All At Once

Opening 27 Jan 2024 , 4 – 8 p.m.

26 Jan – 17 Feb 2024

Open Saturday, 4 – 8 p.m.

Felix Becker

Anaïs Goupy

Diane Océane Haefner

Zinu Kim

Patricia Lambertus

Anna Niedhart

Katrin Paul

Isabella Sedeka



Pandion Alte Mälzerei

Pufendorfstr. 3

10249 Berlin


8 – 30 Sep 2023

Curated by Isabella Sedeka & Niklas Jeroch







XPINKY BERLIN hosted by Projectspace Kimgo

John-Schehr Str. 1

10407 Berlin




16th June – 1th July 2023



Friday, 16th June, 6 p.m.


Rainbow Unicorn

Anklamer Str. 50

10115 Berlin


The exhibition MIDNIGHT VISITOR with Patricia Lambertus and Isabella Sedeka deals with complex inscrutable realities and the disclosure of unconscious connections. What is a document? What is truth? What is the relationship between the two? The question of the truth behind the truth is becoming increasingly important. The medial-global developments and the accompanying revolutionary changes of the last two decades call for differentiated and globally complex considerations.




31.03 – 29.04.2023



Friday & Saturday

4- 8 p.m.


Aaron Scheer/Astrid Busch/Daniela Risch/Stefanie Seufert/Steffi Linder/Thomas Buts


Curated by Daniela Risch

KOP 12 hosted by XPINKY BERLIN


Karl-Marx-Str. 66
12043 Neukölln

U7 Rathaus Neukölln




curated by Isabella Sedeka


14 April – 28 May 2023



Kopstadtpl. 12

45127 Essen


XPINKY BERLIN hosted by KOP.12 Essen




18 Feb – 18 March 2023, Neukölln


Jennifer Bannert/Felix Becker/Jennifer König/Patricia Lambertus/Lukas Liese/Katrin Paul/Nicholas Sayer Wells



Foto Credit: Mark Feigman

Curated by Isabella Sedeka


Karl-Marx-Str. 66
12043 Neukölln

U7 Rathaus Neukölln


26 Nov – 17 Dec 2022, Neukölln


Julius Bobke/Media Esfarjani/Diane Haefner/Frank Jimin Hoop/Niklas Jeroch/Anna Niedhart/Isabella Sedeka



Foto credit: Moritz Haase

Curated by Niklas Jeroch & Isabella Sedeka


The group exhibition LOADED PLATE presents different positions of young artists with different production approaches. Paintings and sculptures are shown in bold and bright colors, expressive to the max and without regard to dimensions and angels. Packed full with life and ephemeral beauties that remain in the felt memory.




27 Aug – 17 Sep 2022

Florian-Geyer Str. 109a, 12489 Berlin, Adlershof





25 Juni – 7 Aug 2022



The perception of nature and the city through digital devices takes us to unknown places and sharpens our eye for details. At the same time, the image is alienated by filters and viewing angles. Sometimes the filter version corresponds more to the sublime feeling we experience physically than the pale photographed reality. Perception decouples from reality and becomes subjective experience, leading to the creation of fantasy worlds in retelling and then sharing on social media. The development of artistic means, such as industrial highly complex materials or digital devices, influence the development of the artistic narrative, as well as the viewer’s perception.

Judith Kaminski’s artistic work plays with floral forms, bright colours and a formal image structure clearly defined by layers. The basis of her motifs are conventional botanical illustrations whose origins lie between natural science and art. Reduced to their form and arranged with colour gradients, grids and playful details, these illustrations become the subject of her pictorial world. In the process, habits of seeing from the digital realm, such as the arrangement of elements on displays or tools of digital processing, find influence in the colour and form design and the formal image structure.

Reflecting on our constructed landscapes and these insecure times caused by an evolutionary pandemic, Bram Braam has created some post-apocalyptic architectural ruins of our time. Many of the works are hybrid forms and can be interpreted ambivalently in all respects. Destruction and creation, nature and the artificial, architecture and the organic. The work shows a complex agglomeration where natural rock melts together with the remains of manmade industrial objects as a modern mutant from our time.

Inspiration for the work partly came from the urban environment in Berlin and the lifecycle of objects neglected on the streets. Often broken motorbikes are sitting for months in public spaces and every week you can see the decline is at a different stage, sometimes by the end there’s only a skeleton left. A metaphor of our daily existence and lifecycle. Bram Braam have used these leftovers from the motorbikes on the streets as a starting point, to let them evolve in the installation modern mutants.





18th June – 5th July 2022

Opening 18th June, 6 – 10 p.m.


Pavillon, Taxi Museum Berlin

Persiusstraße 7, 10245 Berlin



In cooperation with TAXI BERLIN, Taxi Museum Berlin & Transiträume e.V.



30th April – 11th June 2022


Carolin Ott continues to explore the theme of invasive species in her new ceramic works. The growing formats are intended to be sprawling and encroaching with their size. Invasive, in order to be able to face a human being.

Since 2020, Carolin Ott has been placing familiar taxonomies between plant and animal corporealities in an ambivalent relationship. Carolin Ott collects systematic and scientific information about fragments of forms in nature – basic botanical forms and zoological blueprints.

Carolin Ott is interested in carnivorous plants that digest animals in traps instead of an autotrophic way of life that is common for plants. Based on these themes, Ott creates sculptural „new formations“ out of ceramics.

In the first vascular cycle from spring 2020, Ott thematised plant guidance systems from a macro perspective. In the following cycle, Carolin Ott has further developed her formal language based on patterns of inflorescences.


Text edit: Isabella Sedeka





Let’s go see the stars

the milky way or even mars

26 Feb – 3 April 2022


In the duo exhibition ‚Let’s go see the stars, the milkey way or even mars‘.
the young artists Marie Athenstaedt and Jorinde Fischer deal with the galactic spectrum of colors and shapes.

Marie Athenstaedt points out that the spectrum of colors we can perceive describes only a tiny part of light. This fragment characterizes our reality. Beyond that exists an infinitely large area of the not visible light, which generates likewise infinitely many realities. The painter traces this area of the tangibly invisible in her mist-like paintings.

In her installation work, Jorinde Fischer playfully deals with site-specific sculptures that contain textile fabrics of varying elasticity and tension. Tautly stretched or loosely hanging, the artist presents materials, through decidedly minimal interventions and allows them to enter into physical states that are stimulated by their colorful presence.





remember the future

15 Jan – 20 Feb 2022


“Those who cannot remember the past are condemned to repeat it.“

The quote from George Santayana (philosopher) hangs in Berlin’s Gesundbrunnen subway stop above the entrance to Berlin’s Underworlds.

