Artists [ V C A S ]
Manuel Bachinger, Danijela Bagarić, Mina Banabak, Ziegi Boss, Tomiris Dmitrievskikh, Annika Eschmann, Jonas Fliedl, Lisa Glonti, Maria Gvardeitseva, Julia Hahnl, OU Jiun-You, June Kitho, Anthony Kroytor,
Sanja Lasić, Nadine Lemke, Meike Legler, Oliver R. Meschnig, Peter Moosgaard,freakygreenfish,
Sebastian Pfeifhofer, Laurie Schram, Melina Steiner, Sarah Steiner, Daniela Trinkl, Sarah Wilhelmy,
Aga Zagraba, Q_plus_I
Artists [ LBI-NetMed ]
Angela Andorrer, Die Aschenbrecher, Albert-László Barabási, R. Friedrich Bliem, Katy Börner, Patryck Chan, descent, ECHTZEITKUNSTWELT, Thomas Feuerstein, Funkyfiona, Dominik Grünbühel, Begi Guggenheim, Felice Gotthardt, Christiane Hütter, Julian Jankovic, Martin Krammer, T(n)C, LBI-NetMed, LBG OIS Center, Monica LoCascio, Mary Maggic, Rica Fuentes Martinez, Daniel Mazanik, Vanessa Mazanik, Ernst Miesgang, Stella Mondin, Oskerhase, Monika Pietrzak-Franger, projectvime & Te En Chen, Sebastian Pirch, Luca Ruzsics, Chris Schratt, Bettina Schülke, Clemens Stecher, STUDIO 101010, Annette Tesarek, The Meaningful Noise Collective, Norbert Unfug, Oleg Ustinov, Ana Vollwesen, Alexander Zaloopin
Manuel Cyrill Bachinger
Global Shutter, 2025
manuelcyrill / lyricallumen.com
In the work Global Shutter, the exposure time of a video is transferred onto its soundtrack, so that it can be heard for the corresponding duration of each frame. As a result, the gaps between individual frames become sensually perceptible, the illusion of continuous movement is disrupted, and the quantization of information becomes audible. The video shows the suburbs, examined in terms of their significance as a non-place, standing in contrast to the discrete, disconnected frames as a site of discontinuity, loneliness, and resemblance.
Angela Andorrer and Monica C. LoCascio
Tending Nature Year, 2025,
monicaclocascio.com / Monica C. LCascio
Tending Nature presents textile and nature-based works by both artists, exploring their relationship with organisms and questioning what environmental care means. Andorrer repairs and supplements tree leaves with paint, yarn, and bead embroidery; LoCascio’s organic sculptures were created from cords, yarns, and textiles during her pregnancy and the first weeks of motherhood. Both pay tribute to organisms as ecological actors: for Andorrer, vitally essential through oxygen production, for LoCasio, as an examination of the role of genetics in societal roles. They invite a rethinking of the boundaries between human, plant, and epigenetics, and an acknowledgment of symbiosis as the foundation of our environment.
Danijela Bagaric
Im Schweigen tanzt das Unausgesprochene, 2025
„Im Schweigen tanzt das Unausgesprochene“ is a series of gestural color compositions in which form and movement act as a silent language. Without narrative intent, without figures, a space is created in which the invisible is hinted at—an intermediate realm between intuition and presence.
My work does not seek to depict, but rather to capture the inner echo of a gesture, the pulse of color, the reverberation of movement. The images are condensed states—traces of the body, resonances of the moment.
Each circle, each surface, each gradient is a fragment of the unspoken that comes to life in silence.
Die Aschenbrecher
Symbiotechniose, 2025
Die Aschenbrecher is a mixed media nymph. For this space they compose a post-digital temple, frames are arising in diverse forms to honour the birth of a new symbiosis. Textile drawings, treasures from nature, 3D printed creatures and flickering screens form windows into a realm of radical empathy.
Mina Banabak
dikkat!, 2025
dikkat! Is a 90*195cm corrugated metal object, part of a two piece series inspired by the architectural and visual urban landscape of Istanbul. Corrugated metal, often used in construction and barriers, has become both a physical and symbolic surface in the city. It is a material that tells stories of expansion, change, and transience and also serves as a canvas for countless layers of urban expression.
