Artist bio:
Francesco Fano is an interdisciplinary artist focusing on artificial intelligence and sound installations.
Fascinated by code and neural networks, he has investigated the nature of language and archetypes and his research points to new landscapes of meaning, sourcing ancient symbols and rituals and looking to expand the perception of the human intellect.
Amer Al Akel is a conceptual artist who was born in Damascus, Syria, in 1987.He lives and works in Berlin, Germany. He graduated from the faculty of Fine Arts, Damascus in 2010, and he studied at the École Nationale Supérieure des Beaux-Arts de Paris in 2019. He finished his master at Weißensee Kunsthochschule Berlin in 2021. His artwork has been shown in many exhibitions and festivals around the world.
Artist bio:
Amer Al Akel is a conceptual artist who was born in Damascus, Syria, in 1987.He lives and works in Berlin, Germany. He graduated from the faculty of Fine Arts, Damascus in 2010, and he studied at the École Nationale Supérieure des Beaux-Arts de Paris in 2019. He finished his master at Weißensee Kunsthochschule Berlin in 2021. His artwork has been shown in many exhibitions and festivals around the world.
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Artist bio:
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Araba Ankuma is a montage artist whose multi-disciplinary work ties together visual narrative and experiential design. Araba Ankuma is a montage artist whose multi-disciplinary works tie to-gether visual narrative and experiential design. As a Ghanaian-American artist working interna-tionally, Ankuma’s stories focus on the importance of perception and the need to shift it in order to illuminate the invisible narratives that bind us as human beings.
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Artist bio:
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Araba Ankuma is a montage artist whose multi-disciplinary work ties together visual narrative and experiential design. Araba Ankuma is a montage artist whose multi-disciplinary works tie to-gether visual narrative and experiential design. As a Ghanaian-American artist working interna-tionally, Ankuma’s stories focus on the importance of perception and the need to shift it in order to illuminate the invisible narratives that bind us as human beings.
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Artist bio:
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Araba Ankuma is a montage artist whose multi-disciplinary work ties together visual narrative and experiential design. Araba Ankuma is a montage artist whose multi-disciplinary works tie to-gether visual narrative and experiential design. As a Ghanaian-American artist working interna-tionally, Ankuma’s stories focus on the importance of perception and the need to shift it in order to illuminate the invisible narratives that bind us as human beings.
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Artist bio:
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Araba Ankuma is a montage artist whose multi-disciplinary work ties together visual narrative and experiential design. Araba Ankuma is a montage artist whose multi-disciplinary works tie to-gether visual narrative and experiential design. As a Ghanaian-American artist working interna-tionally, Ankuma’s stories focus on the importance of perception and the need to shift it in order to illuminate the invisible narratives that bind us as human beings.
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Artist bio:
As humans we are made up of water, surrounded by water and completely reliant upon it. It is the medium through which our bodies move internally and externally, forming connection and flow. Our societies are like oceans in which we swim, we float and maneuver. In the wake of global dis-ruption, our surrounding waters are murky and tumultuous – filled with torrents of injustice, false prophets and our own waste.In this series of work entitled WET, like messages without a bottle floating to the surface, images cohere and combine to form truths. WET is the collection of a col-lection. Items found and reassembled to draw connection between original intent and subsequent reinterpretations; the piece vs the whole. The nature of truth is that it too is a combination of parts; the knot tying together various realities. Only when we share perspectives, learn from one another will we begin to see the fuller picture.
Araba Ankuma is a montage artist whose multi-disciplinary work ties together visual narrative and experiential design. Araba Ankuma is a montage artist whose multi-disciplinary works tie to-gether visual narrative and experiential design. As a Ghanaian-American artist working interna-tionally, Ankuma’s stories focus on the importance of perception and the need to shift it in order to illuminate the invisible narratives that bind us as human beings.
Fiona Bennett ist als Hut-Künstlerin weit über Berlin hinaus bekannt. 1966 in Brighton geboren, aufgewachsen in Berlin, eröffnete sie drei Jahre nach dem Mauerfall sie ihr erstes Atelier in Ber-lin Mitte. Heute ist ihr Hutsalon Teil der Galerienszene der Potsdamer Straße, eine Verkaufs- und Ausstellungsfläche ihrer Kreationen, denen schon immer eine skulpturale Kraft innewohnte. Sur-real, tiefsinnig und leicht zugleich.
Ihr Hutobjekt „Nosedive“ wurde in der Galerie VON BARTHA in Basel gezeigt, war 2016 Teil der Ausstellung „Surrealism & Beyond“ im Museum Boljmans van Beuningen in Rotterdam und ist aktuell in der Galerie Alexander Ochs zu sehen.
„Nosedive II“, 2018 geschaffen, verlässt das gewohnte Terrain. Die Wandskulptur verbindet die Kopfarbeit mit dem Raum und den Raum mit dem Betrachter. Und lässt in der Spiegelung ein Bild entstehen, das so viele Facetten hat, wie der Mensch, der sich darin sieht.
Fiona Bennett erfindet Innenräume neu, wie zuletzt das „Flush„ im Berliner Wintergarten Variete (mit Hans- Joachim Böhme ), ersinnt Kostüme für Theater und Film, ist als erfolgreiche Unter-nehmerin Mitglied des „International Women’s forum“.
Artist bio:
Fiona Bennett is known far beyond Berlin as a hat artist. Born in Brighton in 1966 and raised in Berlin, she opened her first studio in Berlin Mitte three years after the fall of the Wall. Today, her hat salon is part of the Potsdamer Strasse gallery scene, a sales and exhibition space for her creations, which have always had an inherent sculptural power. Surreal, profound and light at the same time.
Her hat object “Nosedive” was shown at the VON BARTHA gallery in Basel, was part of the 2016 exhibition “Surrealism & Beyond” at the Boljmans van Beuningen museum in Rotterdam and is currently on view at the Alexander Ochs gallery.
"Nosedive II", created in 2018, leaves the familiar terrain. The wall sculpture connects the mental work with the space and the space with the viewer. And in the reflection creates an image that has as many facets as the person who sees himself in it.
Fiona Bennett reinvents interiors, most recently the "Flush" in the Berlin Wintergarten Variete (with Hans-Joachim Böhme), devises costumes for theater and film, and as a successful entrepreneur is a member of the "International Women's Forum".
Die interaktive Installation Magic Blue Talking Hat entstand inspiriert von und in Kooperation mit der Rapperin Yarah Bravo. Während der Berlin Art Week 2022 sind weitere Talking Hats auf der Fashion Positions Art Fair zu erleben.
Artist bio:
Fiona Bennett is known far beyond Berlin as a hat artist. Born in Brighton in 1966 and raised in Berlin, she opened her first studio in Berlin Mitte three years after the fall of the Wall. Today, her hat salon is part of the Potsdamer Strasse gallery scene, a sales and exhibition space for her creations, which have always had an inherent sculptural power. Surreal, profound and light at the same time.
Her hat object “Nosedive” was shown at the VON BARTHA gallery in Basel, was part of the 2016 exhibition “Surrealism & Beyond” at the Boljmans van Beuningen museum in Rotterdam and is currently on view at the Alexander Ochs gallery.
"Nosedive II", created in 2018, leaves the familiar terrain. The wall sculpture connects the mental work with the space and the space with the viewer. And in the reflection creates an image that has as many facets as the person who sees himself in it.
Fiona Bennett reinvents interiors, most recently the "Flush" in the Berlin Wintergarten Variete (with Hans-Joachim Böhme), devises costumes for theater and film, and as a successful entrepreneur is a member of the "International Women's Forum".
objects, drawings, sound recordings and photographs. A parallel universe. We feel it as a kind of extended feeling, a standing situated within us. The idea of the “remontant fury” describes an en-ergy state of rebellion against traditional attributions and invisibility.
How do we unlearn what has been asserted for centuries? What emerges if we try? The aim is to find an aesthetic of its own for the hitherto undiscovered archetype of the “remontant fury“. What about all those who never fit into the picture? Ageing women, women without children. Women who have never bled monthly. Women who were assigned the wrong gender after birth. Women who have been read as female but are not women. All those who do not conform to the heter-onormative, normative image? What about all the male-read who are sick of the images that have been and are being thrown at them? All the people who want to finally take off the dress that has been supposedly tailored over and over again for centuries. In all of these, the transition to the parallel universe is created and the size of the gap varies according to the sensing factor. An archetype requires joint reflection. Intersubjectively.
In this artistic research project people are interviewed in order to show the most diverse perspec-tives. The selection is based on their expertise, professional or otherwise. The interview is based on a single multiple question, which is refined according to the expertise of the participants:
WHAT KIND OF ... WOULD THE REMONTANTE FURY BE?
Artist bio:
Stephanie Bothor worked as an actor in film for two decades. Since 2004, she has specialized in performing research. Looking for characters, stepping into them for at least a year and integrating them into her everyday life, the intent being to delve between the lines of contemporary issues in order to deconstruct what is taken for granted. Bothor describes everything sensually received in words, images and installations. She has already completed three studies and is currently working on her fourth.
Synapsis, epigenetics, transformational power, neurotransmitters, synaptic gap to be bridged by messengers, un(-)learning
Artist bio:
Synapsis, epigenetics, transformational power, neurotransmitters, synaptic gap to be bridged by messengers, un(-)learning
Kirstin Burckhardt (b. in South Africa) is a visual artist combining video and performance with sound and spoken word. Critically drawing upon her training in psychology and neuroscience, her
practice continuously questions what defines a body as a locus of relationships. Her artistic re-search focuses on interpersonal space as a locus of sensitivity in favor of empathy,
transgenerational trauma, and the power of imagination.
She studied fine arts in Hamburg (Germany), Lyon (France) and Hangzhou (China). Simultaneous-ly, she obtained her masters-level degree in psychology at the University of Hamburg. Her work has been exhibited internationally in solo and group exhibitions at KINDL Berlin-Centre for Con-temporary Art, KAI 10|Arthena Foundation, Kunsthalle Nürnberg, Hamburger Bahnhof Berlin, Fes-tival of Future Nows 2017 and the Goethe Institute LA (USA) and Sofia (BUL). She has
collaborated closely with performing and visual artists from China, Sweden, and Colombia and has received working grants by the ifa (Institut für Auslandsbeziehungen), the Goethe Institute Bogo-tá, and the city of Hamburg’s ‘Elbkulturfonds’ and ‘Arbeitsstipendium’ (working grant).
The BRACE position describes a protective posture intended to shield against a hard impact, e.g. when an aeroplane makes an emergency landing. The plane crash is a singular phenomenon in comparison to the existential dangers of everyday life. Efforts to avoid everyday crashes create an extremely complex system, within which “living” is reformulated as “surviving”.
