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Past exhibitions




„four sundays“, 14h-18h

07.1.2018 = Sunday#1: Uta Päffgen „ALLONS-Y!“

14.1.2018 = Sunday#2: Heike König „ANISLAND“

21.1.2018 = Sunday#3: Leopold Landrichter „#3“

28.1.2018 = Sunday#4: Marcus Becker „THREAT STRIPPING“

notice! additional preview-opening for sunday#4 on 26.1.2018, 19h due to Kolonie Wedding Rundgang)

The exhibition series „four sundays“ builds a bridge from the old year 2017 into the new year 2018. A quartet of solo exhibitions follows the meeting of music and painting in the group exhibition „something else“ in December. The visual artists Heike König, Marcus Becker, Leopold Landrichter and Uta Päffgen grant a deeper insight into their artistic work. ROSALUX opens its doors for four hours on all four Sundays in January. For the first time individual presentations are deliberately connected to a group exhibition. The public is invited to get to know a way of dealing with group exhibitions which the Berlin art scene often misses: namely, to allow an direct immersion beneath the surface of a group exhibition in the very same space where it took place.

Zwischen Malerei und Musik

Marcus Becker, Heike König, Leopold Landrichter, Miho, Uta Päffgen


Marcus Becker, Sicheres Rot, 2017, 145x200cm


Painting transforms the timeline into a surface, music into a sequence.

In this exhibition, visual and acoustic perception patterns are brought together. The project starts with a dialogue between four different painting positions which will be opened towards music and performance. Musicians and performers will develop their „pieces“ on location in free improvisation. The process of musical interaction is the musical work itself, which remains open and unpredictable until the end. There is a similarity to the painterly process of the artists exhibiting here. However, painting is a clearly silent testimony of a supposedly completed process in the studio.


Exhibition: 25 11 – 17 12, 2017    Sat, 2 – 6 pm


16 12, 2017  7 pm: Free improvisation

Klaus Janek – bass/electronics
Milena Kipfmüller – samples, radio, field recording, electronics
Katja Pudor – drawing/ performance
Richard Scott – modular synthesizer
Sabine Vogel – flutes

5 – 10 Euro



10 years project space rosalux

Performorange, video performance, Vitor Lago Silva, 2004

10 years ago – on 15 March 2007 – rosalux showed videos of the Portuguese artist Vitor Lago Silva (1971-2013).

This was the beginning of our program as a project space, initially in a studio located in a basement, then in a beautiful venue at the corner of the Elisabethkirchstraße in Berlin-Mitte and later, from 2009, in Berlin-Wedding.
Before, rosalux had already been present as a web platform presenting original web art projects by international artists since 1999 – at a time when few still actively used the World Wide Web.

10 years project space rosalux with works by over 250 international artists, 20 of them presented their first solo exhibition in Berlin or Germany.

We are proud of our achievement and would like to thank all the artists, curators and project developers, who have expanded our horizons through their original and diverse formats, approaches and inputs and have encouraged our public and ourselves to think and debate.

We would also like to thank the loyal audience, colleagues and press representatives in Germany and abroad, who have accompanied us in all these years, as well as the many volunteer helpers, interns and consultants.

We look forward to more exciting exhibitions.



Installation performance by Hans Kuiper and Tiny Domingos

October 27, 7 pm

Open on Saturday, 28 10 2017 and by appointment until November 17, 2017


In times of info-obesity and image overkill, the new proposal of Kuiperdomingos Projects goes through a radical reorganization of artistic and disciplinary conventions in order to allow a much needed new start. The intention is to create availability for artistic variety and openness to exciting aesthetic proposals responding to the great cravings, challenges and desires that cross contemporary society and to draw a way of exit from the disillusions, repressions and sectarianism of the contemporary art world under the motto: “Live your life fully“. In this way Kuiperdomingos Projects seeks to redefine not only the literal space it is investing but also the transdisciplinary collaboration between the 2 artists.

Founded by Hans Kuiper (Amsterdam) and Tiny Domingos (Berlin), Kuiperdomingos Projects is an interdisciplinary
artist-run initiative known since 2011 for bringing Schlager music and entertainment together with contemporary sculpture and installation art. Fans of popular music, TV culture, modern art & architecture, these 2 former ‚career changers‘ explore the aesthetics of the pop persona through an inclusive modus operandi stressing action and process over perfection and completion. Disrupting with commercial, institutional and political pressures and the highly selective working model of the contemporary art system that often constrains artistic freedom and has a strong tendency to exclude the uninitiated public, KDP puts communication and the ’man / woman on the street’ at the center of their projects in which (neo)Schlager music performances opens the door to emotions and interactions with the visitors, and space-related work is combined with references to the longing to freedom and self-realization and the sorrows in the world of daily labour. KDP works on a self-determined basis and finds its inspiration not only in the attitude and freedom of action of project spaces and artist-run initiatives like Kolonie Wedding (Berlin) but also in the blank space of the project-room itself as a space of projection and intersection of artistic, architectural and performative ideas. A space of freedom without mediation between art works and the public, open to new research processes and errors and based on the will to resist against the ongoing commercialization and financialization of the society and its numerous impacts.

Last shows by Kuiperdomingos Projects:
‚Inside | outside‘, Arti Galerie, Amsterdam 2017; International Display, Kulturpalast Wedding International, Berlin 2016; Project space: ONS #6, KW Institute for Contemporary Art, Berlin; Fermentation Pavillion, Fondazione Forma per la Fotografia, Milan, 2015; TIME DOG, In Theory, Rijksmuseum Amsterdam; Dogtime Live, Gerrit Rietveld Art Academy, Amsterdam 2014.

(As part of the new start and within a digital detox plan, TABULA RASA is an offline proposal and therefore requires your presence. The online communication will therefore be limited.)




August 26
– September 16 2017


Today, we spend more and more time at the screens that frame our view of the world. We get bombarded by thousands of images, we have no choice but to deal with them in some way or another. How we look and understand images and their power structures could give us a more profound understanding of our world.

In the first instructional book on painting (De Pictura (1435) by Leon Battista Alberti), painters were instructed to consider the frame of the painting as a window. Through these singular frames, we received a view on our state of being, our history and thus our understanding of our world.

This perspectival paradigm continued to dominate through the ages of emerging technology as photography and cinema until the computer screen emerged. Now, multiple ‘windows’ coexist and overlap, the traditional singular perspective may have met its end and a new diverging mode appears.

By combining them with images from different sources through space and time, stripping the images to their bare essentials to shades between black and white a new perspective arises. When we read between the lines and generate a lateral way of thinking. It can give us a more profound understanding of our own state of being and each other.


A Study of a Window – 90×67,5cm Oil and pencil on panel (and birch multiplex), 2017


Niek Hendrix lives and works in Maastricht (the Netherlands) and was a former resident of the Jan van Eyck Academy (2014-2015).
He has been nominated for the Royal Painting Award multiple times and the Prix de Rome (2013).
Aside from his practice as an artist he writes about contemporary art and is the founder of webzine Lost Painters.
In the past, he initiated the art initiative Park (Tilburg, Netherlands) and curated shows at different venues.

Niek Hendrix in his studio







16 08 2017, 7 pm《TAIWAN VIDEA 2017 Selection


16.8., 8 pm Curator’s talk
19.8. 2 pm – 6 pm
20.8. 2 pm – 6 pm

Film stil of „Tough Town“ by Chang Huei-Ming|2015|Video (9′)

The Taiwanese Avant-garde Video Screening Project

Curator: Yunnia Yang

The curatorial project „TAIWAN VIDEA“ intends to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of the selected videos refers to many facets of human beings’ living conditions: the alarming consequences of the human will to challenge nature with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”); critique of the chase after a ‘Progress’ that is deteriorating humanity (Huang Zan-Lun’s “Double”); the revelation of beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”); the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”); the analogy between images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of its martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and paranoia of a over-expanding self-consciousness (Wu Tzu-An’s “Disease of Manifestation”); the spatial imagination of an individual searching for the freedom of his body and mind (Pu Shuai-Cheng’s “Secret Plane-Immense Floating”); the intimacy and mystery of an encounter breaking cultural stereotypes (Chang Huei-Ming ‘s “Tough Town”); the questioning about a simulated scenery in everyday life (Tsui Kuang-Yu’s “ Invisible City: Taiparis York”); new aesthetic possibilities of representing the oriental landscape painting (Wu Chi-Tsung’s “Landscape in the Mist”); a Leviathan-like monstrous image composed by a dozen of footages showing the danger of consumption (Jawshing Arthur Liou’s “Insatiable”). These 12 creative videos from Taiwan cross over the boundaries of fine arts and pop culture. The issues of „TAIWAN VIDEA“ are not only related to Taiwan itself but also to the contemporary problems in the world. Creative thinking with universal value is the fundamental necessity of avant-garde images with subversive power.