In my perception the city acts as the frame, its walls are the canvas and the ways people mark, alter or intervene in them completes the artwork. Stickers, posters, flyers, and tags, often small and repetitive, are what shape the visual identity of a place. They become signifiers of the people who live there, reflecting cultures, politics, desires, power structures and teenage slang. In their accumulation they create an unofficial archive of urban life.
By working with corrugated metal I directly engage with the surface that exists everywhere in the city, yet usually goes unnoticed. It is both industrial and fragile such as temporary and permanent. On this surface I build collaged layers that are reminiscent of the textures found in urban spaces, where no single hand defines the outcome but rather a collective process of constant change.
dikkat! reflects on the blurred boundaries between frame, canvas and artwork.
Albert-László Barabási (BarabásiLab)
Social Network Response to Crisis (ETA Bombing), 2007–2009
BarabasiLab.com / networksciencebook.com / barabasi
Between January 2007 and January 2009, the BarabásiLab used mobile phone data to detect human reactions to a whole slew of life-threatening events, from bomb explosions to riots.
ETA detonated a car bomb in a parking lot of the University of Navarra just south of Pamplona on October 30, 2008 at 11:00.
Combining national mobile-phone records to identify the individuals who experienced the event and analyze their reactions, in the form of whom those individuals called and when they made calls. The links of the networks capture calls that the witnesses, shown as red squares, made immediately following the event and the subsequent calls their acquaintances, shown as circles, made upon hearing the news. Colors capture time—the blue nodes represent individuals to whom the news arrives later as they are at the end of the chain of calls. These visualizations describe how the sensitive fabric of the social network springs into action in the face of an emergency through a series of events that flare up like independent forest fires. They also show that while most news will dead-end in small pockets of the social network, a very few witnesses will create global awareness by triggering the engagement of hundreds of individuals.
Artarchive link: https://www.artworkarchive.com/pieces/emergencies-pamplona-trypticon
Ziegi Boss
Our Civilization Depends on You, 2025
Our Civilization Depends on You examines the endless parade of instructions women are told to follow: have children, embrace your “feminine essence,” align with the moon, please civilization, please God, please anyone. These directives have echoed for generations — through religion, family, and culture — but technology has amplified those quiet whispers into a constant hum, rebranding belief as lifestyle and ideology as aesthetics.
Drawing on pronatalist messaging, womb-spirituality influencers and Tradwife aesthetics that echo religious doctrines of submission, the work explores how ideology circulates like white noise: compelling, manipulative, and impossible to tune out.
At its center is the artist’s sterilization: a preserved fallopian tube and lab report as an act of embodied refusal. Around it, AI-generated voices echo persuasive scripts — smooth, unfeeling, relentless. They mirror the machinery of online influence itself: systems that automate conviction, amplify obedience, and package ideology for mass consumption.
The work stages a collision between autonomy and system, body and ideology. The preserved specimen becomes a monument to everything that will not happen — a lineage ended, a script torn up, a civilization that will have to depend on someone else.
R. Friedrich Bliem
Painting: Cells, Tissues and Organs – whole system view, 2024/2025
Conceptual Statement: R. Friedrich Bliem’s practice is situated at the intersection of scientific inquiry and artistic expression. His work investigates the intricate patterns of the biological microcosm, translating these invisible systems into vivid, aesthetically tangible experiences. Bliem’s methodology allows viewers to engage with the complex, underlying order where scientific principles and artistic interpretation resonate.
For this exhibition, Bliem expands his generative process by collaborating directly with a drawing robot. This specific work, Painting: Cells, Tissues and Organs – whole system view, explores the emergent dialogue between human creative intuition and programmed machine precision, questioning the boundaries of authorship and representation in a technologically mediated world.
Tomiris Dmitrievskikh
Window view, 2025
This work is part of an ongoing artistic research project focusing on industrialized territories in Western Siberia, Russia. The images were captured during a journey through areas where access is often limited or controlled by permits due to oil extraction activities. All photos were taken from the window of a car. The window acts as a literal and metaphorical frame, defining what is visible and shaping perception while highlighting the tension between movement, control, and fleeting observation.
