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Hannah Imhoff

ARTIST

Hannah Imhoff, CCTV, Artist Portrait

I create situations that challenge social structures and power relations, encouraging people to rethink them.

RECENTLY
ON VIEW

Passsockel, 2025_Imhoff_edited.jpg

PASSSOCKEL AT VIENNA ART WEEK 2025

CURRENT WORKS

Hannah Imhoff's participative sculpture 'Dirty Laundry, 2023'

SOCIETAL CRITIC

Hannah Imhoff's performance 'Rest Here, 2023' in Mallorca

PERFORMANCE

Hannah Imhoff's work 'daily schedule, 2022-21,23' photographed by Christian Ecker

GENDER EQUALITY

CURATION

Nina Oltarzewska performing at 'Bodies of Water', curated by Hannah Imhoff

BODIES OF WATER

Crossing Lin.jpg

CROSSING BORDERS

JOIN THE PROCESS

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tape

Currently, 'ABC (Hungarian for Beginners), 2025' is on display at the 16th Jahresausstellung, curated by Martina Greil, @martinagreil at the Stadtgalerie Salzburg, @stadtgalerie_salzburg as the residency was funded by the City of Salzburg.

During my residency at @budapestgaleria in Budapest, I could not fail to notice the state of the city's streets: Cracks, holes and missing stones. I started planting flowers in the holes, creating 'Soft Disruptions': little stumbling stones made of plants in the middle of our tarred streets. I used them to disrupt the everyday, creating unexpected encounters. While these temporary sculptures were in place, I observed people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures, and also passing by without noticing them.

Also during my residency, Judith from @massolitbooksbudapest bookshop gave me among other books a Hungarian–German dictionary. For me, a German-speaking artist doing his first residency in Budapest, Hungary, this dictionary was quite symbolic of the experience. It inspired my work, ABC (Hungarian for Beginners, 2025), and is also the physical basis of it. At the end of my residency, I exhibited in the gallery space of the Massolit bookshop. The presentation of photographs of people's reactions to the ‘Soft Disruptions, 2025’ on book pages was a site-specific installation.

📷 1, 15 Leonie Lindinger, @lindinger_leonie
📷 2,3, 14 Stadt Salzburg/ Christian Ecker, @christian_ecker_
📷 16-19 Johanna Schlegel, @johanna__schlegel

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tape

Currently, 'ABC (Hungarian for Beginners), 2025' is on display at the 16th Jahresausstellung, curated by Martina Greil, @martinagreil at the Stadtgalerie Salzburg, @stadtgalerie_salzburg as the residency was funded by the City of Salzburg.

During my residency at @budapestgaleria in Budapest, I could not fail to notice the state of the city's streets: Cracks, holes and missing stones. I started planting flowers in the holes, creating 'Soft Disruptions': little stumbling stones made of plants in the middle of our tarred streets. I used them to disrupt the everyday, creating unexpected encounters. While these temporary sculptures were in place, I observed people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures, and also passing by without noticing them.

Also during my residency, Judith from @massolitbooksbudapest bookshop gave me among other books a Hungarian–German dictionary. For me, a German-speaking artist doing his first residency in Budapest, Hungary, this dictionary was quite symbolic of the experience. It inspired my work, ABC (Hungarian for Beginners, 2025), and is also the physical basis of it. At the end of my residency, I exhibited in the gallery space of the Massolit bookshop. The presentation of photographs of people's reactions to the ‘Soft Disruptions, 2025’ on book pages was a site-specific installation.

📷 1, 15 Leonie Lindinger, @lindinger_leonie
📷 2,3, 14 Stadt Salzburg/ Christian Ecker, @christian_ecker_
📷 16-19 Johanna Schlegel, @johanna__schlegel

Passsockel Intervention 2025

Imagine you could build your own gallery — a mobile white cube you can take anywhere.
Creating and exhibiting — wherever & whatever you want.
Imagine a conceptual Girl Gang Gallery infiltrating Vienna Art Week.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger / @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer / @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska / @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth / @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff / @imhoff_hannah

#whitecube #girlgang #girlganggallery #walkinggallery #mobilegallery #guerillaart #streetart #contemporaryart #viennaartweek

Passsockel Intervention 2025

Imagine you could build your own gallery — a mobile white cube you can take anywhere.
Creating and exhibiting — wherever & whatever you want.
Imagine a conceptual Girl Gang Gallery infiltrating Vienna Art Week.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger / @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer / @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska / @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth / @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff / @imhoff_hannah

#whitecube #girlgang #girlganggallery #walkinggallery #mobilegallery #guerillaart #streetart #contemporaryart #viennaartweek

Passsockel Intervention, 2025

We entered @viennaartweek with our unannounced intervention: Five emerging artists presented their own works of art in portable plinths – empty museum pedestals with Plexiglas covers that could be carried like bags.

These plinths are called 'Passsockel' – a reference to Franz West's 'Passstücke', which, like the 'Passsockel', only come to life through activation.

Taking inspiration from William Anastasi’s Gallery at Dwan in New York and Yves Klein’s The Void in Paris, we created our own mobile gallery in Vienna. The Passsockel became our white cube and a work of art in itself.

Unlike traditional institutions, which are often supposedly open but then only address the 'shared space' in exhibitions, while keeping their own institutional structures and decision-making processes closed off, the Passsockel are truly shared: several artists use them together, moving collectively through galleries in the city to realise spontaneous, decentralised exhibitions.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

Camera by Erik Meinhart

#whitecube #guerillaperformance #contemporaryart #mobilegallery #institutionalcritic #girlganggallery #viennaartweek #art #girlganggallery

Passsockel Intervention, 2025

We entered @viennaartweek with our unannounced intervention: Five emerging artists presented their own works of art in portable plinths – empty museum pedestals with Plexiglas covers that could be carried like bags.

These plinths are called 'Passsockel' – a reference to Franz West's 'Passstücke', which, like the 'Passsockel', only come to life through activation.

Taking inspiration from William Anastasi’s Gallery at Dwan in New York and Yves Klein’s The Void in Paris, we created our own mobile gallery in Vienna. The Passsockel became our white cube and a work of art in itself.

Unlike traditional institutions, which are often supposedly open but then only address the 'shared space' in exhibitions, while keeping their own institutional structures and decision-making processes closed off, the Passsockel are truly shared: several artists use them together, moving collectively through galleries in the city to realise spontaneous, decentralised exhibitions.

Exhibited was & exhibiting were:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

Camera by Erik Meinhart

#whitecube #guerillaperformance #contemporaryart #mobilegallery #institutionalcritic #girlganggallery #viennaartweek #art #girlganggallery

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In reference to William Anastasi and Yves Klein, the White Cube became mobile during Vienna Art Week: five artists presented their works in portable Passsockel – empty museum pedestals with Plexiglas covers that could be carried like bags.

The title refers to Franz West's Passstücke, which – like the Passsockel – are only activated through action. The Passsockel transform the White Cube from a closed space into a mobile display.

In contrast to the supposed openness of classical institutions, which often only address the "shared space" while structures and decision-making processes remain closed, the Passsockel are actually shared: several artists use them together, move collectively through the city and realise spontaneous, decentralised exhibitions.

The following was exhibited:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

📸 Photos with Erik Meinhart's camera

⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In Referenz zu William Anastasi und Yves Klein wurde der White Cube während der Vienna Art Week mobil: Fünf Künstlerinnen präsentierten ihre Arbeiten in tragbaren Passsockeln – leeren Museumssockeln mit Plexiglashaube, die wie Taschen getragen werden können.

Der Titel verweist auf Franz Wests Passstücke, die – wie unsere Sockel – erst durch Aktion aktiviert werden. Die Passsockel transformieren den White Cube vom abgeschlossenen Raum zum beweglichen Display.

Im Gegensatz zur vermeintlichen Offenheit klassischer Institutionen, die oft nur den „geteilten Raum“ thematisieren, während Strukturen und Entscheidungsprozesse geschlossen bleiben, werden die Passsockel tatsächlich geteilt: Mehrere Künstler:innen nutzen sie gemeinsam, bewegen sich kollektiv durch die Stadt und realisieren spontane, dezentrale Ausst

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In reference to William Anastasi and Yves Klein, the White Cube became mobile during Vienna Art Week: five artists presented their works in portable Passsockel – empty museum pedestals with Plexiglas covers that could be carried like bags.

The title refers to Franz West's Passstücke, which – like the Passsockel – are only activated through action. The Passsockel transform the White Cube from a closed space into a mobile display.

In contrast to the supposed openness of classical institutions, which often only address the "shared space" while structures and decision-making processes remain closed, the Passsockel are actually shared: several artists use them together, move collectively through the city and realise spontaneous, decentralised exhibitions.

The following was exhibited:

Grand Tour, 2024
Fotocollage
Oni Atzwanger, @oni_atzwanger

Untitled (Diptych), 2025
Inkjet Print, Mounted
Lena Holzer, @len.a.holzer

Untitled (Hommage à William Anastasi), 2025
Paper, Cardboard, Polaroid Scan,
Franka Frankowska, @frankafrankowska

Yaklaşım/ Annäherung
Istanbul, 2023
Video
Hannah Parth, @hannah_parth

#basicneeds, 2023
Ceramic, Glaze
Hannah Imhoff, @imhoff_hannah

📸 Photos with Erik Meinhart's camera

⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜

Passsockel, 2025
Guerilla Performance at Vienna Art Week 2025

In Referenz zu William Anastasi und Yves Klein wurde der White Cube während der Vienna Art Week mobil: Fünf Künstlerinnen präsentierten ihre Arbeiten in tragbaren Passsockeln – leeren Museumssockeln mit Plexiglashaube, die wie Taschen getragen werden können.

Der Titel verweist auf Franz Wests Passstücke, die – wie unsere Sockel – erst durch Aktion aktiviert werden. Die Passsockel transformieren den White Cube vom abgeschlossenen Raum zum beweglichen Display.

Im Gegensatz zur vermeintlichen Offenheit klassischer Institutionen, die oft nur den „geteilten Raum“ thematisieren, während Strukturen und Entscheidungsprozesse geschlossen bleiben, werden die Passsockel tatsächlich geteilt: Mehrere Künstler:innen nutzen sie gemeinsam, bewegen sich kollektiv durch die Stadt und realisieren spontane, dezentrale Ausst

Krampussy draws on the Krampus tradition without submitting to it. Tradition, after all, speaks to a human need — but not the same as in the 17th century. Here, tradition becomes a living, collective craft that creates community: people carve, sew, paint and design together, exchanging knowledge and shifting roles.

My mask is a reference to Ms. Perchta — the powerful mythic figure who brought light to the depths of winter and guarded social balance. It was only in the 19th century that the Krampus custom became male-dominated through militarisation and fraternities, reducing women to passive “angels” beside violent male fantasies.

@krampuxxy reclaims that space with strength, rage, wit and joy. Backed by its initiator, Hannah Wimmer (@hannah_maria_ ) and the resources for costumes and masks, the project embodies collective care. Being part of Krampussy since this spring has been a true gift – one of them was dancing with Anna Buchegger (@buc.ann) and all the other Krampussys to her new song SOIZ.

Song SOIZ by Anna Buchegger, @buc.ann
Video by Alex Gotter, @alex.gotter
Foto 1 by Dorian Karafiat, @locknschedl
Fotos 2, 4 & 5 by Wolfgang Spitzbart, @spitzi_foto

🎭🎭🎭🎭

Krampussy knüpft an den Krampusbrauch an, ohne sich ihm zu unterwerfen. Das Wort „Brauchtum“ verweist bereits auf etwas, das Menschen brauchen – aber eben nicht mehr dasselbe wie im 17. Jahrhundert. Krampussy versteht Brauchtum als etwas Wandelbares: als kollektives Handwerk, das Gemeinschaft stiftet. Hier wird geschnitzt, genäht, gemalt und gestaltet; jede* bringt ihre Fähigkeiten ein, Wissen zirkuliert, Rollen wandeln sich.