Thinking about the future and the past is one of the critical features of being human.

The Trio – exhibition remember the future with Jennifer Bannert, Patricia Lambertus and Mara Sandrock deals with historical events and the role of life in its transience.

Jennifer Bannert’s afterglow series is based on a photographic work made in Marseille and shows the skins of various species of fish. Since the fish were sold at the Old Port not long after being caught, the skins still shimmer in many colorful nuances. Life, only just expired, still appears visible.

Patricia Lambertus‘ visually powerful spatial installation is based on the historical wall paintings of the ancient city of Pompeii and brings them into a contemporary context. Within the pictorial space there are diverse layers of images that can be read like archaeological stratigraphies. The installation by Patricia Lambertus moves in the tension between fiction and reality as well as between beauty and destruction. Historical-social events and their contexts as well as their relevance and resonance in the present are traced and pictorially realized. The focus here is on the fractures, cracks and interfaces.

In Mara Sandrock’s works, the traditional materials of painting are stripped of their usual functions and combined with materials from other origins such as intestines, leather, latex, paper, wax or bio cellulose. Through manipulation and neglect, new works are created, which the performative character of the artistic material. They grow and proliferate, layer, curl and clench, expand and contract. Partly directed and induced, partly unpredictable and difficult to control. The selected materials are in a constant process of change. The idea of the unfinished nature of the image plays as much a role as the thoughts of decay and the finiteness of works of art.



Text edit: Isabella Sedeka

Felix Becker, Berlin



Traveling Light

Sculptures & Installations

14 May - 5 June 2022



Felix Becker / Lena Marie Emrich / Martin Feistauer /Jorinde Fischer /Enne Haehnle / Judith Kaminski / Katrin Paul/ Kai Schiemenz /Gary Schlingheider / Isabella Sedeka


FRITTEN FREITAG, the online interview magazine. Intimate conversations between the world's most creative people in the world.


Follow us at Instagram @frittenfreitagberlin





13 Nov 2021 – 9 Jan 2022


The word „pwned“ originated in video game culture is a derivative of the word „owned,“ due to the proximity of the „o“ and „p“ keys. It is typically used to indicate that someone has been controlled or compromised, e.g., „I was pwned in the Adobe data breach.“

Artworks in the digital realm raises many new questions, especially about authorship.
Specifically in light of global digital networks, the question arises of how traditional collecting societies should deal with the changing environment. Not least, the current discussion about NFTs illustrates the topicality of this issue.  In a blockchain, for example, all data sequences are protected. However, artists have always copied other artists or been inspired by them. A central question that arises from this is, at what point does one speak of a new work of art and a new authorship?

In the digital world, not only is an idea recycled, but complete data sets are used that an artist has already used before. Can we apply known theories, such as the expanded concept of art, to the artistic digital realm?
On the visual result level, a new work of art is created relatively quickly. If a small string of characters is inserted in a comparable way, as with human DNA, this has a large visible impact, even if 99,9% of the data set remains the same.

Chrisitan Holze experiments even further in his new works.
He mixes historically known works of art that he finds in the internet with 3D programs and puts a randomly selected particle simulation over the historical layer. Then the work is printed and painted over anlog.
To take the whole thing to the extreme, he creates a file with the new work and makes it available to everyone according to the open source idea that originated back in the 80s.

Only the analog work can be used in the traditional sense.

The digital work is made freely available to society.

Text: Isabella Sedeka






18.9. – 7.11. 2021



In the border areas of painting, printmaking and drawing we find the works of Jennifer König. Jennifer König creates unique characteristics, which oscillate between phenomenon and conception. The young Leipzig artist takes us into her creative process and lets us become part of it.

The solo exhibition ‚OUTLINES‘ ascribes central importance to the application of paint, the pictorial surface, the interface of color intrinsic value and the materiality of color. Here Jennifer König is interested in how the process of making becomes part of the painting. This means that the application of color is not subordinated to the subject matter or motif of the painting, but rather that the painting emerges from the application of color – from the process of painting. In the examination of gesture, color and line, surface as well as space, the essential potentials of painting are investigated. Thereby König works according to a procedure that resembles ‚painting backwards‘. (mehr …)

VAULT, Berlin

Surf ’n‘ turf

Groupexhibition 30 Oct – 3 Nov 2021

Foto credit: Mateusz Nowak

XPINKY BERLIN presents its multidisciplinary group show surf ’n‘ turf in VAULT, a former bohemian brewery, on 3000 qm. The interdisciplinary show provides a plattform for 12 artists from diffrent countries with various backgrounds including gallery artists to exhibit their artworks. A wide range of practices from painting to sculpture to installation and beyond will be displayed. Surf ’n‘ turf offers a unique oppurtunity to experience art in a non-hierachical set-up that provides space for each individual artistic concept and position.



Marie Athenstaedt / Felix Becker / bn+BRINANOVARA / Jeff Conefry / Christian Holze / Jennifer Konig / Patricia Lambertus / Anna Niedhart / Carolin Ott / Katrin Paul / Gary Schlingheider / Isabella Sedeka




lives and works in Frankfurt am Main

since 2015 fine arts studies, university of art and design Offenbach am Main





Reprise, Museum Morsbroich (with Berit Schneidereit)


Anything that makes you happy, you’ll need it!, Alte Schmelze, Frankfurt am Main (with Ulrike Markus)

Burn On, Galerie Siedlarek, Frankfurt am Main

Elements, Edward Cella Gallery, Los Angeles, United States


Metallic, basis Projektraum, Frankfurt am Main

La forme du ciel, Kunst- und Kulturstiftung, Opelvillen Rüsselsheim

For One Night Only, XPINKY BERLIN (with Christian Holze)


Afterglow, 1822-forum, Frankfurt am Main




Sweets & Treats, Edward Cella Gallery, Los Angeles, United States



Graduation Show, Magma Maria, Offenbach am Main

Remember the future, XPINKY BERLIN


Walk the line, Galerie Heike Strelow, Frankfurt am Main

Nur gestreift, Galerie Perpétuel, Frankfurt am Main


Minibar. 25 Positionen junger Maler*innen, Galerie Oel-früh, Hamburg


Sensuality, Jennifer Bannert, Andreas Exner, Raimer Jochims, Jutta Obenhuber, Charlotte Posenenske, Frankfurt am Main