The figure BRACE sounds out these dangers in a new way: its “safety positions” are fresh interpretations of places and forms of behaviour, with which it cancels out social conventions and evades any objectification. BRACE conquers space in already occupied terrain.
As the re-interpreter of reality, BRACE is a freedom fighter of a special kind – an illusionary catapulted out of the social context.
BRACE consists of a series of photographs, performances and social interventions. The work was realized in cooperation with photographer Christian Reister. (https://www.christianreister.com)
2007 ©Christian Reister
Artist bio:
The BRACE position describes a protective posture intended to shield against a hard impact, e.g. when an aeroplane makes an emergency landing. The plane crash is a singular phenomenon in comparison to the existential dangers of everyday life. Efforts to avoid everyday crashes create an extremely complex system, within which “living” is reformulated as “surviving”.
The figure BRACE sounds out these dangers in a new way: its “safety positions” are fresh interpretations of places and forms of behaviour, with which it cancels out social conventions and evades any objectification. BRACE conquers space in already occupied terrain.
As the re-interpreter of reality, BRACE is a freedom fighter of a special kind – an illusionary catapulted out of the social context.
BRACE consists of a series of photographs, performances and social interventions. The work was realized in cooperation with photographer Christian Reister. (https://www.christianreister.com)
barbara caveng is an interdisciplinary working artist with a focus on three-dimensional artistic practice, participatory art, interventions and performances. by means of various artistic strategies and mostly through the own body she explores the conditions of human existence in dependency on social, political, economic and aesthetic questions. Letting go, jumping, diving - ready for an art as an experience of extremes, as a dare, sometimes a maloche and then again with the lightness of play. Unexpectedly, access to other worlds opens up in the improvisation of the present. Greedy to learn and eager to unlearn, her work takes her far away: “The need to provoke departures, transgressions, to give substance at last to folly and dreams.”*
* Quelle: Frédéric Gros, A philosophy of walking,English-language edition published by Verso 2014 / Translation © John Howe 2014
The BRACE position describes a protective posture intended to shield against a hard impact, e.g. when an aeroplane makes an emergency landing. The plane crash is a singular phenomenon in comparison to the existential dangers of everyday life. Efforts to avoid everyday crashes create an extremely complex system, within which “living” is reformulated as “surviving”.
The figure BRACE sounds out these dangers in a new way: its “safety positions” are fresh interpretations of places and forms of behaviour, with which it cancels out social conventions and evades any objectification. BRACE conquers space in already occupied terrain.
As the re-interpreter of reality, BRACE is a freedom fighter of a special kind – an illusionary catapulted out of the social context.
BRACE consists of a series of photographs, performances and social interventions. The work was realized in cooperation with photographer Christian Reister. (https://www.christianreister.com)
2007 ©Chistian Reister
Artist bio:
The BRACE position describes a protective posture intended to shield against a hard impact, e.g. when an aeroplane makes an emergency landing. The plane crash is a singular phenomenon in comparison to the existential dangers of everyday life. Efforts to avoid everyday crashes create an extremely complex system, within which “living” is reformulated as “surviving”.
The figure BRACE sounds out these dangers in a new way: its “safety positions” are fresh interpretations of places and forms of behaviour, with which it cancels out social conventions and evades any objectification. BRACE conquers space in already occupied terrain.
As the re-interpreter of reality, BRACE is a freedom fighter of a special kind – an illusionary catapulted out of the social context.
BRACE consists of a series of photographs, performances and social interventions. The work was realized in cooperation with photographer Christian Reister. (https://www.christianreister.com)
barbara caveng is an interdisciplinary working artist with a focus on three-dimensional artistic practice, participatory art, interventions and performances. by means of various artistic strategies and mostly through the own body she explores the conditions of human existence in dependency on social, political, economic and aesthetic questions. Letting go, jumping, diving - ready for an art as an experience of extremes, as a dare, sometimes a maloche and then again with the lightness of play. Unexpectedly, access to other worlds opens up in the improvisation of the present. Greedy to learn and eager to unlearn, her work takes her far away: “The need to provoke departures, transgressions, to give substance at last to folly and dreams.”*
* Quelle: Frédéric Gros, A philosophy of walking,English-language edition published by Verso 2014 / Translation © John Howe 2014
In Cremers' surrealistic dreamscape, various influences melt together into a new world image in which modernist stylistic influences connect and merge effortlessly with the history of ancient Egypt or other cultures of antiquity.
Alienation and transformation are two concepts that spring to mind when looking at the new work of Jeroen Cremers. The sculptures can be recognised by their bodies
with weathered surfaces and infestations.
Recently, Cremers has been looking at the dystopian works he depicts with different eyes. Corona shook everything up. Because of the great changes and uncertainties, his work seemed almost to have had foresight. This new situation had a great influence on his new visual language but also on the material.
After years of working mainly in cardboard, he returned to an old love: ceramics. He let go of the fear that the material would break down in the kiln, thus opening the door to expression, coincidence and surprise, with unexpected deformations and structures as a result.
Working with a factor of uncertainty fits in seamlessly with the now so topical theme of his sculp-tures: 'They are part of a world turned upside down by a drastic change or an intangible danger'.
Artist bio:
In Cremers' surrealistic dreamscape, various influences melt together into a new world image in which modernist stylistic influences connect and merge effortlessly with the history of ancient Egypt or other cultures of antiquity.
Alienation and transformation are two concepts that spring to mind when looking at the new work of Jeroen Cremers. The sculptures can be recognised by their bodies
with weathered surfaces and infestations.
Recently, Cremers has been looking at the dystopian works he depicts with different eyes. Corona shook everything up. Because of the great changes and uncertainties, his work seemed almost to have had foresight. This new situation had a great influence on his new visual language but also on the material.
After years of working mainly in cardboard, he returned to an old love: ceramics. He let go of the fear that the material would break down in the kiln, thus opening the door to expression, coincidence and surprise, with unexpected deformations and structures as a result.
Working with a factor of uncertainty fits in seamlessly with the now so topical theme of his sculp-tures: 'They are part of a world turned upside down by a drastic change or an intangible danger'.
In Cremers' surrealistic dreamscape, various influences melt together into a new world image in which modernist stylistic influences connect and merge effortlessly with the history of ancient Egypt or other cultures of antiquity.
Alienation and transformation are two concepts that spring to mind when looking at the new work of Jeroen Cremers. The sculptures can be recognised by their bodies
with weathered surfaces and infestations.
Recently, Cremers has been looking at the dystopian works he depicts with different eyes. Corona shook everything up. Because of the great changes and uncertainties, his work seemed almost to have had foresight. This new situation had a great influence on his new visual language but also on the material.
After years of working mainly in cardboard, he returned to an old love: ceramics. He let go of the fear that the material would break down in the kiln, thus opening the door to expression, coincidence and surprise, with unexpected deformations and structures as a result.
Working with a factor of uncertainty fits in seamlessly with the now so topical theme of his sculp-tures: 'They are part of a world turned upside down by a drastic change or an intangible danger'.
Artist bio:
In Cremers' surrealistic dreamscape, various influences melt together into a new world image in which modernist stylistic influences connect and merge effortlessly with the history of ancient Egypt or other cultures of antiquity.
Alienation and transformation are two concepts that spring to mind when looking at the new work of Jeroen Cremers. The sculptures can be recognised by their bodies
with weathered surfaces and infestations.
Recently, Cremers has been looking at the dystopian works he depicts with different eyes. Corona shook everything up. Because of the great changes and uncertainties, his work seemed almost to have had foresight. This new situation had a great influence on his new visual language but also on the material.
After years of working mainly in cardboard, he returned to an old love: ceramics. He let go of the fear that the material would break down in the kiln, thus opening the door to expression, coincidence and surprise, with unexpected deformations and structures as a result.
Working with a factor of uncertainty fits in seamlessly with the now so topical theme of his sculp-tures: 'They are part of a world turned upside down by a drastic change or an intangible danger'.
Humans can connect in different ways. Friendships, family relationships, couple's relationships, platonic love, romantic love. We all need support and love. We need to be seen and respected. For me, human electricity can be the energy and excitement we feel when we meet a friend we haven't seen for a long time, when we fall in love and experience "butterflies in our stomach", when we hug someone we love.
The present installation has multiple layers of meaning and it deals with issues related to identi-ty, tradition, origin, locality. I used my own wedding veil and textiles that belonged to "real" households - with stains and imperfections caused by daily use.– some bought in second hand markets and others provided by friends. Hanging from the ceiling is the veil, which usually covers the bride's face, and the "Chuppah" – the canopy under which a Jewish couple stands during their wedding ceremony. "Mekudeshet is a Hebrew word, used during the betrothal ceremony. When the groom slides the ring on the index finger of his bride, he recites: “By accepting this ring you become my exclusive [Mekudeshet] spouse according to the religion [or customs] of Moses and Israel.” The word „kadosh“ (holy) is derived from the same root, and so this blessing literally means: you are exclusively mine, holy and separated unto me. On my veil I embroidered red cacti with the same golden thread I used in the canopy. Red can symbolize passion - but it is also the color of blood. The cactus – "sabra" in Spanish, my mother tongue, צבר ("tzabar") in Hebrew and "sa-br" in Arabic – is a plant originally from Mexico, very important in both Israeli and Palestinian cultures. "Sa-br" in Arabic means patience. While the cactus is symbol of resilience and patience for the Palestinians, for many years it has also been symbol of the typical Israeli - spiky outside and sweet inside. Stereotypes, symbols, ceremonies that reflect how humans are hardwired for connection.
Artist bio:
Paula Elion is an Argentinean-Israeli artist based in Stockholm, Sweden, graduated from the Mid-rasha School of Art, Beit Berl, Israel. She has participated in two residencies for artists in Berlin (2017/2019) and shown her work in Stockholm, Berlin, TLV, Mexico, Serbia, Norway.
She explores the mediums of painting and drawing, while using old books, found objects, textiles, cardboard, and more. Her work deals with a wide range of topics that connect personal and socio-political aspects. It is often inspired by images from social media, pop culture, her own family al-bums, exploring universal conflicts and questions. Recipient of the Israel Ministry of Culture 2019 prize for independent artists.
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Artist bio:
Humanoid sculptures created out of recycled materials which symbolize symbiosis between body and machine, unification of all organisms, inclusion of all brings us closer to the idea of organic work, a society/community/city where everything is connected - one organism. The idea was dreamed up by the Positivists who believed that society resembled a living organism; Just as the health of all the organs is necessary for the proper functioning of the organism, the same is true for the well-being of society. Even development of all its layers and areas of life is also necessary.