Meine Maske ist eine Referenz an Frau Perchta – jener mächtigen Sagengestalt, die im tiefsten Winter das Licht brachte und zugleich über die soziale Ordnung wachte. Erst im 19. Jahrhundert wurde der Krampusbrauch männlich aufgeladen – durch Militarisierung,Burschenschaften und die Zuschreibung handwerklicher Fähigkeiten an „starke junge Männer“. Frauen wurden zu passiven „Engerl“ degradiert – schmückendes Beiwerk männlicher Gewaltfantasien.

Krampussy holt sich diesen Raum zurück.

Krampussy draws on the Krampus tradition without submitting to it. Tradition, after all, speaks to a human need — but not the same as in the 17th century. Here, tradition becomes a living, collective craft that creates community: people carve, sew, paint and design together, exchanging knowledge and shifting roles.

My mask is a reference to Ms. Perchta — the powerful mythic figure who brought light to the depths of winter and guarded social balance. It was only in the 19th century that the Krampus custom became male-dominated through militarisation and fraternities, reducing women to passive “angels” beside violent male fantasies.

@krampuxxy reclaims that space with strength, rage, wit and joy. Backed by its initiator, Hannah Wimmer (@hannah_maria_ ) and the resources for costumes and masks, the project embodies collective care. Being part of Krampussy since this spring has been a true gift – one of them was dancing with Anna Buchegger (@buc.ann) and all the other Krampussys to her new song SOIZ.

Song SOIZ by Anna Buchegger, @buc.ann
Video by Alex Gotter, @alex.gotter
Foto 1 by Dorian Karafiat, @locknschedl
Fotos 2, 4 & 5 by Wolfgang Spitzbart, @spitzi_foto

🎭🎭🎭🎭

Krampussy knüpft an den Krampusbrauch an, ohne sich ihm zu unterwerfen. Das Wort „Brauchtum“ verweist bereits auf etwas, das Menschen brauchen – aber eben nicht mehr dasselbe wie im 17. Jahrhundert. Krampussy versteht Brauchtum als etwas Wandelbares: als kollektives Handwerk, das Gemeinschaft stiftet. Hier wird geschnitzt, genäht, gemalt und gestaltet; jede* bringt ihre Fähigkeiten ein, Wissen zirkuliert, Rollen wandeln sich.

Meine Maske ist eine Referenz an Frau Perchta – jener mächtigen Sagengestalt, die im tiefsten Winter das Licht brachte und zugleich über die soziale Ordnung wachte. Erst im 19. Jahrhundert wurde der Krampusbrauch männlich aufgeladen – durch Militarisierung,Burschenschaften und die Zuschreibung handwerklicher Fähigkeiten an „starke junge Männer“. Frauen wurden zu passiven „Engerl“ degradiert – schmückendes Beiwerk männlicher Gewaltfantasien.

Krampussy holt sich diesen Raum zurück.

Soft Disruptions, 2025

The most photographed plant.

📼 captured by @berglinde12

Soft Disruptions, 2025

The most photographed plant.

📼 captured by @berglinde12

Soft Disruptions
30 May – 30 June 2025
Massolit Books & Café, 1072 Budapest, Nagy Diófa str. 30.

Plant Reaction, 2025
Chlorophyll prints on ginkgo leaves

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tale

Soft Disruptions
30 May – 30 June 2025
Massolit Books & Café, 1072 Budapest, Nagy Diófa str. 30.

Plant Reaction, 2025
Chlorophyll prints on ginkgo leaves

ABC (Hungarian for Beginners), 2025
Photographs, pages from a Hungarian–German dictionary, posca pens, tale

Soft Disruptions, 2025
temporary sculptures in the public space
Holland szezonàlis, bohemian knotweed, pansy flowers

Attenzione! Is it planted? No way. What a fuck. Beautiful!

In a world of human-made catastrophes, I focused on the small, beautiful things that we can use to disrupt each other during my residency with the @budapestgaleria. I created ‘Soft Disruptions’, such as little stumbling stones made of flowers in the middle of our tarred streets. During the brief period that these temporary sculptures exist, I observe people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures or, of course, passing by without noticing them.
It’s thrilling to watch the straight line of footsteps approaching, followed by a sudden large step over the plants, a slight touch, or a wide curve around them. How many people, mostly distracted by their phones, can step on the flowers without breaking them? How long does the illusion of a living flower survive in the middle of the pavement, and how many people stop to stare in amazement?

Soft Disruption is a playful, site-specific artwork that, like the Hungarian Two-Tailed Dog Party, takes the many holes in the streets of Budapest as its starting point for street art and will be exhibited at the end of May in @massolitbooksbudapest , the English bookstore.

#streetart #flowers #budapest

Soft Disruptions, 2025
temporary sculptures in the public space
Holland szezonàlis, bohemian knotweed, pansy flowers

Attenzione! Is it planted? No way. What a fuck. Beautiful!

In a world of human-made catastrophes, I focused on the small, beautiful things that we can use to disrupt each other during my residency with the @budapestgaleria. I created ‘Soft Disruptions’, such as little stumbling stones made of flowers in the middle of our tarred streets. During the brief period that these temporary sculptures exist, I observe people stepping over them, taking care to avoid them, dancing around them, picking them up, taking pictures or, of course, passing by without noticing them.
It’s thrilling to watch the straight line of footsteps approaching, followed by a sudden large step over the plants, a slight touch, or a wide curve around them. How many people, mostly distracted by their phones, can step on the flowers without breaking them? How long does the illusion of a living flower survive in the middle of the pavement, and how many people stop to stare in amazement?

Soft Disruption is a playful, site-specific artwork that, like the Hungarian Two-Tailed Dog Party, takes the many holes in the streets of Budapest as its starting point for street art and will be exhibited at the end of May in @massolitbooksbudapest , the English bookstore.

#streetart #flowers #budapest

Documentary of @lukasakata & @r4chelgibs0n of „Art in Practice: Collective Creations“
Killick Street Health Centre, N1 9RH, @killickstreet
all by and with @slash.arts

This exhibition responds to the unique spatial and social conditions of the doctor‘s practice in Killick
Street, Islington. By integrating art into this medical environment, we extend the practice`s mission of
community outreach and bringing together emerging artists with different local community groups to
find together an artistic language for different facets of wellbeing. Or to say it in the words of Bobbi, an
Artbox artist: „I wanted to brighten up the GP waiting room, make everyone happy and not worry!“
By mayking practical connections between professional artists and the GP community, people with dementia or neurodiversity, younger and older people - we promote understanding, awareness and de-stigmatisation of marginalised. This exhibition aims to activate and involve the local neighborhood, celebrate their talents and combat stigmatization.

@artboxlondon, Alexandra Tidswell collaborating with 27 artists with learning disabilities and autism
to create two colorful hangings called Colour Curtain, 2024.

@claremontproject where 14 artists aged 55+ facilitated by Martine Charambolou (@pomegranart_workshops) collaborated to
create an appliqué titled Photos in the Attic, 2024, based on sepia photographs from their parents‘ era.

@globalgeneration where four young artists co-created with Nina Oltarzewska (@oltarzewska) an installation of sculpture, sound and writing entitled Some Things are Always Free, 2024, facilitated by Laura Price and Jaime Lock.

Muriel Street Care Home where Richard Cook and Monika Drabot (@monikadrabot) collaborated with 20 artists with cognitive difficulties, including dementia, to create an multi-media installation called Birdsong, 2024, facilitated by Pooja Tanwar (@iampoojatanwar ).

During the opening will be a Dance Performance
by Jiarong Yu (@yujiarong0818 ) to celebrate the artworks.

Documentary of @lukasakata & @r4chelgibs0n of „Art in Practice: Collective Creations“
Killick Street Health Centre, N1 9RH, @killickstreet
all by and with @slash.arts

This exhibition responds to the unique spatial and social conditions of the doctor‘s practice in Killick
Street, Islington. By integrating art into this medical environment, we extend the practice`s mission of
community outreach and bringing together emerging artists with different local community groups to
find together an artistic language for different facets of wellbeing. Or to say it in the words of Bobbi, an
Artbox artist: „I wanted to brighten up the GP waiting room, make everyone happy and not worry!“
By mayking practical connections between professional artists and the GP community, people with dementia or neurodiversity, younger and older people - we promote understanding, awareness and de-stigmatisation of marginalised. This exhibition aims to activate and involve the local neighborhood, celebrate their talents and combat stigmatization.

@artboxlondon, Alexandra Tidswell collaborating with 27 artists with learning disabilities and autism
to create two colorful hangings called Colour Curtain, 2024.

@claremontproject where 14 artists aged 55+ facilitated by Martine Charambolou (@pomegranart_workshops) collaborated to
create an appliqué titled Photos in the Attic, 2024, based on sepia photographs from their parents‘ era.

@globalgeneration where four young artists co-created with Nina Oltarzewska (@oltarzewska) an installation of sculpture, sound and writing entitled Some Things are Always Free, 2024, facilitated by Laura Price and Jaime Lock.

Muriel Street Care Home where Richard Cook and Monika Drabot (@monikadrabot) collaborated with 20 artists with cognitive difficulties, including dementia, to create an multi-media installation called Birdsong, 2024, facilitated by Pooja Tanwar (@iampoojatanwar ).

During the opening will be a Dance Performance
by Jiarong Yu (@yujiarong0818 ) to celebrate the artworks.

ART LICENCE at @kabinett.gallery
Crystal Palace Parade, SE19 1UD
18.10.-13.11.2024 / always open
curated by @isabel_florence97

Orientation Assistance for Artists, 2024
edition of a pocket mirror
1 sign, 50 hand mirrors
inspired by @dougfishbone

Off-Limits, 2024
edition of 3 different Buttons,
150 Buttons 3 x 50

where art ends, 2024
first edition of the magazin: where institutions begin
indirectly initiated by @fuchsteufelsfrida

ART LICENCE at @kabinett.gallery
Crystal Palace Parade, SE19 1UD
18.10.-13.11.2024 / always open
curated by @isabel_florence97

Orientation Assistance for Artists, 2024
edition of a pocket mirror
1 sign, 50 hand mirrors
inspired by @dougfishbone

Off-Limits, 2024
edition of 3 different Buttons,
150 Buttons 3 x 50

where art ends, 2024
first edition of the magazin: where institutions begin
indirectly initiated by @fuchsteufelsfrida

Private View of
ART LICENCE
my solo intervention at @kabinett.gallery
Crystal Palace Parade, SE19 1UD
18.10.-13.11.2024 / always open

curated by @isabel_florence97

(1-7) here for the drinks, 2024
12 colored cans
inspired by @dzublatecollective

(7-13) See the world like a painter, 2024
19 different colored glasses
inspired by @isabel_florence97

Private View of
ART LICENCE
my solo intervention at @kabinett.gallery
Crystal Palace Parade, SE19 1UD
18.10.-13.11.2024 / always open

curated by @isabel_florence97

(1-7) here for the drinks, 2024
12 colored cans
inspired by @dzublatecollective

(7-13) See the world like a painter, 2024
19 different colored glasses
inspired by @isabel_florence97

TLC, 2024

‚Tender Loving Care‘ is a three day performance by curator and artist, bringing an old inspectors kiosk, unused since 1993, back to it’s original state.

Stripping all the layers of paint, removing stickers and graffiti to let @kabinett.gallery shine in its orginal, with fibreglass made stable, bright red with silver windows and a metal dore - ready to perform as an ART LICENCE shop.

It’s in reference to Mierle Laderman Ukeles: Maintenance Art.

The durational performance took place in preparation for the opening of ‘Art Licence’ today, 17 October, 6pm at the Crystal Palace, SE19 1UD.

TLC, 2024

‚Tender Loving Care‘ is a three day performance by curator and artist, bringing an old inspectors kiosk, unused since 1993, back to it’s original state.

Stripping all the layers of paint, removing stickers and graffiti to let @kabinett.gallery shine in its orginal, with fibreglass made stable, bright red with silver windows and a metal dore - ready to perform as an ART LICENCE shop.

It’s in reference to Mierle Laderman Ukeles: Maintenance Art.

