19 Feb – 19 March 2021

worlds we dream

Malwine Stauss X Sophie Utikal


„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

flourish – nature is a given fact

15 Jan – 12 Feb 2021


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


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

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.