Junge Kunst mit Zukunft (ernst & young benefits auction), Museum für angewandte Kunst, Frankfurt am Main

The biography of things, the cube, Deutsche Börse, photography foundation, Frankfurt am Main

The biography of things, installation underground station, Hauptwache, Frankfurt am Main


Junge Kunst mit Zukunft (ernst & young benefits auction), Museum für angewandte Kunst, Frankfurt am Main


Junge Kunst mit Zukunft (ernst & young benefits auction), Museum für angewandte Kunst, Frankfurt am Main



Brückenstipendium, Hessische Kulturstiftung, Wiesbaden

Project scholarship, Hessische Kulturstiftung, Wiesbaden

Work scholarship, Hessische Kulturstiftung,  Wiesbaden

National scholarship program, Hochschule für Gestaltung, Offenbach am Main

Exhibition and catalogue (afterglow), Stiftung der Frankurter Sparkasse 1822

Exhibition and catalogue (sensuality), Kulturamt der Stadt Frankfurt und Hessisches Ministerium für Wissenschaft und Kunst Wiesbaden





Anna Nero & Gary Schlingheider

forever & ever

7 Aug – 12 Sep 2021


Painting and sculpture are mutually dependent in the works of Anna Nero and Gary Schlingheider and arise from the preoccupation with the transgression of boundaries between the two genres. Color and form are the focus of their engagement.

Fascinated by the gaudy banality of everyday life, Anna Nero uses quotes from advertising, fashion, and comics, as well as examples of abstract and concrete painting, to scratch the surface of things. At the heart of Nero’s work is the question of the thinghood of a work as a painterly image, its material properties, use, and aura.

Gary Schlingheider works in his paintings with monochrome surfaces, which are placed both next to each other and on top of each other. Schlingheider works in large formats, with powerful opaque colors and geometric, reduced bodies. With a reference to art historical models, such as the Minimalists Ellsworth Kelly or Frank Stella, Gary Schlingheider reexamines the boundaries between painting and sculpture. The result is a composition of clearly delineated geometric forms within the various layers.

German Version:

Malerei und Skulptur bedingen sich in den Werken von Anna Nero und Gary Schlingheider gegenseitig und entstehen aus der Beschäftigung mit der Grenzüberschreitung der beiden Gattungen. Dabei bilden Farbe und Form den Schwerpunkt der Auseinandersetzung.

Fasziniert von der knalligen Banalität des Alltags kratzt Anna Nero mit Hilfe von Zitaten aus Werbung, Mode und Comics sowie Beispielen abstrakter und konkreter Malerei an der Oberfläche der Dinge. Im Zentrum der Arbeiten von Nero steht die Frage nach der Dinghaftigkeit eines Werkes als malerisches Abbild, dessen materiellen Eigenschaften, Gebrauch und Aura.

Gary Schlingheider arbeitet in seinen Installationen mit monochromen Flächen, die sowohl nebeneinander als auch übereinander angeordnet werden. Schlingheider arbeitet mit kraftvollen opaken Farben und geometrischen, reduzierten Körpern. Unter Bezugnahme auf kunsthistorische Vorbilder, wie die Minimalisten Ellsworth Kelly oder Frank Stella, lotet Gary Schlingheider die Grenzen zwischen Malerei und Skulptur neu aus. Das Ergebnis ist eine temporäre Komposition aus klar umrissenen geometrischen Formen.

Edit: Tanya Most


Felix Becker, bn+BRINANOVARA, Charlotte Rahn & Isabella Sedeka

from Adlershof with Love

2 -30 July 2021



From Adlershof with Love shows different positions of the artists XPINKY BERLIN represents, as well as guests. This creates an exciting exchange of different positions and disciplines of contemporary art. Especially young artists will find space in the interdisciplinary exhibition. In the first edition of all inclusive works of the artists Felix Becker, bn+BRINANOVARA, Charlotte Rahn and Isabella Sedeka can be seen.

From Adlershof with Love zeigt verschiedenen Positionen der Künstler*innen die XPINKY BERLIN vertritt, sowie Gäste. Somit entsteht ein spannender Austausch verschiedener Positionen und Disziplinen der zeitgenössischen Kunst. Vor allem junge Künstler*innen sollen in der interdisziplinären Ausstellung Raum finden. In der ersten Ausgabe von all inclusive sind Arbeiten der Künstler*innen Felix Becker, bn+BRINANOVARA, Charlotte Rahn und Isabella Sedeka zu sehen.

Text: Tanya Most

bn+BRINANOVARA, Patricia Lambertus & Carolin Ott

Rendez-vous de chasse

26 May – 20 June 2021


curated by Astrid Silvia Schönhagen & Isabella Sedeka



The exhibition is a cooperation of the project space XPINKY Berlin with the research group“wohnen+/-ausstellen”, Institute for Art Studies – Film Studies – Art Education and Mariann Steegmann Institute. Art & Gender at the University of Bremen.


In the hunting room, we stage ourselves as conquerors of wild animal nature. Be it deer or boar hunting scenes on medieval tapestries, be it painted wall coverings with fights of exotic predators, or skillfully arranged still lives of dead birds: Over the centuries, animals of almost every species have made their way into the home like this. In the trophy room, man’s triumph over the hunted animal is staged most impressively. As a trophy, the dead animal has become part of the living human’s rooms and furnishings. The preserved animals’ bodies are souvenirs of successful hunts, and the glass eyed trophies are supposed to show the hunter’s love of nature. At the same time, the animal bodies create an eerie ambience of the ‘heimlich–unheimlich’. The ‘rendez-vous de chasse’ exhibition takes this ambivalent relationship between an appropriation of and a connection with nature in the interior as its starting point to explore the cruel and at the same time highly aestheticised staging of animals and nature in different spatial settings and/or scenographies. In this exploration, the show reflects upon the hunting room as a space of representation and illusion. By bringing a ‘rendez-vous de chasse’ (hunting party) into the gallery, Patricia Lambertus (*1970, DE), Carolin Ott (*1994, DE), and the artist duo bn+BRINANOVARA (*1993/94, IT) invite us to approach the topic from different directions.

(mehr …)

Jennifer Bannert x Christian Holze

for one night only


9 April – 14 May 2021



In the exhibition -for one night only-, Jennifer Bannert and Christian Holze make the intangible inbetween become reality. Between gravity and ease, heaven and earth, the past and the present, brightness and real encountersultimately awaits us at the end.