YUNNIA YANG is a curator, art historian and art critic based in Taipei, Taiwan. She has received the MA in Art History from St. Petersburg State University in Russia in 1997 and PhD in Arts from National Taiwan Normal University in 2009. Dr. Yunnia Yang is currently the Adjunct Associate Professor of the Department of Sculpture at the National Taiwan University of Arts.

with works by
Lin Peychwen,Huang Zan-Lun, Chen I-Chun, Zhang Xu Zhan, Wang Ding-Yeh, Ho Wei-Ming, Wu Tzu-An, Pu Shuai -Cheng, Chang Huei-Ming, Tsui Kuang-Yu, Wu Chi-Tsung, Jawshing Arthur Liou & Rachel Weaver

Trailer of TAIWAN VIDEA 2017 Selection





Press Play and Record

Mixed media installation by EC Davies

Video still of Follow My Leader, animation piece (6′), EC DAVIES 2017


Opening: July 07 2017, 7 pm

July 08 – 22 2017
Sat, 2 to 6 pm and by appointment


PRESS PLAY AND RECORD brings together a body of work created by EC Davies over the last three years, including live events, video, animation, sound works and textiles. The works develop aspects of her collaborations with choirs in Berlin and North East England. Davies exchanged individual lines of song lyrics for gifts to then produce further events and actions. Lyrics and exchanges with collaborators, including spoken word recordings have been woven into live events and new work to be exhibited in the UK and Berlin in 2017.

EC Davies is a British video installation artist, working with sound, animation, print, textiles and performance. Davies cuts up words, lyrics, music, movement and objects, reassembling them to reveal different types of emotional resonance. With fortune cookie messages appearing on textiles and single words transformed into music, what once was familiar is reframed embracing the fluidity of process and interpretation.
Davies has collaborated with musicians, architects, nano-technologists, arts educational establishments on a wide variety of projects, touching on architecture, urbanism and art as an experience for all. She is represented by Vane, Newcastle upon Tyne.

PRESS PLAY AND RECORD has been generously supported by Arts Council England.


Foreign Affairs 2 at Platforms Project, Athens


Five international artist-led initiatives – BEASTON Projects (London, UK), JuJe Collective (Hillsburgh, ON, Canada), PAPER (Manchester, UK), rosalux (Berlin, Germany), SCOTTY (Berlin, Germany) – have collaborated to present each other’s practices.

A cross-cultural collaboration that explores the relationship between the artist as curator, as artist.

A unique project curating across borders, highlighting the presence of the artist-led approach in contemporary art.


The Foreign Affairs initiators were delighted to announce their presence at Platforms Project 2017 with an invitation to three more initiatives: JuJe Collective (Hillsburgh, ON, Canada), PAPER (Manchester, UK) from 20 to 25 May 2017. Foreign Affairs initially took place during the 2016 edition of Platforms Project and was a great success in terms of visibility and feedback from the public. It brought the notion of „artistic diplomacy“, as well as the valorisation of solidarity, international circulation, cooperation and encounter. A pervading atmosphere of spontaneous camaraderie is central to this project as art colleagues from different countries and languages collaborated for the very first time together in Athens. This unique spirit is the overriding ethos of Foreign Affairs 2.

Since the first Foreign Affairs initiative world events have put artistic practice into perspective, politicising the simple act of making art. A year on we face Brexit, the Trump Era, the rise of sexism, racism, religious segregation, police violence, the increasing threat of global warming, the threatening shadow of populism and nationalism growing over Europe, the firm intention to erect walls and close borders, the ferocious criticism towards cosmopolitanism and cultural projects that do not fit within classical national canons, the perpetuation of armed conflicts and humanitarian problems, increasing injustices and attempts on environment have made the creation of a diplomacy of artists even more urgent. Artists who embody the qualities of integrity and optimism – which society desperately needs – transmit their belief in the universal potential of art. Their combined ethos comprises humanistic values, a true dialogue in order to construct a better world.
Art has an ability to span cultures, responding to global concerns. It is this notion that Foreign Affairs wishes to underline. Art cannot change the world overnight but it can educate, open minds to new domains, and underground potentialities. It can and should give a stimulus and solicit action against the rapid undermining of hard fought rights. Foreign Affairs is an optimistic and self-confident project that offers up art as a gift to all in the spirit of inclusion, thereby uniting people through their intellectual curiosity, igniting the exchange of ideas through the platform.

In many artistic initiatives, the border between artistic practice and curatorship is tenuous and the roles of artist and curator are often interchanging. The combination of these two practices has become widespread in the artistic community all over the globe. Until recently curation has been almost exclusively linked to institutions and art collections and its logic of elitist top-down selection, nowadays it is increasingly considered a form of artistic expression. In an art world dominated by the commercial vision and the interests of big investors, the artist/curator undoubtedly embodies a success story by operating outside the conventional institution. Working independently on a self-defined basis and achieving legitimacy and international affirmation, the artist/curator also represents an inspiring force of emancipation.

Over the years, Platforms Project continues to be a conducive meeting point for project spaces and artistic initiatives at an international level. Posterity and resistance is not limited to this event alone. As the world continues to be witness to the ongoing Greek financial crisis, Platforms Project Athens raises questions on issues of global relevance and possible outcomes that should concern everyone.

The participants of Foreign Affairs 2


JuJe Collective, Improvised Transmission, 2017

rosalux proudly presents: JuJe Collective (CA)
at Platforms Project
20 – 25 May 2017 
Cultural Centre,
Charilaou Trikoupi 121,  
Athens 11473, Greece
From Sea to Sea to Sea; Terrestrial Nautica is a found object amalgamative sculpture, created for the purpose of performance. Terrestrial Nautica is based in ideologies of climate change survival and independent spirited resourcefulness by Julie René de Cotret and Jefferson Campbell-Cooper. 
This sculpture is created from a snowmobile and a boat, joined together in such a way to traverse land or water, no matter the weather conditions. Terrestrial Nautica critically examines the contradictions of life and identity in Canada. As settler artists, they investigate the country’s appetite for resource extraction to the detriment of the environment and life, on a national and global scale. 
rosalux and JuJe Collective are honored to host the artwork of Sam Cotter for this exhibition.


Schlamm (Mud)

Mixed media installation by Ulu Braun


Wetlands (Sketch), Ulu Braun 2016

29 04 – 20 05 2017
Sat, 2 – 6 pm and by appointment

As he passed by, he saw a man blind from birth […] he spit on the ground and made mud with the saliva. Then he anointed the man’s eyes with the mud and said to him, “Go, wash in the pool of Siloam”. […] So he went and washed and came back seeing. (John, 9)

Relief projections, videocollages and sculptures – specially created for the exhibition – will be presented in an ambitious mixed media installation for the very first time. The show is the official start of a new production cycle by Ulu Braun.
From April 28th, a large sludge slide will flood the rosalux art space in the Wriezener Strasse (Wedding district, Berlin) and mutate the White Cube into a psychogrammatic cave where the insatiable need to know and understand everything and the blind law of „business as usual“ will be temporarily neutralized.

Ulu Braun (born in 1976) is a German visual artist and filmmaker. His video collages and films are situated along the boundary between contemporary art and film d’auteur. Last shows: Welcome to the Jungle, KW Institute for Contemporary Art, Berlin; 12×12, Ulu Braun, Berlinische Galerie, Berlin 2015; Vidéo-collages, Prospectif Cinéma, Centre Pompidou, Paris 2016. Awards: Deutscher Kurzfilmpreis in Gold 2013; Berlin Art Prize 2014

View documentation of the exhibition in pdf



Mixed media installation

Amarante Abramovici, Covadonga Barreiro, João Vasco Paiva, Sérgio Leitão, Tânia Dinis

 Exhibition curated by Eduarda Neves

April 1 – 21 2017

A letter excerpt included in Jacques Derrida’s LA CARTE POSTALE (1980) is taken as a reference for the CORRESPONDENCES project.