Katy Börner
Atlas of Macroscopes: Interactive Data, Visualizations, 2025
luddy.indiana.edu/contact/profile/index.html?Katy_Börner
scimaps.org
The Atlas of Macroscopes showcases 40 real-life macroscopes, or interactive data visualizations, that were displayed in the “Places & Spaces: Mapping Science” exhibit (2015–2024). Encompassing vast amounts of data, macroscopes provide holistic views of complex systems or networks. They provide an entry point for scientists and laypeople alike, and empower them to engage directly with large datasets and to conduct their own lines of questioning. As interactive tools, macroscopes connect data creators and users. As portals to continuously evolving data, macroscopes can serve as windows to the dynamics of any terrain—personal or professional, local or global—and offer key insights into our surroundings. They transcend the static nature of traditional maps, helping us see the big picture as we seek to better navigate our ever-changing world.
Annika Eschmann
Artist´s Paradise, 2023
annika.eschmann / annikaeschmann.com
The work plays ironically with the flexibility of economic values and the associated ideas of paradise, using the formula (Height + Width) × Factor = Price.
This formula is used to determine the price of artworks and largely ignores the actual production costs. It leads to the paradoxical situation that the more elongated a picture is, the more expensive it becomes.
The reason for using a formula that describes the outline of an image in relation to the factor, rather than one that describes the surface area, might be that traditionally the cost of a frame was calculated according to the total length of the frame strips needed: Height + Width = Price.
Artist Name
Titel, Jahr
Website/Instagram
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Jonas Fliedl
Titel, Jahr
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Artist Name
Titel, Jahr
Website/Instagram
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Lisa Glonti
Selfie Mirror, 2025
Lisaglonti / www.lisaglonti.com
Social media users constantly frame themselves within its interfaces. Through the frame of the ‘story’ camera, they curate their auto-portraits, selecting what is seen and staging their identity.
‘Selfie Mirror’ is a translation of this digital gesture into a static sculptural object. Visitors become the subject. They encounter their own reflection inside a familiar interface. The observation of the artwork is the observation of self-framing.
A smartphone-shaped elevated mirror is mounted on a 30 × 30 cm black surface and enclosed in a black frame. The mirror has an engraved outline of the ‘story’ camera interface. The mirror consists of three frames: the physical frame of the object, the digital frame of the interface, and the perceptual frame of self-image.
Artist Name
Titel, Jahr
Website/Instagram
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Maria Gvardeitseva
Men in Suits, 2024
maria.gvard / mariagvardeitseva.com
Men in Suits by Maria Gvardeitseva is a video performance that explores how systems of patriarchal power are represented and remembered. Inspired by Yves Klein’s Anthropometries, the work replaces the absent male artist with the active presence of a woman, positioning the artist as both participant and witness in the act of creation.
In the performance, men’s suits, longstanding symbols of authority, are soaked in a bright pigment Gvardeitseva calls International Misogynistic Blue. The garments are then dropped, stepped on, and pressed onto paper, leaving behind fragile “memory-prints.” These impressions capture a system in decline: they record its collapse while also suggesting new possibilities. What remains is both a document of what is fading and a hint of what may emerge.
Through this process, Men in Suits questions who controls cultural narratives and who has the power to reshape them. In the in-between space of the “blue hour,” the work imagines rhythms and frameworks that move beyond rigidity.
Ultimately, the installation reframes the visible and the invisible. It turns attention to inherited structures of power, while the acts of marking, erasing, and repeating become tools for witnessing transition and imagining a more open, inclusive future.
Artist Name
Titel, Jahr
Website/Instagram
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Julia Hahnl
Archives are cold, 2024
Archives are Cold explores the fragility of digital media archives by focusing on their thermal dependencies. Inspired by Nicole Starosielski’s Media Hot & Cold and its notion of “thermocultures,” the work rethinks data centers not as secure repositories but as infrastructures where cooling systems and environmental controls dictate whether data survives or disappears.
The installation presents a live thermal camera feed layered with subtitles. The thermal spectrum becomes both a visual and conceptual frame, revealing what usually remains outside public perception: the infrastructural and environmental conditions that sustain our digital memory.
A heat lamp and ventilator, programmed through microcontrollers, intervene in the exhibition space by altering temperature in real time, making viewers physically aware of these hidden dependencies. By translating the politics of preservation into sensory experience, Archives are Cold exposes how digital archives are governed by corporate interests, political agendas, and material limitations. In doing so, the work highlights the vulnerability of supposedly permanent digital landscapes, reminding us that collective memory is always precarious and conditioned by power, technology, and environment.