The durational performance took place in preparation for the opening of ‘Art Licence’ today, 17 October, 6pm at the Crystal Palace, SE19 1UD.

Art in Practice: Collective Creations
15.10.-6.12.24 at Killick Street Health Centre, London

By many different artists in the community. Curated by Hannah Imhoff and Simon Hodgkinson. Sponsored by @slash.arts and Killick Street Health Centre.

This exhibition responds to the unique spatial and social conditions of the doctor’s practice in Killick Street, Islington. By integrating art into this medical environment, we extend the practice’s mission of community outreach and pair emerging artists with different local community groups to find together an artistic language for different facets of wellbeing. We practically enhance connections between professional artists and the GP community, people with dementia or neurodiversity, younger and older people. This exhibition aims to activate and involve the local neighbourhood, celebrates their talents and combat stigmatisation.

We have wonderful artworks from five community groups:

(1-4) @claremontproject where 14 artists 55+ facilitated by Martine Charambolou, @pomegranart_workshops collaborated to create an appliqué titled ‘Photos in the Attic’, based on sepia photos from their parents era.

(5-7) @artboxlondon with artists with learning disabilities and autism collaborated to produce ‘Colour Curtain’, two colourful hangings. Facilitator Alexandra Tidswell co-creating with 27 artists led by Bobbi.

(8-10) @globalgeneration where 6 young artists working with @oltarzewska co-created an installation titled ‘Some Things are Always Free’, comprising sculptures, sound and writings.

(11-15) Muriel Street Care Home where 20 artists with cognitive difficulties including dementia collaborated to create an installation of ‘Birdsong’ with facilitators Pooja Tanwar, @richard.cook.art and @monikadrabot

(16) Killick Street Health Centre patients who will participate in creating artistic impressions of their visits to the clinic during the show. Curated by Ruben Pinhal.

(17) During the opening will be a Dance Performance by @yujiarong0818 to celebrate the works. Jiarong is a dancer at the @neverlandspacetheatre and is just back from winning Runner Up for the Asian Arts Awards at the Edinburgh Fringe.

Art in Practice: Collective Creations
15.10.-6.12.24 at Killick Street Health Centre, London

By many different artists in the community. Curated by Hannah Imhoff and Simon Hodgkinson. Sponsored by @slash.arts and Killick Street Health Centre.

This exhibition responds to the unique spatial and social conditions of the doctor’s practice in Killick Street, Islington. By integrating art into this medical environment, we extend the practice’s mission of community outreach and pair emerging artists with different local community groups to find together an artistic language for different facets of wellbeing. We practically enhance connections between professional artists and the GP community, people with dementia or neurodiversity, younger and older people. This exhibition aims to activate and involve the local neighbourhood, celebrates their talents and combat stigmatisation.

We have wonderful artworks from five community groups:

(1-4) @claremontproject where 14 artists 55+ facilitated by Martine Charambolou, @pomegranart_workshops collaborated to create an appliqué titled ‘Photos in the Attic’, based on sepia photos from their parents era.

(5-7) @artboxlondon with artists with learning disabilities and autism collaborated to produce ‘Colour Curtain’, two colourful hangings. Facilitator Alexandra Tidswell co-creating with 27 artists led by Bobbi.

(8-10) @globalgeneration where 6 young artists working with @oltarzewska co-created an installation titled ‘Some Things are Always Free’, comprising sculptures, sound and writings.

(11-15) Muriel Street Care Home where 20 artists with cognitive difficulties including dementia collaborated to create an installation of ‘Birdsong’ with facilitators Pooja Tanwar, @richard.cook.art and @monikadrabot

(16) Killick Street Health Centre patients who will participate in creating artistic impressions of their visits to the clinic during the show. Curated by Ruben Pinhal.

(17) During the opening will be a Dance Performance by @yujiarong0818 to celebrate the works. Jiarong is a dancer at the @neverlandspacetheatre and is just back from winning Runner Up for the Asian Arts Awards at the Edinburgh Fringe.

when we say no, 2024
plexiglas, perforated vinyl, wire, hooks
200 x 50 cm
installation
exhibited at @schlachthoffestival.traunsee 2024

We are all familiar with being overwhelmed, looking the other way, moving on quickly or giving something that is not enough. As a society, we don’t seem to have found a truly acceptable script for this situation, which occurs regularly. Instead, begging usually just reminds us in an unpleasant way of how unequally wealth and poverty are distributed in this world and what role we play in this distribution. I would prefer to show a series of portraits of myself reacting to the question of dirhams on a daily basis here in Morocco. However, with this desire I have also nullified any natural behaviour of myself in such situations, which is why I reflect the phenomenon in the observation of other holidaymakers and travellers.

With the work ‚when we say no, 2024‘, I am joining the long tradition of socially engaged artistic work
about poverty and homelessness. However, unlike
Krsysztof
Wodiczko’s ‚Homeless Vehicle Project, 1987-1989‘, or Jody Wood’s ongoing mobile beauty parlour ‚Beauty in Transition‘, my work does not focus on the (people affected by poverty. Instead, I want to take a (political-psychological look at us - people like you (and me, people who decide to say ‚no‘ - in a society that consciously allows itself poverty.

The portraits are mounted on perforated vinyl. On the one hand, perforated vinyl functions here as a classic motif carrier: from the front you can simply see the motif, but from the back you can see through the perforated vinyl and look at the people looking at the motifs. This installation creates a further level of surveillance: artist observes „people saying no“ becomes „visitors are observed as they examine snapshots of ‚people saying no‘“.

(9) Artist Portrait by @lea.daniela
(1-8,10) images and videos by myself, images with @lea.daniela camera- thank you!

when we say no, 2024
plexiglas, perforated vinyl, wire, hooks
200 x 50 cm
installation
exhibited at @schlachthoffestival.traunsee 2024

We are all familiar with being overwhelmed, looking the other way, moving on quickly or giving something that is not enough. As a society, we don’t seem to have found a truly acceptable script for this situation, which occurs regularly. Instead, begging usually just reminds us in an unpleasant way of how unequally wealth and poverty are distributed in this world and what role we play in this distribution. I would prefer to show a series of portraits of myself reacting to the question of dirhams on a daily basis here in Morocco. However, with this desire I have also nullified any natural behaviour of myself in such situations, which is why I reflect the phenomenon in the observation of other holidaymakers and travellers.

With the work ‚when we say no, 2024‘, I am joining the long tradition of socially engaged artistic work
about poverty and homelessness. However, unlike
Krsysztof
Wodiczko’s ‚Homeless Vehicle Project, 1987-1989‘, or Jody Wood’s ongoing mobile beauty parlour ‚Beauty in Transition‘, my work does not focus on the (people affected by poverty. Instead, I want to take a (political-psychological look at us - people like you (and me, people who decide to say ‚no‘ - in a society that consciously allows itself poverty.

The portraits are mounted on perforated vinyl. On the one hand, perforated vinyl functions here as a classic motif carrier: from the front you can simply see the motif, but from the back you can see through the perforated vinyl and look at the people looking at the motifs. This installation creates a further level of surveillance: artist observes „people saying no“ becomes „visitors are observed as they examine snapshots of ‚people saying no‘“.

(9) Artist Portrait by @lea.daniela
(1-8,10) images and videos by myself, images with @lea.daniela camera- thank you!

So thankful to be part @extra__stark, who literally organized everything for this show, while I was still in London 💛💫

16.12.2023 - 04.02.2024
Systems of Support. Annual Exhibition 2023 of the @salzburgerkunstverein

Depicting the palm prints of all network members of @extra__stark, the work stands as an abstract visualization of networking and solidarity gestures. This network, comprising artists who share time and space for joint work and thinking, addresses societal blind spots and irritations within a patriarchally shaped society.

Artists of the groupshow: Blumenblock (flower brigade), Luca Büchler, EXTRA stark, Đejmi Hadrović, Julia Haugeneder (@julia_haugeneder ), Nicholas Hoffman, Christine Lederer (@ledererchristine ), Claudia Lomoschitz, Alina Panasenko, Vika Prokopaviciute, Anna Schachinger, Vanessa Schmidt, Maja Spasova, Miriam Stoney, Manuel Tozzi, Caroline Vitzthum, Robin Waart, Bartholomaeus Wächter, Andrea Zabric

Curator: Mirela Baciak (@mire_la_ )

📷 1-2 Kunst-Dokumentation
📷 3, 10 @alba_malika
📷 4-9 Bryan Reinhard

So thankful to be part @extra__stark, who literally organized everything for this show, while I was still in London 💛💫

16.12.2023 - 04.02.2024
Systems of Support. Annual Exhibition 2023 of the @salzburgerkunstverein

Depicting the palm prints of all network members of @extra__stark, the work stands as an abstract visualization of networking and solidarity gestures. This network, comprising artists who share time and space for joint work and thinking, addresses societal blind spots and irritations within a patriarchally shaped society.

Artists of the groupshow: Blumenblock (flower brigade), Luca Büchler, EXTRA stark, Đejmi Hadrović, Julia Haugeneder (@julia_haugeneder ), Nicholas Hoffman, Christine Lederer (@ledererchristine ), Claudia Lomoschitz, Alina Panasenko, Vika Prokopaviciute, Anna Schachinger, Vanessa Schmidt, Maja Spasova, Miriam Stoney, Manuel Tozzi, Caroline Vitzthum, Robin Waart, Bartholomaeus Wächter, Andrea Zabric

Curator: Mirela Baciak (@mire_la_ )

📷 1-2 Kunst-Dokumentation
📷 3, 10 @alba_malika
📷 4-9 Bryan Reinhard

#basicneeds, 2023-
little ceramic toilets

First trail of #basicneeds, little ceramic toilets spread out in London as a street art project, constituting a map where public toilets should be. Initially I came up with the idea, because I couldn’t believe that a society as rich as ours doesn’t afford free and unconditional use of toilets to a sufficient extent. Furthermore I stuck with the topic, as it inhibits much more: they are very political objects that channel so many societal issues around gender, binarity, discrimination, civilization, consumerism, safety, assault... A bigger toilet intervention is planned for the 19.11.2024, the next ‘World Toilet Day’. In the fight for sanitation, the United Nations General Assembly declared since 2013 the 19th of November to the ‘World Toilet Day’. The background to this is the lack of sufficient hygienic sanitary facilities for more than 40 percent of the world’s population, resulting in polluted water and waterborne diseases, which have health and socio-economic consequences. According to the United Nations, more than 2.5 billion people live without adequate sanitation. The poorer population in rural areas and inhabitants of slums and fast-growing settlements in cities are particularly affected (cf. United Nations, 2013)

#basicneeds, 2023-
little ceramic toilets

First trail of #basicneeds, little ceramic toilets spread out in London as a street art project, constituting a map where public toilets should be. Initially I came up with the idea, because I couldn’t believe that a society as rich as ours doesn’t afford free and unconditional use of toilets to a sufficient extent. Furthermore I stuck with the topic, as it inhibits much more: they are very political objects that channel so many societal issues around gender, binarity, discrimination, civilization, consumerism, safety, assault... A bigger toilet intervention is planned for the 19.11.2024, the next ‘World Toilet Day’. In the fight for sanitation, the United Nations General Assembly declared since 2013 the 19th of November to the ‘World Toilet Day’. The background to this is the lack of sufficient hygienic sanitary facilities for more than 40 percent of the world’s population, resulting in polluted water and waterborne diseases, which have health and socio-economic consequences. According to the United Nations, more than 2.5 billion people live without adequate sanitation. The poorer population in rural areas and inhabitants of slums and fast-growing settlements in cities are particularly affected (cf. United Nations, 2013)

Mother Tongue,
organized & curated by @najshirazi
📍Millbank Tower

Can‘t Sit, 2023
sticker intervention on the toilets, plinth

Inspired by Marianne Wex’s photographic project „Let’s take back our space, 1979“ – I play with my own gendered body language and try to escape it‘s binarity. I invastigate in a personal and playful way Judith Butlers statement in „Undoing Gender, 2004“ , that nobody can be a gender before doing gendered acts. I situate myself on a plinth, a „neutral“ accessory of the artworld, in reference to Bruce McLean’s „Pose Work for Plinths I, 1971“ and the power position that art holds in our society.