In this fragment, dated June 5 1977, Derrida writes: “What I like most about postcards is that we do not know what is in front and what is in back, here or there, near or far, Plato or Socrates, face or reverse. Nor what is more important – the image or the text or, within the text, the message, the caption or the address.”

Published in 1980 in France, the above mentioned text is part of the criticism operated by Jacques Derrida to Western philosophical tradition and, despite its markedly intertextual and meta-literary character, it configures a political attitude.

As Derrida correctly stressed, without “logoi” (concepts) no special class of connections is especifically „logic“. It becomes imperative to force language, break it, disfigure it, force the concepts to say something else. In this movement against the origin, establishing the conditions of its impossibility, we adopt the postcard as an open letter, without secret, front or back, without contrast between metaphorical and literal, rhetoric and logic. A figure working on speech.

Taking the statements of Jacques Derrida and the scope of the exhibition projects as our starting point, the postcard is not meant to be interpreted as a simple means of information but as production of subjectivity, process and experience, itself an agencement of CORRESPONDENCE. We propose to explore not just the linguistic, grammatical or rhetorical character of this notion but the use value it can acquire when inscribed in a chain of possible situations. A metaphor of equality, without front or back, here or there, image or text, the postcard is situated in the traffic of mail sent, received, recorded, forwarded, returned, stolen, lost, anonymous, confidential, inviolable.

Correspondence also refers to connection, communication, relation, path, route, trip, trajectory, complementarity, reciprocity. So many ways, so many uses, such as the „meaning“ that dwells in all types of connections, between language elements and our own linguistic interactions with the world. We also consider, in the Derridian way, the uniqueness of the right to secret as political right: communication and its opposite, the Other and the Same, CORRESPONDENCES.

At a time when everything is meant to be clear so that it can be communicable, when secrecy has no place when it is forced to yield to the totalitarianism of public space, to the excess of public confession, the possibility of incommunicability as a resistance tool will be claimed.

Eduarda Neves

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Die Zunge an den Gaumen nähen
Sewing the tongue onto the roof of the mouth

Gustavo Sumpta

Installation / sculpture / performance

February 25 – March 25 2017
Performance: March 18, 7:30 pm  


curated by Tiny Domingos

Combining everyday objects, video and sculptures in a major space intervention, Gustavo Sumpta will transform the exhibition space into an immersive installation. A new series of sculptures will be presented for the first time to the public.

The exhibition is inspired by Charles Laughton’s film ‚The Night of the Hunter‘ (1955) in which Robert Mitchum plays Harry Powel, a terrible manipulator and seducer who pretends to be a pastor to achieve his ends. His homilies parody the radio sermons and the euphoric and prosperous America of the 1950s and echoes strongly in the current Trump era. The film is also a plural portrait of generous artists rejected by the morals of their century.

Over the last 15 years, Gustavo Sumpta has affirmed himself as one of the most renowned performance artists in Portugal. His work dispenses expensive technological means and fashionable ‚ex-machina‘ effects. Its sparseness is radical and incompatible with a quick and distracted observation. His artistic practice involves the apprehension of the Genius loci, the revelation of the hidden side of the seemingly trivial elements he encounters as well as the social and psychological tensions that we strive to dissimulate.

Gustavo Sumpta was born in 1970 in Luanda (Angola), where he remained after the Portuguese moved out of Angola (especially from 1975 onwards). Post colonialism is not for him an academic approach or a curatorial perspective but a reality lived in the first person as the only white pupil of his school and his neighborhood during the ups and downs of Angola of the post-independence period. An intense experience that is reflected in the forcefulness and vitality of his artistic practice. At the age of 18, he came to Portugal where he studied History and graduated in performing arts in Oporto. He worked with renowned personalities from the most diverse artistic disciplines: with the film director Pedro Costa, with the choreographer João Fiadeiro and with the sculptor Rui Chafes. Interdisciplinary experiences that reinforce his work in which we find a dramaturgical density, a great attention to aesthetics, a very particular look and rhythm that the Portuguese arthouse cinema has been disclosing internationally and that are closely linked to the socio-cultural context, the forms of aesthetic resistance and the Lusitanian ‚modus vivendi‘. (TD)

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Please read the integral curatorial text (PDF)
in English
in German
in Portuguese




Out of the lines

Florian Japp, Alexander Klenz, Kata Unger

Drawing & sculpture curated by Tiny Domingos

Januar 21 – February 2017




Out of the lines invites you to the intersection of 3 artistic praxes. 2 drawing series by Kata Unger and Alexander Klenz are completed by sculptures by Florian Japp. Flowing and moving at its pleasure the spontaneous drawing line assumes its rebelliousness. Where less expected it appears, loops and disappears. Quite often it jumps out of the pre-defined playing field. Mistakes, repeated attempts and all kind of associations are allowed. Through his daily drawing practice Alexander Klenz transforms a standardized and self-defined form into an exercise of pure freedom. The graphic and bureaucratic rigor creates a contrast that seems to be indispensable to assert it indelibly. In Kata Unger’s works the lines coexist with revisited patterns, stains and various chromatic effects recalling past futuristic visions and questioning us about their validity or absence in our era. In Florian Japp, the lines solidify in space and transform themselves into sculptures. No big gestures or pathos here: rather a snapshot of a research in course. Aerial works with feet on the ground converging to a fruitful meeting place. (TD)

Alexander Klenz (1974) studied at the Kunsthochschule Berlin Weissensee with Dieter Goltzsche and Hanns Schimansky until 2002. In 2004, he was co-founder of the artist group Tennis Elephant and the producer gallery Andreas Wendt (from 2008: Wendt Friedmann Gallery). Since the end of 2009 drawing became increasingly his medium. Best example: the series „AEIOU“ which currently comprises over 2000 sheets. (Catalog: „AEIOU“, Kerber Verlag, 2014). Alexander Klenz regularly exhibits in Germany and internationally, most recently at the Galerie für Zeichnung, Galerie Inga Kondeyne, Berlin and at the Tugboat Galerie, Lincoln (USA).

Kata Unger is a painter and visual weaver. She lives in Berlin. Numerous exhibitions at in Germany and internationally. In the exhibition „Out of the Lines“ she shows drawings from the series „Futures Studies“.

Florian Japp studied at the University of Fine Arts of Hamburg from 1992 – 1999 under the tutelage of Bogomir Ecker. After moving to Berlin in 1998 he began to work with sculpture and installation. Reflected in his work is the performativity of a world of objects, which constitute themselves around us as a plausible form of reality.




Guest curator: Raymond Cuijpers

Artists: Charlotte Warsen (D), Marie van Vollenhoven (NL), André Kruysen (NL), Jeroen Hofhuizen (NL), Raymond Cuijpers (NL)

November 26 – December 10 2016



TAOP (The Act of Painting) is an artists collective launched in 2011 by Raymond Cuijpers and Jeroen Hofhuizen. The objective of this international artists collective is to reposition abstract painting in a time when great advances are being made in the area of quantum mechanics and rapid technological developments are having an extreme influence on our collective consciousness. TAOP achieves this by organizing exhibits, discussions, performances and other events throughout the world. Projects in Enschede, Eindhoven, Nagoya, Tokyo and Berlin have already been realized and new projects in Stockholm and Amsterdam are in the preparational phase. Local artists, writers, thinkers, curators and critics are continually sought out for collaboration in the cities where TAOP travels. The line up of the group changes accordingly and each time a new exhibit is created. While staying true to the principles of TAOP: the production process being a visible and integral part of the context of the work as well as the perception of space and the moment.




Caught in the influence from Josef Albers to Cecilia Vicuña

October 29 – November 20 2016

Cooperation project with Kandor13 (New York) and the Berlin project spaces „rosalux“ and „OKK“

Artists: Alejandro Almanza Pereda – Mexico / Javier Arce – Spain / Balam Bartolome – Mexico / Francia y Jacobo Castellano – Spain / Catherine Czacki – USA / Brock Enright – USA / Andrea Galvani – Italy, Mexico, USA / Daria Irincheeva – Russia, USA / Pablo Jansana – Chile, USA / Esperanza Mayobre – Venezuela, USA/ Lars Laumann – Norway / Santiago Reyes Villaveces – Colombia, London / Carolina Saquel – Chile / Angelica Teuta – Colombia / Cecilia Vicuña – Chile, USA

The proverb “Mi casa es su casa” translates to “My home is you home”, and defines the house as a space to be shared between one another, as a reflection of hospitality and charisma. Therefore, it appears as a problematic phrase when it is read under the light of cultural exchange; to make available what is owned and to appropriate what is of others. The centerline of this example is to inquire about the hospitality between spaces and agents from different backgrounds as a form of production centered on appropriation and exchange. A matter of authorship; international property rights and copyright law that materialize in social objects, and dynamics that exist in a network of cross-cultural influences.

In order to illustrate this idea Kandor13 traced a time spectrum between two works: a chair that looks like a design of the Mexican architect Luis Barragan, but is signed by the artist Josef Albers (a reference of modernism), which was produced by Clara Porset (a Cuban designer) and is now in the Josef Albers Foundation in Conneticut, U.S.A. This chair reveals a long chain of dialogue and influence of different cultures regarding hospitality. The second work is “Leonora Carrington y el viento de los muertos” by the Chilean artista Cecilia Vicuña. In this video, which was produced specifically for this exhibition, Cecilia appears in her garden describing how she met the Surrealist artist Leonora Carrington, who would become an inescapable reference for her paintings. Between the gap of these two works, Kandor13’s artists produced special work on this topic or created a new dialogue with pieces previously produced.




Mixed media installation by Isabel Ribeiro and Ângelo Ferreira de Sousa
October 1 – October 15 2016



The exhibition’s title refers to the color of the prison uniforms in the United States (especially in Guantanamo), on the hostage-clothes of the victims of Daesh and the „life jackets“ of refugees crossing the Mediterranean every day.

1. Orange (Acrylic on fabric, ventilator)
Three variations on the subject of the „rescue vests“ that are left on the beaches of the Greek islands after use. Pixellation – like an incorrect focus – works like a media censorship mercifully hiding shocking pictures to the spectators.
2. Orange (Video 4’39)
We have learned about the life story of an African who tried to come to Europe in a so-called illegal way and swam through the Strait of Gibraltar. To help himself, he built a kind of buoy of empty water bottles. The sound of the video is unpleasant, aggressive, rough. The figure never manages to make the kite soar. The bottles were neither made for flying nor to save economic shipwrecked. The man we met in Morocco has managed to cross the canal, but was caught by the Spanish police on arrival. He waited for the summer to try again. The video also has three acts – three attempts – but only a cheap film trick can help to reach the goal.
3. Orange (Photograph found on the internet and manipulated)
To what extent should one believe the media images? The so-called „photojournalism“? Where does the verisimilitude of war depiction end? And the war itself?

Information in German and Portuguese

Covilhã, Portugal, 1976, lives and works between Porto and Lisbon.

The artist, who started exhibiting in 2001, is interested in the diversity of anxieties generated in modernity that have to do with a failure of the individual with his environment: the individual and the collective crisis, the conflict between the individual and the social, transformations of space, forces of change, the constant failure of the movements that advocate change, the loneliness of the fight, dilemmas and the longevity of the community, unemployment, loneliness and tedium. Isabel Ribeiro is also connected to the foundation of Salão Olímpico and Projecto Apêndice, two of the artist-run spaces that arouse in Porto, in the last years.

Porto, Portugal, 1975, lives and works between Paris, Barcelona and Porto.

During and after his studies in Fine Arts, he got involved in various actions, exhibitions, site-specific projects, videos and performances, most of the time with a socio-politic (or poetic-politic?) spirit and following these mainlines: direct action, visual poetry and technical reproduction, which make easier large scale public interventions. Performances in public space (often filmed with hidden camera), collaborative projects with other artists, chalk drawings, etc. Fast and ephemeral actions that create a space where the artistic and the politic are part of the same mechanism of production and circulation.

The artist co-founded Caldeira 213, an artist-run space in Porto. He was also artist in residence at Hangar (Barcelona), Triangle (Marseille), Duende Studios (Rotterdam) and The Window (Paris).



MOST WANTED – Hier finden Sie das Glück
(MOST WANTED – you may find happiness here)

Installation with evanescent and moving objects, drawings and collages by Johanna Smiatek

August 27 – September 18, 2016



Press about the exhibition:

Kulturradio Berlin, 27.08.2016. Michaela Gericke about the exhibition „Most Wanted“
Giacomo Maihofer: Liebesluft: Johanna Smiateks Arbeiten im Projektraum rosalux, Tagesspiegel Berlin, 10.09.2016
Giacomo Maihofer: Tatsächlich…Pheromone
Platzende Pheromonblasen und Liebesbekundungen in Endlosschleife: In einer Ausstellung im Weddinger Projektraum rosalux denkt die Künstlerin Johanna Smiatek über die Liebe nach, Tagesspiegel Online-Ausgabe, 12.09.2016

Artist Johanna Smiatek presents in her exhibition MOST WANTED the quest for happiness and shows promises which are made by mass media, advertising and online shops. Happiness, not as a sensory condition, but as a nondurable good. The main piece of the exhibition is the „Love-Machine“ – an installation, that allows each visitor to enjoy a moment of happiness.

About the artist:
Johanna Smiatek is a critical observer of the mechanisms of our society and the media. She looks behind the scenes and impeachs some sights of the society. She develops her own language of communication to disclose systems. Her artistic work is often in the borderland between two phenomena, the natural and the artificial, the reality and the virtuality, modern technology and human affectivity. The big key issues are self-projection, narcissism, fashion, glamour and other affectations. Her artistic media are objects (often moving), interactive installations and drawings, which will find the way to arrangements in space. The artist participates in international curated shows and exhibited in different museums like the Hamburger Kunsthalle, Arp Museum Bahnhof Rolandseck, Georg Kolbe Museum, ROHKUNSTBAU, Kunstmuseen Heilbronn, etc.

Johanna Smiatek, *1967 Hannover (Germany), lives and works in Berlin (Germany).


Artist Talk & Brunch with Johanna Smiatek & Arne Reimann
Saturday, September 17

Arne Reimann

Born 1977 in Freiburg im Breisgau, DE
Lives and works in Berlin and Düsseldorf, DE
Arne Reimann studied 1999–2009 art history und philosophy at the Heinrich-Heine-University Düsseldorf, and since 2013 he is working on his doctoral theses. 2010/11 he got a curatorial fellowship at Schloss Ringenberg (Hamminkeln, DE/NL) by the county of North Rhine-Westphalia, and 2014/15 at the Künstlerhaus Schloss Balmoral (Bad Ems, DE) by Stiftung Rheinland-Pfalz für Kultur (Foundation for Culture, county Rhineland-Palatinate).
The freelance curator und author worked for varying institutions, like 2002–07 at the Kunsthalle Düsseldorf, 2005–07 as academic trainee; 2005–08 founder and director of the REIMANN LE BÈGUE gallery, Düsseldorf, DE, together with Florence Le Bègue and 2009/10 project manager of the KAI 10 | Arthena Foundation, Düsseldorf, DE. He curates exhibitions for different museums like the Arp Museum Bahnhof Rolandseck (Bonn/Remagen, DE).


Kerstin Weichsel
Site-specific installations

July 30 – August 14 2016

So soft, it can’t get softer. A REVOLUTION has at least 3 fragrances. Its contents are ideally split into exactly 25 measurements. Semiotic documentation from Kerstin Weichsel.

The show is part of Kerstin Weichsel’s art campaign `FACEANDBOOK.ME´ to comment on the compulsive veneration of fashion, beauty and irresponsible consumerism in general. Resistance is futile, isn’t it?



Zu den Sachen selbst / To the Things themselves

Elspeth Diederix (NL), Ana Genovés (ES), Mark Hosking (GB), Kirsten Hutsch (NL)

Essay: The hidden life of things (Laurens Landeweerd – NL)

Guest curator: Kirsten Hutsch

June 24-26 2016

….the constant fluttering around the single flame of vanity is so much the rule and the law that almost nothing is more incomprehensible than how an honest and pure urge for truth could make its appearance among men. They are deeply immersed in illusions and dream images; their eye glides only over the surface of things and sees „forms“; their feeling nowhere lead into truth, but contents itself with the reception of stimuli, playing, as it were, a game of blindman’s buff on the backs of things. (Friedrich Nietzsche, On Truth and Lie in an Extra-Moral Sense)

This exhibition lends its name from a phrase of the philosopher Edmund Husserl (Husserliana vol. XIX/1, 10-1): He claims we need to turn back to the things in themselves. Our awareness has become lulled to sleep. We have become overly used to the moulds in which our perceptions are poured. Our sleeping awareness, our automatic perception of the world, is determined by the way in which our senses have become ‚mediated‘. They are always pre-replete with the codes of perception that lie hidden in our society’s conventions. But sometimes the veil of conventions is lifted and everyday objects lose their sense of familiarity, break down these automatic structures; sometimes they can no longer be approached as passive objects with externally loaded meanings, but have their own agency.
The works selected in this project all attempt to show the everyday object in another context in such a way that the public is invited to consciously see what is there. They deal with the relationship between real life/ life-object and art-object / art-space; works that simultaneously embrace as denial the artistic context. What these artists have in common is that they break through the flow of the mediated consciousness, the mediated perception. Instead they attempt to awaken our awareness over these conventions. As such, they try to reveal the void behind the perceived and the void behind the codified perceptions of the world around us.


Elspeth Diederix was born in 1971 in Nairobi, Kenya, lives and works in Amsterdam.
She studied at the Rietveld Academy, Amsterdam and at the Rijksakademie, Amsterdam.
She won the first prize of the Prix de Rome photography in 2002.
Her work has been shown at the Stedelijk Museum, Huis Marseille, FOAM, in Amsterdam and The Art Institute of Chicago, The institut Neerlandais, Paris and is part of many collections such as The Stedelijk Museum Amsterdam, La Salle Bank Chicago, MEP Paris, Mario Testino and Rabobank the Netherlands.

‚There are moments that everyday objects suddenly loose their intimate recognizability. At those moments, they become abstract. The usual meaning that one attributes to these objects is altered and for a split second you are able to see them in a different light. This moment in time I use as a starting point for my images.’


Ana Genovés was born in Madrid in 1969. She received a BA from Chelsea College of Art and Design, University of the Arts London, in 1993 and a Postgraduate from Slade School of Fine Art, UCL, in 1995. She lives and works in London.

Ana Genovés‘ work spans different media: sculpture, painting and photography. In recent years she has developed an interest in objects that explore how our rational thinking coexists with other ungraspable aspects of our consciousness. Genovés believes that the shape we give to these objects, particularly when they interface with architecture or the other ways that we arrange social and civil space, frequently defaults to the clarity of logic of geometry to signify and contain the irrational.

Solo exhibitions include AMBIANTA at MOCA London, 2016, Window space, 2014; Standpoint Gallery, London, 2014, BLOCK at Vitrine Gallery, London, 2011; Ana Genovés, The Russian Club, London, 2009; Ana Genovés, The Drawing Room/Tannery Arts, London, 2008 and Ana Genovés, The Approach, London, 1999.

Recent group exhibitions include Westminster Waste, London 2016; perFORMa, Fold Gallery, London 2015; The Uplamoor Show, Glasgow International Festival 2014; The London Open, Whitechapel Gallery 2012, SV12 Members‘ Show, Studio Voltaire, London, 2012; Hiroshima Art Document, Former Bank of Japan, Hiroshima, (residency and exhibition), 2010 and The Square Show, Bloomberg SPACE, London, 2003.

She was a finalist for the last Max Mara Prize for Women and was shortlisted for the Mark Tanner Sculpture Award in 2014, the Paul Hamlyn Award in 1999 and 2010 and the Jerwood Sculpture Prize in 2001.


Mark Hosking (born Plymouth, England. 1971), lives and works in Amsterdam.
He studied at Chelsea College of Art and TheSlade School, London and at the Rijksakademie, Amsterdam.
His work has been exhibited widely throughout Europe and in America, including The Lisson Gallery and The Saatchi Gallery in London and The Madison Museum of Contemporary Art, USA. His most recent solo exhibition, “Equilibrio”, was earlier this year at Galleria Art Nueve, Spain.
Kirsten Hutsch was born in 1974 in the Netherlands. She received a BA in sculpture from the Academy of Fine Arts and Design ABKM in Maastricht in 1996, and a Postgraduate from Rijksakademie Amsterdam in 1998. She lives and works in Amsterdam.

Work of her has been shown in Museum van Bommel van Dam (Venlo), Archipel (Apeldoorn), HEDAH (Maastricht), De Fabriek (Eindhoven), Gallery Valeur (Japan) and Schau Fenster (Berlin).

Work of Kirsten Hutsch is part of the art collection of Océ N.V. Eindhoven

Kirsten Hutsch investigates the relation between the real and the image. Her current work represents an ontological move away from postmodernism, embracing a new form of materialism. In this new materialistic approach the status of the object in its actual, material and sensory ambiguity is acknowledged.

Hutsch applies simple, anti-heroic gesture to the canvas, the sort left by a janitor’s mop, or a window cleaner’s squeegee. She uses these daily, common or even mundane gestures inherent in humble workmanlike duties to occupy an area normally reserved for artistic sensibility. In her quest for catching the Real, the conventional methodologies of depiction are subverted to bring about the true nature of the real.
Laurens Landeweerd (1976) is a philosopher. He studied epistemology and metaphysics in Amsterdam and philosophy of art and culture in Maastricht. From 2000 to 2002, Landeweerd worked on the revision of a Dutch history of philosophy (25 Eeuwen (Westerse) Filosofie). Between 2002 and 2008 he wrote his thesis ‘Reconstructing the Self’. He currently works as a researcher at the Science faculty of Radboud University Nijmegen as well as Oslo and Akershus University College of Applied Sciences. Seen his focus on the material, the immediate and the sensible, his approach can be termed an ‘applied metaphysics’. His main focus is the study of what counts as ‘thing’, what counts as ‘representation’ thereof and what counts as ‘instrumentalisation’ thereof. In this sense, he focuses on questions such as ‘what is life’, ‘what is the status of our senses’ and ‘what is knowledge’. He does so through study of practices of arts, design, science and technology as expressions of implicit ontologies. Landeweerd wrote some 40 publications, including 2 book publications and numerous contributions to books.





Objects by Thomas Behling and Christian Haake

May 28 – June 17 2016



With their pictorial objects, Christian Haake and Thomas Behling construct realities from fragments of the collective mind and lead the viewer to believe that all its components are familiar. While doing so, the interplay of trivial objects, traditional motifs and technical interventions is arranged in such a convincing way, that often it becomes clear only in retrospect how deceptive appearances can be.
The works of Christian Haake deal with difference, which runs as a fine crack between the layers of reality, perception and recollected imagery. Behling’s pictorial objects target the often pathos-laden traditional imagery that can be found in bourgeois living rooms and that shape our worldview more in a subconscious than in a conscious manner and thus often contradict our self-conception.
What both artists have in common is that they investigate the meaning of what is remembered. By making the viewers their confidants, Haake and Behling let them unexpectedly get entangled in their own memories and the feedback regarding the artist’ works.

Christian Haake is a German artist living in Bremen. After studying art science and philosophy Haake decided to add a study in fine arts with Professor Yuji Takeoka. Haake received several awards and grants such as the Kunstfonds Bonn working grant and the award of the Hollweg Foundation; he also works as a guest professor for sculpture at the University of the Arts Bremen. His works were shown internationally e.g. in Riga, Seoul, Novi Sad, Vienna and Baltimore.

Thomas Behling, born in 1979 in Hanover, studied fine arts at HKS Ottersberg (1999–2001) and at the University of the Arts Bremen (2001–2006). In 2004 he started to develop his Picture-Objects and in 2006 he completed his „Meisterschüler“ degree under Professor Yuji Takeoka. Since then he exhibited internationally, for example in Venice, Basel, Riga, Gdansk, Singapore, Durban or Zagreb. Currently he lives in Berlin.





Foreign Affairs, Platform Projects, Art Athina 2016

Curated by BEASTON projects, A Brooks Arts and rosalux Berlin,

Tiny Domingos | Julia Riddiough | Bella Easton

26 – 29 May 2016
Talk 28 May 15.00-15.15 Coordinator: George Oreopoulos

P29, P30 & P31
Platform Projects @ Art-Athina
Faliron Pavilion, Athens, Greece
26 – 29 May 2016

logo art athina

Three artist-led curatorial art platforms have collaborated in a cultural concept to present each other’s creative practices. The UK and German based art initiatives aim to promote an open exchange of ideas characterised by the presentation of their own very different art practices under the umbrella of this year’s Platform Projects.

