Xavier Robles de Medina
Source
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‘Andrew’s aghast eyes echo The Scream’: is this photo the ultimate royal portrait?, The Guardian, 20 February 2026, 2026, oil on linen, 90 x 120 x 4 cm
German Bundestag, Parliamentary Commissioner for the Federal Police. Final Report on the Investigation Under the Police Commissioner Act (PolBeauftrG) Regarding Your Complaint Dated 22 June 2025, 5 November 2025, 2026, laser print on paper and glass
Female figure Saamaka (?) or Creoles, Suriname, Meylwijks Plantation, collected before 1850 by Johann Jansa, Ethnologisches Museum Berlin, inventory no. V A 286, 2025, bronze, 27 x 8 x 6 cm
Zoe Saldaña during the making of Avatar: Fire and Ash. Directed by James Cameron, 20th Century Studios, 2025, 2026, oil on wood, 70 x 54 cm
Augusta Curiel, A Coffee Plant in Bloom at Plantation Clevia, 1904–1937, National Museum of World Cultures, Amsterdam, object no. 60006266, 2026, oil on linen, 190 × 145 cm
For Source, his first solo exhibition with Galerie Noah Klink during Berlin Art Week, Xavier
Robles de Medina brings together newly produced paintings, sculpture, and documentary material
that ask who holds the authority to represent, own, and circulate history, and who exists only as its
subject. Drawing on colonial archives, popular culture, contemporary media, and personal
experience, the works trace how exotification, desire, class, and economic power determine whose
bodies and histories are seen, valued, and remembered. Moving between the personal and the
historical, Robles de Medina negotiates the fractured experience of queer and transnational
identity, where belonging is shaped by multiple, sometimes contradictory systems of
representation. Refusing the neutrality of the archive, the works restage and reconstitute familiar
sources, confronting the power structures that determine who gets to possess, define, and profit
from history. Accompanying the exhibition is an essay by Nayaa Krugman.