(1-7) PV & Installation shoots by @najshirazi
(8) @paulinamariealbert in front of Bruce McLean’s „Pose Work for Plinths I, 1971“
(9) setting up image by @monikadrabot
(10) poster with artist line-up

Mother Tongue,
organized & curated by @najshirazi
📍Millbank Tower

Can‘t Sit, 2023
sticker intervention on the toilets, plinth

Inspired by Marianne Wex’s photographic project „Let’s take back our space, 1979“ – I play with my own gendered body language and try to escape it‘s binarity. I invastigate in a personal and playful way Judith Butlers statement in „Undoing Gender, 2004“ , that nobody can be a gender before doing gendered acts. I situate myself on a plinth, a „neutral“ accessory of the artworld, in reference to Bruce McLean’s „Pose Work for Plinths I, 1971“ and the power position that art holds in our society.

(1-7) PV & Installation shoots by @najshirazi
(8) @paulinamariealbert in front of Bruce McLean’s „Pose Work for Plinths I, 1971“
(9) setting up image by @monikadrabot
(10) poster with artist line-up

Crossing Borders, the second show I curated in my life, captured like an artwork by Monika Drabot, @monikadrabot 💫

Crossing Borders presents a site-embedded political space - that formulates a critique on institutional power structures without forgetting the human beings that are interwoven within it.

The group show presented Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic practices dismantle and question the role of borders, security and economic policies, the power of language and class systems, and the consequences of social norms and man-made societal conditions — taking the history and political relevance of the space itself as a starting point.

Hannah Imhoff (Curator)

(c) Monika Drabot (@monikadrabot

Crossing Borders, the second show I curated in my life, captured like an artwork by Monika Drabot, @monikadrabot 💫

Crossing Borders presents a site-embedded political space - that formulates a critique on institutional power structures without forgetting the human beings that are interwoven within it.

The group show presented Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic practices dismantle and question the role of borders, security and economic policies, the power of language and class systems, and the consequences of social norms and man-made societal conditions — taking the history and political relevance of the space itself as a starting point.

Hannah Imhoff (Curator)

(c) Monika Drabot (@monikadrabot

Impressions from the Private View of Crossing Borders, showing a little insight from the performance ‚Invisible Targets’ by Timna Krenn (8-10), captured by kindest und very talented Vera Kern.

Crossing Borders presents a site-embedded political space - that formulates a critique on institutional power structures without forgetting the human beings that are interwoven within it.

The group show presented Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic practices dismantle and question the role of borders, security and economic policies, the power of language and class systems, and the consequences of social norms and man-made societal conditions — taking the history and political relevance of the space itself as a starting point.

Hannah Imhoff (Curator)

(c) Vera Kern

Impressions from the Private View of Crossing Borders, showing a little insight from the performance ‚Invisible Targets’ by Timna Krenn (8-10), captured by kindest und very talented Vera Kern.

Crossing Borders presents a site-embedded political space - that formulates a critique on institutional power structures without forgetting the human beings that are interwoven within it.

The group show presented Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic practices dismantle and question the role of borders, security and economic policies, the power of language and class systems, and the consequences of social norms and man-made societal conditions — taking the history and political relevance of the space itself as a starting point.

Hannah Imhoff (Curator)

(c) Vera Kern

The exhibition ‘Crossing Borders’ will present a site-embedded political space - that formulates a critique on institutional power structures. The exhibition space is located beside the River Thames, opposite MI6, with Tate Britain to the east and Westminster within walking distance to the west. The second floor of a Grade 2 listed building will be infiltrated with conceptual art from 1 till 5 November 2023. The building, which was, for years, the office of the United Nations and both the Labour and Conservative party, still appears as a gatekeeper and mystery space where secret governmental decisions were made.

The group show will present Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic positions are dismantling and questioning the role of borders, security and economic policies, the power of language and class systems, the consequences of societal norms and man-made conditions - starting from the history and political relevance of the space itself.

At 7pm during the Private View, @timna.k will perform a part of her piece ‚Invisible Targets‘ which will contain themes of stillbirth and death (content warning).

One important thing, the Private View on Wednesday the 1st of November from 6-8pm is registration only, wherefore one needs to book one of the free tickets over eventbrite (link in bio), and afterwards one will receive an email with the precise location.

Poster by @reheeeno

#crossingborders #artinlondon

The exhibition ‘Crossing Borders’ will present a site-embedded political space - that formulates a critique on institutional power structures. The exhibition space is located beside the River Thames, opposite MI6, with Tate Britain to the east and Westminster within walking distance to the west. The second floor of a Grade 2 listed building will be infiltrated with conceptual art from 1 till 5 November 2023. The building, which was, for years, the office of the United Nations and both the Labour and Conservative party, still appears as a gatekeeper and mystery space where secret governmental decisions were made.

The group show will present Lola Collins (@pancettalady), Monika Drabot (@monikadrabot), Terry Frost, Marie Gruber (@marie_gruber), Hannah Imhoff, Vera Kern (@verajk), Timna Krenn (@timna.k), Jiakun Lin (@hibernationa_l), Nina Oltarzewska (@oltarzewska), Gabriela Pelczarska (@gabrielapelczarska), Katrina Regino (@reheeeno), Sophie Seita (@sophieseita) and Annika Ström (@annikastrom100) together. Their varying artistic positions are dismantling and questioning the role of borders, security and economic policies, the power of language and class systems, the consequences of societal norms and man-made conditions - starting from the history and political relevance of the space itself.

At 7pm during the Private View, @timna.k will perform a part of her piece ‚Invisible Targets‘ which will contain themes of stillbirth and death (content warning).

One important thing, the Private View on Wednesday the 1st of November from 6-8pm is registration only, wherefore one needs to book one of the free tickets over eventbrite (link in bio), and afterwards one will receive an email with the precise location.

Poster by @reheeeno

#crossingborders #artinlondon

Clean up!, 2023

washing-station out of varnished steal & stainless steal, hook, four painted tea towels, two sponges

The participative installation „Clean-up!, 2023“ questions and challenges the role fathers play in current society. It invites visitors to clean patriarchal objects - in this show a marrow that resembled either a baby or something phalic. This was a collaboration with Simons read-made „Stavros Marrow, 2023“, a homage to Sarah Lucas „Florian and Kevin“ currently visible around the corner, outside the Tate Britain.
After the washing, the visitors had to dry the marrow with one of the four painted tea towels. The paintings on the tea towels show fathers sitting, playing & waiting till the time passes by on a playground with their children. The motifs come from the photographic work „Utopia, 2023“, which where taken during a community event, a regular, weekly daddy’s-meeting on the playground, which I organized during my last exhibition in Salzburg, Austria.

References:
🔹Florian and Kevin by Sarah Lucas
🔹 Abwaschskulptur (Dishwashing Sculpture), 2015 by Nicole Wermers

Clean up!, 2023

washing-station out of varnished steal & stainless steal, hook, four painted tea towels, two sponges

The participative installation „Clean-up!, 2023“ questions and challenges the role fathers play in current society. It invites visitors to clean patriarchal objects - in this show a marrow that resembled either a baby or something phalic. This was a collaboration with Simons read-made „Stavros Marrow, 2023“, a homage to Sarah Lucas „Florian and Kevin“ currently visible around the corner, outside the Tate Britain.
After the washing, the visitors had to dry the marrow with one of the four painted tea towels. The paintings on the tea towels show fathers sitting, playing & waiting till the time passes by on a playground with their children. The motifs come from the photographic work „Utopia, 2023“, which where taken during a community event, a regular, weekly daddy’s-meeting on the playground, which I organized during my last exhibition in Salzburg, Austria.

References:
🔹Florian and Kevin by Sarah Lucas
🔹 Abwaschskulptur (Dishwashing Sculpture), 2015 by Nicole Wermers

(For now, my last @bodiesofwater_exhibition post... For me, a crucial part of the exhibition was to bring London- & Vienna-based artists together. And about the societal conditions of doing that in times of climate change I made a little work…)

who pays the price, 2023

‘Who pays the price’ looks like a bureaucratic folder resembling a calendar, that shows our time. On second glance, one sees that it depicts the costs of the travel from Vienna to London, and London to Vienna during every day of the show. It addresses the fact that Bodies of Water brings London and Vienna-based artists together. It invites us to reflect on the conditions that an international
collaboration like this faces. It points out the social framework in a time of climate crisis, which
impacts the costs of sustainable action at the expense of the individual.

(3) you see the work installed on the table in the show
(5) you see me showing Vanessa from the @acf_london around, which made the cooperation possible, as our artists could sleep in their artist apartment

copyright of the images:
(1) @_fannnis_
(4) @monikadrabot
(8) @_fannnis_
(5,6 &9) @koartspace

(For now, my last @bodiesofwater_exhibition post... For me, a crucial part of the exhibition was to bring London- & Vienna-based artists together. And about the societal conditions of doing that in times of climate change I made a little work…)

who pays the price, 2023

‘Who pays the price’ looks like a bureaucratic folder resembling a calendar, that shows our time. On second glance, one sees that it depicts the costs of the travel from Vienna to London, and London to Vienna during every day of the show. It addresses the fact that Bodies of Water brings London and Vienna-based artists together. It invites us to reflect on the conditions that an international
collaboration like this faces. It points out the social framework in a time of climate crisis, which
impacts the costs of sustainable action at the expense of the individual.

(3) you see the work installed on the table in the show
(5) you see me showing Vanessa from the @acf_london around, which made the cooperation possible, as our artists could sleep in their artist apartment

copyright of the images:
(1) @_fannnis_
(4) @monikadrabot
(8) @_fannnis_
(5,6 &9) @koartspace

Cannot stop looking at the wonderful insights from the closing event of @bodiesofwater_exhibition! So blessed to have the honor to curate the show on the @slash.arts boat gallery and work with these talented artists:

(1-3) how to be a nixe (or your fav dangerous waterspirit) by Hannah Maria Wimmer, @hannah_maria_

Nixes described in Austrian legends either as the most beautiful water creatures, objects of desire, or as man-eating monsters to be avoided lest they end up in the depths of Austrian waters.
This performance looks at the position of the ‘nixes’ of female read people in our waters - our society, in this case the canals of London, and attempts to bring a deconstructed, recomposed version of Austrian saga culture swimming across the ocean to the canals of London.

(4-6) Ways of Water - going and coming by the Raab Sisters, @cilli.raab & @faniraab

200 years ago, more than 70 streams flowed through the streets and alleys of Vienna.
Looking at a map of modern-day Vienna, it is almost impossible to imagine that brooks, larger and smaller streamlets and rivulets used to flow through many lanes and streets of this city as late as in the Biedermeier period.
Due to the increase of population and epedemies such as the Cholera in the 19th century, nearly all of the brooks had to be canalized and now run underneath the streets of Vienna streaming towards the Danube Canal. Many of them have been forgotten while others are still recalled through street and place names (Alserbachstraße, Krottenbachstraße, Dornbach, etc.)
All these small brooks inspired many composers such as Beethoven who wrote „Szene am Bach“ (6th Sinfonie) - meaning „the Scene at the Brook“ or Franz Schubert with his cycle „die Schöne Müllerin“ - „The Beautiful Miller“.

(7-9) Cesaria by Ninka Oltarzewska, @oltarzewska

Cesaria explores the emotional breadth of the transition between childhood and adulthood. Inspired by Louise Bourgeois’ ‘precious liquids’, the performance honours the ingestion and excretion of female bodily fluids in the form of tears, the one and only holy water.

© Konstantina Hornek, @koartspace

Supporters:
@acf_london
@artsofchange
@slash.arts
@l_d_f_official

Cannot stop looking at the wonderful insights from the closing event of @bodiesofwater_exhibition! So blessed to have the honor to curate the show on the @slash.arts boat gallery and work with these talented artists:

(1-3) how to be a nixe (or your fav dangerous waterspirit) by Hannah Maria Wimmer, @hannah_maria_

Nixes described in Austrian legends either as the most beautiful water creatures, objects of desire, or as man-eating monsters to be avoided lest they end up in the depths of Austrian waters.
This performance looks at the position of the ‘nixes’ of female read people in our waters - our society, in this case the canals of London, and attempts to bring a deconstructed, recomposed version of Austrian saga culture swimming across the ocean to the canals of London.