Huma - Dominika Wiśniewska is a Poland-born and Berlin-based artist and event producer.
The concept started after an accident and a series of medical issues which hindered her day to day life for some time. She thought to herself, “Wouldn’t it be great, if I could just swap my body parts so easily that I could just get on with my life?”
Die Filmcollagen von Lisa Junghanß‘ entstehen aus zusammengestellten Fragmenten zuvor filmisch dokumentierter Performances. Als Loops projiziert erzeugen die Videocollagen ein nicht-narratives Szenario. Die Arbeiten zeigen die Künstlerin in nicht genauer interpretierbaren Situationen, die zwischen Traum, Phantasie und Wirklichkeit changieren. Häufig handelt es sich um Figuren, die halb Mann und halb Frau, mit ihrem Alter Ego in einer Mischung aus Verzehren, Vernichtung und Einverleibung zu ringen scheinen.
Junghanß’ Ansatz artikuliert Performance als Bemühen, das Reale darzustellen, wie es sich z.B. im Ekel, Horror, Begehren oder Traumatischen artikuliert. Dieses mit der Psychoanalyse von Lacan verbundene „Reale“ entzieht sich jeglicher Symbolisierung und macht sich vielmehr im konstitutiven Mangel für eine Symbolisierung bemerkbar: Entscheidender wird damit, was nicht dargestellt werden kann und was nicht im Bild ist. Beim Rezipienten stellt sich ein Zustand der Wagheit oder Verunsicherung ein, da er mit Symptomen konfrontiert ist, die er nicht eindeutig zu interpretieren vermag. (Anna-Catharina Gebbers, Berlin)
Artist bio:
Die Filmcollagen von Lisa Junghanß‘ entstehen aus zusammengestellten Fragmenten zuvor filmisch dokumentierter Performances. Als Loops projiziert erzeugen die Videocollagen ein nicht-narratives Szenario. Die Arbeiten zeigen die Künstlerin in nicht genauer interpretierbaren Situationen, die zwischen Traum, Phantasie und Wirklichkeit changieren. Häufig handelt es sich um Figuren, die halb Mann und halb Frau, mit ihrem Alter Ego in einer Mischung aus Verzehren, Vernichtung und Einverleibung zu ringen scheinen.
Junghanß’ Ansatz artikuliert Performance als Bemühen, das Reale darzustellen, wie es sich z.B. im Ekel, Horror, Begehren oder Traumatischen artikuliert. Dieses mit der Psychoanalyse von Lacan verbundene „Reale“ entzieht sich jeglicher Symbolisierung und macht sich vielmehr im konstitutiven Mangel für eine Symbolisierung bemerkbar: Entscheidender wird damit, was nicht dargestellt werden kann und was nicht im Bild ist. Beim Rezipienten stellt sich ein Zustand der Wagheit oder Verunsicherung ein, da er mit Symptomen konfrontiert ist, die er nicht eindeutig zu interpretieren vermag. (Anna-Catharina Gebbers, Berlin)
Artist bio:
Die Filmcollagen von Lisa Junghanß‘ entstehen aus zusammengestellten Fragmenten zuvor filmisch dokumentierter Performances. Als Loops projiziert erzeugen die Videocollagen ein nicht-narratives Szenario. Die Arbeiten zeigen die Künstlerin in nicht genauer interpretierbaren Situationen, die zwischen Traum, Phantasie und Wirklichkeit changieren. Häufig handelt es sich um Figuren, die halb Mann und halb Frau, mit ihrem Alter Ego in einer Mischung aus Verzehren, Vernichtung und Einverleibung zu ringen scheinen.
Junghanß’ Ansatz artikuliert Performance als Bemühen, das Reale darzustellen, wie es sich z.B. im Ekel, Horror, Begehren oder Traumatischen artikuliert. Dieses mit der Psychoanalyse von Lacan verbundene „Reale“ entzieht sich jeglicher Symbolisierung und macht sich vielmehr im konstitutiven Mangel für eine Symbolisierung bemerkbar: Entscheidender wird damit, was nicht dargestellt werden kann und was nicht im Bild ist. Beim Rezipienten stellt sich ein Zustand der Wagheit oder Verunsicherung ein, da er mit Symptomen konfrontiert ist, die er nicht eindeutig zu interpretieren vermag. (Anna-Catharina Gebbers, Berlin)
Artist bio:
In my work, themes of connection and reconnection are existing, reconnections emanating from memories and bridging them with the present. I often use images, photography, as a medium that combines events or testimonies experienced by myself or subjects, I would like to expose. The human connection that inspires me is not only literal, but I rather find the human connection through art, rich, and often composed of complex threads allowing us to dive into the fantastic, the painful, and sometimes the glorious worlds of our humanity. I strive for this connection by re-connecting art to the human condition through historical and contemporary testimonies.
“Of Places & Cannons” explores places and subjects affected by violent war traumas. The process involves the assemblage of polaroid images highlighting ruined and dismantled locations. In this set of collages, the artist reconnects a weaving of memories and creates a visual narrative of how absence and presence fluctuate in a photograph.
Artist bio:
Maria Kassab is a Lebanese interdisciplinary artist and creative director. She studied Communica-tion Arts and Fine Arts at the Lebanese American University, Beirut. She is based in Berlin and completed her Masters of Art in Photography at the BTK Arts & Design University Berlin, 2022. Her work focuses on the political and cultural climate in Lebanon and the MENA region using pho-tography, image manipulation and video work as her main mediums. Her work has been exhibited internationally most notably in Beirut, Paris, Washington DC, Copenhagen, Brussels, Palermo and Berlin. Her artworks are published in international and local art magazines. She is currently in the process of researching different visual languages while exploring new cultural and social territo-ries. While a photographer would view the photographic print as an endpoint, Maria Kassab sees it as a starting place. Images and photographs are blank canvases in need of materiality. She ex-periments with image manipulation and photography to create narratives as forms of resistance to the current cultural, social, and political situation in Lebanon and the MENA region. Whatever additions, removals, and or edits an image needs to realize a demonstration, Maria restores it. Her work focuses on trauma, memory, and displacement, conveying her irreconcilable relationship with home (Lebanon). Her deconstructive identity involves the decontextualization of subjects and objects from their natural habitat. She states that her work is a resistance to the Lebanese politi-cal and cultural dilemma, narrating the physical and mental transformations within fictitious spaces. Her constructive and deconstructive images navigate between absence and presence while recollecting a timeline of violent events from her hometown Beirut.
Art Residency Villa Empain Boghossian Foundation Brussels, from September to November, 2019
Winner of The Audience Choice Award, 33rd Salon d'Automne, Sursock Museum 2019
First Prize Photography winner of the Boghossian Foundation 2017
In my work, themes of connection and reconnection are existing, reconnections emanating from memories and bridging them with the present. I often use images, photography, as a medium that combines events or testimonies experienced by myself or subjects, I would like to expose. The human connection that inspires me is not only literal, but I rather find the human connection through art, rich, and often composed of complex threads allowing us to dive into the fantastic, the painful, and sometimes the glorious worlds of our humanity. I strive for this connection by re-connecting art to the human condition through historical and contemporary testimonies.
“Judith & Afternoon Tales” sets inspiration from Caravaggio's painting „Judith Beheading Holofer-nes“ c. 1598–1599 or 1602. It tells the story of a widow named Judith, who uses her beauty and charm to destroy a general and save her land from oppression. In this body of work, the artist connects Judith's narrative to the violated women in her home country Lebanon. In recent news, many women victims are being criticized, abused due to a patriarchal society. This fictional narra-tive of 15 illustrations depicts the subject of women castrating their male partners, using Judith as a symbol.
Artist bio:
Maria Kassab is a Lebanese interdisciplinary artist and creative director. She studied Communica-tion Arts and Fine Arts at the Lebanese American University, Beirut. She is based in Berlin and completed her Masters of Art in Photography at the BTK Arts & Design University Berlin, 2022. Her work focuses on the political and cultural climate in Lebanon and the MENA region using pho-tography, image manipulation and video work as her main mediums. Her work has been exhibited internationally most notably in Beirut, Paris, Washington DC, Copenhagen, Brussels, Palermo and Berlin. Her artworks are published in international and local art magazines. She is currently in the process of researching different visual languages while exploring new cultural and social territo-ries. While a photographer would view the photographic print as an endpoint, Maria Kassab sees it as a starting place. Images and photographs are blank canvases in need of materiality. She ex-periments with image manipulation and photography to create narratives as forms of resistance to the current cultural, social, and political situation in Lebanon and the MENA region. Whatever additions, removals, and or edits an image needs to realize a demonstration, Maria restores it. Her work focuses on trauma, memory, and displacement, conveying her irreconcilable relationship with home (Lebanon). Her deconstructive identity involves the decontextualization of subjects and objects from their natural habitat. She states that her work is a resistance to the Lebanese politi-cal and cultural dilemma, narrating the physical and mental transformations within fictitious spaces. Her constructive and deconstructive images navigate between absence and presence while recollecting a timeline of violent events from her hometown Beirut.
Art Residency Villa Empain Boghossian Foundation Brussels, from September to November, 2019
Winner of The Audience Choice Award, 33rd Salon d'Automne, Sursock Museum 2019
First Prize Photography winner of the Boghossian Foundation 2017
Durch die Betrachtung des eigenen Spiegelbilds in Kombination mit dem Satz “you feel it, don’t you” öffnet sich für die Betrachter:innen ein Raum, in dem sie aufgerufen sind, für einen Moment innezuhalten, den Blick vom Spiegelbild nach innen zu richten und sich ihrer eigenen Gefühle be-wusst zu werden. Was ist im Innern gerade präsent? Durch dieses In-Verbindung-Treten mit sich selbst kann die Außenwelt dann wieder neu und bewusster wahrgenommen werden, da Außen und Innen sich gegenseitig bedingen und reflektieren.
Artist bio:
The conceptual artist Andy Kassier (*1989) lives and works in Berlin. He observes phenomena in social media and the development of digital image cultures. In 2013 he created his alter ego Andy Kassier, which ironically breaks the narrative of wealth and happiness in late capitalist society. On Instagram and in international solo and group exhibitions, he continuously develops the long-term performance in accordance with the current zeitgeist. Kassier sets up installations in exhibition rooms and performs and streams live to social media.