Artist Name
Titel, Jahr
Website/Instagram
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OU
The Atlas V – 139, 2025
As part of her ongoing Atlas series, OU Jiun-You selects several locations she frequents within the building to create a personal map of Funkhaus. Directional sound ephemerally penetrates the space, reaching beyond what the naked eye can perceive. The recorded and processed soundscapes reflect the building’s architectural geometry, spatial materiality, and its various happenings, metaphorically connecting individuals to the site as resonant frequencies form a sensory bridge to its history. Prints were kindly supported by Never at Home.
Artist Name
Titel, Jahr
Website/Instagram
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June Kitho
entangled II, 2025
“entangled” explores how systems are interconnected and whether new things can emerge from old structures. A change in one area can influence the entire system, even if it occurs slowly and imperceptibly at first. It reflects how everything is connected and how small actions can lead to larger changes.
The wooden frame originally belonged to my grandfather and once held one of his stone mosaics – works that fascinated me as a child. Although the frame now draws the viewer’s attention to a recent piece of my own, it also establishes a quiet link to my past – my grandmother, who gave me the frame. The frame becomes more than just a border for the image – it is a vessel of memory, anchoring the work in both history and emotion.
Artist Name
Titel, Jahr
Website/Instagram
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Anthony Kroytor & jeremy r.r.
Hinterland, 2025
anthonyk.xyz / jeremyrr.bandcamp.com
What is it?
A corollary to this question, felt but likely never verbalized: Since I don’t know what it is, I don’t know what to do–can I enjoy it? am I meant to take it seriously? This train of thought may easily be sidestepped with the question: What does it mean?
Hinterland definitely has music. It sounds like post-apocalyptic country music. Hinterland seems like a performance. It involves a video game–or something like it.
You are free to frame Hinterland however you like.
Artist Name
Titel, Jahr
Website/Instagram
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Sanja Lasić
The Turtle, 2025
“The Turtle” is a collage that merges drawing and analog photography, reimagining the tradition of Bosnian tapestry (ćilim) and its profound cultural symbolism. Drawing from the artisanal heritage of weaving, the artist translates its patterns and geometrical motifs into a personal language of belonging, memory, and identity. Through re-drawing and recomposing, she transforms the inherited visual language of the tapestry into a deeply intimate narrative shaped by her experience of forced displacement in the early 1990s from her place of origin in Sarajevo and her upbringing in Western Europe.
At the heart of the work lies a mosaic of analog photographs—an archive of fragmented memories. Cut into fine strips and woven anew, they embody the act of reclaiming and reordering her past, transforming trauma into renewal. This physical and emotional weaving becomes a meditative gesture of healing—an artistic process through which memory is restructured and redefined.
Encircling the collage is a hand-drawn frame inspired by the symbolic borders of traditional Bosnian tapestry, separating the spiritual from the worldly. Within it, the recurring motif of the Turtle carrying the world on her shoulders evokes endurance, solitude, and strength—echoing the artist’s ongoing journey to reconcile her fractured identity, bear the weight of memory, and envision a grounded, hopeful future through creation.
Artist Name
Titel, Jahr
Website/Instagram
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Nadine Lemke
No title, 2020
No Title consists of two linearly arranged metal structures, each carrying five slender, rotatable frames.
Within these frames unfold textile objects made of cotton, in deep black and soft natural white. The encounter of inorganic and organic, geometric and ornamental elements creates a dialogue in which opposites reveal their quiet beauty.
The frames are not merely supports, but windows that open interaction between the textile objects and the surrounding space. They invite viewers to perceive both the individual parts and the whole, and to reflect on the delicate balance between unity and division.
Artist Name
Titel, Jahr
Website/Instagram
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Meike Legler
The System, 2023
“The System”, a mixed media piece, is a literal depiction of how interwoven structures, processes and relationships in a system are.
Artist Name
Titel, Jahr
Website/Instagram
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Oliver R. Meschnig
Victim, 2025
The artwork plays with the terminus of framing and its usage by modern-age oppressors and autocrates to legitimate their “defence”. They are only reacting, forced by external forces, by circumstances that never were alterable by them. They were always at someone else’s mercy. They always were victims.