(4-6) Ways of Water - going and coming by the Raab Sisters, @cilli.raab & @faniraab

200 years ago, more than 70 streams flowed through the streets and alleys of Vienna.
Looking at a map of modern-day Vienna, it is almost impossible to imagine that brooks, larger and smaller streamlets and rivulets used to flow through many lanes and streets of this city as late as in the Biedermeier period.
Due to the increase of population and epedemies such as the Cholera in the 19th century, nearly all of the brooks had to be canalized and now run underneath the streets of Vienna streaming towards the Danube Canal. Many of them have been forgotten while others are still recalled through street and place names (Alserbachstraße, Krottenbachstraße, Dornbach, etc.)
All these small brooks inspired many composers such as Beethoven who wrote „Szene am Bach“ (6th Sinfonie) - meaning „the Scene at the Brook“ or Franz Schubert with his cycle „die Schöne Müllerin“ - „The Beautiful Miller“.

(7-9) Cesaria by Ninka Oltarzewska, @oltarzewska

Cesaria explores the emotional breadth of the transition between childhood and adulthood. Inspired by Louise Bourgeois’ ‘precious liquids’, the performance honours the ingestion and excretion of female bodily fluids in the form of tears, the one and only holy water.

© Konstantina Hornek, @koartspace

Supporters:
@acf_london
@artsofchange
@slash.arts
@l_d_f_official

Bodies of Water,
20.-24.09.2023, on the Regency Channel, next to Granary Square.

So excited to share some sneak peeks from the exhibition, my first ever official curating project: Only at second glance the domestic space of the houseboat, traditionally associated with woman, will turn out to be an exhibition out of subtle but strong artistic interventions.

So happy to got the possibility to work with these incredible people & artists together. Among many more of them, a sneak peak of a few:

(1) Man Nequin, 2023, by @satur.chong

(2) The Womb, 2023
space installation by @droppy_
& Mother(ing) nature, 2023, sound installation by @koartspace

(3) LAY ON ME, 2023
site specific installation of body-shaped cushions
by @najshirazi

(4) Marginal Leak, 2023
site-specific salt installation by @miyakmawatari

(5) Thames Talismans, 2023
jewelry by @bobbysweeet

(6) Self Portrait, 1st July 1972
textwork by @richard.cook.art

(7) room view with from L-R:
- LAY ON ME, 2023
by @najshirazi

- Endoskeleton, 2023
ceramics in the shelf by @nani.chula

- Marginal Leak, 2023
by @miyakmawatari

- Bald Hat, 2023
by @satur.chong

(8) room view, with:
Thames Talismans, 2023 by @bobbysweet

(9) @slash.arts Houseboat Gallery from outside

(10) Casual image from some of our orga team, from L-R: @faniraab, @cilli.raab, @droppy_

© All pictures are made by the talented @monikadrabot

Bodies of Water is an interdisciplinary show, that unites UK- and Austria-based artist. As part of @canal_dream the show reflects from a feminist perspective on the role of women*- and water bodies in society during the @l_d_f_official 2023.

supported by:
@artsofchange
@acf_london

Bodies of Water,
20.-24.09.2023, on the Regency Channel, next to Granary Square.

So excited to share some sneak peeks from the exhibition, my first ever official curating project: Only at second glance the domestic space of the houseboat, traditionally associated with woman, will turn out to be an exhibition out of subtle but strong artistic interventions.

So happy to got the possibility to work with these incredible people & artists together. Among many more of them, a sneak peak of a few:

(1) Man Nequin, 2023, by @satur.chong

(2) The Womb, 2023
space installation by @droppy_
& Mother(ing) nature, 2023, sound installation by @koartspace

(3) LAY ON ME, 2023
site specific installation of body-shaped cushions
by @najshirazi

(4) Marginal Leak, 2023
site-specific salt installation by @miyakmawatari

(5) Thames Talismans, 2023
jewelry by @bobbysweeet

(6) Self Portrait, 1st July 1972
textwork by @richard.cook.art

(7) room view with from L-R:
- LAY ON ME, 2023
by @najshirazi

- Endoskeleton, 2023
ceramics in the shelf by @nani.chula

- Marginal Leak, 2023
by @miyakmawatari

- Bald Hat, 2023
by @satur.chong

(8) room view, with:
Thames Talismans, 2023 by @bobbysweet

(9) @slash.arts Houseboat Gallery from outside

(10) Casual image from some of our orga team, from L-R: @faniraab, @cilli.raab, @droppy_

© All pictures are made by the talented @monikadrabot

Bodies of Water is an interdisciplinary show, that unites UK- and Austria-based artist. As part of @canal_dream the show reflects from a feminist perspective on the role of women*- and water bodies in society during the @l_d_f_official 2023.

supported by:
@artsofchange
@acf_london

daily schedule, 2020-21, 23
Fridge, b/w photo print on magnets
50 x 44 x 47,5 cm (HxBxT)
visible from 1.-30.09.23 @stadtgalerie_salzburg

Timetables, to do lists, postcards and memory pictures are not seldom found on fridges. But these magnets are different: they show the daily schedule of four fathers with their child. Lined up one below the other, you can see what each of these four caring dads do every quarter of an hour… Inspired by Friedl Kubleka's "One Day Portraits", I photographed normal dads taking parental leave every 15 minutes for one day and inspired by @tylocke.art "Dad Magnets" I decided to depict them in magnets on the fridge.

Huge thanks to @josimw for organising and lending me this perfect red fridge.

© (1) @melllony
© (2,3,10) @christian_ecker_

daily schedule, 2020-21, 23
Fridge, b/w photo print on magnets
50 x 44 x 47,5 cm (HxBxT)
visible from 1.-30.09.23 @stadtgalerie_salzburg

Timetables, to do lists, postcards and memory pictures are not seldom found on fridges. But these magnets are different: they show the daily schedule of four fathers with their child. Lined up one below the other, you can see what each of these four caring dads do every quarter of an hour… Inspired by Friedl Kubleka's "One Day Portraits", I photographed normal dads taking parental leave every 15 minutes for one day and inspired by @tylocke.art "Dad Magnets" I decided to depict them in magnets on the fridge.

Huge thanks to @josimw for organising and lending me this perfect red fridge.

© (1) @melllony
© (2,3,10) @christian_ecker_

Utopia, 2023
part of the exhibition ACHTUNG, FERTIG, LOS by @extra__stark, visible from 1.-30.09.23 @stadtgalerie_salzburg

The Magic Flute Playground is conceived as an extension of the exhibition space. Thursday afternoons are declared to be a dads' meeting, where fathers can get to know each other, exchange ideas, support each other - simply form their community. The exhibition only serves as an occasion and a starting point for a dad-community event which, in the best case, will become a self-perpetuating event and live on far beyond the exhibition.

Thankyou @melllony for borrowing me your camera to document 💫

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Utopie, 2023

Der Zauberflötenspielplatz wird als Erweiterung des Ausstellungsraums gedacht. Jeder Donnerstagnachmittag wird als Papatreff erklärt, an dem sich Väter kennenlernen, austauschen, gegenseitig unterstützen - schlicht ihre Community bilden können. Die Ausstellung dient hier nur als Anlass und Starthilfe für ein Papa-Community Event, welches im besten Fall zum Selbstläufer wird und weit über die Ausstellung hinweg lebt.

Utopia, 2023
part of the exhibition ACHTUNG, FERTIG, LOS by @extra__stark, visible from 1.-30.09.23 @stadtgalerie_salzburg

The Magic Flute Playground is conceived as an extension of the exhibition space. Thursday afternoons are declared to be a dads' meeting, where fathers can get to know each other, exchange ideas, support each other - simply form their community. The exhibition only serves as an occasion and a starting point for a dad-community event which, in the best case, will become a self-perpetuating event and live on far beyond the exhibition.

Thankyou @melllony for borrowing me your camera to document 💫

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Utopie, 2023

Der Zauberflötenspielplatz wird als Erweiterung des Ausstellungsraums gedacht. Jeder Donnerstagnachmittag wird als Papatreff erklärt, an dem sich Väter kennenlernen, austauschen, gegenseitig unterstützen - schlicht ihre Community bilden können. Die Ausstellung dient hier nur als Anlass und Starthilfe für ein Papa-Community Event, welches im besten Fall zum Selbstläufer wird und weit über die Ausstellung hinweg lebt.

MA Show, Chelsea College of Arts
3.-9.07.2023

Thankful for having my MA Show in London & for the possibility to exhibit three of my artworks in three different locations:

🔺Triangle Space, Bus Installation around the documentation of my performance “Piece be with you,2023”

🫧 ALG17, participative sculpture introduced as Greenwashing & Pinkwashing, which will be shown in the future under the name „Dirty Laundry, 2023“, thank you for the thought-provoking name suggestion @amanpritsandhu

▪️Parade Ground, political banner in the corporate design of the UAL, called „Reparation, 2023“

📷 thankyou @monikadrabot for the portrait

MA Show, Chelsea College of Arts
3.-9.07.2023

Thankful for having my MA Show in London & for the possibility to exhibit three of my artworks in three different locations:

🔺Triangle Space, Bus Installation around the documentation of my performance “Piece be with you,2023”

🫧 ALG17, participative sculpture introduced as Greenwashing & Pinkwashing, which will be shown in the future under the name „Dirty Laundry, 2023“, thank you for the thought-provoking name suggestion @amanpritsandhu

▪️Parade Ground, political banner in the corporate design of the UAL, called „Reparation, 2023“

📷 thankyou @monikadrabot for the portrait

Hello, are you one of these people . . .?

Performance by SUCCESSFUL ARTISTS during the Private View of the MA Show @chelseaual.

Hello, are you one of these people . . .? Collector? Gallerist? Curator? Critic? Successful Artist? No? Well. . . . welcome to our show anyway.
Introducing the NEW (un)OFFICIAL ART SHOW ENTRY CLASSIFICATION SYSTEM that just makes it so simple for everyone to navigate the complexities of the Art World. Using the SUCCESSFUL ARTISTS Art Show Badge System you need never again waste time wondering if the person you are talking to is really worth your valuable time.

SUCCESSFUL ARTISTS (Hannah Imhoff, Nina Oltarzewska, Yuying Huang and Monika Drabot)

📷 & 🎥 by @monikadrabot

Hello, are you one of these people . . .?

Performance by SUCCESSFUL ARTISTS during the Private View of the MA Show @chelseaual.

Hello, are you one of these people . . .? Collector? Gallerist? Curator? Critic? Successful Artist? No? Well. . . . welcome to our show anyway.
Introducing the NEW (un)OFFICIAL ART SHOW ENTRY CLASSIFICATION SYSTEM that just makes it so simple for everyone to navigate the complexities of the Art World. Using the SUCCESSFUL ARTISTS Art Show Badge System you need never again waste time wondering if the person you are talking to is really worth your valuable time.

SUCCESSFUL ARTISTS (Hannah Imhoff, Nina Oltarzewska, Yuying Huang and Monika Drabot)

📷 & 🎥 by @monikadrabot

This artwork is obviously especially made for the MA Show, which is open to the public from today, 3rd July till Sunday 9th July 2023.

This artwork is a political statement.
It is about money.
It is about power.
It is about responsibility.
It is about decolonisation.
This artwork questions the notion of home and targets the UAL.
It is institutional critique.

I use the ual cooperate design for this statement. The proposal for this artwork went up the ual hierarchies till it got due to incredible commitment of my tutors and the believe in freedom of speech finally approved. It started internal discussions about decolonisation strategies of ual and now it is here, publicly visible next to the Tate Britain.

Reparation Banner, 2023
5x3m
mesh, bungy, cable ties

Furthermore it is a collaboration with Chuan Lu @spyinbadmode , how designed the white banner.

