//Origin

Culture.Room warmly invites you to the new solo exhibition of Lilian Mühlenkamp: “Origin”, which will be presented as part of:
48h Neukölln Festival.

During the opening on Friday, 23rd of June, we invite you to participate in a musical journey led by Marta et les Coquillages from 6pm – 10pm.

We invite you to settle down in the middle of the church and join us on this trip.

Free entry / Donation welcome
Drinks at the bar.

“Origin” will be on view for 1 month, from:

Friday, June 23rd to Friday, July 28th.

The exhibition will be accessible from:

Monday to Friday 10am – 5pm.

The space is open for everybody.
You can use it for relaxation, prayer or meditation. Children are always welcome.

Marta et les Coquillages is the alter ego of Anide, multidisciplinary artist and founder of The Theatre of Reverie project. Marta, who wants to tell stories with her music, moves between different atmospheres, genres and aesthetics, developing the concept of “Pictural Music” in her sets.

Her psychedelic, slow and pulsating Selecter sounds are an invitation to connect with our inner world through imagination, picking up sounds from different scenes and eras. Influenced by the dynamics of hypnosis, her stories suggest imaginary journeys towards what we dream and what we live, what we see and what we feel.

//About Lilian Mühlenkamp

Lilian Mühlenkamp’s abstract works, created on self-stretched, untreated canvases, are at their core an exploration of her own synesthesia as well as an artistic exploration of the dynamic tension between moments that arise by chance and the concrete control of the painterly medium. The intensive, experimental work with the material of color refined itself over the years into an individual technique of image creation and the special characteristic of her works. She responds individually to the results of the process, which at first is only controlled to a limited extent, shaping and defining the autonomous, final work in communication and interplay with the material.

Accordingly, the origin of the work lies in the dynamic interplay between the natural flow of the material and the conscious use of painterly technique. This original tension becomes clear in her large-scale compositions. Spatial depth, dynamics and natural patterns of movement find a balance with calm, clearly defined moments of the image. Through this exciting play of generating and reacting, she creates detailed and complex, but always abstract, otherworldly spheres that often evoke associations with hidden, primal structures in our reality that become visible through the painterly process.

Lilian Mühlenkamp deliberately remains anchored in abstraction and refrains from suggesting recognizable or representational elements in her compositions. Visitors are invited to relate their own thoughts and emotions to the works and thus create a personal relationship with the abstract worlds of  Lilian Mühlenkamp.

It is not her intention to suggest recognizable or representational elements in the composition. It is left to the viewer to be freely associative with the works. 

B42 (2021) / Mixed media on canvas / 150x200cm

Lilian Mühlenkamp was born in 1991 in Witten, Germany. In 2019, she graduated with an M.Ed. in fine arts and teaching from TU Dortmund University. Since then she has participated in several group exhibitions in Dortmund (Künstlerhaus Dortmund, Speicher100, Rekorder II, Maschinerie) and Berlin (Postwerk Tegel) and organized several solo exhibitions in both cities (HB55, Tyde Studios, Galerie KungerKiez). Currently she has her studio at HB55 – Räume der Kunst and works as an art teacher.

//Visual Resonance

We are proud to present „Visual Resonance“ our new exhibition project showcased in the MBzwo showroom at Rummelsbucht, Berlin. In this show we want to open a Room for the intuitive experience of visual art. 

Hidden inside the modern art market, academic studies and art historic “facts”, viewing art can quickly be perceived to be inaccessible. What often is lost is the fact that art doesn’t need to be understood intellectually or that there is always a specific meaning or concept that needs to be deducted by the viewer. Rather than thinking about what the specific content of the paintings is, what historical or societal commentary it may contain or what methods have been used and how this relates to past developments in the world of art we want to invite the viewer to use the visual impulses to look inwards and take time for personal contemplation. 

Abstract expressionist Mark Rothko used music as a reference when talking about his artistic expression, because music moves people without being fully understood or quantifiable. Music has an emotional quality that we cannot grasp within our linguistic and logical capabilities. It can be seen as an extension of our own reality, but also as a means of reflecting and enriching our perception of reality by listening to certain music in certain moods or on certain occasions.

In his book The Art of Spiritual Harmony, Wassily Kandinsky expressed a similar idea in his thoughts on artistic composition and its effects on the human spirit. For him, art is about the continuous discovery and pursuit of spiritual enlightenment rather than a tool to represent and interpret our physical environment. He sees this ideal realized in the realm of music because, as a non-visual art form, it is a powerful medium for the expression of one’s feelings and the creation of a composition that can develop a life or frequency of its own and transcends the concrete experiences of the external world.  According to him, visual artists should pursue the same goal – overcoming the emulation of nature in order to portray their inner worlds and achieve new heights of artistic expression through abstract composition.

The sensation of expressive music and art can lead to beautiful and surprising re-compositions of the perception of our environment and our inner life. With this in mind, we want to encourage our viewers to open up to the subjective feelings and emotions that art can evoke, just as the artist himself infuses his feelings and intuition into his works. 

“Lend your ears to music, open your eyes to painting and … stop thinking! Just ask yourself if the work has allowed you to ‘walk around’ in a previously unknown world. If the answer is yes, what more do you want?”

Wassily Kandinsky

SENTIMENT (2022) / Acrylic, charcoal and oil on canvas / 150x130cm

Moritz Berg focuses on the impact of a nature informed environment and its aesthetic impressions on one. He translates these impressions into abstract formations through his artistic process. This concept is informed by the principle of a mindful perception of our environment and relates to the idea of a passive presence of the mind. This allows Berg to perceive his surroundings without the boundaries of our socio-cultural informed filters that often disconnect us from the world.

“My aesthetic reaction is not retrieved from memory, or derived from social norms. Thus the individual aesthetic sensation and its effect can be explored.”  

Moritz Berg was born in 1994 near Stuttgart, Germany. In 2021 he graduated with a MSc in Architecture and Urban Planning at the University of Stuttgart. Since 2018 he has participated in various group exhibitions and art fairs in London (at Gallery 46), Vienna (at Parallel Vienna with Galerie Tassilo Usner) and Düsseldorf (Soif). He is currently represented by Alzueta Gallery (Barcelona/Madrid, Spain), Galerie Tassilo Usner (Salzburg, Austria) and Gallery Rath (Austin TX, USA). It will be his first group exhibition in Berlin.

Organ #3 (2020) / Oil on canvas / 230×180 cm

Katsuhiko Matsubara depicts vibrant “inner landscapes” or “fictional ecosystems on canvas”, which can be described as “spiritual microcosms” that oscillate between material and immaterial expressions and are strongly influenced by the philosophical concept of animism, an idea deeply rooted in Japanese culture. Through the vast depth and detail, his paintings develop an engulfing presence in the room, coming alive in front of the viewer through a constant exchange between matter and spirit.

“He treats the paintings as living beings. In a way, it is more like growing a painting than the actual image painting as an act itself. It is comparable to observing the great variety of plants and organisms flourishing in a garden. It is about picking up the vision as the voice that each painting carries within itself and helping it to sprout.“ 

Katsuhiko Matsubara was born in 1986 in Tokyo, Japan. In 2021 he graduated with a BFA in painting in the class of Anselm Reyle at HFBK Hamburg and was nominated for the prize of the Rainer Wild Art Foundation. In 2019 he participated in the international studio program of Künstlerhaus Bethanien Berlin with a Grant of the Yoshino Gypsum Art Foundation. Earlier this year he had his first solo exhibition at Galerie RX (Paris). Since 2017 he has participated in numerous group exhibitions (among others) in Spiral Garden (Tokyo), Bar-Am (Berlin), Künstlerhaus Bethanien (Berlin), Westwerk (Hamburg) and Galeria Noah (Augsburg). Matsubara lives and works in Berlin. 

B99 (2022) / Mixed media on canvas / 120x180cm

Lilian Mühlenkamp’s artistic practice is characterized by the embracement of random factors in her workflow. In this game of creating and reacting to intentionally generated, uncontrollable impulses, she creates highly detailed and complex, yet always abstract, otherworldly spheres which often evoke associations of hidden structures in our reality that become visible through the painterly process, just as chladni sound figures become visible through the vibration of metal plates.

“An inner sense of synesthesia is also an inspiration and impulse for many artworks. People, situations or moments are felt deeply in the form of colorful senses or colorflows which sometimes remain in her memory and are brought into a painting.”

Lilian Mühlenkamp was born in 1991 in Witten, Germany. In 2019 she graduated from the TU Dortmund with an M.Ed. in Visual Arts and Teaching. Since then she has participated in several group exhibitions in Dortmund (Künstlerhaus Dortmund, Speicher100, Rekorder II, Maschinerie) and Berlin (Postwerk Tegel) and organized several solo shows in both cities (HB55, Tyde Studios, Galerie KungerKiez). She currently has her studio in the HB55 – Räume der Kunst complex and also works as an art teacher.

INNENSCHAU (2021) / Multi shell plaster cast painted with acrylic binder and pigments / 38,5x25x31cm 

Esther Valerie Riegler’s sculptural works always have a strong physical presence and often evoke a feeling of bodies that are torn between a multitude of inner processes. Through her expressive shaping of a wide variety of materials she succeeds in translating often unclear and mostly hidden emotional or environmental states into visible but still ambiguous manifestations, that escape a clear definition but nevertheless have a strong visual and emotional impact on the viewer.

“For me, art has very fine sensory purposes. It serves as a means of making things tangible on a non-cognitive level.“

Esther Valerie Riegler was born in Austria. At a young age, she lived for 8 years in a cohousing project in Austria called Pomali. This experience taught her the importance, but also the challenges of living in community, which she still sees as an important influence today. In 2020 she completed her training as a sculptor at the HTBLA Hallstatt and afterwards studied at the Alanus Kunsthochschule, Bonn. In her work she is not averse to any material as long as it is ecologically justifiable, working for example with stone, earth, snow, wood or metal. Entering a dialogue with the characteristics of the chosen material poses a significant part of her process. 

She has participated in various international symposia in Denmark, Germany and Norway and has shown her work in group exhibitions in Berlin (Galerie M, Galerie Panketal), Stuttgart (Kunst Stuttgart International e.V.) and Salzburg (KUNST für KUNST). She currently lives and works in Berlin and is additionally working in the artist studios of Julia Thurnau and Alicja Kwade.

Sierra Halbe Brücke (2022) / Oil on canvas / 80x100cm

Christopher Kieling’s works invite us to reflect on the “construction” of our reality, highlighting aesthetic qualities that are often overlooked in our fast-paced lives. His motives vary greatly, but what is constantly present is his almost monumental depiction of reality. Through the disclosure of visual reference marks or only partially depicted subjects, his highly realistic style develops almost abstract qualities provoking viewers to fill and expand the impressions with the impulses of their own consciousness.

“His composition are often stage-like; creating a dialogue between his protagonists and their surroundings. Props and expressive gestures compose a narrative which the viewer is challenged to untangle.”

Berlin-based artist Christopher Kieling (b. 1988) graduated from Central Saint Martins with a BA in Graphic Design. His background in design combined with his passion for mark-making come together to create a visual experience of bold compositions and technical finesse. Inspired by contemporary painters like Neo Rauch and Euan Uglow, Kieling begins to explore figurative compositions in 2014. In 2020 his meticulously planned Sierra paintings caught the attention of international galleries and resulted in an inaugural solo exhibition at Grove Square Galleries in London the same year.

Kieling’s work has been the subject of numerous solo exhibitions including Uli Fischer Galerie (Berlin); Cornelia Walter Galerie (Munich) and The Book Club (London). As well as representations at national and international art fairs including SIAF (Salzburg); ARTMUC (Munich); STROKE Art Fair (Munich); Kunstmesse Regensburg (Regensburg); BCN Art Fair (Barcelona) and KUBOSHOW (Herne).

In 2010 Kieling was the recipient of BarTur photography award and the University of the Arts London degree show CAN Audience Award.

//Even the Phoenix is Scared to Die

Culture.Room is pleased to present the next chapter of the Theatre of Reverie:

“Even the Phoenix is Scared to Die”

in collaboration with ANIDE and Roxy Ruby at Sankt Studio Berlin from the 19th until the 21st of May 2023.

//About the Show:

«Even the Phoenix is Scared to Die» is a reflective pause, hovering in the moment of metamorphosis between apprehension and ambition. An ode to the necessity for your personal mythology to echo the cycles of nature to grow.

The vine climbing the urn.

You’re welcome to join us for the Vernissage on Friday 19 May and the whole weekend with ambient music sessions, a workshop by ANIDE and drinks at the bar.

//Program:

//Friday, 19.05.23 – Vernissage (6pm – 10pm)

Paintings by ANIDE and Roxy Ruben Richens / Book launch by the Theatre of Reverie

//Saturday, 20.05.23 – Exhibition (12pm – 8pm)

Ambient Session with DJ-Sets by KAMIL, Hannesmilan and Marta & Les Coquillages

//Sunday, 21.05.23 – Exhibition & Workshop (12pm – 7pm)

Drawing and Writing Workshop by ANIDE / Immersive ambient and meditative deep-listening session with Lua va Bang by YONO

//Workshop-Information

This workshop is a playground for the mind, an invitation to play with our imaginations through drawing and writing. 

Through simple exercises, this workshop was born from the desire to create an individual and collective experience. Designed as a surrealist game, this moment is an invitation to explore our own narratives. 

You don’t need to draw or write to be there ! 

Mittenwalder Straße 15, 10961 Berlin (Kreuzberg)

//About the “Theatre of Reverie”:

The Theatre of Reverie is a multidisciplinary project engaged with imagination, dreams, memory, storytelling, hallucinations and mythology. We aim to create intimate and empathetic atmospheres that nurture curiosity and invite the public to explore their personal connection to these themes. 

The theatre was born from the desire to create singular experiences where the arts blend together to create an immersive interlude. Through painting, drawing, music, performance, installation, publication and workshops, each event is a moment where mediums meet. As a result, the public is offered a rich and encompassing content, allowing them to better approach each element but also, the exhibition as a whole. 

If the unconscious is structured as a language, to use Lacan’s words, Anide’s work is situated at the intersection of the unconscious and the conscious language. ANIDE is a multidisciplinary artist from Lyon, currently living and working in Berlin. Exhibited in London, Berlin, Lyon and Megève, he is a passionate self-taught artist. In 2021, he founded “Le Théâtre de la Rêverie”, a multidisciplinary label aiming to explore themes that revolve around the imaginary. Inspired by nature, philosophy, music and semiotics, Anide explores the imagination by creating a dreamlike world, a reverie where we get lost in the meaning we want to give it.

With his compositions and their intimate dimension, he returns to the essence of things, of oneself and of others. Through sensitive experiences, games of lines, shapes, colours and contradictions, he gradually digs into the layers of our imagination to offer us an enriched vision of our reality. Concerned with the links between elements and with creating new ones, all his work is a correspondence: between the abstract and the figurative, between different mediums, between the present and the future, between individuals, between art and life, between dream and reality, between our primal nature and the social injunction.

In an age that has distanced us from nature and our own nature, he sees this research as a gateway to a world that we have forgotten to see or that we may never have seen. Thus, through suggestion, he teaches us to pay attention to and trust our impressions, emotions, bodies and instincts. It is then up to us, as when he creates, to disregard any preconception in order to let our conscious and unconscious dialogue, in an instinctive and uncontrolled way, to interpret, feel, appropriate his work and finally let go. The poetry of the visible and the invisible, the sound and the visual, the still and the living, is then offered to us, in a free, sincere and plural form.

Roxy Ruby is an Australian artist, based in Berlin, who works predominantly in charcoal drawing. She is influenced by film stills, theatrical motifs, mise en scène, costume, archaeology, Greek Mythology, fairy tales and other forms of storytelling to explore themes of the subconscious, dreams, identity and transcendence.

These themes are articulated through both romantic, surreal, figurative compositions and detailed, layered scenes that depict the metamorphosis of figurative subject matter into abstract dreamscapes.

She completed a Bachelor of Visual Arts at Monash University, Melbourne in 2009 and a Graduate Diploma in Museum Studies at Deakin University, Melbourne in 2012. Following her studies, she worked for ten years as a Registrar in the Galleries and Museums sector in Melbourne. In 2021, she relocated to Berlin to focus on her visual arts practice. She exhibits regularly as a member of Anide’s The Theatre of Reverie, which she joined in 2022.

//FLINTA* Showcase BLVSH x Culture.Room

BLVSH and Culture.Room are pleased to present 13 artistic positions from the fields of painting, photography and sculpture at the Paloma Bar at Kottbusser Tor. In a still male-dominated art and culture scene, the diverse (artistic) perspectives of FLINTA* (Female, Lesbian, Inter, Non-binary, Trans, Genderqueer and Agender) people are still largely underrepresented. The FLINTA* movement has been active in our society since the 90s for the rights and recognition of these groups of people, but we still experience a lack of acceptance, discrimination of these people and their ideas and concepts, also in the cultural sector.

Based on this, the curatorial foundation of this exhibition is the conviction that art in all its forms and varieties has the potential to process important political and social currents in a wide variety of media and thus to advance important social issues. For above all, the art & culture scene can no longer be thought of or understood without the diverse and exciting perspectives of FLINTA* individuals. In this case, art thus presents itself not as an end in itself, but as a catalyst of a long overdue social rethinking.

This event therefore serves to raise awareness of the perspectives of FLINTA* persons, to present the works in as safe a space as possible, to hear the voices of the artists and to perceive their ideas and concepts without bias. In line with the motto of the BLVSH collective, this event is about promoting the visibility of women, trans and non-binary people and their flourishing in a still male-dominated cultural scene.

//Presented Artists:

Vanda Petrella / Parole Dure Studios

Vanda Petrella / Parole Dure Studios / Film still

Vanda Petrella is a visual artist born and raised in the south of Italy, Capua. Her first steps towards photography date to 2012 self-taught experiments with an analog camera while completing her MA in Law. After a second MA in Digital Communication she focused entirely on the studies of Photography and Graphic Design in Naples, a city well known for its creative and artistic ferment. Following her professional works in both Rome and London, she now lives in Berlin, where she carries out her artistic and professional activities. Her photos have been published in several international magazines, such as Purple Haze, Kaltblut, and Faith.

The artist focuses on reappropriating and liberating feminine authenticity from the male gaze and overcoming the objectification of the female body. Hence ‘Blooming’: a series of analog photographs representing women as Muses in a sacred space, free to explore the infinte ways of experiencing femininity. The representation of other women is self-representation — it restores freedom and dignity and creates the space needed for Blooming.

Julia Kobel

Julia Kobel / No Title (2021) / Fine Art Print (3D) / 42×59,4cm

Julia Kobel is a 3D artist based in Berlin, where she is  currently working as a 3D designer. In 2017 she found her passion for 3D Design, ever since she is experimenting with dynamic and organic forms,  finding harmony with combining different haptics and  details as well as exploring a world consisting of  technic and nature.  A central theme in her work is a constructed reality that at first glance contains real components and functions, but at second glance appears unreal and changed in many ways.

Paula Theiss [ZENA]

The past weeks and months have been very stressful, full of work, commitments and expectations. Because of this, my mental health is not very good at the moment. This makes it very difficult for me to be creative, to discover new things, to get out of my comfort zone and to participate in public life. For some time now I have been thinking about what “blossoming, blooming, coming to life” means to me. For a very long time, I didn’t have a creative idea to implement this theme pictorially. Suddenly, however, I realised what “blossoming, blooming, coming to life” can mean for me personally, especially in situations or phases when I am not doing well. 

For me, “blossoming, blooming, coming to life” currently means becoming aware of my own limits, fears, insecurities and expectations and actively perceiving and accepting them. Despite social expectations, pressure to perform, fears and negative thoughts, it means having the courage to face all this, to explore my own limits anew and to get out of my comfort zone. “Blossoming, blooming, coming to life” can also mean seeking help from friends, family or professionals. slowly, step by step…

Antoinette N’Sow

//Antoinette N’Sow / Untitled triptych (1/3) / 2021 / Berlin, Germany: Digital self portraits

As an artist, Antoinette creates images that are introspective, as self exploration is  their purpose. Whether it’s documentary or staged, their works draw on the complexity that is  existence and aims to be humane. This comes from the fact that their existence as a queer black person born and  raised in Europe, is inherently political which is undeniably part of their narrative  yet, they choose to reject discourse and the intellectualisation of their existence. Through their work they create a space that allows them to exist safely.  Recurrent themes found in Antoinette’s work are heritage, queerness,  introspection, love and belonging.

Lucia Jost

Lucia Jost / Emma (2022) / Hasselblad 500cm / KodakPortra400 / Fine Art Print

Lucia Jost (born 1998) is a portrait and reportage photographer from Berlin-Kreuzberg. In her photography she deals a lot with analog processes and the female view through the camera. Thereby she lifts the people around her on a big stage and plays with nostalgic stagings and a dramatic visual language. In her long-term project “TÖCHTER DER HAUPTSTADT” she deals with the women of her generation. In a collection of portraits she shows the viewer different facets of femininity and deals with themes such as friendship, motherhood, sexuality and emancipation, as well as the connection between women and the big city.

TÖCHTER DER HAUPTSTADT is a homage to the Berlin woman of today…

Olivia Waligora / Lilemi2

Olivia Waligora / Lilemi2 / Film still of “Untold Angst” (2021)

Olivia Waligora (known as “Lilemi2”) is a Polish/ Norwegian artist. Her passion is still and motion pictures, with a focus on the person and the story behind them. For her, the face, the body and the emotions of the main character are most captivating and fascinating. Her photographic and filmmaking style is characterised by strong contrasts, low light and dark aesthetics with a cinematic touch. The motifs in her images are often dynamic and surrealistic. Her biggest motivation to create is the need for escapism from the melancholy of day to day life. Her surreal works create a unique and often eerie mood, toying with the audience’s experience of the visuals and audio, and at times inviting them to empathize with the discomfort or anxiety of the main character.

Untold Angst is a symbolic short story portraying a person overwhelmed with anxiety. It is a depiction of the search for creativity while dealing with one’s fear and dark thoughts. It is also a tribute to the beauty that lies in that darkness. The film personifies the intrusive thoughts as dark creatures and “demons” who accompany her every step of the way. While the film progresses, the dark characters ‘lose’ their dominant and aggressive presence and start simply accompanying her side, showing the journey of regaining control over, and finding one’s way through, bad moments in life and mental darkness.

Franziska Hemler

Franziska Hemler / O.T. / (2022) / Pigment print / 30×45 cm / Edition of 5

Franziska Hemler, born in 1994 in Freiburg i.Br., studied art education in Frankfurt am Main with a focus on painting.  In her artistic practice, she repeatedly deals with space as a concept, whereby her photographic works are closely linked to her paintings and drawings. 

The photographs (2018 – 2022) revolve around artificially constructed urban and residential space: the motifs for these are often parts of buildings that can be assigned to Brutalism in a broader sense – such as the Sonnenring in Frankfurt am Main, the Corbusierhaus in Berlin, the National Theatre in London. These buildings are often met with ambivalent criticism: once thought of as a forward-looking way of living, they were and are still considered gray monstrosities in the urban landscape, despite being protected as historical monuments. Franziska Hemler takes a close look. She does not take pictures in the sense of documentary architectural photography, but looks for the detail and thus opens up new perspectives and pictorial spaces.

Pia Fleckenstein

Pia Fleckenstein / THIS IS SERJOSHA AND ESTRAGON (2022 ) / Acrylics on wood / 83x105cm

Pia Fleckenstein studied at the Faculty of Design in Würzburg. Today she lives and paints in Hamburg. Her focus lies on sculptures made of steel and large acrylic paintings on wood. In her work she searches for color, for form and their mutual dissolution. She deals with the anatomy of the female body and its interactions with its surroundings. 

In the process she searches for interweavings of pictorial planes that dissolve boundaries between spaces, protagonists and contents and translate them into fluid tissues. Everything represented reaches a surface, becomes a tissue, an epidermis and a homogeneous surface. Figures lose their individuality, become fleeting impressions and parts of a mosaic. In other words, she is looking for the divine in her works.

Mascha Leskien / NAKED SOLIDARITY

Mascha Leskien / NAKED SOLIDARITY No. 8 / 2021 / Analog photography / 20 x 30cm

NAKED SOLIDARITY was created in early 2021 as a fundraising project to support people affected by patriarchal oppression. By photographing naked bodies, the project’s founder and photographer, Mascha Leskien, sends a strong message against the stigmatization and taboo of nudity. Provocatively, the Berliner uses nudity to draw attention to the non-consensual sexualization of naked bodies. For Mascha, the idea is to highlight that a person’s value, essence and professionalism are not based on how revealing or non-revealing they present themselves. 

Lounar

Charlotte Rauch – Lounar / Tür (2022) / Acrylics on canvas / 30x40cm

The work of Charlotte Rauch – also signing as Lounar – can be understood as an intersection of psychology and visual art. Curious for human connections, the artist from Berlin focuses both in her everyday life and in her art on how social dynamics effect the Psyche. In this context, she disclaims the frequently existing stigma of darker emotions and strives towards an acceptance and authentic integration of whatever lives within. In this context, she disclaims the frequently existing stigma of darker emotions and strives towards acceptance and authentic integration of whatever lives within. Lounar’s work is intuitive and introspective. She primarily paints on linen canvases  and wooden panels, whose surfaces she transforms and expands by adding various  materials like fabric or aluminium. Sometimes she repeats this process multiple times  until eventually the work consists of several layers and sentiments that are all joined  in the paintings’ inherent story.  

Lounar will contribute to the BLVSH collective exhibition with a series of paintings in  which she explored melancholic strength. Through the expression of vulnerability and  sensibility, blossoming seems possible. The observer is invited to follow this route to  the inside for a moment and join a space of reconciliation

Magda Janicka

Magda Janicka comes from Tychy, Poland and lives in Berlin. Magda studied the German language and literature, graphic arts and visual education in Cracow. Her drawn stories and illustrations are inspired mainly by everyday situations such as going shopping, waiting at the bus stop, barbecuing by the water or bumming around in front of the late-night grocery store. With simple outlines, usually with a color accent, she creates the scenes in which the prose of life brings with it plenty of oddities and absurdities.

Julia Gal

Julia Gal

Julia Gal (they/she) is a Berlin based mixed media artist who uses photography, writing, installations and performances to express the unsaid art functions as a connector of emotions, the questions left unspoken and all things abstract.


//Line-Up

In addition to the artistic positions, FLINTA-affiliated musicians and DJs will provide a musical supporting program during the exhibition period, as well as at the afterparty taking place on October 6.

In addition, a three-hour DJ workshop by FLAX [Metaware] will take place on October 5 at 4 pm. Registrations for this can be made via BLVSH’s Instagram channel @blvsh.berlin.

(FLINTA* only).

//The event is kindly supported by: