31.03.-15.04.2023 Why can't I hold all these projections?, Botineras/Wives and girlfriends, Solo Exhibition at Open Berlin
16.02.-11.03.2023 Why can't I hold all these projections?, Botineras/WAGs, Solo Exhibition at Futbolitis Gallery, Buenos Aires
29.06.-30.06. A5 Group Show at AS/EM
You will see an individual edition of A5 artworks by 128 different artists.
The exhibition is curated by Erik Swars
08.06.-18.06. Group Show at AS/EM
"Fakes, Fictions and Forensics", Group Show, 27.05.-29.05., Feldfünf
Fakes, Fictions, and Forensics | Ausstellung kuratiert von Anja Lückenkemper & Sandra Teitge
Der Begriff ‘gossip' erinnert an Hochglanzmagazine, an Schulhofdramen, an Kaffeeklatsch unter Nachbarinnen oder Müttern. Gossip hat einen schlechten Ruf; nicht umsonst bezeichnete George Harrison gossip als "the devil's radio". Aber gossip ist auch Aktivismus; er ist ein uraltes Instrument der weiblichen Wissensproduktion. Obwohl daher (oft) politisch, kann gossip auch Spaß machen, kann wild und verführerisch sein. Fakes, Fictions, and Forensics hinterfragt wahrgenommene Normalität(en) in diesem Kontext und konzentriert sich auf weibliche Identitäten – auf die Fakes und Fiktionen, Realitäten und Wahrnehmungen, die sie ausmachen.
Die Arbeiten von Anna Ehrenstein, Nora Heinisch, Natalie Paneng und Franziska Pierwoss entwickeln ein neues Verständnis von gossip, um ihn nicht als "leeres Gerede", sondern als emanzipatorische Wiederaneignung und kulturelles Lernen zu verstehen. Als wirkungsvolles Mittel zur Vermittlung von Informationen über Verhaltensregeln, weibliche (Selbst-)Darstellung im Diskurs um Feminismus und gesellschaftliche Normen mit subversivem Potenzial. In dieser Lesart stärkt gossip Bindungen, teilt Wissen und schafft eine Vielzahl weiblicher Identitäten.
Fakes, Fictions, and Forensics ist Teil der Reihe The Devil's Radio, kuratiert von Anja Lückenkemper & Sandra Teitge, gefördert durch den Hauptstadtkulturfonds.
***English version***
Fakes, Fictions, and Forensics | Exhibition curated by Anja Lückenkemper & Sandra Teitge
The term ‘gossip’ evokes images of glossy magazines, of schoolyard dramas, the chitchat of afternoon coffee dates with neighbors or amongst mothers. Gossip has a bad reputation; not for nothing did George Harrison refer to gossip as „the devil‘s radio“. But gossip is also activism; it is an ancient tool of female knowledge production. And while therefore (often) political, gossip can also be fun, ferocious and seductive. Fakes, Fictions, and Forensics questions perceived normality(s) in this context and focuses on female identities – on the fakes and fictions, realities and perception that make it up.
The works of Anna Ehrenstein, Nora Heinisch, Natalie Paneng, and Franziska Pierwoss develop a new understanding of gossip, to consider it not as “empty talk“ but as emancipatory re-appropriation and cultural learning. As a powerful means of communicating information about rules of conduct, female (self-)presentation within the discourse around feminism and societal norms with subversive potential. In this reading, gossip strengthens bonds, shares knowledge and creates a multiplicity of female identities.
Fakes, Fictions, and Forensics is part of the series The Devil’s Radio, curated by Anja Lückenkemper & Sandra Teitge, funded by the Hauptstadtkulturfonds.
Art direction and photography for Perels Album Jesus was an Alien
Why can't I hold all these projections?, Installation view, Laboratorio de Festival, Buenos Aires, February 2022
I took some pictures and wrote some words for Sleek Magazine's Truth Issue. Click here to see the online article.
Group exhibition, Womxn in Labour, A Room of Her Own, Vernisagge 27th 18h-22h, The show will be open until october 1st
“For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.”
–Virginia Woolf, A Room of One’s Own
The Womxn in Labour group show was born from the urgency to redefine the working space, and adapt it to the feminine presence within it. From the beginning of time, working spaces were created by and for men. As womxn, we inhabit those places but never before had the luxury to adapt them to the needs of our bodies. The body is a carrier of the inner world within a materialistic world; it feels and behaves in reaction to its male-oriented surroundings. This creates tension that forces the body to adjust rather than to naturally be.
The exhibition brings together Berlin-based contemporary female artists to examine the relationship between the female body and the working space – suggesting alternative attitudes and tools. The artists interrogate the forces of patriarchy on labour, class, gender, and binary thinking. Womxn in Labour strives to create a sphere that does not influence the body but is influenced by the body.
The exhibited works meander through ancient traditional crafts and contemporary practices, shifting between the past and the future. They are multilayered responses to the collective necessity to reinvent the feminine. While examining womxn’s conventional roles, the artists suggest a transformation of female subjugation into liberation and tenderness. By feminizing and softening the surrounding, the exhibition encourages the viewer to re-examine and reclaim their own space.
Group exhibition, open-ended photography, August 7th-29th, Robert Morat Galerie, Berlin
seven berlin-based artists are contributing works that transcend documentary approaches commonly associated with photographic images.
ENG open-ended photography aims to expand the gallery program through a multiplicity of forms and possibilities, all rooted in photography but inte-rested in a conversation about the mutability of the medium as a defining condition. seven berlin-based artists are contributing works that transcend documentary approaches commonly associated with photographic images. their experimental access manifests itself in digital, abstract as well as material transformations of the medium. building on the notion that a trans - lation of reality into another medium will always change that reality, the exhibition guides its audience away from the predominant memorial aspect of photo graphy to open up a more independent way of looking and thinking in images.
DE open-ended photography zielt darauf ab, das Programm der Galerie durch eine Vielfalt an Formen und Möglichkeiten zu erweitern, die aber alle in der Fotografie verwurzelt sind und an einer Diskussion über die Wandel-barkeit des Mediums als dessen bestimmende Bedingung interes siert sind. Sieben in Berlin lebende Künstler*innen zeigen Werke, die einen oft mit fotografischen Bildern assoziierten dokumentarischen Ansatz zu überschreiten suchen. Ihr experimenteller Zugang manifestiert sich in digitalen, abstrakten sowie materiellen Transformationen des Mediums. Ausgehend von der Vorstellung, dass eine Übersetzung von Realität in ein anderes Medium diese Realität immer verändert, führt die Ausstellung ihr Publikum weg vom vorherrschenden Erinnerungsaspekt der Fotografie, um ein eigenständigeres Sehen und Denken in Bildern zu eröffnen.
Why can't I hold all these projections?, Installation view, Studio H18, Spinnerei, Leipzig, July 2021
In July I presented my project Why can't I hold all these projections? in Spinnerei Leipzig in Studio H18 in a group exhibition. For this show I worked on a first sound for the project together with the musician Skelesys.
VIDEOS EX MACHINA
Street Video Screening 5. – 11. Dezember 2020
Between 5. – 11. December the Raum für drastische Maßnahmen will project a programm of shortfilms by 15 videoartists into the window of the gallery.