@chelseaual

This artwork is obviously especially made for the MA Show, which is open to the public from today, 3rd July till Sunday 9th July 2023.

This artwork is a political statement.
It is about money.
It is about power.
It is about responsibility.
It is about decolonisation.
This artwork questions the notion of home and targets the UAL.
It is institutional critique.

I use the ual cooperate design for this statement. The proposal for this artwork went up the ual hierarchies till it got due to incredible commitment of my tutors and the believe in freedom of speech finally approved. It started internal discussions about decolonisation strategies of ual and now it is here, publicly visible next to the Tate Britain.

Reparation Banner, 2023
5x3m
mesh, bungy, cable ties

Furthermore it is a collaboration with Chuan Lu @spyinbadmode , how designed the white banner.

@chelseaual

Rest Here, 2023

pallets, wheels, mattress, bedding, string, print on canavas

collaborative performance that offers people a rest from society during the second ADEMA performance week

My aim was to create a desirable object, with which people would like to interact, so that it brings strangers together and creates a shared intimate moment that changes our perspectives. For this I was inspired by Adam Chodzko‘s work „Ghost“, a canoe in which people could lie down and see the sky. I thought that a bed with wheels, where you can lie down and you will be carried through Palma could be similarly interesting. From the bed position you perceive your whole surrounding differently, but you are also perceived differently by people passing by. So the performance is on the one side a kind gesture that invites people to interact and take a rest in the achievement-oriented society. On the other hand, the performance has also something uncomfortable in that it exposes you to foreign looks, and you are made vulnerable by lying down in a bed, a symbol of intimacy in the middle of public space.
Furthermore, the square shape and size of a bed is quite similar to the one of a car and at the same time it could not be more different to a car by missing the protective shells and clearly not belonging on the street.

Thankyou @andthebigband that you have made this performance cooperation possible 💫

Thankyou @ademauniversidad for hosting this amazing performance week!

Thankyou @miyakmawatari for the pictures!

Thankyou @yuyinghhhh for the videos!

Rest Here, 2023

pallets, wheels, mattress, bedding, string, print on canavas

collaborative performance that offers people a rest from society during the second ADEMA performance week

My aim was to create a desirable object, with which people would like to interact, so that it brings strangers together and creates a shared intimate moment that changes our perspectives. For this I was inspired by Adam Chodzko‘s work „Ghost“, a canoe in which people could lie down and see the sky. I thought that a bed with wheels, where you can lie down and you will be carried through Palma could be similarly interesting. From the bed position you perceive your whole surrounding differently, but you are also perceived differently by people passing by. So the performance is on the one side a kind gesture that invites people to interact and take a rest in the achievement-oriented society. On the other hand, the performance has also something uncomfortable in that it exposes you to foreign looks, and you are made vulnerable by lying down in a bed, a symbol of intimacy in the middle of public space.
Furthermore, the square shape and size of a bed is quite similar to the one of a car and at the same time it could not be more different to a car by missing the protective shells and clearly not belonging on the street.

Thankyou @andthebigband that you have made this performance cooperation possible 💫

Thankyou @ademauniversidad for hosting this amazing performance week!

Thankyou @miyakmawatari for the pictures!

Thankyou @yuyinghhhh for the videos!

Child Penalties between Man and Women in UK, 2023
enlarged line graph on salary penalties between men and women before and after the birth of the first child (Kleven et. al 2019)
cardboard & carpet tape

Blessed to were part of the exhibition inspired by the book Plot, by Claudia Rankine, the award-winning poet, essayist, playwright and Visiting Professor at Chelsea College of Arts.

Coordinated by @chelseaspace, Richard Ducker and Elizabeth Peebles.

📷 2-4, 6-10 @floodedribs

Child Penalties between Man and Women in UK, 2023
enlarged line graph on salary penalties between men and women before and after the birth of the first child (Kleven et. al 2019)
cardboard & carpet tape

Blessed to were part of the exhibition inspired by the book Plot, by Claudia Rankine, the award-winning poet, essayist, playwright and Visiting Professor at Chelsea College of Arts.

Coordinated by @chelseaspace, Richard Ducker and Elizabeth Peebles.

📷 2-4, 6-10 @floodedribs

Dirty Laundry (Greenwashing), 2023
33 x 33x 98 cm (L x B x H)
steel, water, smooth silver metal paint, water, bath bomb

…to experience this artwork, you have to dip the fabric by turning the handle.

„Sustainability is an integral part of her artistique practises – it is part of her DNA. She is taking her ecofriendly-practise to the next level with this sustainable artwork. It constitutes a 360-degree approach for all stakeholders– our visitors, our curators, our collectors, our people, the societies we serve, and our planet. In addressing the three aspects of her new artwork, she is building a better future that helps us stay within the planetary boundaries, helps us foster a culture of trust, empowerment, and growth, supports inclusive economic opportunities, and ensures that our people and artworld remain resilient and relevant for whatever the future holds.“
- inspired by Siemens Sustainability report 2022

♻️ Greenwashing, 2023
metall, glas, string, clamps, white shirt, bath bomb

💞This artwork can also be rececyled in pink.

#cutthebullshit #climatechange

Dirty Laundry (Greenwashing), 2023
33 x 33x 98 cm (L x B x H)
steel, water, smooth silver metal paint, water, bath bomb

…to experience this artwork, you have to dip the fabric by turning the handle.

„Sustainability is an integral part of her artistique practises – it is part of her DNA. She is taking her ecofriendly-practise to the next level with this sustainable artwork. It constitutes a 360-degree approach for all stakeholders– our visitors, our curators, our collectors, our people, the societies we serve, and our planet. In addressing the three aspects of her new artwork, she is building a better future that helps us stay within the planetary boundaries, helps us foster a culture of trust, empowerment, and growth, supports inclusive economic opportunities, and ensures that our people and artworld remain resilient and relevant for whatever the future holds.“
- inspired by Siemens Sustainability report 2022

♻️ Greenwashing, 2023
metall, glas, string, clamps, white shirt, bath bomb

💞This artwork can also be rececyled in pink.

#cutthebullshit #climatechange

For the “Test Drive” of our MA Show, I further developed my performance “Peace be with you, 2023” and brought it as a bus installation in the gallery space.

#madeatchelsea

📸 1, 5 & 6 @monikadrabot

📹 @monikadrabot

For the “Test Drive” of our MA Show, I further developed my performance “Peace be with you, 2023” and brought it as a bus installation in the gallery space.

#madeatchelsea

📸 1, 5 & 6 @monikadrabot

📹 @monikadrabot

Gumtliksgrumslik, 2023
chewing gum, colour, wall
participative installation

work by @successfulartistcollective (Richard Cook, Monika Drabot, Yuying Huang, with Hannah Imhoff and Nina Oltarzewska)

📷 by @monikadrabot

Gumtliksgrumslik, 2023
chewing gum, colour, wall
participative installation

work by @successfulartistcollective (Richard Cook, Monika Drabot, Yuying Huang, with Hannah Imhoff and Nina Oltarzewska)

📷 by @monikadrabot

Signs from London, 2023

printed color photographs on wallpaper, glue on wall & wood

Initially, toilet signs piqued my interest by appearing to me as an image of our gender norms and the level of tolerated sexism in our society. By collecting footage of more than 50 different toilet signs from South to North London, they gained more meaning for me, appeart to me as a kind of portrait of London.

Big thanks to @monikadrabot for supporting me through my paper struggles.

Signs from London, 2023

printed color photographs on wallpaper, glue on wall & wood

Initially, toilet signs piqued my interest by appearing to me as an image of our gender norms and the level of tolerated sexism in our society. By collecting footage of more than 50 different toilet signs from South to North London, they gained more meaning for me, appeart to me as a kind of portrait of London.

Big thanks to @monikadrabot for supporting me through my paper struggles.

self-portrait, status 2023

photos & excerpts from the video documentation of a performance as part of the show „Wish you were here“ in Margate.

I identify with being an artist. I never identified with being a research assistant for social geography. Eventhough I was both for a significant amount of time. I immediately identified with living in Salzburg, I never identified with living in Bayreuth. What does it make, that we identify ourselves with things? I am interested in how my identities change over time and which contexts seem to form them. The logically unfinished work “self-portrait, status 2023“ pinpoints things that defined myself during the different time periods and shows also my current self-conception in the way how I look at my past, what I remember and what I forgot.

The performance starts with the following lines:
1997 – little sister
2003 – 2009, soccer girl
2006 – 2010 best friends
2007 – big sister
2009 – 2013 horse girl
…

Images by @yurayura_sakana
Video by @darwin_yuanfeng

self-portrait, status 2023

photos & excerpts from the video documentation of a performance as part of the show „Wish you were here“ in Margate.

I identify with being an artist. I never identified with being a research assistant for social geography. Eventhough I was both for a significant amount of time. I immediately identified with living in Salzburg, I never identified with living in Bayreuth. What does it make, that we identify ourselves with things? I am interested in how my identities change over time and which contexts seem to form them. The logically unfinished work “self-portrait, status 2023“ pinpoints things that defined myself during the different time periods and shows also my current self-conception in the way how I look at my past, what I remember and what I forgot.

The performance starts with the following lines:
1997 – little sister
2003 – 2009, soccer girl
2006 – 2010 best friends
2007 – big sister
2009 – 2013 horse girl
…

Images by @yurayura_sakana
Video by @darwin_yuanfeng

Peace be with you, 2023

Video documentation of a performance
Camera by @monikadrabot

In the exhibition „Common People“ we got the opportunity to be part of an off-site show at St. Saviours church. During my preparation I went to one of their masses, where I experienced the „salutation“, a ritual where everybody looked in each others eyes, raised their hands in greeting and wished each other “peace be with you”. I wondered to bring this moment of looking so clear and directly in foreign eyes and shaking their persons hands, in our daily life. I thought about an intervention in the public transport, as people come there on a daily basis together but refuse to admit each others presence. So, I appeared on a bus to join the passengers in acknowledging each other`s presence, shaking the hands of the people near us and wishing each other peace.

Peace be with you, 2023

Video documentation of a performance
Camera by @monikadrabot

In the exhibition „Common People“ we got the opportunity to be part of an off-site show at St. Saviours church. During my preparation I went to one of their masses, where I experienced the „salutation“, a ritual where everybody looked in each others eyes, raised their hands in greeting and wished each other “peace be with you”. I wondered to bring this moment of looking so clear and directly in foreign eyes and shaking their persons hands, in our daily life. I thought about an intervention in the public transport, as people come there on a daily basis together but refuse to admit each others presence. So, I appeared on a bus to join the passengers in acknowledging each other`s presence, shaking the hands of the people near us and wishing each other peace.

Power Relations, 2023

white 3D prints of a UK Plug, a European Plug, an adapter, metall shelve’s, black 3D prints of a Hong Kong Plug & UK Plug, framed excerpt of the Hong Kong Electricity Regulation

plugs approx. 6x2cm,
big shelve 26x23 cm,
small shelve 8x8 cm

Power Relations is a work about the history, politics and diplomacy that objects inherit and represent. In the first part, the visitor finds a UK plug and an European plug next to each other, which are stuck in themselves, thus are non-functional. An adapter is stored on an upper shelf, with which the viewer can connect the UK plug to the European plug, a path that UK politics could have taken.
The other installation seems to display two identical black plugs, where one of which is from Hong Kong and the other from the UK. Due to colonialism these two countries have the same type of plugs. And, as visible in the framed excerpt from the current Electricity Regulation, the Government of Hong Kong is still obliged to produce it's plugs under the copyright of the British Standard Institution.

