches the eponymous monograph produced in partnership with JBE Editions with a talk and book signing.

Minor Corrections centers on two short films, Family Constellation With A Fox (2025) and Bird in Italian is Uccello (2021), presented alongside a selection of drawings, paintings, and ceramics interwoven with the moving image works. As the title suggests, the exhibition foregrounds mistakes, omissions, slippages, and corrections as sites where the power of the unconscious can be reclaimed to destabilize dominant narratives surrounding family, education, social life, mental health, and the history of Western thought and art.

A recurring method in Wieland’s drawings and diagrams involves half-written or misspelled words, struck through and rewritten—sometimes in altered form, sometimes in another language. In doing so, he not only positions the mistake, the slip of the tongue, or the impulse to correct oneself, as the place where the unconscious makes itself accessible, but also, these “failures” and their attempted corrections are precisely where the underlying, patriarchal power structures become visible in the process of their failed internalisation. A minor correction becomes a precise artistic strategy in the hands of Gernot Wieland, deployed across film, drawing and sculpture: it is where all errors, misunderstandings and misplacements are revealed to probe mechanisms of repression and embraced as unfaltering expressions of human creativity and humour.  

Produced for the 13th Berlin Biennial, Family Constellation With A Fox unfolds within an existential conversation between workers at a hotel, slipping in and out of this framing device into a daydream shaped by childhood memories and fairy tales. Set inside the belly of a whale, the film stages a family constellation therapy in which normative conditioning falters, as figures such as Karl Marx, Ingeborg Bachmann, and Walter Benjamin accompany the protagonist in dissecting the construction of the self and of History.

In Bird in Italian is Uccello, the narrative similarly emerges from a drifting, introspective state: the protagonist observes a passing landscape from a car window, reflecting on language, image, and perception. This contemplative frame gives way to a recollection—the failed staging of Daphne du Maurier’s short story The Birds within a psychiatric hospital in northern Italy. While the original story casts migrating birds as a threat to humanity, the theatrical adaptation reverses these roles, rendering human protagonists as birds. Moving through altered states of mind and interwoven frames of truth and fiction - literature, theatrical stage, mental hospital, car window - the film unsettles fixed narratives by foregrounding rehearsal as a process, privileging incompletion over resolution.

The constellations of ceramic sculptures, drawings, and paintings that populate Wieland’s films are also presented within the exhibition space, offering multiple points of entry into the artist’s systemic approach. Here, childhood memory, canonical figures of Western thought and art history, animals, fairy tales, and religious instruction intersect in a humorous disruption of power structures, spanning institutions from the nuclear family to the school, the church, and the museum.

Gernot Wieland (b. 1968, Horn, Austria) is an artist and a filmmaker whose work spans short films, drawings, photographs, installations, and lecture-performances. His narratives are constructed through idiosyncratic and often absurd combinations of images and language, blending autobiographical and fictional elements into poetic, dreamlike spaces. Wieland constructs a deeply emotional and singular world where memories hover between truth and fiction. His first-person narratives weave together the personal with the political and slowly develop into a humorous analysis of social norms and repressive dynamics.

Gernot Wieland’s selected recent solo exhibitions include Gernot Wieland: Landscapes, Phileas, Vienna (Austria, 2026); Songs For The Unwanted, MAMC+ / Musée d'Art Moderne et Contemporain, Saint-Etienne (France); You do not leave traces of your presence, just of your acts, Künstler:innenhaus Bremen, (Germany, 2024); Square, Circle, Square, Argos centre for audiovisual arts, Brussels (Belgium, 2023); Halb Nackt, Belmacz, London (UK, 2023); Turtleneck Phantasies, Kindl – Centre for Contemporary Art – M 1 VideoSpace, Berlin (Germany, 2022), Kunst Halle Sankt Gallen (Switzerland, 2020) and Salzburger Kunstverein (Austria, 2020). He has participated in recent group shows in institutions such as the 13th Berlin Biennale, KW Institute for Contemporary Art (Berlin, 2025); Torrance Art Museum (Los Angeles, 2022); SCCA Center for Contemporary Art Ljubljana (Slovenia, 2022) ; Kunstmuseum Bonn (Germany, 2021); Hong-Gah Museum, Taipei (Taiwan, 2020); BIENALSUR - 3rd International Biennial of Contemporary Art of South America, Buenos Aires (Argentina, 2021);  Centre d´art Pasquart, Biel/Bienne (Switzerland, 2018); Kasseler Kunstverein, Kassel (Germany, 2018); Latvian Center for Contemporary Art, Riga (Latvia, 2017); 9th Norwegian Sculpture Biennial, Vigeland Museum, Oslo (Norway, 2017) and  Musée du chateau des ducs de Wurtemberg, Montbéliard (France, 2016). Gernot Wieland’s work was the subject of a monographic publication in 2026 in partnership with MAMC+ – Museum of Modern and Contemporary Art of Saint-Étienne Métropole, JBE Editions and THE PILL. His work is featured in Phaidon’s Survey Vitamin V: Video and the Moving Image in Contemporary Art, 2025. 

The Austrian Cultural Forum in Paris generously supports the exhibition Minor Corrections.