Christian Holze’s works are the result of an exploration of epoch-specific transformations of images in art history. The series Cloth Collision explicitly deals with the image of the fold and its meaning in different epochs and translates them into virtual space. The contemporary adaptation of the folded imagery connects visual art with fashion & marketing and at the same time foregrounds the philosophy of the fold. Questions about commercialization, authorship and art as a brand are also inspirations for the works of Christian Holze.

In the paintings of Jennifer Bannert we can expect lightness in one moment and profoundly shaking heaviness in the next. The gaze wanders from one hue to another. At the same time these are rather dark than bright. As soon as you think you have fixed something, this achievement blurs into a fleeting moment. But if you catch one of the brighter color fields, it seems like a hopeful moment full of light.


(mehr …)

Danziger Ecke Wins, Berlin

Die Balkone 2

Scratching the Surface

Berlin, Prenzlauer Berg windows and balconies

30 April – 2 Mai 2021


Curated by Övül Ö. Durmusoglu & Joanna Warsza


The Tinsel Mourning Ribbon, 2021
The Corona pandemic is causing a caesura across the planet and has already claimed so many lives. Numbers are in fact so high that they defy imagination. Despite the persistence of the pandemic, the moments of pause, grief and sorrow are needed. The mourning black ribbons in different variants, are usually attached to houses or to state flags. Worn on clothing, they express condolences, own concerns and are a sign of respect. They are usually worn by people who are not related to the deceased, and they therefore are individual symbols of mourning.

The black tinsel mourning ribbon is placed on the balcony Danzigerstr./Winsstr. and extends over 2. floors. From the artist’s apartment on the 2nd floor to the doctor’s office on the 1st floor. The project was agreed upon with the other house inhabitants. The work also addresses the fact that the artist’s house was repainted in 2020. For 20 years it was painted light blue and changed in 2020 to a black and gray color.

The color change as a symbol is taken up in the black tinsel and in its flutteriness still stands for Berlin and the autobiographical attitude towards life of the artist, who wants to give space to the feeling of grief and sorrow at this particular interface, the balcony, which is private, but still visible to the public, and invites to a public condolences.
-Isabelle Sedeka



Malwine Stauss X Sophie Utikal

worlds we dream

19 Feb – 19 March 2021



„Beyond the frenetic drive for growth motivated by
profit and the insatiable thirst of capitalism, are other worlds.
Worlds we dream, worlds we draw, worlds we sing.
Worlds where visions are real, where flowers speak,
and water heals. Worlds we download and upload into
manifested reality“


Extract from Decolonial Healing: In Defense of Spiritual Technologies by Tabita Rezaire in the publication The Sage Handbook of Media & Migration, (2019)


Malwine Stauss and Sophie Utikal decided to escape together into a world of gentleness, where it is possible to be comfortable with fear, loneliness and the unknown.

Stauss allows history and abstactions to merge in her portraits and sculptures. At first the watercolor works and ceramic sculptures seem light and delicate, but on closer inspection one senses a deep strength in the figurative works. At the same time, the works of Malwine Stauss tell of intuition, connection and magical phenomena.

Utikal, is a textile artist whose methodology is to write poetic images, find feelings and then sew them together. Her textile works are handmade and touch on the theme of (personal) transformation – alone or with others. The focus is always on her brown body – this is how Sophie Utikal wants to address those whose bodies are usually not represented
in the full complexity of being: First, second, third generations of migrants in Germany, hybrids who constantly fall up and have to re-found their world.

German version:

Malwine Stauss und Sophie Utikal beschlossen gemeinsam in eine Welt der Sanftheit zu flüchten, in der es möglich ist sich mit Angst, Einsamkeit und dem Unbekannten wohlfühlen zu können.

Stauss lässt Geschichte und Abstaktionen in ihren Porträts und Skulpturen verschmelzen. Dabei wirken die aquarell Arbeiten und Keramikskulpturen zunächst leicht und zart, doch bei genauerem Betrachten spürt man eine tiefe Stärke der figürlichen Arbeiten. Dabei erzählen die Arbeiten von Malwine Stauss von Intuition, Verbundenheit und magischen Phänomenen.

Utikal, ist eine Textilkünstlerin, deren Methodik darin besteht, poetische Bilder zu dichten, Gefühle zu finden und diese dann zusammenzunähen. Ihre Textilarbeiten sind in Handarbeit entstanden und berühren das Thema der (persönlichen) Transformation – allein oder mit Anderen. Im Mittelpunkt steht dabei immer ihr brauner Körper – so möchte Sophie Utikal diejenigen ansprechen, deren Körper  meist nicht in voller Komplexität des Seins dargestellt werden: Erste, zweite, dritte Generationen von Migrant*innen in Deutschland, Hybride, die ständig rausfallen und sich ihre Welt neu begründen müssen.


Text: Sophie Utikal/Malwine Stauss

Edit: Tanya Most

bn+BRINANOVARA / silvia hornig / Carolin Ott/ Katrin Paul / Charlotte Rahn / Isabella Sedeka

flourish – nature is a given fact

15 Jan – 12 Feb 2021


Perception – ART

Perception – NATURE

Perception – ANYTHING


The combination of nature (science) and art is nothing new. Everything is based on the individual perception, which can be based on science as well as natural science. The perception of the environment, the processing of information, the concentration of information on essential aspects of contemporary confrontations and the environment is a constantly recurring theme in modern society. The exhibition flourish – nature is a given fact asks about the cycle of deepening perception and nature in connection with individual physical action and the constantly changing social events. An artistic examination of nature and society through the works of Carolin Ott, bn+BRINANOVARA, silvia hornig, Katrin Paul, Charlotte Rahn and Isabella Sedeka.

Text: Carolin Ott / Tanya Most

bn+Brinanovara, Milan





born in Milan, IT, 1993, lives and works in Milan

Brera Academy of Fine Art, Milan, 2012 - 2016, BFA Sculpture




born in Milan, IT, 1994, lives and work in Milan

Politecnico of Milan, Milan 2015 - 2018, BSc Architecture
Wimbledon College of Art, UAL, London, 2013 - 2015, BFA Painting




The artist duo bn+BRINANOVARA is like an ecosystem and embraces a cross-disciplinary practice. Their research deepens among and ironically challenges cultural archetypes, in favour of the multiform image of the Real. The image happens as a kind of falling in love and, thereby, it becomes a fertile inquiry land for the public too. Every day Giorgio and Simone try to overcome their personal imposition for a condition of freedom. Neither mine nor yours: a kind of intimate activism for forgotten causes.






