Mimosa Echard’s Dolls’ Theater transforms the Kunsthaus Biel Art Center into a cave-like stage where myth, popular culture, and the materiality of images converge. Drawing on prehistoric motifs, Diana, and the legacy of commercial spectacle, Echard stages an environment in which perception is always entangled with pleasure and control, origins and ephemerality.

The exhibition brings together Tide (2026), a video of enlarged advertising screens in Times Square that reduces commodities to rhythm, flow and cut, and the series Withdrawals (2026), made from patchworks of anti-wave fabrics marked by oxidisation and negative handprints. These works are joined by sculptural and assemblage pieces such as Diane (2026), Bébé Marie (after Joseph Cornell) (2024), and Matrix (2026), each blurring the line between body, object and image.

Together, these works form a theatrical constellation of surfaces, fetishes and protective materials, where the screen becomes both a surface of projection and a vulnerable membrane. Echard invites viewers to contemplate the myths woven into contemporary reality, and the shifting forms of desire that structure its visual economy.