Barbara Karrer

Kleine Wasser ändern die Betonung. Zärtlichkeiten ungenau,
greifen nach der Erde aus dem Raum.

(aus: Rainer Maria Rilke, 1924‚ Vorfrühling)

Ohne Titel, 2022
Ø 74 cm, Höhe 108 cm Glas, Edelstahl, Stahl

Abir Kobeissi

Unarmed, from my body to yours, its aggression, yet fragility, trapped, immobile, feeling somehow helpless, yet aggressive and strong, wondering;

We are these greedy, lovable, nasty, peaceful, survival seeking creatures, aren’t we?

Are we ever winners?
Are there any winners in wars? Is hero-ship an illusion?
Is it about me or about the Tribe?

Unarmed, 2018 — 2022, still in production Porcelain, gold

Abir Kobeissi

Unarmed, from my body to yours, its aggression, yet fragility, trapped, immobile, feeling somehow helpless, yet aggressive and strong, wondering;

We are these greedy, lovable, nasty, peaceful, survival seeking creatures, aren’t we?

Are we ever winners?
Are there any winners in wars? Is hero-ship an illusion?
Is it about me or about the Tribe?

Unarmed, 2018 — 2022, still in production Porcelain, gold

Abir Kobeissi

Unarmed, from my body to yours, its aggression, yet fragility, trapped, immobile, feeling somehow helpless, yet aggressive and strong, wondering;

We are these greedy, lovable, nasty, peaceful, survival seeking creatures, aren’t we?

Are we ever winners?
Are there any winners in wars? Is hero-ship an illusion?
Is it about me or about the Tribe?

Unarmed, 2018 — 2022, still in production Porcelain, gold

Atena Alaie

Days passed by slowly and slowly during the pandemic years, but my feelings and thoughts were in a rush, trying to come to the surface, small creatures prisoners inside me, sometimes angry, sometimes not.
they were in a rush

they are in a rush they will be in a rush

Untitled, 2021 Unfired clay, thread

Eduardo Palomares

The sea and its materiality have always been part of me. The salt that dries on my skin, the water that touches every pore of my body, the control of my breathing when I submerge ...

In Arjé I become part of a millenary cycle of erosion. Being time exposed to my inter- vention, I sculpt different stones by hand, I place water from the ocean and salt from the mountains to accelerate a process that nature takes centuries to erode.

Moby Dick inspires this ceramic work, in which Dead Sea salt creates a white skin representing Herman Mellvines‘ Leviathan. The ocean and its historical, social and symbolic significance is represented in this sculpture of an almost religious presence.

ARJÉ, 2022 Bowls of marble and limestone, Himalaya salt, water from the Baltic Sea

Moby Dick, 2022   Ceramic, Dead Sea salt

Eduardo Palomares

The sea and its materiality have always been part of me. The salt that dries on my skin, the water that touches every pore of my body, the control of my breathing when I submerge ...

In Arjé I become part of a millenary cycle of erosion. Being time exposed to my inter- vention, I sculpt different stones by hand, I place water from the ocean and salt from the mountains to accelerate a process that nature takes centuries to erode.

Moby Dick inspires this ceramic work, in which Dead Sea salt creates a white skin representing Herman Mellvines‘ Leviathan. The ocean and its historical, social and symbolic significance is represented in this sculpture of an almost religious presence.

ARJÉ, 2022 Bowls of marble and limestone, Himalaya salt, water from the Baltic Sea

Moby Dick, 2022   Ceramic, Dead Sea salt

Eduardo Palomares

The sea and its materiality have always been part of me. The salt that dries on my skin, the water that touches every pore of my body, the control of my breathing when I submerge ...

In Arjé I become part of a millenary cycle of erosion. Being time exposed to my inter- vention, I sculpt different stones by hand, I place water from the ocean and salt from the mountains to accelerate a process that nature takes centuries to erode.

Moby Dick inspires this ceramic work, in which Dead Sea salt creates a white skin representing Herman Mellvines‘ Leviathan. The ocean and its historical, social and symbolic significance is represented in this sculpture of an almost religious presence.