HADAL ZONE, Spazio In Situ, Rome, IT





ANIMAL FARM, Galleria Monopoli, Milan, IT








From Adlershof with love, XPINKY BERLIN

Flourish, nature is a given fact, XPINKY BERLIN



SECRET CABINET, Dimora Artica, Milan, IT

POSITION Art Fair, X-Pinky Berlin, Berlin, DE

SUMMER COLLECTION, Crag Gallery, Turin, IT

HOLOMOVEMENT, Dimora Artica, Milan, IT



SECRET CABINET, Dimora Artica, Milan, IT

AMNESIA, Premio Lissone Design 2019, MAC - Museo d’Arte Contemporanea, Lissone, IT

...ISSIMI, with CRAG Gallery, Turin, IT

THE OTHERS Art Fair, Turin, IT

NOW NOW, with Casa Testori, Rimini, IT


TUTTIFRUTTI, Supergiovane, Milan, IT



CONTEXTO, IV ed, with Casa Testori, Edolo, IT

NO NAME, collezione Marco Genzini, Morsasco castle, IT

NOTTI TRASFIGURATE, Villa Simonetta, Milan, IT



Hadal Zone, 2020

Premio Lissone Design, 2019

Gusti assortiti in proporzione variabile, 2018

Il luogo del tappeto, 2018

Dancing the Time: Just an Oyster Without the Pearl, 2018

Bebøerbadspel, 100% inflatable housing, 2017

Kammerverfahren: Genesi, giorno 6: visioni di parallasse, 2016



Premio Lissone Design (shortlisted), 2019

MEAD Scholarship (shortlisted), 2014

Prunella Clough Scholarship (shortlisted), 2014



right to free the plinth




Window show & @xpinkyberlin Instagram


14 Dec 2020 – 10 Jan 2021


From politics to natural sciences, each revolution removes the images of the former power. In other words, the revolutionary action of removing the power in force is exhibited by way of demolishing its images. Or rather, this is how it should be. In fact, it sounds more like: the revolution replaces the current power and its action goes through substituting the previous images with current analogues. Indeed, after each revolution a new power is established. Which means that after the revolution has happened, it becomes the power – just because there is no real possibility to keep a “spear sit” for the power-position.       However, if the immediate consequence of revolution is the establishment of power, what if we subvert the image? Is it possible not to replace it with a newer one?

The long time of instability, which we are living because of the pandemic, unravels a “different thinking”: ourselves are the first thing to be subverted in order to act a real change. It seems that, many times, revolution cares more on revolution itself than on the revolutionaries. It’s all about the idea of the revolution, its image. Nonetheless, the peculiar contingency lets us experience how much the concrete presence of silence – as a result of the uncertainty – overwhelms the ephemeral presence of images. What if we take the advantage of this on – going revolution, this temporary hole, for not filling it?

The work Right to free the plinth concerns the fact of everyone being so into the idea of tearing the statue down that they don’t see the freed pedestal. We thought of focusing on the pedestal. If we unhinge the idea, taken for granted, of a pedestal for the statue, of the pedestal enslaved to the statue; if we subvert the order of the image imposed by the power, could the plinth stand alone?

Tutto Paletti is a kind of intimate activism for forgotten causes.







Jeff Conefry, New York



Lives and works in Greenpoint Brooklyn, NY, USA




MFA, Hunter College, New York, NY
BFA. Purchase College, Purchase NY

Rhode Island School of Design




Currently, I’m interested in how objects and actions create a physical narrative able to speak to ideas of both power and self. Perception of what something is and how it might have been made, creates the fundamental structure guiding my work. The goal is to present a situation the viewer can engage and unpack in a way that changes how objects are understood. I try to present things very simply and directly, favoring simple forms able to express themselves fundamentally.
Most of my current works are wood or metal mesh structures supporting multiple layers of acrylic paint or silicone rubber. The completed object is then disrupted with a direct action, such as cutting, bending, drilling or hinging. I leave this list of materials and actions in plain sight, generating the physical narrative able to retain traces of intent, morality, and sex. Presenting my objects emphasize self-evaluation common to the creative process. Questions raise more questions, sometimes within the work, but more commonly in how I relate to the work I make. Hyper self-awareness tends to expose imperfections. It is these imperfections and surrounding idiosyncrasies that I work
against, but accept as part of the process. Perfection is boring. It is the abundance of flaws that I seek to engage.




POSITIONS Art Fair Berlin, XPINKY BERLIN, September 10 - 13, Berlin, DE

Volta Art Fair NY, XPINKY BERLIN, March 5 -10, NY, USA

"IMAGE_OBJECT (THE VISUAL AND THE PHYSICAL)", Poimena Gallery, Australia, January to February 27, AUS



Kunst Zürich, X-Pinky LAB, Zürich, October, CH

"the others", X-Pinky LAB, Turin, October, IT

Zuckerman Museum of Art, Kennesae, GA, August, USA

Scope Art Fair , X-Pinky LAB, New York, March, USA



Kathryn Markel Fine Arts, New York, October 25 to December 1, USA

Solo Exhibition , Marcia Wood Gallery. Atlanta. September 12, USA

artBangall, Bangall NY, June 2, USA

Gallery Weekend, X-Pinky LAB, Berlin, April 28, DE

International Independent Art Fair, New York, April 28, USA



ARTMUC, X-Pinky LAB, Munich, October 19th to the 22nd, DE

"Outside Salon", 56 Bogart St, Brooklyn New York, September, USA



"FIRST WE TAKE MANHATTAN", Ethan Cohen Gallery, NY, May 5 to June 20, USA

"Abstraction Today", The Museum of Contemporary Art of Georgia,

Atlanta. May 7 to July 2, USA



NURTUREart’s 2015 Benefit, Pierogi Gallery. Brooklyn. November 9-10, USA

"August Geometry", Marcia Wood Gallery. Atlanta. August 7, USA



Solo Exhibition"Paint", Marcia Wood Gallery. Atlanta. November 20, USA



"Abstraction: Part 1 & Part 2", Marcia Wood Gallery. Atlanta. November 21 -January, USA

"little Things Mean A Lot", Swan Coach House,Atlanta. November 7, USA

"Pin Up Show", The Museum of Contemporary Art of Georgia, Atlanta. November 7, USA

"Georgia Artists Selecting Georgia Artists", The Museum of Contemporary Art of Georgia, Atlanta, USA

Carolin Ott, Kiel



born 1994 in Peine, lives and works in Kiel




since 2020

Master of Education at Muthesius Academy by Dr. Prof. Kerstin Abraham, Class for Fine Arts and Ceramics, CAU Kiel



Study abroad at Faculdade de Belas Artes Porto,  Portugal


2016 - 2020

Bachelor of fine arts at Muthesius Academy & Biology at CAU, Kiel




In botany, certain schematic systems of the structure and plant science can be simplified and portrayed in drawings, The starting point of my work are carnivorous plants. in contrast to the traditional habits of plants there is no autotrophic nutrition. Wich means that insectivores adapted a way to imitate meat or small animals to attract other animals for absorbing their nitrogen. This case shows how the producer usually represented as plants become consumer to the food web.

