14 Jan

Exhibition: Photography & Texts by Nafarat

Date: November 2015 – April 2016



The so-called Refugees are arriving to Berlin in numbers that the state seems unable to cope with. The public is split in its opinion. Being aware of the crisis situation, what can artists bring to the discussion? Where can they engage? How could they make a difference?

One of the things we can do, is to try to give a voice back to us, the people, to give ourselves a chance to understand what we are all living, and most of all to give ourselves a chance to experience it together. We decided to give voices to humans and humanity, to make the people appear and the empty slogans disappear. We think the festival format is best to allow as much dialogue as possible to emerge.

“11 Nafar and 1 human”

(Nafar in arabic is the one without name, without right, it is a number in the mass, and it is how the smugglers are calling their clients, in arabic. “He is only a pocket of money”).

We are a group of 12 people, 12 young persons full of hope and dreams, that met in Syria or in Turkey, and decided to go together to Europe. In the group, there is a doctor, a judge, 2 architects, a lawyer, 1 painter, 1 designer, a film maker, a social worker, a cook, an actor and a first-aider. Half of the group couldn’t continue their studies because of the war. Most of them escaped to Turkey some years before the decision to try their chance and cross the sea. But staying in Turkey means accepting to stay where there is no opportunity to work legally or to study. It means accepting to wait, only wait, for the situation to change. But our youth won’t last that long. In the group there are 11 Syrians and one French. For her, with her passport, the borders are open. In this system she is a human, she has the right and the possibility to be wherever she wants to. For different reasons, but with the common will of living this experience all together, we left Istanbul and are now on our way to a country where the nafarats could be humans again. At least, this is the goal.



Idle Minds

14 Jan

Exhibition: Handmade books by Bisera Krckovska & Izabela Bajaska

Date: Oktober 2015




“Idleness means you have no particular goal in mind and thus you can be easily distracted”

Not being busy, not being employed is readily equated to being lazy, which is why the term has had a somewhat negative connotation. The puritan doctrine of the proverb “An idle mind is the devil’s workshop” expresses this belief that having too much time on your hands without any occupation is almost considered a sin.

Even psychological research seems to confirm that people aren’t comfortable with being left alone with themselves. Alas, some would even prefer taking electric shocks, than having to spend 15 minutes entertaining themselves with nothing but their own thoughts. We, on the contrary, like to slip into idleness. Embracing reflection, daydreaming and introspection, we too created our own little workshop. And this is what came out of it.

“Idle Minds” is a self-commissioned creative experiment which deftly balances drawings, collages, embossing and poetry. Packed in two handmade books in limited editions of 15 copies each, this project rounds up a few-months’ collaboration.

It is a symbiosis of repetitive, overlapping layers of text and images as single ‘clean’ segments, compiled in a figurative entity. Conceptually, each book is composed of four sets of drawings, collages and embossing, which form a bound polyptych. Each element or layer – i.e. a poem or graphic expression – captures a certain ambient of an ongoing mental stream at given moments, while playing with patterned visual and poetic representations.

The poems and the visual sets do not aim to depict or narrate the authors’ inner-selves, since they do not believe in an inner-self as a constant, consistent and describable entity. Instead, this project is a modest attempt to come up with creative ways to express and put to paper certain inner moods, atmospheres, repetitive streams and idle narratives.

FLOATING gestures

14 Jan

Performances: Ivana Sidzimovska + Jasna Dimitrovska

Catriona Shaw + Sophie Macpherson

Ana Hupe + Érica Zíngano

Paola Barreto + Felix Astor

Date: June 2015




Floating Gestures sind Performances, die online stattfinden, auf dem Screen und über den Lautsprecher, zwischen zwei Künstlern, die nicht im selben Raum sind und doch miteinander verbunden. Floating Gestures sind das Dazwischen, Performances, die sowohl nach der Realität der technischen Objekte und ihrer Bild-Generierung, als auch nach der Verformung von Gesten fragen.

“Der Dialog im Telefonnetz könnte nur befriedigend werden, wenn es gelänge, dessen Medium existenziell unsichtbar zu machen. Dies ist nicht nur eine technische Herausforderung, sondern auch eine politische im eigentlichen Sinn des Wortes.” (Vilém Flusser, Gesten. Der Versuch einer Phänomenologie, 1991)

Der Prozess der medialen Übertragung versetzt durch Störung, Verzögerung, Be- oder Entschleunigung kommunikative Gesten in einen schwebenden Zustand. Das Gespräch, seine Symbole, Worte, Bilder und Bewegungen befinden sich in einem Dazwischen – Raum und Zeit sind hier nicht klar eingrenzbar. Diese “Floating Gestures” werden getragen, verfestigen sich für einen Augenblick (als Standbild, Stereoton, Pixelbewegung), um sich im nächsten schon wieder aufzulösen. Es ist ein suspendierter Zustand der Gegenwart, Kopräsenz, des angeblich gemein-samen und tatsächlich doch getrennten Handeln. Miteinander, nebeneinander, gegeneinander. Ein gutes Gespräch macht neue Räume auf. Neue Möglichkeiten, die für Ideen, Kompromisse, Verhandlungen stehen. Wenn ich mit jemandem sprechen will, der auf der anderen Seite des Globus lebt, dann benutze ich Skype und eröffne einen Raum, der anders ist, als der im Café um die Ecke. Ich rede mit einem Bildschirm, mit Pixeln, mit seltsam nirgendwohin blickenden Augen, allein vor einem Tisch, den der/die andere nicht sieht, vielleicht auch nackt, in einer anderen Zeitzone, mit anderen Wolken, mit Verzögerung und mit meinem Stromanbieter in Rußland. Der Raum, der sich hier auftut, erscheint grenzenlos, elastisch wie ein Kaugummi und doch auch begrenzt durch das “Hallo” und “Auf Wiedersehen”.


Dina Boswank –

Johanna Steindorf –

One A Day

14 Jan

Exhibition: Series of stencils and paintings by Jana Boujon

Date: February 2015 – May 2015

Art Classes: Painting workshops with Jana Boujon, Sun 8pm



Black Box Recognition I Ivar Veermäe

4 Dec

ivar_veermae_black_box_recognition500px (1)

Ivar Veermäe was born in Tallinn, Estonia, in 1982 and currently lives and works in both Tallinn and Berlin, Germany. He received a BA in photography from the Estonian Academy of Arts in 2009 and continues his MA studies at Space Strategies department in Weissensee Kunsthochschule Berlin.

He has had several solo exhibitions in Estonia and his work has been exhibited in group exhibitions at the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Zentrum für Kunst und Urbanistic in Berlin, the Sociale Verzekeringsbank in Holland, the Kulturhuset Bronden in Denmark. He has participated with perfomances in Hebbel am Ufer, Berlin and in Month of  Performance Art Berlin in ACUD Theater. His videos are being screened in various
screenings at the AND Festival in Manchester, Crosstalk festival in Budapest, and in Virtual Memorial, Cambodia.
Most of his work is dealing with the issues of public space (city space and space in internet), networks, new media and group behaviour. He has also worked on several public space installation and performative projects. 

Artist statement:
The main focus in my work is dealing with the issues of public space and group behaviour. I think that public space reflects directly or indirectly on processes in society and it is constantly changing. In the time of „ubiquitous computing“ also the meaning of public space is changing. When boundaries between private and public blur, the space could be redefined as an accessible space. In my work process I use photography and video as well performative and interfering tactics, like public space installations. Also I´m trying to find and use connections between city space and virtual space. The goal of my work is to analyze the actions and processes in these spaces.

In the exhibition “Black Box Recognition” i´m creating a dialogue between my two new works “re_cogniton” and “Kurfürstendamm 26”.

Kurfürstendamm 26” deals with emergence of big consumer electronics companies, whose products are well designed and function as easy-to-use surfaces. By using technological objects, consumers are gaining information, but also creating valuable data for network and technology companies. The functioning-mechanisms of these companes could be seen metaphorically as black boxes, which in science and engieneering are defined as devices or systems, which can be viewed in terms of their input and output, without knowing about their internal workings.

Video installation “re_cognition” is based on storage I secretly filmed in public transport and other temporary places in Germany, Sweden and Estonia. Lenght of the gaze in public transport is emotionally affected, possibly creating weird moment, when lasting too long. Use of “smart” technology in public space is growing and it is creating huge amounts of GPS, search and other data, which is stored in some “black boxes”= data centers. Storing visual information in public space without agreement from those, who are stored, is not allowed for private persons. On the other hand, it is allowed for state and private companies, who are owning surveillance systems. With “re_cognition” im drawing attention to facial recognition technologies, used in surveillance systems and also social networks. It is growing tendency, which will be used for security or personalized advertising in big shopping centers for example. I want to draw attention to the notion of existence of state or privately ownded “black boxes”.



Brandon Miller I Sarsaparillamusic

4 Dec



Bananza I Anita Bahr & max Merget

4 Dec