A cross-cultural collaboration that explores the relationship between the artist as curator as artist. The cultural concept is a unique project on the subjectivity of art and curating across borders, highlighting the presence of the artist-led approach in contemporary art. What are the implications of combining these roles and subverting them to produce new opportunities and secure relationships.

BEASTON projects presents Tiny Domingos
Domingos‘ artistic practice combines space-related work with conceptual approaches surrounding issues on economy, identity and popular culture.

A Brooks Arts presents Bella Easton
A London based artist who works between painting and printmaking to form immersive architectural fabrications made from a geometric framework of hundreds of panels.

rosalux presents Julia Riddiough
An artist with an active interest in exploring and investigating the archive, looking at the space between fact and fiction, meaning and perception often referencing the representation and portrayal of women.

Photographing Girls © Julia Riddiough





Lisa Stewart & Cameron Tauschke

April 30 – May 21 2016


For the two artists Lisa Stewart (Australia) and Cameron Tauschke (Australia) collage and drawing play a central role in their creative process. Both artists create tensions formed through the re-assemblage of found and selected imagery, following leakages from their subconscious. They reorder and remix; in an associative game that creates new meanings and possibilities out of commonplace imagery, creating space for the ‘darker unknown’ to rise to the surface. Just like the bricklayer who lays bricks in the making of a wall, the two artists focus on ‘laying shadows’ in the making of their imagery.
In their artworks Stewart and Tauschke lay emotional and compositional shadows. Their use of dark and vibrant tones allows the two artists to explore the concept of ‘shadow layers’. Their artworks represent time eras, which fluctuate between futuristic visions, historical nostalgia and our current contemporary era. Their imagery is fragmented, collaged, manipulated, erased and predominantly concentrates on the relationship of the figure within secret fictional landscapes.
For Lisa Stewart her collage artworks are conceptual mappings whereby she explores subconscious symbols as a method of decoding intuitive instincts. Drawing from the inner territory of her mind, Stewart’s collages invite the viewer to venture into the crevices of her consciousness. Stewart’s images are dream spaces and capture cracks in reality. Her images are mysterious and represent her own perceptions of reality, reordering fragments from the past to contemplate possible futures. Her recent collage artworks create visual metaphors that seek to grasp the slippery interior of the mind. What greatly interests Stewart are the images that are not at the forefront of her mind but hidden deep amongst shadows and hidden tracks of her thoughts and desires.
For Cameron Tauschke his images use layers of collage, drawing and painting. In his series ‘Gothic Fingers’ he explores cinematic poster qualities for a film which does not exist. Tauschke’s collages focus on fragmented narratives which travel back and forth to the middle ages where market scenes, executioners, mountain peaks, fog, medieval architecture and characters live out roles in order to represent layers of time and emotional zones. In addition, central to Tauschke’s ‘Gothic Fingers’ imagery is his focus on contrasts – intense colour tones against black and grey, organic forms against geometric forms, and contrasts of the medieval era placed against contemporary reality.
Stewart and Tauschke uncover sheets, slices and layers of imagery, using tones of night, shade and shadow in the fictionalisation and exploration of pictorial reality.
(Falco Sternburg, November 2015)




The performative body in conceptual construction

Lan Hungh

Installation/Exhibition with live performances

March 26 – April 15 2016

Closing event of the solo show with the installation „Auf der Suche nach den 7 Weisen“ and a performance series

Performance series: Seven hard pieces
7:30  Jupiter: 7 easy pieces (not hard)
8:15  Saturn: Langue and parole
9:00  Mercury: 5 hard pieces (left)
9:45  Sun: Glory hole
10:30  Moon: Das gesamte Universum ist mein Zuhause
11:15  Mars: o.t.
00:00  Venus: beat the performance art monkey

Gastgeist: Elya May

Critical about the art system and its conventions Lan Hungh has chosen a very open discipline: performance art. No role-playing here. His physical presence and his perception of actuality and the local and global contexts where he lives are the subject itself. His actions – a mix of nonsense and intelligibility based on a universal and natural grammar and inspired by daily life – engage an exchange at eye level with the public. Like a contemporary Diogenes looking for the honest man Lan Hungh praises nature, purity and freedom. Can art change the world? Regardless of the response: it is important to formulate thought-provoking questions.
(T. D.)

LAN Hungh is a mix-media artist who works with performance, video, music and installation, through which he demonstrates a passion for psychology and body works, often subjected to definition changes by language and structures based actions. In the process of research and development, Hungh often involve himself in architecture and environmental context, and his works show a commitment to an erotism and body-politic in conceptualizing of art.

Born in Taipei, Taiwan, LAN Hungh studied at the University of Art in Taiwan and the National Conservatory in France, and is currently working as curator in MPA-B (Month of performance Art Berlin), founding member and president of APA-B (association for performance art in Berlin), art director of stattberlin gallery and Gallery-33 in Berlin. His publications include music composing in Chinese contemporary poetry audio book ““Schmetterlinge auf der Windschutzscheibe“ (2009), RPLCMNT by Savvy Contemporary (2010), catalogue “Parenthesisspaceparenthesis” edition 0 and 1(2012 and 2013).





Souls which are one shall meet

Video projections by Peng Yun and José Drummond

February 13 – 26 2016



Souls which are one shall meet is a concurring concept with the concept of soulmate and with its origin in Plato’s „Symposium“. The idea of four arms, four legs and a single head made of two faces takes an interesting value when applied to the concept of two artists working together to the same object, the same goal.


Peng Yun, a multi-media artist, born in Sichuan Province, 1982, and started her art career in 2002. She got her bachelor’s degree in Oil Painting Department of Sichuan Academy of Fine Arts, then continued to study under Professor Zhang Peili in New Media Department in China Academy of Art and got her master’s degree. Now she lives in Macau, working on art creation and education.

José Drummond is a Portuguese artist and curator living in China. He is the director of VAFA, international video art festival in Macau. He holds an MFA (Master of Fine Arts) on Creative Practice from University of Plymouth (UK) and Transart Institute in New York. He also studied Painting, Drawing, Scenography and Arts Management. He’s the recipient of several awards and fellowships. He exhibited extensively in China, Taiwan, Hong Kong, Macau, South Korea, Thailand, Portugal, France, Spain, Germany, Hungary and USA. He works mainly with Film/video, Photography, Performance and Installation.



EC Davies
Sharing Passions: ‘I’m sticking with you’ (Lou Reed, Velvet Underground)

EC Davies invites people to attend an event hosted by rosalux, that builds on her Arts Council funded research project ‘Sharing Passions’ where she has collected 360 individual lines of lyrics from singers in choirs from the UK and Germany. During the event guests from Berlin Pop Choir and Ensemble will be able to create their own absurd collage-poems from cut-up lines of selected song lyrics. They will also have the opportunity
to speak their own interpretation of former collected lyrics by reading from Davies’ silent karaoke animation. The recording session takes around 2 minutes per person and the voices are being collected for future audio works.

‘You’re picture perfect blue’ event at Vane, Newcastle upon Tyne, UK; 26/10/15, photo: Colin Davison

For further info on the artist and donthinklove participatory works see

ECDavies received support by   




tactileBOSCH Berlin: black + blue

curated by Tereza de Arruda

October 30 – November 21 2015


black + blue is an exhibition by Welsh and Wales-based artists Phil Babot, Jan Bennett, Andrew Cooper, Bob Gelsthorpe, Richard Gravelle, Beth Greenhalgh, Paul Hurley, Nicholas Lawrence & Simon Mitchell, Iwan Ap Huw Morgan, Jason Pinder, Sara Rees, Helene Roberts, Simkins & Belton, and Liz Waterhouse.
An artist led collective, tactileBOSCH operated as a free-thinking creative environment for experienced and emerging practitioners alike, showcasing experimental, multimedia and cutting edge artwork in a post-industrial gallery setting. Inhabiting a 200 hundred year-old Victorian laundry building in Cardiff, Wales from 2000-2012, tactileBOSCH developed artists’ studios, exhibition spaces, international exchanges and a reputation for unique and memorable multi-platform exhibitions.
In 2013 the laundry building was destroyed by fire, but the collective continued to build on their already rich and complex dialogue between artist, audiences and spaces by inhabiting and transforming a range of venues and sites, from the semi-derelict to the pristine. Co-founder Kim Fielding, a Cardiffian who had also lived in San Francisco and New York, used to describe the ethos of tactileBOSCH as ‘the fist inside the velvet glove’. Behind his charming and persuasive persona was a deep and serious commitment to experimentation, collaboration and originality.