Based on a systematic collection of information in science, such as botanica
basic forms combined with zoological construction plans, an organic shape can be called into question. Summarizing all informations are creating new constructions and combinations together as well as building up growing hybrids.

A herbarium is probably known as well as it has a long tradition. The  concept is about a collection of plants which includes a precise determination and futhermore presentation of the use of a plant and its importance in a certain enivironment in a limited regional and temporal assemblage. Every plant gains by fixing on single sheet a special presence and importance. Natural studies in botany have a special meaning for me. The plant in its unique shape and various size is now visible. I have been working for a few years by creating a herbarium in a common way. In this time especially the artworks are questioning the subjects about extinctions of species vs. biodiversity. In this regard i see the herbarium as a snapshot of conditions by creating a special significance of this topic.










Surf'n'turf,  VAULT, former Bohemian Brewery, groupexhibition in cooperation with Transiträume e.V. and XPINKY BERLIN, curation: Isabella Sedeka

Rendezvous de chasse, groupexhibition with bn+BRINANOVARA & Patricia Lambertus at XPINKY BERLIN  as part of the Salon Tier event, supprted by the Institute for Art Science and Art Education of the Mariann Steegmann Institute and Uni Bremen, curation: Astrid Silvia Schönhagen and Isabella Sedeka, booklet: Rendezvous de chasse edited by Silke Förschler, Astrid Silvia Schönhagen, Berlin.

Project "Weiter Weiter Weiter" by Dr. Prof. Kerstin Abraham, pottery market Oldenburg, Germany

Insight Outlook 2021, Muthesius Academy of Fine Arts Kiel, Germany by Dr. Prof. Kerstin Abraham

Grüner wird's nicht, Kunstraum Geh8 Dresden, Germany/ groupxhibition as part of the project "weiter weiter" under guest lecturer Thomas Judisch,
publication: weiter, weiter. Exhibition free art and ceramics, Kiel

groupexhibtion - flourish. nature is a given fact at XPINKY BERLIN, Germany, curation: Isabella Sedeka, booklet:  'flourish. nature is a given fact' edited by Tanya Most, Berlin



Academy Positions, special exhibition as part of the Positions Art Fair, supported by Berlin Hyp

Invasive Species, glass foyer of Muthesius Academy of Fine Arts, exhibition in the context of the bachelor presentation, Kiel

Insight Outlook, Muthesius Academy of Fine Arts by Dr. Prof. Kerstin Abraham, Kiel

Talente 2020, Chamber of Crafts for Munich and Upper Bavaria, publication: Talente , Munich



Erasmus semester 19/20 at Faculdade Belas Artes do Porto, Lecturer by Prof. Rute Rosas, Prof. Susana Pitera, Prof. Rui Ferro and Prof. Teresa Almeida, Portugal

Einblick Ausblick 2019, Muthesius Academy of Fine Arts by Dr. Prof. Kerstin Abraham, publication: Einblick/Ausblick. Annual catalog 2019 of the Muthesius Academy of Fine Arts, concept and design by Bente Beseler and Marie-Delphine, Kiel

Project "Heiss", pottery market in Dießen am Ammersee, publication: Heiss by Kerstin Abraham, Kiel


Project "Setting the stove", exhibition as part of the project of the same name in Cismar Monastery, in cooperation with the Schleswig-Holstein State Museum and Verein Rettung Schloss Blankenburg e.V., Blankenburg im Harz, Germany.

Einblick Ausblick, Muthesius Academy of Fine Arts by Dr. Prof. Kerstin Abraham; publication: Einblick/Ausblick. Annual catalog of the Muthesius Academy of Fine Arts

Project "Paradise" 2018-2021; Briqueterie Rairies Montrieux, Maine et Loire region and Vent de Forets, France and Faimar,Baia Mare and Universitatea de Arta si Design in Cluj Napoca, Romania/Lecturer:inside: Dr. Prof. Kerstin Abraham, Prof. Natsuko Uchino, Prof. Marius Georgescu, Prof. Clémence Van Lunen



Hermann meets Hermann, Hermann-Ehlers Academy n collaboration with Eberhard Stosch, Kiel

Einblick Ausblick 2017, Muthesius Academy of Fine Arts by Prof. BKH Gutmann, publication: Einblick/Ausblick. Annual catalog 2017 of the Muthesius Academy of Fine Arts, Kiel





Patricia Lambertus, Bremen



lives and works in Berlin and Bremen


1996 – 2004 Studies at Hochschule für Künste Bremen, master student of Karin Kneffel

2000 – 2001 Visiting student at Weißensee Kunsthochschule Berlin with Katharina Grosse




Patricia Lambertus creates visually powerful spatial installations that move in the tension between fiction and reality, and between beauty and destruction. The field of research she is working on is "the fascination of violence" and "the lust for power" in its medial and everyday manifestations. Within the pictorial space there are diverse layers of images. They can be read like archaeological stratigraphies, the stratigraphy with which find horizons are analyzed and dated. They are appropriations from art history, from the media, finds from the net, as well as her own images, which were created during several research stays.

For her work, it is particularly important to trace historical-social events and their contexts, as well as their relevance and resonance in the present, and to implement them pictorially. Her interest here is in ruptures, cracks and interfaces.

The installations are always adapted site-specifically. They reflexively absorb and reflect the site as a historical, medial, overall social, as well as architectural location.

She breaks through apparent reality with the means of collage / décollage. There are obvious breaks, cracks and cut edges. The trompe-l'oéil effects are openly presented to the viewer, so that he is simultaneously illusioned and disillusioned. One's own frame of reference of immanent reality and one's own perception enters into a dialogue with the surrounding space.



2021 Pollock-Krasner Foundation Grant, New York, USA

2020 Artist in Residence, Stiftung Künstlerdorf Schöppingen

2018 Artist in Residence, Schloss Werdenberg, Kanton St. Gallen, Switzerland

2015 – 2016 Working Grant Bremische Evangelische Kirche

2014 – 2015 Excellence Program, international and interdisciplinary mentoring program for female artists and scientists, Universität der Künste Berlin

2013 Artist in Residence, Künstlerhaus Schloss Balmoral, Bad Ems

2011 Artist in Residence, Schloss Hundisburg

2008 Artist in Residence, Künstlerhaus Hooksiel

2003 Award NORDWESTKUNST, Kunsthalle Wilhelmshaven





I counted the stars tonight, Kunstverein Neckar-Odenwald


Zweijahrtausendfern, Gerhard-Marcks-Haus, Bremen

We see you, Kunstverein Buchholz, Nordheide


Home sweet home, Gallery Hübner & Hübner, Frankfurt am Main


Trouble in Paradise, Bar K Berlin


Walkthrough, Galerie / Gallery 404, Bremen


SpaceX, Gallery Hübner & Hübner, Frankfurt am Main

Apokalypse, Kulturkirche St. Stephani, Bremen


Rapport, Kunstverein Schwerin


Made in Balmoral, Künstlerhaus Schloss Balmoral, Bad Ems


Sugar-free, Kunstverein Gera


Best-x-ever, Gallery Hübner & Hübner, Frankfurt am Main


Nothing is older than yesterday’ s news, Goethe-Institut, Damascus, Syria


Tarnen und Täuschen, Skam e.V., Hamburg


Pretty Caroline, Gallery Hübner & Hübner, Frankfurt am Main


Ausserhaus, Gallery Hübner & Hübner, Frankfurt am Main


Die Preisträger, Kunsthalle Wilhelmshaven






Remember the future, XPINKY BERLIN

North Oversee, Kunsthalle Wilhelmshaven


Lust, Gallery Hübner & Hübner, Frankfurt am Main

Rendez-vous de chasse, XPINKY BERLIN

Art-figura, Schloss Schwarzenberg


Territorien, Scotty Berlin

Stubenhocker: Post!, Gallery Roy, Zülpich


Identitäten, Städtisches Museum Schloss Salder, Salzgitter

Animal turn, Syker Vorwerk


WILD, Schloss Werdenberg, Kanton St. Gallen, Switzerland

  1. Herbstausstellung, Kunstverein Hanover

Il senso del luogo, Castello reale di Govone, Italy


Interieur III – Die Außenwelt der Innenwelt, Schloss Agathenburg

The proof is in the pudding, Gallery Noah, Augsburg


Homebase. Das Interieur in der Gegenwartskunst, KAI 10 | ARTHENA FOUNDATION, Dusseldorf

There Are Places I Remember, Durban Art Gallery, South Africa


Homebase. Das Interieur in der Gegenwartskunst, Kunsthalle Nuremberg


Ruinen der Gegenwart, Steinbrener/Dempf, Vienna

Additionen der Gegenwart, Museum Bochum


IN MEDIAS RES, Forum Baths, Trier


Vis-à-vis. Vom Heiligenschein zur LED, Paula Modersohn-Becker Museum, Bremen


Jahresgaben, GAK, Bremen

Gazing at the stars, Art Space Riga, Latvia

Spark, Borrow and Steal, Pentimenti Gallery, Philadelphia, USA

Charlotte Rahn, Frankfurt am Main



born 1989 in Flörsheim/Main, lives and works in Offenbach/Main, DE




HfG - Hochschule für Gestaltung in Offenbach a. M., DE, 2011 - 2020, visual communication - Prof. Gunter Reski, philosophy & aesthetics by Prof. Dr. Juliane Rebentisch





ACADEMY POSITIONS by Berlin Hyp / POSITIONS Art Fair Berlin - Art Week Berlin, DE

KUNST AM BAU / Freiluftschau / curated by Hans-Jürgen Hafner, Gunter Reski & Marcus Weber / group exhibition / Berlin Rummelsburg, DE



"NICHT ÜBER MEIN SOFA" / group exhibition / AtelierFrankfurt basement / Frankfurt a. M., DE



"SCHMETTERLING" / video & sound installation with Carmen Schwartz / project room - Sechs Eins Bingenheim, DE



"KONSISTENZ & EXISTENZ" / group exhibition by HfG painting students / Station Offenbach, DE



"GOUT" / Malerei In – Extended / group exhibition by HfG painting students , Sheraton Hotel Offenbach, DE

Coop-Show / group exhibition by HfG & AdBK (Nürnberg) painting students / Zollamt-Gallery in Offenbach, DE



"AUS VIELEM EINES" - Künstlerkollektiv Louisa / group project with refugees from an artistic context and young artists from Frankfurt and the surrounding area / Gallus Zentrum , Frankfurt a. M., DE

WITHIN AN AFFINE SPACE / CONCEPT-SCULPTURE-INSTALLATION / group exhibition / Zollamtstudios in Offenbach a.M., DE

Wandmalereishow WALLLUST / group exhibition / Kunsthalle Weißensee / Berlin, DE



"DIE NEUE HESSLICHKEIT" / group exhibition / Palais für aktuelle Kunst / Glückstadt -  Hamburg, DE



Wall painting & installation / festival  "TAGTRÄUMER UND NACHTLICHTER" / Bockenheim university campus / Frankfurt a.M., DE

Isabella Sedeka, Berlin



born in Opplen / PL, lives and works in Berlin, DE




2006 -2007 Universtity HafenCity, visual communication by Prof. Armin Sandig (Director Akademie der Künste Hamburg), DE

2005 – 2006 Accademia di belle arti di Venezia /Art and Restauration / Milan, IT

2004 – 2005 NABA & Accademia di belle Arti Brera / Illustration and Design / Milan, IT

2007 -2010 PhD thesis, University of Dresden / Law / Institute for Copyright & Corporate Law, DE

2005 – 2007 University Hamburg /Law / Master of Law /Graduation: Magister Juris / supported by Max Plank Institute / Hamburg, DE

2000 – 2004 University Frankfurt a.M /Law, DE




Isabella Sedeka is a Berlin based artist who studied in Milan, Venice, Hamburg and Berlin. On her canvases she allows up to 25 wafer-thin layers of oxidizing metals and acrylic to react with each other indefinitely. This enables the viewer to perceive the same picture differently depending on the angle of view and the incidence of light.

With every color and oxidized layering, Sedeka creates disturbing partial spheres, which in the course of her working process becomes a harmonious whole in the involuntary play of light. The technically or chemically induced irritation is accepted on the one hand as a conscious loss of control, but then deliberately integrated into the overall work along the process of targeted further processing.

In the colored areas, depths open up, fog begins to wane and fleeing gestures break through the edges of the canvas. The gaze through the countless layers of paint gropes and dives for hold. But even here, depths and notions of space open up, challenging intuition between sheer vastness and atmospheric vibrations: Galaxies, underwater world or microcosm? Weightlessness, melancholy or leisure? Or everything at the same time? The imagination breaks through the surface and infinite possibilities open up.

Like worn divas, Sedeka’s works seduce us and keep us at a distance at the same time, dancing between poetry and prose, glamour and trash, dirt and beauty.


Public Collections

2019 Käsbach Collection / Bergisch-Gladbach, DE

2016 Monastery Museum Malchow, Mecklenburg-West Pomerania, DE

2016 Carnegie Mellon University Pittsburgh, Pennsylvania, USA







"infinite spaces", Gallery Sarasin / supported by Gallery Graf & Schelble / 23th Jan - 7th March / Basel, CH


>> light up>>, Kunstgussmuseum Lauchhammer, DE


"c.Oxidation" / Lakeside Gallery /Zug - Unterägeri, CH

"TIME TO SHINE" / Studio 358 / Berlin, DE


"Gold & Pink" / Gallery Kunstkomplex / Wuppertal, DE


„Light and Time“ / Monastery Museum Malchow /Mecklenburg-West Pomerania, DE


„Le corridor bleu“, Town Hall Weissensee /Berlin, DE


"Viel Glück zum Nichtgeburtstag" /Scholarship / Gallery Schwartzsche Villa / Berlin,  DE





From Adlershof with love, XPINKY BERLIN

Flourish, nature is a given fact, XPINKY BERLIN



PPOSITIONS Art Fair / XPINKY BERLIN / 10 - 13 Sep / Berlin, DE

Life, art, pandemic and proximity / group exhibition / curated by Övül Ö. Durmusoglu & Joanna Warsza / Berlin, DE

Volta, NYC, X-Pinky, Metropolitan West, 4-8 March, New York, USA



"the others" art fair / x-pinky LAB / Turin, IT

Kunst Zürich 19 / X-Pinky LAB / Zürich, CH

Volta Art Fair / X-Pinky LAB (Solo) / Basel, CH

" irritation" / Gallery K 49 / group exhibition / Cologne, DE

SCOPE Art Fair New York / X-Pinky LAB (Solo) /New York, USA



"Wald & Wiesen" / X-Pinky LAB / group exhibition /Berlin, DE

"großArtig" /Kunsthalle Ludwig / art Projects Heidelberg & Gallery Lachemann Art / Frankfurt a.M. / DE


"show & order" / Studio 358 / Kühlhaus / Berlin, DE

SCOPE Art Fair Basel / X-Pinky LAB (Solo) / Basel, CH

SCOPE Art Fair New York / X-Pinky LAB (Solo) / New York, USA



SCOPE Art Fair Miami / X-Pinky LAB (Solo) / Miami, USA

C.A.R. Art Fair Essen / Gallery Kunstkomplex & Gallery Wilmsen / Essen, DE

Artmuc Art Fair / X-Pinky LAB / Munich, DE

Charity Exhibition and Auction for Sotheby’s, Vienna, AT

"Abstrakte Normenkontrolle"  / X-Pinky LAB / Art Week Berlin, DE

"First Look" / Gallery Bardohl & Scheel, Berlin, DE

Art Pampelonne / Gallery Kunstkomplex / St. Tropez, FR

SCOPE Art Fair Basel / X-Pinky LAB (Solo) / Basel, CH

Artmuc Art Fair / Gallery Wilmsen / Munich, DE

"Cosmic Laughter" / Kosmetiksalon Babette, curated by Claudio Wiechert, Berlin, DE

"Causality Dilemma" / X-Pinky LAB with Studio 358 / Berlin, DE

SCOPE Art Fair / X-Pinky LAB (Solo) / New York, USA

"Remember X" / with Brigitte Kratochwill, Salzburg, AT



Scope Art Fair Miami / Fresh Eggs Gallery /Florida, USA

"Lichtblicke" / art projects Heidelberg / Frankfurt a.M., DE

SCOPE Art Fair / WBB Gallery (Solo) / Basel, CH

Blooom Art.Fair / Fresh Eggs Gallery / Cologne, DE

Fresh Eggs Gallery Pops up!, Auguststrasse 82, Berlin, DE

"SECRET CODES – UNDER COVER", Berlin Open Studio (BOS), Berlin, DE

Art Festival JP-DE, Tokyo, JP



Gallery Gerichtsgalerie, Tiergarten, Berlin, DE

"Ornaments and Abstracts" / Austrian Museum of Folk Life and Folk Art, Vienna, AT

We Art Berlin Gallery, Pop Up Show, Gallery Blond & Blond Contemporary, Berlin, DE

Art Festival JP–DE, Schloss Charlottenburg, Berlin, DE

Stroke Art Fair, (Solo), Munich, DE

Art Fair Leipzig, DE



Sonntagssalon Gallery / Valentinskamp / Hamburg, DE

"Requiem" / Japanese Embassy / Berlin, Germany

„Kauf mich“,group exhibition /  Gallery Schwartzsche Villa / Berlin, DRE

"Requiem" / Japanese If-Gallery, Berlin, DE



Malwine Stauss, Leipzig



born in Dresden, 1993, lives and works in Leipzig




2013 to 2019

Studies at the Hochschule für Grafik und Buchkunst, Department of Grafik and Book Art / Illustration, Diploma



"worlds we dream"
Malwine Stauss x Sophie Utikal
19.02. - 19.03. 2021

Space for Illustration Hamburg (solo exhibition)
25.-27.10. 2019

Academy Positions
POSITIONS Berlin Art Fair
Berlin Art Week
12.-15.09. 2019

Diploma Tour HGB Leipzig
12.-17 .07. 2019




published by Rotopol
March 2021

The Trip
published by Colorama
March 2020