Children action painting dhow sail,
Lamu/Kenia & children action painting canvas, India
„Beamer Projection: Joy & Love“
Documentary, photos of the children
Action painting project in Africa & India
On the boat you find an area to dream and rest: „The Island of Dreams“. The boat is simultane-ously “Boat & Island”. The 8 m x 2,4 m area is covered with painted boards. The ornaments on the boards we found in stilt house monasteries on the Inlay Lake in Myanmar. These are monasteries surrounded by endless water landscapes, Islands of stillness. If people are confused the often wish themselves on an island where they can reconnect in stillness with their innermost self — far away from digital influences, mobil phones, noisy cities ... — through moments of stillness, concentration and rest you find reconnection with the innermost self.
Artist bio:
Lili & Jesko live in Berlin & Hamburg. Since 1990 they work as an artist duo/artists in love. Born 1966 and 1968 in Hamburg. Sculptor assistance France, carpenter apprenticeship, studies of Fine Arts & Design HFBK Hamburg & Fine Arts Florence/Italy. Numerous travels and artist in residency among others in India, Himalaya, South East Asia, Latin America, Africa. Children Action Painting Projects in India, Africa & Italy. Environmental installation „Personal Structures“, Palazzo Bembo, 56th Biennale Venezia 2015.
Lili & Jesko have travelled the world seeking inspiration from other cultures. Their collected im-pressions are transformed into paintings, sculptures, wall hangings and short films – whole build-ings they transform into artistic landscapes. The boat, the most ancient transport vehicle of man-kind — a symbol of existence moving through time and space — which connects people, islands, continents — appears in many different layers, forms and perspectives in their art work, as well as the theme of time space existence. Transforming negativity in positivity is the ambition in all of their art works — to get something blossoming is their deepest wish.
Die Videoarbeiten und Installationen von Thomas Lüer konzentrieren sich auf wenige, über-schaubare Elemente: Zwei Personen, gestikulierend; ein Hund im "Bau", ein zu den Betrach-tern sprechender Avatar, der Gesichtsausschnitt eines Träumenden, Architekturen. Dass sich durch diese Reduktion eine Komplexität herstellt, die in ihrer Aufspaltung in eine Viel-zahl von Ebenen auch zeitnahe, politische wie historische Themen anzusprechen versteht, darin besteht die Kunst von Thomas Lüer.
Artist bio:
Lüer's attention is directed to an empirical practice that has broken down into such infinite manifolds that – shielded, exclusive and elitist – it is actually no longer verifiable and has thus become a mystery. What is going on in the photon accelerator laboratories? Which theoretical model does an experimental arrangement follow and what does this mean? And for whom?
Not everything that is not public is hidden, neither the so-called private nor the exclusive. And not everything public is automatically visible. In a present that is permeated by readily available data and in which criteria such as "public" and "private" have given way to a mimicry of functional imaginary worlds that are now beyond all empirical verifiability, installations such as "Spot" (2008 ) or “Spin” (2010), those inputs and outputs of information processing become visible that would otherwise go unnoticed.
The projection, calculated down to the simulative structure of its subjects, exposes the structures of the scientistic aura and links them in a very direct way with our immediate surroundings... (Gabi Schaffner)
KAHRABADIÅN 電كهربا is a series of sound and movement experiments that explores fluid ranges of electricity exchange between organisms. Through spirits and material conversation 電’s sounds and equipment merge with كهربا’s movement and architecture into one ecocosm.
„Granular Magnetism“ is an experiment exploring multimodal gravity points. Each point gener-ates organic cardinal directions. Naser Al Deen and Yang navigate a pool of these infinite trajecto-ries powered by electromagnetic sparks. The point of collision is a point of decision. The point of decision is a space for potential negotiation. The space for negotiation is where this experiment aspires to arrive at.
Artist bio:
Nancy Naser Al Deen is a Lebanese/Egyptian urban and movement researcher based in Berlin. Nancy’s collaboration-based interdisciplinary practice utilizes tools of architecture, visual design, spatial research, mapping, and the body to witness, archive, protest, and investigate politics of (non-conforming) bodies in urban space. Naser Al Deen’s practice situates itself in the voids ra-ther than the solids.
Yang Cheng is a Taiwanese performer and musician based in Berlin. Perceiving self-generated sound as one of the human senses, he explores the mechanism of how inter/outer reality gener-ates conversation and how mind and body awareness crossfade expansion.
He forms his gravity of sonic articulations from found objects, field recording, digital/analogue instruments and recently electric magnetic field. Experimenting with sensors and controller com-binations, He recreated questions concealed by the answers through amplified speakers.
In my journey of evolution, I am in the moment of reconnection with my inner self, creating the space so I can listen to the voice that comes from within me. I find this echoed in the halls of
Mahalla, a space that offers the freedom to let go of the expected and find what it is that reso-nates deep within. This is the true calling of these times... Reconnection.
Artist bio:
Raw, eclectic and phantasmic, Kiss Nuka is the new avatar of Anushka Manchanda - a revered voice in the Indian music industry. She is a global award-winning music producer, multidisciplinary artist and activist from Mumbai, India. She fearlessly bends genres creating uncensored and im-mersive audio-visual experiences like Don't Be Afraid and Ayo Burn, recognised at the 17th Inde-pendent Music Awards, the Berlin Music Video Awards, London Music Video Awards, and is now featured at the Völkingen Hütte. World Cultural Heritage Site at The World Of Music Video Exhibi-tion.
Her free-spirited love for nature translates into thought-provoking pieces of mid to hard electronic bass blended with ambient layers, electro-pop melodies, distorted vocals, & hints of her roots. Her keen interest in visual artistry has led her to produce and direct her own music videos and photo essays, deploying them as tools to carry her message of equality, the rise of the feminine, protection of nature and animal rights into the world.
Sprachzeichen, Codes und Symbolik wiedersetzen in diesen Arbeiten radikal dem Ent-ziffert-Werden, sie sind vielmehr reines Füllmaterial und Spiegel der Berliner Szene. Die Collagen dienen dazu, weiße Flächen mit Farbe „zuzuspachteln“ und bilden in cleaner Umgebung und mit natürlichem Licht eine Juxtaposition von Straße und Raum. Durch die Verwendung von UV-Licht und Chromadepth-Brillen betrachtet werden die Bilder dreidimensional.
Artist bio:
Sebastian Pielles is an international (fashion) photographer, video artist and has recently made a name for himself as a graffiti artist. Born in 1980, he finds inspiration wherever he hangs out: on the streets and in the clubs of Berlin and Paris. Layers, labels, tags. A colorful topsy-turvy with no hierarchy. An equivalent, but snotty juxtaposition of words and images with symbolic power - without really having to say anything. His art jumps in our faces. He reinforces this effect with neon colors in black light and 3D glasses.
Sprachzeichen, Codes und Symbolik wiedersetzen in diesen Arbeiten radikal dem Ent-ziffert-Werden, sie sind vielmehr reines Füllmaterial und Spiegel der Berliner Szene. Die Collagen dienen dazu, weiße Flächen mit Farbe „zuzuspachteln“ und bilden in cleaner Umgebung und mit natürlichem Licht eine Juxtaposition von Straße und Raum. Durch die Verwendung von UV-Licht und Chromadepth-Brillen betrachtet werden die Bilder dreidimensional.
Artist bio:
Sebastian Pielles is an international (fashion) photographer, video artist and has recently made a name for himself as a graffiti artist. Born in 1980, he finds inspiration wherever he hangs out: on the streets and in the clubs of Berlin and Paris. Layers, labels, tags. A colorful topsy-turvy with no hierarchy. An equivalent, but snotty juxtaposition of words and images with symbolic power - without really having to say anything. His art jumps in our faces. He reinforces this effect with neon colors in black light and 3D glasses.
Sprachzeichen, Codes und Symbolik wiedersetzen in diesen Arbeiten radikal dem Ent-ziffert-Werden, sie sind vielmehr reines Füllmaterial und Spiegel der Berliner Szene. Die Collagen dienen dazu, weiße Flächen mit Farbe „zuzuspachteln“ und bilden in cleaner Umgebung und mit natürlichem Licht eine Juxtaposition von Straße und Raum. Durch die Verwendung von UV-Licht und Chromadepth-Brillen betrachtet werden die Bilder dreidimensional.
Artist bio:
Sebastian Pielles is an international (fashion) photographer, video artist and has recently made a name for himself as a graffiti artist. Born in 1980, he finds inspiration wherever he hangs out: on the streets and in the clubs of Berlin and Paris. Layers, labels, tags. A colorful topsy-turvy with no hierarchy. An equivalent, but snotty juxtaposition of words and images with symbolic power - without really having to say anything. His art jumps in our faces. He reinforces this effect with neon colors in black light and 3D glasses.
Work in Progress during Berlin Art Week 2022 (14-18.09.)
Two performers, paper, ink
With Malou Theano Flora Hendel
2022
Excerpt from:
Ines Lindner: HYBRIDS BETWEEN DRAWING AND PERCEPTUAL WRITING
“There is a stance. There is the material: a certain kind of paper, a certain format, one or several pens or brushes and paint that will make the gesture visible on paper. The information is neces-sary to comprehend the work. […]
Writing and drawing are linked, and not only in calligraphy. A momentum is revealed in the line that makes it more than would be necessary for a recording, a rendition. The artist yields to it and directs it. In some works, the horizontal direction of the writing collides with a vertical one. Fields of overwriting emerge that form dark shapes on the paper. It is noticeable that the edge of the paper is respected. The format determines what the end of showing will be. At issue are not just gestures of expression, but also the very concrete conditions of their realization. When Katja Pu-dor draws by ear, questions like these arise: What is the sound, the rhythm like? What happens out of the inner understanding and retracing of what has been heard? How does the movement over the paper feel, the pressure and counter-pressure of the material, from different positions? But also: What will be seen? The stance she assumes when drawing often keeps her from check-ing by looking at what she is drawing. Visual control has to do with distance, with wanting to stay on top of things. Seeing as a rational sense was privileged by modernity. One confronts the world, rather than feeling part of it. Desisting from seeing is an attempt to gain a different closeness to the independence of things and processes. […]
Through the space of listening, perception, and bodies, something shifts vis-à-vis thought based on writing. For the same reason, the drawings based on Beethoven’s sonatas seem hybrids be-tween drawing and perceptual writing.“
Artist bio:
Katja Pudor born in Berlin, lives and works in Berlin. She studied painting / fine arts at the weißensee kunsthochschule berlin with Katharina Grosse and finished her studies as a master student in 2005.