When in early 2014 Kim suddenly passed away, his many friends and fellow tactileBOSCH-ers came together in this spirit of mutual support and collaboration to mount ‘Paradise Lost’, a large-scale site-specific exhibition that served as both an homage to Kim and to launch a new award in his name. This process has consolidated a core group of artists keen to continue Kim’s work in championing multi-media, performance and experimental art. They have lost their original building and an irreplaceable friend and colleague; they are bruised and battered, black and blue. Still reeling from the blow but back on their feet, and in fighting form – BISH! BASH! BOSCH!
Given this history, it is no surprise that black + blue is shot through with themes of loss, memory, and trauma. But there is also healing, resilience and transformation. Perhaps it is here that new possibilities emerge; dancing amongst the ruins, we discover new ways to live.


Building on its successful opening in late October, tactileBOSCH returns to Berlin for the exhibition’s finissage event, presenting three new performance works from established Welsh artists.
black + blue is an alchemical exhibition, shot through with the play of dualities – light and dark, life and death, dust and gold, love and destruction, male and female, apocalyptic and elegiac, broken and resplendent, bruised and dancing. The title black + blue refers to the challenges that we all face in times of significant transformation, and themes of loss, memory, and trauma run through and beneath the works. But more importantly there is also healing, resilience and renewal, and it is here that new potentials and possibilities emerge. We arise from extirpation battered and bruised, black and blue, but as we dance amongst the ruins we also discover new ways to live.

Iwan Ap Huw Morgan has studied the ritual practises of ancient Mexican peoples including the Olmec, Toltec and Aztec, and his new performance piece focuses on the physical body as a vehicle that carries with it the memories and traumas of self-destruction. Through the expression of haunting vocalisations, physical movement and unmasking, new truths are revealed during a ritual transformation.
Beth Greenhalgh’s performance work deals with loss, dystopias, utopias, other worlds, ritual, things that were, foraging, dreams, and endings. Her new work is based on a particular set of ruins, linking myth, loss and ritual. A series of sculptural pieces rely on her body to exhibit them, and through wearing the ruin on her body she carries the burden and weight of its symbolic history.
Phil Babot’s work emphasises stillness as a way of highlighting beauty in the mundane, focussing attention on the extraordinary in the everyday. His new piece centres on the former divisions created by the Berlin Wall and its dissolution leading to unification. By aligning himself along an east-west axis, he has chosen to look towards the future to confront the present and acknowledge the past.





Artists Anonymous | Claudia Carr | Gordon Cheung | Bella Easton | Luke Gottelier | Thoralf Knobloch | Marta Marce | Simon Mullan | Sinta Werner | Mark Titchner

Curator: Bella Easton and Paul Carey-Kent

September 28 – October 17 2015


There’s more to an artwork than its finished state, but exhibitions concentrate on that, along perhaps with preparatory studies which act as preliminary versions of that state. Yet there may be any number of bi-products from the making of an artwork, and that is what Collateral Drawing explores. That may take such forms as the stage setting, models or constructions which are created in order to facilitate the work itself; the redefinition of past work as collateral to a future work in which it is repurposed; various means of recycling aspects of a practice; or the marks which result – serendipitously, but with a more than accidental logic – from the production itself.

Every artist has their own unique working method that habitually causes repetitive marks to be inflicted onto their studio surfaces. Whether dripped, scratched, taped, cut, erased, smeared, hammered: all are repetitive and typically unguarded instances of the process of drawing. The wall, floor or table acts as a raw surface and means to capture these on-going activities that the artist ritualistically performs; the remains of the method left behind is as familiar as it is often taken for granted in an artist’s practice and is rarely publicly exposed. These studio surfaces are an integral part and an extension of the drawing process, which are then discarded, or severed from the work. They hold a fascination of their own: not just as a documentation of the artist’s creative process, but as an informative insight into the relationship between what is subconscious and conscious in the artist’s drawing practice.

Collateral Drawing Berlin explores the relationship between finished works and the collateral drawing which fed into or resulted from their making in the work of ten artists with London or Berlin connections – Each artist was approached by the curators six months in advance and asked to retain the collateral elements of some new work, including by isolating part of the studio with a customised temporary blank surface that could then be used to record the artists’ subconscious actions around their day-to-day creativity. These raw surfaces were then carefully removed from the studio, now to be displayed alongside an artwork that the artist produced onto them during this period.

The Collateral Drawing Series was launched at Plymouth College of Art in February 2014, followed by an Anglo – Greek collaboration between six artists – three from each country – in Athens in May 2014.

Supported by Plymouth College of Art






Dirk Van Lieshout & Klara Adam

Curator: Hans Kuiper and Tiny Domingos

August 30 – September 16 2015




You’re standing in front of the window and look into a cave like space. There is something like a big bed. An old tv set shows a movie with characters like Plant, Woodpecker, Oxygen, Plankton, Crocodile, Turtle among others. There is a fridge with peculiar ‚ice creams‘. The entities move around, lie on the bed, wear masks. Who is ‚ inside‘, who is outside? And why?

Some ‚outsiders‘ are allowed to lie on the bed, others have to stay outside. The art space, once a white cube, transformed in a magical space. The movie as a left over of the ritual of the ‚Entity Defence People‘. Rituals, remembrances of shamanic healing, showing a group process where beings help one another. The film shows a parade in a mythical forest and around fields, where characters roam around with masks, dancing, moving, making sounds. The ‚art hierarchy‘ is undermined, action originates in nature, in ‚forgotten‘ public space, out of the white cube, out of the institution.

Both artists have realized sculptures in public space and worked in renowned institutional contexts. This time they decided to take over an independent project space, in this case in Berlin Wedding.
Recreating art contexts, redefining ‚art hierarchies‘, artists keep on questioning art practices, definitions and strategies, institutions and ‚reputations‘. Independent project Spaces and art initiatives offer them a basic infrastructure and frame for research, experiment and questioning. Within a minimal institutional context and supplying networks of artists and genuine ‚art aficionados‘, these plattforms are the watch towers into the verge of art horizons that come to be, showing us directions for the now.

Dirk van Lieshout and Klara Adam’s ‚Recruitment fo Big Owl‘ invite us to go off the beaten track and go beyond our own rational frontiers. Maybe that’s where art originated: the artist as shaman striving to establish a bond with the beyond. Where myth becomes alive… Those who accept this challenge will discover the beauty of imperfection and the poetry of the semi-failures.
This could be a way of liberation. Without a doubt it is a path of hope.

Hans Kuiper and Tiny Domingos, Amsterdam-Berlin, August 2015





Memories of the Digital Age

Arnout Killian (NL) / John Hodany (USA) / Julia Münstermann (D)


May 29 – June 20 2015



The exhibition Memories of the Digital Age consists of paintings by the artists Arnout Killian (NL), John Hodany (USA) and Julia Münstermann (D). The title questions how the digital age will be reviewed in the future. The artworks in the exhibition deal with the aesthetics of the digital but through their inherent tactile nature as paintings they also question its immateriality.

Killian, Hodany and Münstermann are three painters, whose work converges in several ways, both in content and formally, in their way of dealing with abstraction through light and structure. Their paintings, each in their own way, meander on the border of abstraction and figuration. In Killian’s paintings for example, light-diodes from screens or goblins refer to abstract painting. Münstermann turns cityscapes into abstract color spaces while Hodany’s work is often at the border of the natural and the man made, connected by an underlying geometric pattern.
Within all the works in the exhibition, structure plays an important role. Killian paints the haptic materiality of a carpet in a vibrant optical way. Münstermann lets the structure of rough linen appear through the application of paint and pigments. Hodany’s way of cutting, fitting and rearranging parts of paintings, is reminiscent of quilts.
All three artists take their inspiration from the real world, as well as, from digital and media aspects. In this context, within the paintings there are gradations of color and light, which often refer to the altered perception of light found in film, animation, and photography. The appearance of the horizontal and vertical lines of the canvas and the translucent layering of color in Münstermann’s paintings might refer to a flickering screen. Killian’s paintings of carpets even might remind us of an archaic kind of pixel. Hodany’s work often references film editing with its sharp cuts and repetitions.
One can see a fascination for science fiction and the atmosphere of another world or otherworldliness within the works. In Hodany’s and Münstermann’s work the absence of the human figure and the choice of color suggest an alien world. In Killian’s work it is the artificiality and the choice of subject–-residue, redundancy, abundant objects–-which also generate alienation. His realistically painted depictions of carpets, screens and office interiors, create a tension between the seductive beauty of the tactile surface and the unease/discomfort of the banal everyday world. Münstermann takes her inspiration initially from the city or a distant view of the urban space. Primarily, it is the city at night with its artificial light, which blurs the borders between reality and illusion or imagination. Through the process of painting, the reduction of color, light and space, there remains only indications or memories of the city or rather the night with its uncertain and seductive characteristics.
Hodany’s work deals with a constant interplay between different environments, inhabitants, objects and microcosms. Through invented techniques, using a development of patterns, sequences or the separation and integration of sections within his paintings, Hodany creates the effect of a continuum and suggests animation within a still image.

