“True reflection flashes up in the small fissures of the world.” — Walter Benjamin

Microverses counters the era’s bias toward the monumental by turning to practices that are modest in scale yet dense in thought. Here, the “micro” is not the negation of the “macro,” but a precise instrument—refracting structure through details, cracks, and fragments.

Sixteen artists from around the world—across painting, moving image, photography, sculpture, and mixed media—compose a conceptual “star map.” Each work is a self-contained microverse whose subtle gravity entangles with the rest.

Highlights include: Chaucer XIE’s droplet-and-vibration experiments that surface hidden natural rhythms; Jingjing Xu’s moving images entwining mono no aware with ecofeminism; μDust’s archaeology of bodily memory using medicinal residues; Yuna Ding’s paintings on intimacy and otherness; emotional and perceptual “particles” crystallized by Yi Yaewon, Yuki Yuran Lin, and Sia Li; philosophical bridges between micro and cosmic scales by Anita Maczan and Vukašin Delević; mythic constellations of feminine agency revisited by Fanglin Luo; Chaeyeon Kang’s tensions between virtual bodies and decay; mnemonic “building blocks” by Jingkang Tu; resistant parallel narratives in film by Nara Beibit; everyday dynamism traced in light and geometry by Millianna Luo; sculptural sanctuaries by KLOINM; and porous environmental boundaries captured by Tom Zelger.

If there is a shared method, it is this: complex ideas unfold through condensed, localized gestures rather than spectacle. Microverses is both title and curatorial metaphor—each work an orbiting planet, the viewer’s gaze a probe charting interstellar paths of meaning. As Paul Klee wrote, “Art does not reproduce the visible; it makes visible.”