Moro—“dark” in Italian—unfolds in the dust-laced room of the former Kinder Büro, hidden on the third floor of an abandoned department store in Neukölln, Berlin. Immersed in soft darkness, this site-specific exhibition invites the viewer to step into a haunted terrain of memory and ambivalence. The project explores how early images—those perceived in childhood and often long forgotten—resurface through the fog of time, transformed by experience.

For the first time, Moro brings the works of Ohii Katya and Finn Koehntop into dialogue. Their artistic voices are distinct, yet they meet in a shared space, where each object radiates ambivalence. Black sculptures cast long shadows; their jagged contours appear aggressive, even threatening. But move closer, and the edges soften, revealing harmless toys, soft curves—objects of play turned into eerie monuments.

Here, childhood and adulthood, fear and wonder coexist in uneasy harmony. Moro is not about nostalgia—it is about what remains. In this dimmed space, memory becomes material, silhouettes take shape, and the past is not left behind—it rises through the darkness, distorted, reassembled, evolving, alive, reflecting our own transformations—the strange ways we twist and adapt to a world in flux.