2021 Kunstfonds Bonn
2016 residency scholarship Schloss Wiepersdorf
2009 working scholarship visul arts, Berliner Senatsverwal- tung für Kultur und Europa
2008 Goldrausch project for women artists art IT
appARition © Maja Rohwetter 2022
Visuals and concept: Maja Rohwetter
Sound: Tuomo Väänänen/ app development: Artvisity
Realized with support from AURORA school for ARtists
In my work I use digital technologies like AR to stimulate a contemplative engagement with our-selves and our visual experiences. I want to question our perception and appropriation of the world. How does reality change when perceived through a display? What happens between these worlds? Digital images such as vector graphics and 3-D models have become an equal part of our visual vocabulary. Working with media transfers means transferring concepts of representation. What does a visual frame of reference look like for us as individuals living with, in, and between different realities?
Artist bio:
Maja Rohwetter (*1970) studied fine arts at the UDK Berlin and the Royal College of Arts, Stock-holm. Her cross medial artistic research between painting, collage and 3D modeling focusses on a visual language that includes visual experiences from both virtuality and reality.
She has been a guest lecturer at the HS Wismar and the Arctic University Tromsö and recently received a grant from the German Federal Ministry of Culture and Media. She has lived in Berlin since 1995.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, delights and at times is uncomfortable. In addition to his photographic works, there is a diverse cinematic oeuvre that includes feature films, documentaries, short films and video installations. Unafraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform dropping knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and POEM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and visionarily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society.
For his new project Studio Plastic, Ralf Schmerberg has recently entered the field of sculpture with found plastic formations. The bizarre forms are created when plastic drips out of machines and solidifies. Sometimes he simply leaves them as they are – objets trouvées of the plastic era – sometimes he heats them up again and assembles them into figures, which are subsequently ar-ranged into grotesque family constellations and fantastic landscapes. Trash art that reflects the pressing environmental issues of our time with psychological depth and subtle humour.
Artist bio:
Ralf Schmerberg's (born 1965) unconventional way of seeing and understanding the world has made him one of the most productive visual artists of our time.
His works reveal unexpected portraits of the zeitgeist and poignant excerpts from everyday life. With a very personal and open gaze, Schmerberg captures the world around him - recognizing the sublime in the ordinary - and presents the viewer with a raw, honest reality that captivates, de-lights and at times is uncomfortable. In addition to his photographic works, there is a diverse cin-ematic oeuvre that includes feature films, documentaries, short films and video installations. Un-afraid of the new, Schmerberg continually explores unknown media, from large-scale installations to modern events.
Much of Schmerberg's work is driven by a strong interest in social action and exchange, with the aim of generating contemporary interventions in the social sphere. The online platform Dropping Knowledge and projects such as THE TABLE OF FREE VOICES or films such as PROBLEMA and PO-EM open up opportunities for a broad discourse and lasting reflection.
In 2020, Ralf Schmerberg founded MaHalla GmbH & Co. KG, which unfolds artistically and vision-arily in one of the old historic turbine halls of the AEG building in Oberschöneweide, Berlin. A 9000m2 gathering space/refuge will be created focusing on the five pillars of contemporary art, innovative music, spiritual experience, humane science and social society
„Selbstdarstellung und Inszenierung nehmen einen wichtigen Platz in meiner Malereipraxis ein. In gemalten Selbstportraits inszeniere ich mich theatralisch und überlagere autobiografische Ele-mente mit historischen Referenzen. Dabei nehme ich pseudoheroische Personae an. Mal erschei-ne ich in Christian Schads transparentem Negligé von 1927, mal mit blondierten Löckchen als ju-gendlicher Justin Timberlake. Der Blick auf mich selbst ist ein entfremdeter. Neugierig erfasse ich die Eigenheiten meiner Physiognomie, wie Oberlippenbehaarung oder abstehende Ohren.“
Artist bio:
Babette Semmer, born in London in 1989, studied painting in London and Frankfurt and has received various prizes and scholarships. Exhibitions in Great Britain and Germany, scholarship holder of the Goldrausch artist project, Berlin. She lives and works in Berlin.
„The Assisted Painting Series was produced during the two years that the German artist Bettina Semmer was an MA student at Goldsmiths College in London. The title arises from a method of production in which the artist shared the space of the canvas with her daugh- ter Babette whose contributions to the process began when she was one and a half years old and ended when she turned three. […] It seemed to me that The Assisted Paintings offered a theoretical way forward for female painters trapped in the immobilising significance of the gesture as a culturally loaded (and gendered) term. What is more, the fact that the paintings were produced by a mother and daughter rendered them visual representations of that relationship with the potential to be seen, understood and theorised in ways that exceed the static configurations of that relationship pro-duced by the discourses of patriarchy. […]
Another point to the story concerns the question of authorship. How are we meant to view paint-ings that are made in collaboration with a child? Such a practice undermines a whole set of ideo-logical beliefs and financial exchanges that govern the western art market. Despite the feminist insistence on crediting the collaborative role of women artists such as Jeannne- Claude or Coosje Van Bruggen in their partner’s projects, there is still resistance to full and proper attribution. What are we to make of a female artist, already operating from a marginalised position by virtue of her sex, openly acknowledging her daughter’s contribution to the work? Such a double insist-ence ensures relegation to the outer margins because it exposes the notions of authorship and artistic agency that prop up economic value. […]”
Artist bio:
Bettina Elisabeth Semmer, born in Düsseldorf, became known in the 1980s with international exhibitions, films and public interventions. Her studies with Polke and Richter, in the film class in Hamburg and at Goldsmiths University in London contributed to the fact that her work became a complex reflection on her respective medium. Her recent activities include murals and workshops in the Western Sahara refugee camps near Tindouf, Algeria, participatory works and interventions in the city of Potsdam (The Good Life 2015, Pleasure Ground – medicinal plants in collaboration with the Syrian pharmacist Nadjat Rusdom 2016) and the Exhibition "Cosmic Online" in the project space Museum Teufelsberg, Berlin. Exhibitions such as "The 80s - Figurative Painting in Germany" in the Städel Museum in Frankfurt and Neue Wilde in the Groninger Museum in Holland led to acquisitions by the museums. In addition to her artistic practice, Semmer worked for 14 years as a teacher at secondary schools in Berlin, as well as seven years as CvD and editor-in-chief for magazines in London and Baden-Baden. Witch hunts and matriarchy, urine recycling and medicinal plants are her hobbies. As a yoga teacher and creativity trainer, she has been giving workshops since 2010. Most recently, she studied environmental ethics at the Humboldt University in Berlin.
„The Assisted Painting Series was produced during the two years that the German artist Bettina Semmer was an MA student at Goldsmiths College in London. The title arises from a method of production in which the artist shared the space of the canvas with her daugh- ter Babette whose contributions to the process began when she was one and a half years old and ended when she turned three. […] It seemed to me that The Assisted Paintings offered a theoretical way forward for female painters trapped in the immobilising significance of the gesture as a culturally loaded (and gendered) term. What is more, the fact that the paintings were produced by a mother and daughter rendered them visual representations of that relationship with the potential to be seen, understood and theorised in ways that exceed the static configurations of that relationship pro-duced by the discourses of patriarchy. […]
Another point to the story concerns the question of authorship. How are we meant to view paint-ings that are made in collaboration with a child? Such a practice undermines a whole set of ideo-logical beliefs and financial exchanges that govern the western art market. Despite the feminist insistence on crediting the collaborative role of women artists such as Jeannne- Claude or Coosje Van Bruggen in their partner’s projects, there is still resistance to full and proper attribution. What are we to make of a female artist, already operating from a marginalised position by virtue of her sex, openly acknowledging her daughter’s contribution to the work? Such a double insist-ence ensures relegation to the outer margins because it exposes the notions of authorship and artistic agency that prop up economic value. […]”
Quelle: http://bettinasemmer.de/assisted-painting-series/
Artist bio:
Bettina Elisabeth Semmer, born in Düsseldorf, became known in the 1980s with international exhibitions, films and public interventions. Her studies with Polke and Richter, in the film class in Hamburg and at Goldsmiths University in London contributed to the fact that her work became a complex reflection on her respective medium. Her recent activities include murals and workshops in the Western Sahara refugee camps near Tindouf, Algeria, participatory works and interventions in the city of Potsdam (The Good Life 2015, Pleasure Ground – medicinal plants in collaboration with the Syrian pharmacist Nadjat Rusdom 2016) and the Exhibition "Cosmic Online" in the project space Museum Teufelsberg, Berlin. Exhibitions such as "The 80s - Figurative Painting in Germany" in the Städel Museum in Frankfurt and Neue Wilde in the Groninger Museum in Holland led to acquisitions by the museums. In addition to her artistic practice, Semmer worked for 14 years as a teacher at secondary schools in Berlin, as well as seven years as CvD and editor-in-chief for magazines in London and Baden-Baden. Witch hunts and matriarchy, urine recycling and medicinal plants are her hobbies. As a yoga teacher and creativity trainer, she has been giving workshops since 2010. Most recently, she studied environmental ethics at the Humboldt University in Berlin.
Many biological species have arisen on Earth throughout billions of years in evolutionary process-es. As a result, there are many species on the planet. We humans live as one of these species. We are all connected to each other in a symbiotic relationship and live supporting each other.
Artist bio:
Tomomi Senda is a Japanese artist who works in sculpture and installation art. She is also active in web design, graphic design, and food design. Her work is based on conceptual art and shows some attributes of trash art, minimalism.
Many biological species have arisen on Earth throughout billions of years in evolutionary process-es. As a result, there are many species on the planet. We humans live as one of these species. We are all connected to each other in a symbiotic relationship and live supporting each other.
The Womb is an immersive Art Space, referring to the source of life, an intimate capsule, created as an ode to fertility. The womb is our origin, the place where we all came from, the place where we are in peace with existence and ourselves. The womb is a safe space, a shelter for joy, reflec-tion, calming down and re-connection with our ancestors.
Consisting of 6 single tapestry pieces, made of mixed textile – mohair, merino, cashmere and vir-gin wool, cotton, linen, lurex, viscose, polyester it can also be disassembled and adapted for mul-tiple purposes.
Artist bio:
The other gods is an funky project by berlin based designers and textile artists Lena Voutta and Thoas Lindner.
They create dream like wearable art, masks and interiour.
With an overdose of colours, shapes and materials you are beamed into the fairy land where the rainbow ends.
Both Artists have many years of experience in fashion design and contemporary art, with The Other Gods they created themselves a playground for costumes and objects that doesnt focus on wearability or salability.
Inspiration comes from travels, nature, family and the so called Weltenseele (world soul).
Lena and Thoas are part of the art&costume department of Berlin´s Art&Music Community @musicashram and Residents in @MahallaBerlin
Since two years the creative power couple is having a little cabin in the woods, south of Berlin, a city escape to clear the mind and connect with nature.