ARJÉ, 2022 Bowls of marble and limestone, Himalaya salt, water from the Baltic Sea

Moby Dick, 2022   Ceramic, Dead Sea salt

Igor Vrdoljak UNRUH

A premonition: 99 portraits, lit over 100 times and fixed through the lens of the camera. It is not first the subjects of his camera that are being digested, but the fancy face of time, its linearity being excavated, layered — skin upon skin — occurring by virtue of the negation of itself in minutes span of repetitively flashing presence, spitting images which depict precisely the fleetingness which it fails to capture over every face.

99 clocks break the second, 2022 Multiple video installation
3:00 Min

Josefine Pytlik

›Ich muss was leisten, ich muss was leisten, ich muss hier was bringen, es muss gleich toll ausschauen, es muss DAS Werk aller Zeiten sein und es muss auch schnell, bald fertig sein.‹
Eine Arbeit, die die inneren Stimmen des Leistungsdrucks nach außen hörbar macht. Hat das Getöse im Kopf einmal angefangen, gibt es nur noch leere Worte.

josefinepytlik.com/code_JA/

MUSSGUTWERDENN.mp3, 2022 3:07 Min
Sound

KIMO

KIMO’s Arbeiten befassen sich mit dem menschlichen Körper. Im Fokus liegt die Demontage des Körpers. Die Gliedmaßen, Organe und Gefäße definiert sie in ihrer Sprache in abstrakten Bildern und Objekten. Der neu gedachte Körper verlässt die Architektur, verlässt gesellschaftliche Normen und Strukturen und kann sich in andere Sphären begeben.

Der neue Fuß in einem unbekannten Raum, 2022

Große : ca.60*100*60cm

Materialien: aus Keramik und gemischt Medien

Laura Klodt-Bußmann

Ein Objekt aus zwei Aluminiumplatten. Zwischen den Platten befinden sich einzelne Blumen oder ein ganzer Strauß. Die Blumen sind frische, gezüchtete, langhaltende Blumen, die natürlich mit der Zeit verwelken, eintrocknen bzw. in einen anderen Zustand übergehen. Das Objekt trifft sich zwischen Funktion und organischem Element, um so zusammen zu sprechen. Zwischen Funktion und Illusion. Idee und Objekt.

Sálix, 2022
50 × 28 cm Aluminium, Blüten

Mira Schienagel

1. macht digitales pic von einem Stück Boden 2. sprüht Farbe darauf
3. gräbt mit Pencil aus den Pixeln heraus
4. bis man in sich gräbt

5. in Gefühlen schwebt
5. während man Zug fährt
6. und ein neues image entsteht

Handschuh, 2022 (Abbildung) / Vier Mal glauben, 2022 / Früchte, 2022 Drei digitale Grattagen, Serie — Digitale Grabungsarbeiten: Boden
42 x 59 cm, bzw. 59 x 42 cm, Alu-Dibond

www.misch.jimdosite.com

Mira Schienagel

1. macht digitales pic von einem Stück Boden 2. sprüht Farbe darauf
3. gräbt mit Pencil aus den Pixeln heraus
4. bis man in sich gräbt

5. in Gefühlen schwebt
5. während man Zug fährt
6. und ein neues image entsteht

Handschuh, 2022 (Abbildung) / Vier Mal glauben, 2022 / Früchte, 2022 Drei digitale Grattagen, Serie — Digitale Grabungsarbeiten: Boden
42 x 59 cm, bzw. 59 x 42 cm, Alu-Dibond

www.misch.jimdosite.com

Mira Schienagel

1. macht digitales pic von einem Stück Boden 2. sprüht Farbe darauf
3. gräbt mit Pencil aus den Pixeln heraus
4. bis man in sich gräbt

5. in Gefühlen schwebt
5. während man Zug fährt
6. und ein neues image entsteht

Handschuh, 2022 (Abbildung) / Vier Mal glauben, 2022 / Früchte, 2022 Drei digitale Grattagen, Serie — Digitale Grabungsarbeiten: Boden
42 x 59 cm, bzw. 59 x 42 cm, Alu-Dibond

www.misch.jimdosite.com

Sara Mayoral

My artistic practice starts from my own body, I am currently exploring self-portraiture, learning about the possibilities of the human being as an artistic subject and moving away from the sexualisation and objectification of the old standards of representation of the female physique. Using various techniques, especially those that allow me to be in direct contact with matter, I have archived, textures and forms of my body as a way of documenting and understanding the passage of time.