📸 (1,2,4,5,8,9) big thankyou to @monikadrabot

#madeatchelseaual
@chelseamafa
@chelseaual

Power Relations, 2023

white 3D prints of a UK Plug, a European Plug, an adapter, metall shelve’s, black 3D prints of a Hong Kong Plug & UK Plug, framed excerpt of the Hong Kong Electricity Regulation

plugs approx. 6x2cm,
big shelve 26x23 cm,
small shelve 8x8 cm

Power Relations is a work about the history, politics and diplomacy that objects inherit and represent. In the first part, the visitor finds a UK plug and an European plug next to each other, which are stuck in themselves, thus are non-functional. An adapter is stored on an upper shelf, with which the viewer can connect the UK plug to the European plug, a path that UK politics could have taken.
The other installation seems to display two identical black plugs, where one of which is from Hong Kong and the other from the UK. Due to colonialism these two countries have the same type of plugs. And, as visible in the framed excerpt from the current Electricity Regulation, the Government of Hong Kong is still obliged to produce it's plugs under the copyright of the British Standard Institution.

📸 (1,2,4,5,8,9) big thankyou to @monikadrabot

#madeatchelseaual
@chelseamafa
@chelseaual

The Air of Hong Kong, 2023
10 jars filled with air from different places in Hong Kong, pencil inscription where the air was collected in Chinese and English, metall brackets, screws

„Air is everywhere, but we experience air in a very different way. As Hongkong is still in a lockdown, where people have to wear a mask to go out, one can not really feel & experience air. I think it is a good starting point to conceptualize air to describe the differences of the two cities“, so @kalenleehk tutor of of the Hongkong Baptist University.

Eight students of the Hongkong Baptist University (Manny YIP, Alice HO, Charlotte MAN, DD YOUNG; Josephine SO, Deville Devil, Karen LI, Silvia QU, Tracy KWOK) collected air „from the night fog and the morning glow“, while they were „rushing to class“ and after they were „recovering from Covid out of their room“... This air, handcarried from Hong Kong to London, was than exhibited during the Parallel Festival with pencil inscriptions that described the experience of collecting the air and the places where the air was collected from (1-3). On the last day of the Parallel Festival in London we collectively released the air, smelt and described it (4-9). Following this ten people caught air from different places in London (10), that was returned back to Hongkong and is currently exhibited at the Parallel Festival in Hong Kong.

📷 1,2 & 10 @richard.cook.art
📷 4 @mali1645
📷 5-8 @monikadrabot
📷 9 @kalenleehk

@ava_hkbu
@chelseaual

The Air of Hong Kong, 2023
10 jars filled with air from different places in Hong Kong, pencil inscription where the air was collected in Chinese and English, metall brackets, screws

„Air is everywhere, but we experience air in a very different way. As Hongkong is still in a lockdown, where people have to wear a mask to go out, one can not really feel & experience air. I think it is a good starting point to conceptualize air to describe the differences of the two cities“, so @kalenleehk tutor of of the Hongkong Baptist University.

Eight students of the Hongkong Baptist University (Manny YIP, Alice HO, Charlotte MAN, DD YOUNG; Josephine SO, Deville Devil, Karen LI, Silvia QU, Tracy KWOK) collected air „from the night fog and the morning glow“, while they were „rushing to class“ and after they were „recovering from Covid out of their room“... This air, handcarried from Hong Kong to London, was than exhibited during the Parallel Festival with pencil inscriptions that described the experience of collecting the air and the places where the air was collected from (1-3). On the last day of the Parallel Festival in London we collectively released the air, smelt and described it (4-9). Following this ten people caught air from different places in London (10), that was returned back to Hongkong and is currently exhibited at the Parallel Festival in Hong Kong.

📷 1,2 & 10 @richard.cook.art
📷 4 @mali1645
📷 5-8 @monikadrabot
📷 9 @kalenleehk

@ava_hkbu
@chelseaual

International Peeling Ceremony, 2023
approx. 2x4m
Mandarine’s, Nails

“The International Peeling Ceremony” was the first joint artwork from @monikadrabot and me. It connected the activity of eating and creating together. Our material was Mandarine’s, a symbol of European Christmas and Chinese New Year to connect London and Hongkong. Everyday of the Parallel Festival 2023 the interactive performance encouraged participant to create an ever-changing gallery installation by using the left-over peel. The result was a multi-sensual artwork, that one could feel by peeling the Mandarine, one could taste by eating the Mandarine, one could smell by entering the room and one could see by observeing how the peel sculptures change as they dry.

Our interactive performance and participative installation seems to be on a material level a combination of “Soul City (Pyramid of Oranges)” by Roelof Lou’s and Louise Bourgeois “Peels a Tangerine”.

📷 1, 4, 8 & 9 @richard.cook.art
📷 2 @monikadrabot
📷 3 & 5-7 @fuan_nauf

#madeatchelsea
@chelseaual
@chelseamafa

International Peeling Ceremony, 2023
approx. 2x4m
Mandarine’s, Nails

“The International Peeling Ceremony” was the first joint artwork from @monikadrabot and me. It connected the activity of eating and creating together. Our material was Mandarine’s, a symbol of European Christmas and Chinese New Year to connect London and Hongkong. Everyday of the Parallel Festival 2023 the interactive performance encouraged participant to create an ever-changing gallery installation by using the left-over peel. The result was a multi-sensual artwork, that one could feel by peeling the Mandarine, one could taste by eating the Mandarine, one could smell by entering the room and one could see by observeing how the peel sculptures change as they dry.

Our interactive performance and participative installation seems to be on a material level a combination of “Soul City (Pyramid of Oranges)” by Roelof Lou’s and Louise Bourgeois “Peels a Tangerine”.

📷 1, 4, 8 & 9 @richard.cook.art
📷 2 @monikadrabot
📷 3 & 5-7 @fuan_nauf

#madeatchelsea
@chelseaual
@chelseamafa

External Perception, 2022
100 x 160 mm, art book
approx. 1,5 x 1 m, screenshoots printed on paper glued to the wall

Do you know this, when you see a group of strangers and in milliseconds you form more or less consciously assumptions about them, about their clothes, their gestures, their faces...? When I moved to London, I experienced numerous of these situations of external perception as object and subject. What triggers our assumptions, are they interesting or rather trivial, how true are they, do they relate at all to the people we meet or rather to ourselves? To make these external perceptions visible, I slipped into three real characters, clothes and gestures of friends and asked people on a social app what they assume about me from my pictures?

▫️first character, Zanna, in collaboration with @zoeyjacqueline

▫️second character, Evanna, in collaboration with Eva Gablenz

▫️third character, Hanna, in collaboration with @hannah_maria_

📷 (9) @oltarzewska
📷 (10) by @fuan_nauf

External Perception, 2022
100 x 160 mm, art book
approx. 1,5 x 1 m, screenshoots printed on paper glued to the wall

Do you know this, when you see a group of strangers and in milliseconds you form more or less consciously assumptions about them, about their clothes, their gestures, their faces...? When I moved to London, I experienced numerous of these situations of external perception as object and subject. What triggers our assumptions, are they interesting or rather trivial, how true are they, do they relate at all to the people we meet or rather to ourselves? To make these external perceptions visible, I slipped into three real characters, clothes and gestures of friends and asked people on a social app what they assume about me from my pictures?

▫️first character, Zanna, in collaboration with @zoeyjacqueline

▫️second character, Evanna, in collaboration with Eva Gablenz

▫️third character, Hanna, in collaboration with @hannah_maria_

📷 (9) @oltarzewska
📷 (10) by @fuan_nauf

Living Conditions, 2022
0.8 steal plates, steal rod, magnets, screws, sticky tape
metal plates in three sizes:
500x333 mm,
333x333 mm,
333x166,5 mm
metal rods in two sizes:
180 mm,
55 mm

"Chickens are lazy animals, they don't go outside" said a farmer. If you take this quote literally, it means that most chickens spend most of their time in their small barns. According to European law, chickens must have a certain barn size to call themselves organic eggs and use the code "0", the same is true free range eggs which is labeled "1", barn eggs labeled "2" and caged labeled "3". At the moment in England we face the bird flu.

📷 pictures of the installation (2,3,4) by @fuan_nauf
📷 picture (1) by @jan_e.y

#madeatchelsea #sculpture #chickencondition #animalrights #finearts

Living Conditions, 2022
0.8 steal plates, steal rod, magnets, screws, sticky tape
metal plates in three sizes:
500x333 mm,
333x333 mm,
333x166,5 mm
metal rods in two sizes:
180 mm,
55 mm

"Chickens are lazy animals, they don't go outside" said a farmer. If you take this quote literally, it means that most chickens spend most of their time in their small barns. According to European law, chickens must have a certain barn size to call themselves organic eggs and use the code "0", the same is true free range eggs which is labeled "1", barn eggs labeled "2" and caged labeled "3". At the moment in England we face the bird flu.

📷 pictures of the installation (2,3,4) by @fuan_nauf
📷 picture (1) by @jan_e.y

#madeatchelsea #sculpture #chickencondition #animalrights #finearts

The Idea Europe, 2022
approx. 100 x 100 cm
unfired clay, chicken wire, suckers, tape, paper signs

"The Idea Europe" refers to the European Union, an idea that became utopia in Britain. The remarkable silhouette, a symbol of unity, is on display in London and points to the Brexit. The cracks in the thirsting, drying clay point to the fragility of the idea, which cannot be taken for granted. The metal wire sticking out of the clay refers to the fences that are also part of the European Union, and the tape to the exclusionary border line frontex.

The Idea Europe, 2022
approx. 100 x 100 cm
unfired clay, chicken wire, suckers, tape, paper signs

"The Idea Europe" refers to the European Union, an idea that became utopia in Britain. The remarkable silhouette, a symbol of unity, is on display in London and points to the Brexit. The cracks in the thirsting, drying clay point to the fragility of the idea, which cannot be taken for granted. The metal wire sticking out of the clay refers to the fences that are also part of the European Union, and the tape to the exclusionary border line frontex.

The Walking Line, 2022
suitcase, sugar, salt
180 foot
Documentation of a performance taking place between my uni, the Chelsea College and the EU, the Lithuania (European) Embassy in the frame of our first Master Show called “Departure Lounge”.

Feeling this work incorporates a lot of my current practise:

It is simple.
It is analog.
It is political.
It is personal.
It is temporally.
It is site specific.
It is minimalistic.
It is participatory.
It is in the public space.
It is inspired by other aritists - Paul Klee and Francis Alÿs.

Grateful to study with these people - thankyou @monikadrabot for filming 📽, thankyou @oltarzewska and also @zoeyjacqueline for photographing 📷, thankyou @miyakosowick for participating 💃🏽.

@chelseamafa
@chelseaual

The Walking Line, 2022
suitcase, sugar, salt
180 foot
Documentation of a performance taking place between my uni, the Chelsea College and the EU, the Lithuania (European) Embassy in the frame of our first Master Show called “Departure Lounge”.

Feeling this work incorporates a lot of my current practise:

It is simple.
It is analog.
It is political.
It is personal.
It is temporally.
It is site specific.
It is minimalistic.
It is participatory.
It is in the public space.
It is inspired by other aritists - Paul Klee and Francis Alÿs.

Grateful to study with these people - thankyou @monikadrabot for filming 📽, thankyou @oltarzewska and also @zoeyjacqueline for photographing 📷, thankyou @miyakosowick for participating 💃🏽.

@chelseamafa
@chelseaual

Father and child, 2021-2022
double-sided printed cardboard to take in hand and look at
297 x 420 mm

Inspired by Friedl Kubelka's "One Day Portraits", I take a look at what it means to be a parent for one day. I portray an average day of their daily lives by snapping a photo of the father who is taking parental leave every quarter of an hour. Mothers still do most of the parenting, then go part-time and otherwise shoulder most of the unpaid care work. On the other hand, there are the fathers, who often get harder parental leave, are still expected somewhere to feed the family, and receive unsolicited advice on the street regarding their little ones. This is where I want to pick up and make visible the normality of fathers taking parental leave, caring for and raising their children.