It is an never finished artspace and the place where The Other Gods are created.
6 Labortische, Spinett, prepariertes Radio, präparierte Bücher, Labormaterial (Kol-ben/Kühler/Scheidetrichter/Stativmaterial/Pumpen/etc.) div. Kräuter, lebendige Pflanzen, Skultpuren, Tafelbildzeichnungen, etc.)
Artist bio:
Right from the start, Bernhard Vierling's artistic research revolved around the depiction and development of inner and collective processes: in drawing, notation, sculpture, performance, cartography or systemic art action and has evolved from participatory-performative art projects to installative, alchemical experimental arrangements, as well as neo-scientific lecture performances. The series of essence devices form a synthesis of these lines of investigation. They open up a complex space of experience that incorporates different schools of thought and experimentation – including radical constructivism, pragmatism, resorting to alchemy – and allows a third to emerge.
Artist bio:
Right from the start, Bernhard Vierling's artistic research revolved around the depiction and development of inner and collective processes: in drawing, notation, sculpture, performance, cartography or systemic art action and has evolved from participatory-performative art projects to installative, alchemical experimental arrangements, as well as neo-scientific lecture performances. The series of essence devices form a synthesis of these lines of investigation. They open up a complex space of experience that incorporates different schools of thought and experimentation – including radical constructivism, pragmatism, resorting to alchemy – and allows a third to emerge.
Artist bio:
Right from the start, Bernhard Vierling's artistic research revolved around the depiction and development of inner and collective processes: in drawing, notation, sculpture, performance, cartography or systemic art action and has evolved from participatory-performative art projects to installative, alchemical experimental arrangements, as well as neo-scientific lecture performances. The series of essence devices form a synthesis of these lines of investigation. They open up a complex space of experience that incorporates different schools of thought and experimentation – including radical constructivism, pragmatism, resorting to alchemy – and allows a third to emerge.
In the visual arts circles stand for the sun or the moon. They are halos and wheels of fortune, rings, the earth, compasses or even serpents feeding on their own tail. Circles represent infinity, unity, mobility, repetition and completion. And yet, rather than any of the above, Saskia Wendland’s layered circular repetitions are exercises in perfecting a form, growing into one whole, vibrant, red and round shape.
Saskia Wendland draws her circles over an extended time-span of several months, in which they develop into a final shape. They are products of a disciplined, ritualized process. She stands every morning and evening in close proximity to a large paper pinned to the wall and draws one single circle, measuring the full length of her arm. The size of the paper corresponds to her body height. Her whole body engages in the movement. The repetition of this commitment to the same form forces her to start as well as conclude the day as an artist, practicing the difficult task of drawing a simple circle. The way the circles come into being is dependent on her ability to repeat a simi-lar, uninhibited movement time and again. This action personalizes their shape in accordance with Wendland’s gesture. Her persona becomes inseparable from the form she creates and in this way her artistic practice translates into the artwork itself.
Wendland can therefore be described as a practitioner of art. An important aspect of her work is the conscious administration of time. While drawing the circle is a relatively short, concentrated effort, the work demands continuous attention over a long period of time concluding only when the form appears to be complete, neither perfect nor immaculate, but a radiating witness to her artistic practice [...]. (Shelly Harten)
Artist bio:
Saskia Wendland studied visual communication at the Berlin University of the Arts. Following this, she studied Japanese calligraphy in Kyoto for two years. This was an important experience that had a significant impact on her subsequent artistic work. Wendland has received various grants and fellowships. Her work has been shown in numerous solo and group exhibitions nationally and internationally, including at the Liu Haisu Art Museum, Shanghai; Deutscher Künstlerbund, Berlin; Annet Gelink Gallery, Amsterdam; Galerie Vincenz Sala, Berlin; and the Kunstraum Kreuzberg, Berlin.
Bei Toni Wirthmüllers Installationen bilden zunächst gebrauchte Kleider die Ausgangsbasis. Ein Material, dessen Körperbezug und zugleich seine Stofflichkeit, Muster und Qualität über beson-ders assoziative Kraft verfügt. Die textilen Hüllen machen verborgene Spuren gelebten Lebens und intime Verfasstheiten sichtbar. Ihn interessiert der benutzte Charakter dieser Kleidung, die zu ei-ner zweiten Haut wird – als Schutz oder auch als modische Selbstdarstellung, aber immer ver-knüpft mit der Geschichte derer, die sie einmal getragen haben. Sie symbolisert die Spannung zwischen Innen und Außen, zwischen Privatem und Öffentlichem, Verhüllen und Offenbaren. Und ist auch Zeichen dessen, was sich im Inneren verbirgt, was nicht nach außen dringt – seelische Verletzungen, Ängste, Widersprüche, aber auch taktile Freuden, Erotik, Phantasiewelten.
Durch Zerschneiden, Zusammennähen, Schichtungen und den Farbauftrag wird die Stofflichkeit aus ihrem alten Kontext herausgelöst, wobei auch andere Materialien wie Papier, Pappe, Holz o-der Plastikteile zum Einsatz kommen. Hierbei vollzieht der Künstler durch die Methode der Frag-mentierung, Montage und Überlagerung mit fotografischen Zitaten einen dekonstruierenden An-eignungsprozess. Haptik und Physis der reliefartigen Oberflächentextur treffen auf bildliche, digi-tale Surrogate von Körperlichkeit, Obsessionen und deren Inszenierung, wodurch eine wirkmächti-ge Suggestivkraft evoziert werden soll.
Wirthmüller möchte Assoziationsräume öffnen, die eine Atmosphäre der Erinnerung und persönli-cher Berührung schaffen. Die einzelnen Objekte sind jeweils Fragmente einer Komposition, die einladen sollen, die eigene Biografie zu beleuchten – vor dem Hintergrund der Vergänglichkeit.
Wandgroße Assemblagen realisiert er bereits seit den 1990er Jahren, sie werden je nach Raum und inhaltlichen Schwerpunkten ausgerichtet. Die Installationen sind in einen permanenten Pro-zess eingebunden, so nimmt der Künstler immer auch Versatzstücke von einem Werk und baut sie in das nächste ein. Diese Werkreihe entwickelt sich damit in serieller Weise immer weiter fort als Work in Progress.
Artist bio:
Toni Wirthmüller, born in Munich in 1960, studied fine arts at the HdK Berlin, numerous scholarships and awards as well as international exhibitions; Lecturer at universities and academies, lives and works in Berlin.
CALL FOR CO-NON-CREATION!
This will be a collaboration with several Non-performers. We schedule 4h sessions, We take turns, always one person being in the space for 4 hours - doing nothing. However you want to do it. Standing, sitting or lying is possible, eyes open or closed but no sleeping. Moving a bit is ok to change position. Please no dancing, yoga, sleeping, reading, singing, jumping, smiling, greeting, speaking - anything that is obvious additional “doing” next to simple bodily needs. No dogmas, no techniques, as natural as possible. I assume the comfort zone will be reached after one to two hours, then it gets interesting, when inner resistance will be met with - nothing. Maybe we exper-iment also being two or more people in the space.
Artist bio:
Tina Zimmermann is a conceptual artist from Berlin and Mahalla resident artist, working on the intersections of humanity and technology, nature and civilization. She produces installations, often site-specific, sculptures and video art. By recontextualizing and recomposing the collective debris of our consumer society as well as the naturally growing and dying biomass of the organic life cy-cles, she celebrates nature's infinite creativity and asks questions about beauty, necessity and sanity in the age of the Antropozen. In her recent work she is moving into perfomative subjects challenging and questioning the need and justification for artistic practice in itself. A conceptual piece of non-performing arts
Das Video The impossibility of getting the reflex under control ist Teil des künstlerischen Rechercheprojekts MOVEMENT OF EMOTIONS, das die Brennweite nicht auf die neuronalen Erregungsübertragungen einstellt, sondern auf die tatsächlichen Bewegungen/Erregungen unserer Körper im Realraum, die den physiologischen und biochemischen Prozessen unseres Nervensystems entspringen und folgen, wenn wir uns physisch mitteilen und auf Bewegungen anderer reagieren. Muskeln und Organe entspannen oder erhöhen ihren muskulären Tonus und Drüsen senden Signalstoffe in den Körper, sodass innere Prozesse über Bewegungen und Gesten extrovertiert werden und sich der Umwelt mitteilen.
Artist bio:
Vibrafon / Komposition - Morten J. Olsen
Stimmen - Sophia New und Daniel Belasco Rogers
Berührung und Bewegungen des menschlichen Körpers und deren biografischen und kollektiven Resonanzen, lassen sich über Generationen nachzeichnen. Körper sind Territorien, wo sich Beziehungen der Macht und der Unterdrückung manifestieren und wo diese verhandelt werden. Die Verletzung der Unversehrtheit ist die Grundlage aller Er- und Entmächtigung. Körperliche, emotionale und geistige Traumata verändern nicht nur die Person selbst, sondern verändern den kollektiven Körper jeder Familie und Gemeinschaft.
Artist bio:
Das Internet-Phänomen Technoviking
Das ca. vierminütige Video wurde vom Künstler Matthias Fritsch 2006 auf YouTube unter dem Titel Kneecam No.1 veröffentlicht.[1][2]
Es zeigt mehrere auf der Parade tanzende Personen, darunter eine junge Frau mit hellblauer Perücke. Diese wird von einem jungen Mann angestoßen, der durch die Gruppe der Tanzenden läuft. Daraufhin tritt ein muskulöser Mann mit freiem Oberkörper, der lediglich in einer kurzen Hose und Stiefeln bekleidet ist, ins Bild. Er weist den Rempler scharf zurecht und schickt ihn weg. Kurz danach setzt sich die Gruppe zur Musik in Bewegung und tanzt dann auf der Straße. Ein weiterer Mann tritt ins Bild und reicht dem Tänzer eine Flasche Wasser, aus der dieser trinkt und anschließend zur Hintergrundmusik von Can-D-Music und Winstan vs Noia[1]weitertanzt. Die Aufnahme entstand im Berliner Ortsteil Mitte in der Rosenthaler Straße Bereich Kreuzung Gipsstraße/Weinmeisterstraße.
Das Video wurde schnell in kleineren Foren und auf Videowebseiten verlinkt. Im Jahr 2007 wurde es auf der Website break.com präsentiert, wodurch das Video unter dem neuen Namen „Techno Viking“ innerhalb von 6 Monaten mehr als 10 Millionen Aufrufe erreichte. Es entwickelte sich dann zu einem populären viralen Video und erreichte Stand 2013 über 40 Millionen Aufrufe und über 3000 Videoantworten, darunter zahlreiche Parodien und Mashups des Originalclips.
