“Rituals of Dwelling” is not a showcase. It is a dialogue between aesthetic value and the act of inhabiting. 37A is proud to present Ndivhuho Rasengani’s solo exhibition “Rituals of Dwelling”, open from May 28th to June 7th, 2026, at its gallery in Yongsan. This exhibition marks the first presentation of Rasengani in South Korea. It will feature a selection of works from the artist’s latest Capsule Collection, in combination with locally sourced and constructed pieces.

The project presents a central question to contemporary art: at what point does an object cease to be part of daily life and become art? And conversely, can art return to being something lived with, felt, and used?

Set within a domestic environment undergoing visible urban transformation, the exhibition unfolds in parallel with its local context. Staged in Seoul, the project proposes a dialogue between South African material sensibilities and Korean spatial culture. The space, unlike the objects it holds, does not shift gradually but is subject to more immediate change. While the surrounding environment reveals a more abrupt reconfiguration, Ndivhuho Rasengani’s works resist fixed categorisation by moving fluidly across art, craft, and design. Rather than opposing tradition and evolution, together they articulate different temporalities of transformation, allowing forms of making, living, and inhabiting to coexist within this tension.

His approach to making is rooted in direct engagement with the material, where gesture and process become forms of interpretation. His practice proposes sensory memory and embodied experience as aesthetic conditions for mutual engagement. In this sense, making is not separate from inhabiting, but a way of being in the world shaped through action and proximity.

In this conceptual frame, the pieces are explored through the lens of ritual practices. Not as something to be worshiped, but as something ceremonial: a sequence of repeated, intimate gestures embedded in daily life. Recalling a time when objects were not set apart for observation, but participated in the construction of symbolic environments, the works shift between function and presence. They are not fixed in their meaning; instead, they are continually activated and rethought through use. The domestic space becomes a site where actions as subtle as placing or lighting accumulate into spatial experience, balancing individual contemplation with communal gathering.

Consequently, the works coexist with the architecture and with those who move within them, suggesting a shared living environment rather than a staged installation. By collapsing the boundary between art and design, the exhibition deliberately steps beyond the white-cube setting, challenging the display of artworks as isolated pieces for distant observation. Visitors are not positioned solely as viewers, but as temporary inhabitants. “Rituals of Dwelling” is conceived as a lived space: a place to enter, experience, and, ultimately, inhabit.