"The memory of the body" is the title of the project at the JahresAustellung 2022.
Two installations made with two traditional techniques, ceramics and lithography, in which to explore memory and trauma, psychological and physical, fractures, pain, experiences that make us look inward and reflect. In the basement of the old building an installation of lithography (from the ancient Greekλίθος líthos "stone" and graphie) is the oldest flat printing process, while in the garden we find a group of sculptures made on ceramics.

Memory of the Body, 2022

Litography, ceramic

Sara Mayoral

My artistic practice starts from my own body, I am currently exploring self-portraiture, learning about the possibilities of the human being as an artistic subject and moving away from the sexualisation and objectification of the old standards of representation of the female physique. Using various techniques, especially those that allow me to be in direct contact with matter, I have archived, textures and forms of my body as a way of documenting and understanding the passage of time.

"The memory of the body" is the title of the project at the JahresAustellung 2022.
Two installations made with two traditional techniques, ceramics and lithography, in which to explore memory and trauma, psychological and physical, fractures, pain, experiences that make us look inward and reflect. In the basement of the old building an installation of lithography (from the ancient Greekλίθος líthos "stone" and graphie) is the oldest flat printing process, while in the garden we find a group of sculptures made on ceramics.

Memory of the Body, 2022

Breasts, Keramik

Litography, ceramic

My artistic practice starts from my own body, I am currently exploring self-portraiture, learning about the possibilities of the human being as an artistic subject and moving away from the sexualisation and objectification of the old standards of representation of the female physique. Using various techniques, especially those that allow me to be in direct contact with matter, I have archived, textures and forms of my body as a way of documenting and understanding the passage of time.

"The memory of the body" is the title of the project at the JahresAustellung 2022.
Two installations made with two traditional techniques, ceramics and lithography, in which to explore memory and trauma, psychological and physical, fractures, pain, experiences that make us look inward and reflect. In the basement of the old building an installation of lithography (from the ancient Greekλίθος líthos "stone" and graphie) is the oldest flat printing process, while in the garden we find a group of sculptures made on ceramics.

Litography 2022

St.Eve (Stephanie Olszewski & Yves Seissler)

Your skin is not a border.
Feel the downside of your tongue And the space between your fingers. Have no fear, it’s gonna be fine.
I promise

INCANTATION (Lilies & Chlorine), 2021 4:15 Min
HD Video, sound

Stephanie Rössing

Aus der Tiefe der Vergangenheit lösen sich Erinnerungen an den Ursprung des Seins. Die Entdeckung des bewusst Unbekannten wird zu der Erkenntnis des unbewusst Bekannten.
Das Schiff, das durch die Zeit reist, erleidet Schiffbruch — sein Innerstes strandet an den Ufern der Unwissenheit.

subducta, 2022
Lithographie auf Büttenpapier, 42 x 60 cm 14 Objekte, Bronze, 4 — 15 cm

Stephanie Rössing

Aus der Tiefe der Vergangenheit lösen sich Erinnerungen an den Ursprung des Seins. Die Entdeckung des bewusst Unbekannten wird zu der Erkenntnis des unbewusst Bekannten.
Das Schiff, das durch die Zeit reist, erleidet Schiffbruch — sein Innerstes strandet an den Ufern der Unwissenheit.

subducta, 2022
Lithographie auf Büttenpapier, 42 x 60 cm 14 Objekte, Bronze, 4 — 15 cm

Zahra Ghadimian

AG

ZG

Als Immigrantin schaffe ich mir, wohin ich auch gehe, einen sicheren Ort. Mit den Wollfäden, die meine Wurzeln symbolisieren, ist meine Heimat immer bei mir, begleitet mich überall hin. Diesmal werde ich einen Platz im Keller der Akademie besitzen. Ich erschaffe mein eigenes Territorium mit meinen Mitstudierenden und Spinnen. Vielleicht bin ich wie sie und ein Teil von ihnen.

th space, 2022 Wool