Fritsch recherchierte später hunderte von Videoantworten sowie Bilder, E-Mails, Forendiskussionen und Blogbeiträge, die er in einem 8 Gigabyte großen Archiv sammelte.[1] Er publizierte selektierte Beiträge daraus in Form einer Installation.[1] Fritsch präsentierte die Ergebnisse seiner Recherche auch auf Festivals und Konferenzen. Im Jahr 2015 veröffentlichte Fritsch eine Video-Dokumentation zur Geschichte des Techno Viking ("The Story of Techno Viking"), in dem die Entstehung von Memes als Internetphänomen am Beispiel des Techno Viking dargestellt und auch die rechtlichen Perspektiven und der Umgang mit Copyright- und Persönlichkeitsrechten in Internet-Zeitalter thematisiert werden
Artist bio:
Hi, I am Matthias Fritsch and work as a film maker and visual artist. I guess I am most known as the originator of the Technoviking video. Besides creating moving images I also organize cultural events, teach workshops and publish a newsletter. This website documents a wide variety of my art.
For the last years I am researching a lot about circles of matter and biological processes. Since 2020, I have been investing much of my work in building a large forest garden near Berlin. Besides this I experiment with every days practices which I hope can work for everybody. My goal is to find a lifestyle that decreases the individual environmental impact. Also I want to find a way to keep nutrients in cities. Since most people all over the world live in cities, why not start building up fertile soil in urban areas, grow more food in cities and shorten the transport?!
Artist bio:
Stephanie Bothor worked as an actor in film for two decades. Since 2004, she has specialized in performing research. Looking for characters, stepping into them for at least a year and integrating them into her everyday life, the intent being to delve between the lines of contemporary issues in order to deconstruct what is taken for granted. Bothor describes everything sensually received in words, images and installations. She has already completed three studies and is currently working on her fourth.
LIKE EVERYTHING IN LIFE
WE EXIST WITH A CERTAINTY CALLED BALANCE JUST LIKE DEATH AND BIRTH. WE NEED TO RECONNECT TO BE ABLE TO CONNECT AGAIN IN A DIFFERENT WAY. MAYBE A NEW CHANCE OF SEEING THINGS. I GUESS ITS ALSO UP TO EVERY INDIVIDUAL. IN MY OPINION WE HAD THE CHANCE TO RECONNECT WITH THE PANDAMIC . EVERYBODY WENT INTO CAVE MOOD. ALSO ALOT INSIDE THEMSELVES. NOW ITS TIME TO CONNECT THE DOTS DIFFERENTLY IN TERMS OF BEING HUMAN AND BEING AWARE OF EACH OTHER AND OF THIS MOTHER.
Artist bio:
As a wandering soul Selassie has an adolescent curiosity for expression who looks towards being honest to himself; exploring his environment and emotions through art, dance and music. Born and raised in Ghana his destination as for now is Germany where he moved to at the age of 15. Selassie is capturing realities and explaining them first and foremost to himself as well as sharing his lens to others. Different realities are intertwined and woven together into his art and into the creation of harmonies and ideas! His work puts colours on the deep paths of life!
Artist bio:
As a wandering soul Selassie has an adolescent curiosity for expression who looks towards being honest to himself; exploring his environment and emotions through art, dance and music. Born and raised in Ghana his destination as for now is Germany where he moved to at the age of 15. Selassie is capturing realities and explaining them first and foremost to himself as well as sharing his lens to others. Different realities are intertwined and woven together into his art and into the creation of harmonies and ideas! His work puts colours on the deep paths of life!
LIKE EVERYTHING IN LIFE
WE EXIST WITH A CERTAINTY CALLED BALANCE JUST LIKE DEATH AND BIRTH. WE NEED TO RECONNECT TO BE ABLE TO CONNECT AGAIN IN A DIFFERENT WAY. MAYBE A NEW CHANCE OF SEEING THINGS. I GUESS ITS ALSO UP TO EVERY INDIVIDUAL. IN MY OPINION WE HAD THE CHANCE TO RECONNECT WITH THE PANDAMIC . EVERYBODY WENT INTO CAVE MOOD. ALSO ALOT INSIDE THEMSELVES. NOW ITS TIME TO CONNECT THE DOTS DIFFERENTLY IN TERMS OF BEING HUMAN AND BEING AWARE OF EACH OTHER AND OF THIS MOTHER.
Artist bio:
As a wandering soul Selassie has an adolescent curiosity for expression who looks towards being honest to himself; exploring his environment and emotions through art, dance and music. Born and raised in Ghana his destination as for now is Germany where he moved to at the age of 15. Selassie is capturing realities and explaining them first and foremost to himself as well as sharing his lens to others. Different realities are intertwined and woven together into his art and into the creation of harmonies and ideas! His work puts colours on the deep paths of life!
LIKE EVERYTHING IN LIFE
WE EXIST WITH A CERTAINTY CALLED BALANCE JUST LIKE DEATH AND BIRTH. WE NEED TO RECONNECT TO BE ABLE TO CONNECT AGAIN IN A DIFFERENT WAY. MAYBE A NEW CHANCE OF SEEING THINGS. I GUESS ITS ALSO UP TO EVERY INDIVIDUAL. IN MY OPINION WE HAD THE CHANCE TO RECONNECT WITH THE PANDAMIC . EVERYBODY WENT INTO CAVE MOOD. ALSO ALOT INSIDE THEMSELVES. NOW ITS TIME TO CONNECT THE DOTS DIFFERENTLY IN TERMS OF BEING HUMAN AND BEING AWARE OF EACH OTHER AND OF THIS MOTHER.
Artist bio:
As a wandering soul Selassie has an adolescent curiosity for expression who looks towards being honest to himself; exploring his environment and emotions through art, dance and music. Born and raised in Ghana his destination as for now is Germany where he moved to at the age of 15. Selassie is capturing realities and explaining them first and foremost to himself as well as sharing his lens to others. Different realities are intertwined and woven together into his art and into the creation of harmonies and ideas! His work puts colours on the deep paths of life!
LIKE EVERYTHING IN LIFE
WE EXIST WITH A CERTAINTY CALLED BALANCE JUST LIKE DEATH AND BIRTH. WE NEED TO RECONNECT TO BE ABLE TO CONNECT AGAIN IN A DIFFERENT WAY. MAYBE A NEW CHANCE OF SEEING THINGS. I GUESS ITS ALSO UP TO EVERY INDIVIDUAL. IN MY OPINION WE HAD THE CHANCE TO RECONNECT WITH THE PANDAMIC . EVERYBODY WENT INTO CAVE MOOD. ALSO ALOT INSIDE THEMSELVES. NOW ITS TIME TO CONNECT THE DOTS DIFFERENTLY IN TERMS OF BEING HUMAN AND BEING AWARE OF EACH OTHER AND OF THIS MOTHER.
Artist bio:
As a wandering soul Selassie has an adolescent curiosity for expression who looks towards being honest to himself; exploring his environment and emotions through art, dance and music. Born and raised in Ghana his destination as for now is Germany where he moved to at the age of 15. Selassie is capturing realities and explaining them first and foremost to himself as well as sharing his lens to others. Different realities are intertwined and woven together into his art and into the creation of harmonies and ideas! His work puts colours on the deep paths of life!
Artist bio:
The other gods is an funky project by berlin based designers and textile artists Lena Voutta and Thoas Lindner.
They create dream like wearable art, masks and interiour.
With an overdose of colours, shapes and materials you are beamed into the fairy land where the rainbow ends.
Both Artists have many years of experience in fashion design and contemporary art, with The Other Gods they created themselves a playground for costumes and objects that doesnt focus on wearability or salability.
Inspiration comes from travels, nature, family and the so called Weltenseele (world soul).
Lena and Thoas are part of the art&costume department of Berlin´s Art&Music Community @musicashram and Residents in @MahallaBerlin
Since two years the creative power couple is having a little cabin in the woods, south of Berlin, a city escape to clear the mind and connect with nature.
It is an never finished artspace and the place where The Other Gods are created.
Palina Ringe, Berlin Monroe series
Waiting for an end of the pandemic,
waiting in the line to be selected,
waiting for something what may not even happen.
What if all the expectations are for nothing?
What if at the end of the line you will get rejected?
And what if no one will ever recognize you, your talent, your effort? Are we actually able to see a masterpiece when it’s in front of us?
Artist bio:
Berlin based contemporary painter has Russian, German and Ukrainian roots.
Palina ringe did a degree in Illustration at the University of Applied Sciences Hamburg in 2009 after she finished an academic painting school in Russia 1998.
from the series „The Truth, I Saw Them“
„Als ich von Roswell hörte, beschloss ich selbst vor Ort auf die Suche nach außerirdischer Existenz zu gehen. Am 21.05.2018 kam ich in Roswell an und schon am nächsten Morgen sah ich das UFO. Ich wollte die Außerirdischen persönlich treffen. Vier Wochen lang fuhr ich quer durch New Mexico, Texas und Nevada. Am 28.05.2018, ich war in White Sands unterwegs, sah ich es! Eindeutig ein extraterrestrisches Wesen! Seltsamerweise verspürte ich keine Angst, nur unbändige Freude, Neugier und folgte meinen fotografischen Jagdinstinkt. Das Alien kam direkt auf mich zu. Es hielt die amerikanische Flagge in der rechten Hand. Unsere Begrüßung war freundlich, fast vertraut. Das Wesen gab sich als Journalist der Alien Daily-zu erkennen und lud mich in sein Office in das Raumschiff ein. Der Außerirdische erzählte mir von seiner Mission die Flagge vom Mond auf die Erde zurückzubringen. Dann erklärte er mir, dass das Projekt Ferienziele auf der Erde und Begegnungen mit Erdlingen eingestellt wurde. Mein Blick fiel auf die Schlagzeile der aktuellen Alien Daily auf dem Schreibtisch -Planet Earth is no longer a travel destination-. Der Journalist bot mir an, seiner Reiseroute In den nächsten Tagen zu folgen. Als Abschiedsgeschenk überreichte er mir einen silbernen Anzug, Stiefel und acht Tarnmasken. Es sind einzigartige Beweisstücke dafür, dass es Dinge gibt, die sich wissenschaftlich nicht erklären lassen.“
Ein Fotoprojekt von Edith Held “THE TRUTH” I saw them
Der Roswell Zwischenfall
Am 8. Juli 1947 titelte die Roswell Daily Record mit der Schlagzeile: „RAAF Captures Flying Saucer On Ranch in Roswell Region.“ Auf dem Gelände der Forster Ranch, 120 km nordwestlich von Roswell / New Mexico hatte der Ranger W.W. Mac Brazel rätselhafte Trümmerteile gefunden. Er benachrichtigte umgehend das Chavez County Sheriff Office. Major Jesse Marcel, im Dienst der US Army in Roswell, wurde mit der Sichtung der Trümmer auf der Ranch beauftragt. Unmittelbar danach ging die Nachricht um die Welt, bei den gefundenen Teilen handele es sich um Trümmer eines unbekannten Flugobjektes. Nur wenige Stunden später dementierte das Pressebüro der US Army in Fort Worth die Meldung mit der Erklärung, die gefundenen Trümmer seien Reste des Radar Reflektors eines abgestürzten Wetterballons der US Airforce. Der Vorfall von Roswell wurde von der Regierung zu einem Geheimprojekt erklärt. Confidential! Zeugen wurden mundtot gemacht, Erklärungen gefälscht, Fundstücke ausgetauscht oder manipuliert. Auch nach über 70 Jahren ist der Ufoabsturz von Roswell ein lebendiger Mythos und seit Mai 2018 aktueller denn je. Im vergangenen Jahr reiste die Berliner Fotografin Edith Held durch den Süden der USA. Nahe der Area 51 sah sie unbekannte Flugobjekte und Wesen, die unmöglich von der Erde stammen konnten. Am 18. April 2019 bekräftigte sie in einem Interview mit der Roswell Dailey Record „It is the truth. I saw them!”Die Beweise sind erdrückend!