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Vater und Kind, 2021-2022
doppelseitig bedruckte Pappen zum in die Hand nehmen und anschauen
297 x 420 mm

Inspiriert von Friedl Kubelkas „One Day Portraits” schaue ich mir einen Tag lang an, was es heißt Eltern zu sein. Ich portraitiere einen möglichst normalen Tag im Alltag von elternzeitnehmenden Vätern, indem ich alle viertel Stunde ein Foto von ihnen knipse. Immer noch übernehmen die Mütter den Großteil der Elternzeit, gehen anschließend in Teilzeit und schultern auch ansonsten den Großteil der unbezahlten Care Arbeit. Auf der anderen Seite gibt es die Väter, die oft schwerer Elternzeit bekommen, von denen immer noch irgendwo erwartet wird, dass sie die Familie ernähren und die auf der Straße ungefragte Ratschläge bezüglich ihrer Kleinen erhalten. Hier möchte ich anknüpfen und die Normalität der Elternzeit nehmenden, sorgenden und erziehenden Väter sichtbar machen.

@galerie_das_zimmer
@kunstwerk.moz
@unimozarteumsalzburg

#fatherandchild #carearbeit #genderequality #childpenalties #politicalart #onedayportrait #photography

Father and child, 2021-2022
double-sided printed cardboard to take in hand and look at
297 x 420 mm

Inspired by Friedl Kubelka's "One Day Portraits", I take a look at what it means to be a parent for one day. I portray an average day of their daily lives by snapping a photo of the father who is taking parental leave every quarter of an hour. Mothers still do most of the parenting, then go part-time and otherwise shoulder most of the unpaid care work. On the other hand, there are the fathers, who often get harder parental leave, are still expected somewhere to feed the family, and receive unsolicited advice on the street regarding their little ones. This is where I want to pick up and make visible the normality of fathers taking parental leave, caring for and raising their children.

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Vater und Kind, 2021-2022
doppelseitig bedruckte Pappen zum in die Hand nehmen und anschauen
297 x 420 mm

Inspiriert von Friedl Kubelkas „One Day Portraits” schaue ich mir einen Tag lang an, was es heißt Eltern zu sein. Ich portraitiere einen möglichst normalen Tag im Alltag von elternzeitnehmenden Vätern, indem ich alle viertel Stunde ein Foto von ihnen knipse. Immer noch übernehmen die Mütter den Großteil der Elternzeit, gehen anschließend in Teilzeit und schultern auch ansonsten den Großteil der unbezahlten Care Arbeit. Auf der anderen Seite gibt es die Väter, die oft schwerer Elternzeit bekommen, von denen immer noch irgendwo erwartet wird, dass sie die Familie ernähren und die auf der Straße ungefragte Ratschläge bezüglich ihrer Kleinen erhalten. Hier möchte ich anknüpfen und die Normalität der Elternzeit nehmenden, sorgenden und erziehenden Väter sichtbar machen.

@galerie_das_zimmer
@kunstwerk.moz
@unimozarteumsalzburg

#fatherandchild #carearbeit #genderequality #childpenalties #politicalart #onedayportrait #photography

My Rolex, Your Rolex?, 2022
Given footage of different people as digital print on recycled cardboard from Salzburg city center

When @ericeric_america asked me about my Rolex, I first wanted to answer that I don't have such a thing, after all I don't care about brands. But then I realized that I do have something like that... Something more or less material that gives me external recognition and also internal prestige. Something that gives me the feeling of being intelligent, loved, beautiful or successful and at the same time I feel ashamed somewhere that it triggers such feelings in me. Something that in itself is something good, but that I would not want my fellows to know how much it means to me. Something from which I draw self-worth, but on which I would rather not be so dependent.

After that I asked my fellows about this feeling between pride and shame and what it triggers in them. I asked them about their Rolex, so to speak and here you see their answers.

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Meine Rolex, Deine Rolex?, 2022
Given Footage von verschiedenen Menschen als Digitaldruck auf recyceltemt Karton aus der Salzburger Innenstadt

Als mich @ericeric_america nach meiner Rolex fragte, wollte ich zuerst antworten ich hätte so etwas nicht, schließlich seien mir Marken egal. Doch dann ist mir aufgefallen, dass ich durchaus so etwas habe… Etwas mehr oder weniger Materielles, dass mir äußere Anerkennung und auch inneres Prestige gibt. Etwas das mir das Gefühl gibt Intelligent, Geliebt, Schön oder Erfolgreich zu sein und gleichzeitig schäme ich mich irgendwo dafür, dass es solche Gefühle bei mir auslöst. Etwas, dass an sich schon etwas Gutes ist, von dem ich aber nicht wollen würde dass meine Mitmenschen wüssten wie viel es mir bedeutet. Etwas, aus dem ich Selbstwert ziehe, von dem ich aber eigentlich lieber gar nicht so abhängig wäre.

Danach habe ich meine Mitmenschen gefragt, nach diesem Gefühl zwischen Stolz und Scham und was es bei ihnen auslöst. Ich habe sie sozusagen nach ihrer Rolex gefragt.

📸 @peaceinourminds, @erikmeinhart und @imhoff_hannah

@unimozarteumsalzburg
@galerie_das_zimmer
@bildhauerei_moz

My Rolex, Your Rolex?, 2022
Given footage of different people as digital print on recycled cardboard from Salzburg city center

When @ericeric_america asked me about my Rolex, I first wanted to answer that I don't have such a thing, after all I don't care about brands. But then I realized that I do have something like that... Something more or less material that gives me external recognition and also internal prestige. Something that gives me the feeling of being intelligent, loved, beautiful or successful and at the same time I feel ashamed somewhere that it triggers such feelings in me. Something that in itself is something good, but that I would not want my fellows to know how much it means to me. Something from which I draw self-worth, but on which I would rather not be so dependent.

After that I asked my fellows about this feeling between pride and shame and what it triggers in them. I asked them about their Rolex, so to speak and here you see their answers.

▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️

Meine Rolex, Deine Rolex?, 2022
Given Footage von verschiedenen Menschen als Digitaldruck auf recyceltemt Karton aus der Salzburger Innenstadt

Als mich @ericeric_america nach meiner Rolex fragte, wollte ich zuerst antworten ich hätte so etwas nicht, schließlich seien mir Marken egal. Doch dann ist mir aufgefallen, dass ich durchaus so etwas habe… Etwas mehr oder weniger Materielles, dass mir äußere Anerkennung und auch inneres Prestige gibt. Etwas das mir das Gefühl gibt Intelligent, Geliebt, Schön oder Erfolgreich zu sein und gleichzeitig schäme ich mich irgendwo dafür, dass es solche Gefühle bei mir auslöst. Etwas, dass an sich schon etwas Gutes ist, von dem ich aber nicht wollen würde dass meine Mitmenschen wüssten wie viel es mir bedeutet. Etwas, aus dem ich Selbstwert ziehe, von dem ich aber eigentlich lieber gar nicht so abhängig wäre.

Danach habe ich meine Mitmenschen gefragt, nach diesem Gefühl zwischen Stolz und Scham und was es bei ihnen auslöst. Ich habe sie sozusagen nach ihrer Rolex gefragt.

📸 @peaceinourminds, @erikmeinhart und @imhoff_hannah

@unimozarteumsalzburg
@galerie_das_zimmer
@bildhauerei_moz

Child Penalties in Earnings in Austria between Man and Woman, 2022
approx. 200 x 800 cm
Cardboard, neon strings, double-sided tape, paper clips.

You see an enlarged to scale line chart of statistics on salary penalties between men and women before and after the birth of the first child (Kleven et. al 2019) made of recycled cardboard from Salzburg city center.

📸 @peaceinourminds & me

@kunstwerk.moz
@unimozarteumsalzburg
@sculpture_moz
@gallery_the_room

#genderequality #equalpay #carework #childpenalties #parenthood #art #sculptures #sidespecific

Child Penalties in Earnings in Austria between Man and Woman, 2022
approx. 200 x 800 cm
Cardboard, neon strings, double-sided tape, paper clips.

You see an enlarged to scale line chart of statistics on salary penalties between men and women before and after the birth of the first child (Kleven et. al 2019) made of recycled cardboard from Salzburg city center.

📸 @peaceinourminds & me

@kunstwerk.moz
@unimozarteumsalzburg
@sculpture_moz
@gallery_the_room

#genderequality #equalpay #carework #childpenalties #parenthood #art #sculptures #sidespecific

Monument of Carework, 2022
Work of the artist trio: Marie Gruber, Lea Wiednig and Hannah Imhoff
ca. 1 x 1,5m
Porcelain mass, glaze

📸 @peaceinourminds

@unimozarteumsalzburg
@kunstwerk.moz
@sculpture_moz
@gallery_the_room

#genderequality #carework #parenting #art #ceramics #porcelain

Monument of Carework, 2022
Work of the artist trio: Marie Gruber, Lea Wiednig and Hannah Imhoff
ca. 1 x 1,5m
Porcelain mass, glaze

📸 @peaceinourminds

@unimozarteumsalzburg
@kunstwerk.moz
@sculpture_moz
@gallery_the_room

#genderequality #carework #parenting #art #ceramics #porcelain

Dankbar für diese wunderschöne Vernissage 😇

„Hinter dieser Tür“ zu sehen vom 2. - 24. Juni in der Galerie DAS ZIMMER, Mirabellplatz 1, Salzburg
Öffnungszeiten: Mo - So, 10-20 Uhr

▫️Vater und Kind, 2021 - 2022 Digitaldruck auf Karton

▫️Windelberg, 2022
Porzelanmasse, Glasur

▫️ Meine Rolex, Deine Rolex?, 2022
Given Footage von verschiedenen Menschen als Digitaldruck auf recyceltem Karton

▫️Child Penalties in Earning in Austria between Man and Woman, 2022 recycelter Karton aus der Salzburger Innenstadt

📸 @peaceinourminds und @erikmeinhart

@kunstwerk.moz
@unimozarteumsalzburg

Dankbar für diese wunderschöne Vernissage 😇

„Hinter dieser Tür“ zu sehen vom 2. - 24. Juni in der Galerie DAS ZIMMER, Mirabellplatz 1, Salzburg
Öffnungszeiten: Mo - So, 10-20 Uhr

▫️Vater und Kind, 2021 - 2022 Digitaldruck auf Karton

▫️Windelberg, 2022
Porzelanmasse, Glasur

▫️ Meine Rolex, Deine Rolex?, 2022
Given Footage von verschiedenen Menschen als Digitaldruck auf recyceltem Karton

▫️Child Penalties in Earning in Austria between Man and Woman, 2022 recycelter Karton aus der Salzburger Innenstadt

📸 @peaceinourminds und @erikmeinhart

@kunstwerk.moz
@unimozarteumsalzburg

Don´t Be Afraid Of Female Pleasure, 2022
Neon Installation im Rahmen des Schlachthoffestivals
ca. 3x5m
Acryl Stifte, LEDs

„Don´t Be Afraid Of Female Pleasure” ist die erste gemeinsame Arbeit von Marie Gruber, Lea Wiednig und Hannah Imhoff. Ihre Arbeit zeigt eine Stimulierungsanleitung der Vulva und setzt ein plakatives Zeichen für weibliche Lust. Die Arbeit wurde ortspezifisch für das Schlachthoffestivals 2022 entwickelt, die Zeichnung entstand direkt auf den Wandkacheln des Schlachthofs. „Don´t Be Afraid Of Female Pleasure“ fungierte sowohl als eigenständige bildnerische Arbeit, als auch als Bühnenbild für die darstellenden Künstler*innen des Festivals.

(c) @verajk

Don´t Be Afraid Of Female Pleasure, 2022
Neon Installation im Rahmen des Schlachthoffestivals
ca. 3x5m
Acryl Stifte, LEDs

„Don´t Be Afraid Of Female Pleasure” ist die erste gemeinsame Arbeit von Marie Gruber, Lea Wiednig und Hannah Imhoff. Ihre Arbeit zeigt eine Stimulierungsanleitung der Vulva und setzt ein plakatives Zeichen für weibliche Lust. Die Arbeit wurde ortspezifisch für das Schlachthoffestivals 2022 entwickelt, die Zeichnung entstand direkt auf den Wandkacheln des Schlachthofs. „Don´t Be Afraid Of Female Pleasure“ fungierte sowohl als eigenständige bildnerische Arbeit, als auch als Bühnenbild für die darstellenden Künstler*innen des Festivals.

(c) @verajk

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