Artist Name
Titel, Jahr
Website/Instagram
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Peter Moosgaard
ANGEL (fine dust), 2024
o___gavvd___o / cargoclub.tumblr.com
Consisting of nine wooden frames, imprints of birds found on windows —delicate fine dust left on impact —have been permanently and forensically engraved in the glass. Arranged sequentially in space, the dust patterns create an imagined movement of flight, conjuring a liminal, almost tomographic being. By algorithmically illuminating the frames in rhythms of a human breath, the word “anima” as in animation is invoked in its deepest sense — as a breath, as soul.
Artist Name
Titel, Jahr
Website/Instagram
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freakygreenfish
GEN.E.SYS. [processing…], 2025
How can we strive for the future in a world that’s “spiritually Israel” while hanging in a constant state of ripping itself apart?
GEN.E.SYS., delulu about reality, theorises hyperstitional post-capitalist xenofeminist technical structures, which shall be implemented after we luigi accumulated power. This Gen. of users will post on their TikTok acc, but first they must be processed/born in this installation into the reality of platform capitalism.
Artist Name
Titel, Jahr
Website/Instagram
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Sebastian Pfeifhofer
Titel, 2025
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Artist Name
Titel, Jahr
Website/Instagram
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Laurie Schram
SCHRAM2.0, Identity Archive Is Not A Dog, 2025
SCHRAM2.0 is a fictional persona and art project developed by Dutch artist Laurie Schram. This alter ego embodies an alternative life path where artistic ambition and personal freedom take centre stage, unencumbered by caregiving responsibilities, professional and financial restraints. SCHRAM2.0 functions as a meta-artwork that explores the boundaries between reality and fiction, facilitated by collaboration with artificial intelligence. Through this digital partnership, a dialogue emerges about identity, autonomy, and the role of technology in art. AI attempts to have the persona create artworks as Schram herself would, resulting in a portfolio of subpar pieces stemming from a chatbot’s hallucinations, superficial clichés and derivatives of Schram’s work. SCHRAM2.0 is an approximation of a woman, an artist, who can no longer exist in reality.
Printed on delicate, translucent material, the image of the artist flickers between visibility and dissolution depending on light, angle, and framing. In one moment she seems to stand before the viewer; in the next, she fades into the background, merging with her surroundings. A series of artefacts appear with her: reverse-AI jewellery, coins, prosthetic fragments. These oscillate between material fact and fictional residue. They are created from the artist’s personal belongings and enter the alter ego’s world through mould-making and casting in fine silver, a small sculptural loop. Not generated by AI, but echoing its logic, they embody reconfiguration, fragmentation, and reassembly. These artefacts extend the project’s investigation into materiality and authorship, creating connections between the absent real and the visible persona.
Artist Name
Titel, Jahr
Website/Instagram
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Sarah Steiner
Vampy, 2024–2025
sarahsteiner____ / sarah-steiner.com
The title refers to Vilém Flusser’s novel Vampyrotheutis infernalis, in which he writes about the octopus – a creature of surreal and unsettling beauty. This deep-sea animal, with its writhing tentacles, becomes a metaphor for the unpredictable and the unfamiliar, urging us to think beyond human categories.
In Steiner’s autofictional installations paintings, objects, and texts interweave to form an open network that reflects on diverse modes of existence. Material processes of production serve as a starting point for the creation of fluid, often contradictory figures. The tentacle becomes a symbol of transgression and hybridity, as well as for new forms of generating knowledge and identity. Donna Haraway’s notion of “tentacular thinking” provides a model here: a way of thinking that is neither linear nor hierarchical, but networked, relational, and interdependent.
Through multimedia compositions, the artist explores the relationships between subject, material, and world – opening up a space where the indeterminate, the other, and the not-yet-imagined can emerge.
Artist Name
Titel, Jahr
Website/Instagram
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Melina Steiner
Ceiling Composition, 2025
This work is a homage to the library of the former University of Economics, a place with both personal and collective history. My mother worked here for thirty years, and I remember spending time in the building as a child. In recent years, the space has been used by artists, including myself, as studios and exhibition spaces. This exhibition marks the last one before the building closes.
I used ceiling panels identical to those found in the space and combined them with photographs from its past. Through painting and collage, I created new compositions that reconnect with the architecture while reflecting on memory and transformation.
By installing the panels on the ceiling, they return to their original place in a changed form. The work explores how spaces shape our perception and how personal experience, time, and material become connected. It reflects on how framing defines what becomes visible and how we relate to a space that is about to disappear.