Artist bio:
Her ideas develop out of the moment and thus shape her photographs:
Equipped with soul, sensitivity and presence, Edith Held brings us closer to life and people. Humor is the key with which she opens up a world that we would otherwise not be able to see. Really different than in reality. Woven into the visual are atmospheres that point beyond the perceptible. Often surprising, because opposites become clear: the tragic has its comedy, in seriousness there is also lightness. Every staging reflects truthfulness and yet the very last secret is kept. The unknown as an answer that leads to the next questions. They are therefore images that do not remain in a monologue, but that want to speak to us and tell stories that resonate for a long time.
Edith Held lives and works in Berlin.
Sylvie Sophie Schindler
from the series „The Truth, I Saw Them“
„Als ich von Roswell hörte, beschloss ich selbst vor Ort auf die Suche nach außerirdischer Existenz zu gehen. Am 21.05.2018 kam ich in Roswell an und schon am nächsten Morgen sah ich das UFO. Ich wollte die Außerirdischen persönlich treffen. Vier Wochen lang fuhr ich quer durch New Mexico, Texas und Nevada. Am 28.05.2018, ich war in White Sands unterwegs, sah ich es! Eindeutig ein extraterrestrisches Wesen! Seltsamerweise verspürte ich keine Angst, nur unbändige Freude, Neugier und folgte meinen fotografischen Jagdinstinkt. Das Alien kam direkt auf mich zu. Es hielt die amerikanische Flagge in der rechten Hand. Unsere Begrüßung war freundlich, fast vertraut. Das Wesen gab sich als Journalist der Alien Daily-zu erkennen und lud mich in sein Office in das Raumschiff ein. Der Außerirdische erzählte mir von seiner Mission die Flagge vom Mond auf die Erde zurückzubringen. Dann erklärte er mir, dass das Projekt Ferienziele auf der Erde und Begegnungen mit Erdlingen eingestellt wurde. Mein Blick fiel auf die Schlagzeile der aktuellen Alien Daily auf dem Schreibtisch -Planet Earth is no longer a travel destination-. Der Journalist bot mir an, seiner Reiseroute In den nächsten Tagen zu folgen. Als Abschiedsgeschenk überreichte er mir einen silbernen Anzug, Stiefel und acht Tarnmasken. Es sind einzigartige Beweisstücke dafür, dass es Dinge gibt, die sich wissenschaftlich nicht erklären lassen.“
Ein Fotoprojekt von Edith Held “THE TRUTH” I saw them
Der Roswell Zwischenfall
Am 8. Juli 1947 titelte die Roswell Daily Record mit der Schlagzeile: „RAAF Captures Flying Saucer On Ranch in Roswell Region.“ Auf dem Gelände der Forster Ranch, 120 km nordwestlich von Roswell / New Mexico hatte der Ranger W.W. Mac Brazel rätselhafte Trümmerteile gefunden. Er benachrichtigte umgehend das Chavez County Sheriff Office. Major Jesse Marcel, im Dienst der US Army in Roswell, wurde mit der Sichtung der Trümmer auf der Ranch beauftragt. Unmittelbar danach ging die Nachricht um die Welt, bei den gefundenen Teilen handele es sich um Trümmer eines unbekannten Flugobjektes. Nur wenige Stunden später dementierte das Pressebüro der US Army in Fort Worth die Meldung mit der Erklärung, die gefundenen Trümmer seien Reste des Radar Reflektors eines abgestürzten Wetterballons der US Airforce. Der Vorfall von Roswell wurde von der Regierung zu einem Geheimprojekt erklärt. Confidential! Zeugen wurden mundtot gemacht, Erklärungen gefälscht, Fundstücke ausgetauscht oder manipuliert. Auch nach über 70 Jahren ist der Ufoabsturz von Roswell ein lebendiger Mythos und seit Mai 2018 aktueller denn je. Im vergangenen Jahr reiste die Berliner Fotografin Edith Held durch den Süden der USA. Nahe der Area 51 sah sie unbekannte Flugobjekte und Wesen, die unmöglich von der Erde stammen konnten. Am 18. April 2019 bekräftigte sie in einem Interview mit der Roswell Dailey Record „It is the truth. I saw them!”Die Beweise sind erdrückend!
Artist bio:
Her ideas develop out of the moment and thus shape her photographs:
Equipped with soul, sensitivity and presence, Edith Held brings us closer to life and people. Humor is the key with which she opens up a world that we would otherwise not be able to see. Really different than in reality. Woven into the visual are atmospheres that point beyond the perceptible. Often surprising, because opposites become clear: the tragic has its comedy, in seriousness there is also lightness. Every staging reflects truthfulness and yet the very last secret is kept. The unknown as an answer that leads to the next questions. They are therefore images that do not remain in a monologue, but that want to speak to us and tell stories that resonate for a long time.
Edith Held lives and works in Berlin.
Sylvie Sophie Schindler
We are in a beautiful white forrest.
This angelic bird creature shows up and is in
complete awe of this dragon in the black pond.
She goes up to it in complete play and joy ,
touch and smells and plays with it.
Happy cheerful bell music is being played in
the background
Suddenly a giant shadow monster drops from the
ceiling down (made out of paper of cloth)
She bites the White Creature (she holds the
mouth and plays that shes being attacked)
Behold! The dragon has emerged in BERLIN
This ancient deity, is found in mayan culture
as Kukulkan and aztec as Quetzalcoatl,asian as
dragon..
In all these ancient old cultures, they are
known to embody a snake body and feathers
around its head.
Coincidence? Impossible..
They are known to be the god of creation and
destruction. REBIRTH!
Embrace your darkness to get the full spectrum
of your soul. Remember the old gods, remember
with the memory of your body and soul.
We can only get to know ourselves deeply, if
we do as much work in the light as in the
dark.
Spend time with your demons, your dragons.
And see by giving them attention, they will
become your friend. And show you a whole
spectrum of yourself you didn’t expect.
Setting:
abandoned electricity factory
We will build a white backgroud
And a giant pool with reflective
black water in it
In the pool there is a white
arch of a dragon
This is reflected in the
black water as a black dragon.
Together they form a portal
of light and darkness
Artist bio:
Born in Belgium and based in Hong Kong, artist and illustrator Cara To, also known as Caratoes, describes herself as a space designer who increases the beauty and serenity of a place with her artwork and a precise message. Travelling the world and painting, her artistic development led to several shows and commissions for international brands. Her works are featured as a part of the opening of URBAN NATION Museum in 2017.
Cara To was born in a small village near Gent, Belgium, lived in Amsterdam and worked as a 3D-artist and as a creative at an advertising agency following her graduation from university in Game Design. In 2011, she started painting in the streets of Amsterdam and some years later decided to re-discover her origins by moving to Hong Kong, where she became a full-time artist. Her artwork with a focus on graffiti and murals, spans many mediums and genres and combines tenuous, hypnotic line work with mind-blowing neon colours and characters of mesmerising quality.
Artist bio:
Amer Al Akel is a conceptual artist who was born in Damascus, Syria, in 1987.He lives and works in Berlin, Germany. He graduated from the faculty of Fine Arts, Damascus in 2010, and he studied at the École Nationale Supérieure des Beaux-Arts de Paris in 2019. He finished his master at Weißensee Kunsthochschule Berlin in 2021. His artwork has been shown in many exhibitions and festivals around the world.
Hybride Gestalten zwischen Tier, Pflanze und Mensch, wie z.B. der ägyptische Archetyp Horus, Faun/zwischen Ziege und Mensch, die Panfigur, als Behüter des Waldes, oder der Alraun sind seit Jahrtausenden die Vision der Verbundenheit mit der Natur. Im zeichnerischen Prozess habe ich den Eisvogelkopf mit den sinnlichen Darstellungen des Tänzers Vaclav Nijinskyi in Igor Strawinskis ‚Sacre du Printemps‘ verbunden.
Im Zentrum der Figur stehen der optimistische in den Himmel gerichtete Eisvogelkopf mit den sinnlichen Faungesten als tanzendes Sehnsuchtszeichen der Rückverbindung des Menschen mit allem Lebendigen.
Hybride aus Tier-Menschfiguren enthalten die tiefe Erkenntnis der Verbundenheit aller Wesen und verweisen auf die kontinuierliche Notwendigkeit der Transformation des Menschen in seiner Beziehung zur Natur.
Artist bio:
Right from the start, Bernhard Vierling's artistic research revolved around the depiction and development of inner and collective processes: in drawing, notation, sculpture, performance, cartography or systemic art action and has evolved from participatory-performative art projects to installative, alchemical experimental arrangements, as well as neo-scientific lecture performances. The series of essence devices form a synthesis of these lines of investigation. They open up a complex space of experience that incorporates different schools of thought and experimentation – including radical constructivism, pragmatism, resorting to alchemy – and allows a third to emerge.
All works are results of a performance by Sophus Ritto that took place at MaHalla on November 1st 2021.
Artist bio:
All works are results of a performance by Sophus Ritto that took place at MaHalla on November 1st 2021.
Artist bio:
All works are results of a performance by Sophus Ritto that took place at MaHalla on November 1st 2021.
Artist bio: