Rundgang 2022

why do you return?

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Installation view of room 95a

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Miriam Döring — EVACUATING UPWARDS, EVACUATING DOWNWARDS — OR IN ANY OTHER NECESSARY DIRECTION (The colors of the humours, where there is no ebb of them, is like that of flowers) (7a)

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Miriam Döring — Clepsydric Lungs (— until her hands will loosen) (7b)

Nilam Ali —  "Woher kommst du?"  (14)

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Paula Hoffmann — MKWPR_1  (16)

Marco Siciliano — Page 22, Page 113, Page 7, Page /, Page 350  (8)

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Sonnhild Schietzel — birds  (3)

Louisa Frauenheim - Diffusor (graduation work)

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 Maria Martini —  TA- (9a) // Maria Martini — VOR (9b)

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Reem Awad — Rooting (1)

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Lea Mugnaini — Considering a never ending story, Homage to Julia (graduation work)

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Gloria Jurado — Souvenir (15)

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Lasse Müller — vom möglichen entkommen (6)

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Shin Oh Nam — I HAVE FELT NAUSEA / I WILL BUILD MY HOUSE (graduation work)

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 Jule Tabea Martin — you got me all wrong (Posenangeln — Hyperfemininity III)  (12)

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2a) Anica Seidel — I am not going to be silent  (2a) // Anica Seidel — Untitled (2b)

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Francis Kussatz — „Reminds me of you: Diary of a sick person" (excerpt) (5)

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Bailey Keogh —  BIOSPHERE (12)

Info about the works

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13) Siwoo Jung — Wer bist du? Was kann ich nicht machen? 

inkjetprints / 84,1 x 118,9 cm, 59,4 x 84,1 cm, 42 x 59,4 cm / 2022

// dosonget@gmail.com

 

 

14) Nilam Ali —  "Woher kommst du?"

bead curtain, photographs, pieces of cloth, clay, hair / 130 x 200 x 20 cm / 2022

„Woher kommst du?" — Ich bin 1995 in Berlin geboren. Meine Mutter kommt aus Izmir in der Türkei. Sie ist als Kind mit ihren Eltern in der 1970ern nach Deutschland migriert. Meine Großeltern sind später zurück in die Türkei gezogen. Mein Vater ist in Westdeutschland geboren, die Familie seiner Mutter lebt im Osten. Er sagt, Teile unserer Familie kamen aus Polen. Die Vorfahren meines Opas mütterlicherseits wurden in den 1920er Jahren nach dem Zerfall des Osmanischen Reichs von Kreta in die Türkei zwangsumgesiedelt. Sie waren Händler, die irgendwann aus dem Gebiet des jetzigen Syrien übergesiedelt waren, das hat mein Uropa meiner Mutter erzählt. Wenn mich Leute fragen, woher ich komme, sage ich nie „aus Deutschland", ich sage: „Ich bin in Berlin geboren."

// @nilam.ali_x

 

15) Gloria Jurado — Souvenir

concrete (from Berlin´s rubble), steel, overhead projector / 35 x 35 x 70 cm / 2022

In a context in which Berlin is undergoing a major urban transformation faced by organizations, institutions, and citizens, and with the idea that the materials themselves engage in reflection and pose questions about the situation of the city's speculation, the artist creates a series of key rings with the rubble of Berlin. These pieces and the placement of one of them on an overhead projector are based on the idea of the Souvenir as the consumed image of the city as a product. The value of the key rings plays an important role as it will always be linked to the price of the square meter of the site, determined by the real estate market.

// glojurrod@gmail.com // @berlinumbau // @gloriajurado_ // www.berlinumbau.com

 

16) Paula Hoffmann — MKWPR_1

Pappmasché, Tusche, Stahl / 205 x 75 x75 cm / 2022

// mail@pshoffmann.com // @ps.Hoffmann

 

17) Bailey Keogh —  BIOSPHERE

digital animation / 1080 x 1920 px / 2022

BIOSPHERE is a video piece that acts as a fast pace tour through feelings of uneasiness. From entrapment to psychosis, specifically that of Truman Show Syndrome, the view follows digital animations and found footage. The failed 1990s scientific and human experiment, Biosphere 2, acts as a setting for the piece in a 3D generated replica of the facilities. A central inspiration is the recent overturning of Roe vs Wade, which left those opposing feeling helpless, disconnected and out of touch with the reality which they cannot seem to effectively enact positive change. 

// bailey.keogh@gmail.com // @baileykeogh // www.baileykeogh.com

 

18) Seunghoon Baek — a well

mirror, stone, WLAN-antenna / 142x126x29 / 2022

The sky reflected in the deep and deeper ground is high and higher.

// @h000ni

Further Graduation Works

 

Entrance Hall/Quergalerie: Asís Maria — Is it a match? New perspectives on your dating profile

mixed media (wallpaper, c-type prints, sound, text) / 2022

// @asisdemaria

 

R91: Shin Oh Nam — I HAVE FELT NAUSEA / I WILL BUILD MY HOUSE

 2022

// bethesaintshinoh@gmail.com // www.shinohnam.de 

 

R92: Louisa Frauenheim - Diffuser

installation of videos, various screens with players, wire ropes, treadmill, Formula 1 suit, helmet / 2022

Synonyms: Widener, Spreader

In motorsport, a diffuser is the component that improves the aerodynamics in the underbody area of a racing car and causes a suction effect. The diffuser provides downforce and thus makes the car faster.

// l.frauenheim@gmx.de // www.louisafrauenheim.com

1) Reem Awad — Rooting

aluminium / 170 x 80 x 80 cm / 2022 

„Why do you return when you are already established!", "Why do you return when you have already walked thousands of miles !", "Why do you return when you have already turned into another person!", "Why do you return when your roots start to grow again!", "Why do you return when your identity has already been doubted and ignored?".

// reem.awad@outlook.de // @reme_awad

 

2a) Anica Seidel — I am not going to be silent

gas can, zippo, bass drum pedal / 40 x 50 x 40 cm / 2022

 

2b) Anica Seidel — Untitled

baseball bats, bells, bracket: square tube, steel bar / 87 x 17 x 10 cm / 2022

installation on 1,25 x 1,25 m steel plate

Gasoline cans, Zippo and Bass Drum Pedal, as well as baseball bats and bells, were transformed into an instrument that thematically deals with destructiveness and rage. Among other things, the works raise questions about the difference between noise and sound. The viewer can use the sound sculpture and thus become a musician in the exhibition space. Do It Yourself.

// @anica_seidel

 

3) Sonnhild Schietzel — birds

unfired clay, silicon, plaster; concrete / 40 x 19 cm, 40 x 15 cm, 46 x 15 cm / 2021–22

// soma.schie@posteo.de 

 

4) Lea Mugnaini — Considering a never ending story, Homage to Julia (graduation work)

wall painting, collages: paper, plexiglass, framed; 3D sculpture: varnish; aluminium shapes resting on tripods / installation size 450 x 450 cm (variable)

Considering a never ending story, Homage to Julia, is a journey through the memory of a place, a metaphysical landscape that speaks of diversity and freedom via an island and a woman. 

// leajmugnaini@gmail.com // @leamugnaini // www.leamugnaini.com

 

5) Francis Kussatz — „Reminds me of you: Diary of a sick person" (excerpt)

installation mixed media, objects in variable sizes wrapped in paper, TV, footstool with flowers decoration in different shades of brown, video 3:05 min / 2022

„Reminds me of you: Diary of a sick person" is a changing installation — which will be activated by a performance on the 23rd of july at 5pm. It is an excerpt of the actual diary of the sick person's inner life. The online persona steps from the virtual into the "real" space and reads from their personal archive. The video features similar elements as the one-time performance. You are invited to get to know their emotional world and together to question your/their memories, as well as to create space for new ones.

// francis.kussatz@protonmail.com // @franciskussatz

6) Lasse Müller — vom möglichen entkommen

wood, mirrors, foam, inkjetprint / 36 x 156 x 30 cm / 2022

// lassemuller@gmx.de 

 

7a) Miriam Döring — EVACUATING UPWARDS, EVACUATING DOWNWARDS — OR IN ANY OTHER NECESSARY DIRECTION (The colors of the humours, where there is no ebb of them, is like that of flowers)

steel, UV-print on PET-G film / 100 x 130 x 76 cm / 2022

An unwrapped 3D-Scan of my thorax' front is combined with a re-writing of the hippocratic text „on the humours" from the view of a subject. The unfolded skin layers, between mirroring steel and an uprising film, create a leaking and emerging topology which rejects but empowers the ascribed symptoms.

 

7b) Miriam Döring — Clepsydric Lungs (— until her hands will loosen)

glazed ceramic, epoxy raisin / 40 x 30 x 20 cm, steel / 160 x 25 x 1 cm / 2022

The work constellation of two objects refers to the narration of Empedocles who (around 450 BC) imagines breathing as cutaneous, for the inhaled air would enter through the blood vessels, whilst the blood would withdraw and vice versa in the process of exhaling. This mechanism is compared to the function of a clepsydra, a water carrier, which can transport water as long as one keeps the opening closed. In his story, it is „the young girl" who is able to discover the dis-function of this tool; with its curious playfulness it is able to hold the water — and as well to watch it slipping all away. In re-telling the story, the narration of physiology — a Western scientific narration that delineates where human bodies begin and end, what they consist of and how they function — are put on stake. 

// mrmdrng@gmail.com // @mrmdrng

 

8) Marco Siciliano — Page 22, Page 113, Page 7, Page /, Page 350

handmade paper with watermarks technique, milky pvc, black wooden frames, led light, 2022

The presences of objects that usually are inserted in a book emerge within the watermarks technique on handmade paper pages. Notes, bookmarks, dog-ear, dried flowers and different objects create an archive of gestures that blend with the content of the chosen page. Intimate signs that give personality and memory to those mass-produced items, now made unique. The watermark elements — hiding between the fibres of the paper — inhabit a third landscape: the space of the unspoken between printed words, where our underlining and comments accumulate: 'the text instructs, the reader constructs.'

// marcosiciliano.com // @margosiciliano

 

9a) Maria Martini —  TA- 

lacquered mdf and wood / 131 x 154 x 67 cm / 2022

9b) Maria Martini — VOR

lacquered mdf and wood / 175 x 50 x 45 cm / 2022

// martini.maria@gmx.de // @mariajmartini

 

10) Sana Al Kurdi — Untitled

experimental video collage / 5 min / 2022

The experimental video art with archives and memories connects an interspace with different timelines. My own memories of the Al-Baath schools, the monuments of Al-Assad, the father and the son, all over Damascus and the soviet monuments in Berlin.

// sana.ko@hotmail.com

 

11a) Jun Seong Park — Winter garden

1Ch-Videoinstallation, FHD, sound, loop / 14:29min / 2022

The land waiting for spring asks gardeners. To You who sense the four seasons during winter, Where are you flowing to? Amid the four seasons flowing to the right.

11b) Jun Seong Park — a bed

5 DHL boxes, soil / 36,9 x 28,8 x 75,6 cm / 2021

Where is humanity heading to? Is humanity objectifying itself? Cannot an objectified person possess life?

// junseongpark@outlook.com // @jun_seong_park_

 

12) Jule Tabea Martin — you got me all wrong (Posenangeln — Hyperfemininity III)

real hair extensions, aluminium, hair tie, wire / 170-240 x 50cm / 2022

"Dieser für das Raubfischangeln konzipierte Kescher eignet sich insbesondere für das Posenangeln." (decathlon.de)

Nets implicate a contrary dynamic full of suspense. When falling, one can be stuck in it, as well as being rescued. Like in sports when a ball gets caught in the net, it either means loss or win. 

In fishing, time and place is crucial to the preys' destiny. The permeability of the net in the work you got me all wrong does not allow for a successful catch: due to the fragility of it, it would successively dissolve when being used. Expressions linked to angling like „fishing", „hunting" and „baiting" are also used in social interactions of dating.

Real hair extensions are postmodern, hyper feminine materials and considered as artificial attributes of femininity. In Jule Tabea Martins artwork humankind is present, without simply being displayed. The scoop becomes subjectified and humanized. 

// mail@jule-tabea.de // @jule.tabea

 

Jun Seong Park — a bed  (11 b) // Jun Seong Park — Winter garden (11a)

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