Artist Name
Titel, Jahr
Website/Instagram
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Daniela Trinkl
Fragments, 2019
daniela.trinkl / danielatrinkl.com
In the series Fragments, individual objects stand side by side like characters from an unknown script. Each fragment resembles a letter or symbol that could be part of a larger code – a language at once familiar and indecipherable. They recall relics of a distant past, yet also hint at traces of a possible future. This oscillation between archaism and futurism, between transmission and projection, shapes the perception of the works.
Their forms shift between technical precision and organic presence. Some resemble grown structures, others appear constructed, as if born from an experimental fusion of nature, technology, and medicine. The power of the objects lies in this ambivalence: they resist clear categorisation and invite viewers to read them as a visual grammar pointing to a different understanding of the world.
Fragments are evidently parts of a larger whole, separated from one another. Through this very separation, a new framing emerges: arranged side by side, the individual elements form an alphabet that directs perception while raising questions of origin, meaning, and translation. As a language of fragments, they reveal how every framing selects, excludes, and opens alternative spaces of knowledge where memory, science, imagination, and corporeality are interwoven.
Artist Name
Titel, Jahr
Website/Instagram
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Sarah Wilhelmy
words without words , 2024–present (ongoing)
Some meanings are social; they are made for shared action, information, culture and law. These meanings need words in order to exist beyond abstraction. We see these words everyday: across media, through public relations, vestigial journalism, over dinner, over a glass of wine, what we whisper to our souls at night*.
If any words- particularly about the sanctity of human life- still had meaning, we would stop the world with no hesitation. But this is a brutal time, in which words perform only the most transparent mockery of themselves. They are empty containers; their meaning is everywhere but inside.
This is not a new or sudden process. And yet.
Each row of prints is an encoded story: from Word to (Un)Meaning, from Historical Precedent to Now. Visitors are not expected to walk through every word, but be peripherally aware of systemic repetition. The concluding prints are being covered by drawings of their respective double-meaning pattern. The time spent drawing is recorded and spent again on less metaphorical efforts.
A long work: repetitive, normalized.
It is simply a refusal of motionlessness.
*The colors used are simple combinations of CMYK, pencil and pen inks for office or at-home use.
Artist Name
Titel, Jahr
Website/Instagram
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Aga Zagraba
The Land of Bearing Shapes, 2024
agazagraba.com / bearing_shapes
Each of us possesses a specific shape stored in „The Land of Bearing Shapes”. A Bearing Shape is a unique spatial structure that expresses the essence of every individual. It has a dualistic nature — it is being borne, but it also bears. The „Land of Bearing Shapes” aims to explore how emotions, energy, and life itself can be metaphorically expressed in the technical language of CGI 3D graphics. The narrative is based on the mismatch between the complexity of the real world and the limited capacities of 3D software..
Artist Name
Titel, Jahr
Website/Instagram
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Q_plus_I
2 + 8: a response, 2025
q_plus_i / google.com/view/q-i
Q_plus_I present a collaborative video installation with the Q_plus_I Collective (videos from artists: Liz Melchor, Bryan Parsons, Ziegi Boss, Sally Senton, Pragya Bhargava, Jenny Baines, Maria Glyka, Natalia Charogianni) that transforms framing into both method and subject. Ten artists created short videos in response to drawing prompts given by Q_plus_I—for example, make an abstract drawing in response to music. Each artist’s video, no longer than 30 seconds, documents the act of making a drawing (limit 2 minutes). Importantly, each video also begins in response to the previous artist’s contribution, forming a continuous chain of influence.
This evolving sequence establishes a framework for learning through framing: each artist works within the boundary of their prompt, while also negotiating the approach of the artist before them. The installation, presented across two monitors in dialogue, emphasises the directional flow of this process—guiding viewers from one frame to the next and revealing how knowledge circulates through a system of exchange.
By working within a chain of prompts and responses, this highlights how each contribution is shaped by a frame—whether the literal border of the video, the instruction given by Q_plus_I, or the sequential structure linking one artist to the next. These frames act as both constraints and possibilities: they limit what can be done while also generating unexpected directions and new forms of collective learning.
Artist Name
Titel, Jahr
Website/Instagram
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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Titel, Jahr
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