Throughout the works of Hodany, Killian and Münstermann, it seems that through painting with its materiality and tactile nature, there is a kind of “re-analogisation” of the digital media and virtual world. They are analogue painted images, which involve the omnipresence of the digital world.





Flaggen der Welt – João Felino


April 25 – May 22 2015

Since the first solo show in 1993, On(e) Painting, held at Quadrum gallery, a venue run by artists under Dulce D’Agro leadership and one of the most relevant art venues during the 70’s and 80’s in Lisboa, Joao Felino has been presenting an extensive group of projects in an ongoing research driven by diverse media. Works on paper, drawing, collage, painting, photography, sculpture, found objects based works, video and multimedia, performance, installation, with a strong emphasis on text based works.
A body of work strongly rooted on an historical and conceptual framework that takes art also as a problematic category from its creation and presentation to its reception.

The work shown in the most recent solo exhibition „Flags of the World“, held at MUDE – Museu do Design e da Moda Lisbon in 2014 will be presented at rosalux in a new, Berlin specific setting.

The work of Joao Felino inscribes itself in a hybrid area, in a contaminated zone inhabited by different demands. The raw material, the support, the process and its results differ in each investigation and reveal the disquietude of the search. Along this path’s stopping points we find different „products“: common-object, photography-object, sculpture-object, painting-object, installation-object, object-installation, indifferent to the sterile problematic of their classification.

Sofia Pinto Basto

(Complete text for the ‚Flags of the World‘ installation, Sala Pereira Coutinho Room, MUDE – Design and Fashion Museum, 24 Augusta St, Lisbon, May 22 – Aug 31, 2014 — PDF)




X – Linhas cruzadas / Crossing Lines – RIO X BERLIN – BERLIM X RIO

Tiny Domingos, Marilou Winograd, Karla Woisnitza


March 7 – 28 2015



The exhibition X LINHAS CRUZADAS / CROSSING LINES RIO X BERLIN – BERLIM X RIO was developed to create a dialog between these two culturally brisk centers by the works of Tiny Domingos, Marilou Winograd and Karla Woisnitza. The artists are active protagonists in this context and present their works for the first time together.
This selection is the result of their individual artistic productions presented in dialog to emphasize thoughts on aesthetics and key elements of their works: transparency, overlaps, gaps, volume intersections. These items are explored in photographs, drawings, objects and installations. They were created and exist as autonomous works, but from the unique grouping in this exhibit emerges an unusual dialog between both the works and the artists who live and produce in different contexts. Here is the mystery of production in contemporary art with simultaneous existence independent of their geographic origin.

Tiny Domingos explores everyday objects and spaces for unexpected installations, which are captured by his camera. His gaze leads him to places full of existing perspectives that are rebuilt by the artist, due to the inclusion of daily objects, which he introduces in this context. The spontaneity and precision of the new compositions praises a single panorama. The lines of the photographic compositions often transform into a dense tangle like drawing – a technique frequently used by the artist.

Marilou Winograd in turn creates a collection of images from her archive single works due to the combination of the material. Landscape pictures, details of her previous works are recombined through several layers and emphasize the intensity, transparency, lightness of areas and volumes – the new work itself turns into being a photographic installation. The light is a recurring element, acting as a central part of the composition.

Karla Woisnitza’s work contains precise elements as a result of a tireless drawing realized by the gesture of repetition. On the other hand, she explores also the lightness in objects and installations created with everyday items in informal spaces influenced by the local conditions. For her, the simplicity of the element, the material and the gesture are enough as means of expression and dissemination of her infinite research and accuracy.






s c a t t e r – Ronald de Bloeme, Anja Gerecke, Tim Stapel

January 31 – February 28 2015

The group exhibition „scatter“ at rosalux shows paintings on canvas and site specific painting by the Berlin based artists Ronald de Bloeme, Anja Gerecke and Tim Stapel. Geometric patterns, forms and fragments of everyday life are transfered in the paintings as well as the spatial concerns of the exhibition space: light, the viewers paths and proportions.

Ronald de Bloemes paintings can be summarized with: „composition is the will to communicate“. It is his desire to reflect upon the nature of everyday visual communication systems, such as Cigarette packaging, Metro plans or printed patterns. Tim Stapel creates a wall work by applying a geometric pattern on the exhibition wall. „The beginning of my structures is always unique in their smallest unit. Also they derived in particular from these boundaries. “
Anja Gerecke uses the available architecture as her material to construct and create new spaces from these typical objects. She creates a temporary installation out of lightweight construction materials and color field painting. Using minimalistic interventions, she creates a painting that interacts with the respective environment.





SALON HANSA goes ROSALUX @ BERLIN :  „viel ARBEIT_wenig Rot“



November 30 2014 – January 11 2015


Artists: Minor Alexander, Alexandra Baumgartner, Arno Bojak, Sascha Boldt, Saskia Buwert, Frank Diersch, Tiny Domingos, Thomas Draschan, Galya Feierman, Isa Genzken, Reinhold Gottwald, Agnes Grambow, Marc Groeszer, Roey Heifetz, Alexander Iskin, Franzi Klotz, Ludwig Kreutzer, Viktor Kudryashov, William Minke, Ingo Mittelstaedt, Oliver O. Rednitz, Lea Pagenkemper, Otto Piene, Manfred Peckl, Eva Raeder, Maike Sander, Moritz Schleime, Ann Schomburg, Pola Sieverding, Alexander Skorobogatov, Jonny Star, Kata Unger, Sador Weinsclucker, Claudio Wichert, Hansa Wißkirchen, Marcus Wittmers, Micha Wutz


SALON HANSA has been a fixed institution in Germany for the past 20 years. It began in Dusseldorf in 1993 and continued on to Berlin via Cologne. It has since been invited to exhibit in Dresden and Leipzig. Next stop is fam.montez in Frankfurt next year.

Unique locations and variable interiors are crucial for the presentation of art; that’s why SALON HANSA is never seen at the same location twice. This is an integral part of the salon – but more importantly: it is the juxtaposition between no_name artists and stars from the art scene that turns up the suspense factor. A musical program, DJ, or a band is also an absolute must!!!

I provide the salon with it’s political factor, to which some artists create a direct response. A further characteristic is the capacity to connect people and spark inspiration through SALON HANSA.

Curator Hansa Wisskirchen




Schnee/302 – Karen Packebusch

Screening : October 31 2014



Karen Packebusch born in 1981 in Dresden. 2006-2014 Studied Fine Arts and graduate studies in Dresden, Leeds and Zurich. Lives and works in Berlin, Dresden and Recife (Brazil).

It has become evident in recent years that Karen Packebusch is primarily interested in the power of entopic moments in different locations and buildings. The preoccupation with architecture and history leads to concepts for which the content’s direction is determined by the medium, hence her work alternates between installation, video, performance, object and photography.




MAP ART – CULTURAL SYMBIOSIS. Contemporary Brazilian art in Germany

September 5 – 26 2014
Closing: September 26 from 8 pm with a performance by Lisa Simpson at 8:30 pm

Curator: Tereza de Arruda
Concept and coordination: Andressa Schröder

Artists: Alex Flemming, Cesar Meneghetti, Cristina Barroso, Eliane Paulino, Elizabeth Dorazio, Heloisa Corrêa Eickhoff, Isabelle Borges, José De Quadros, José Gomes, Luzia Simons, Lisa Simpson, Monica Rizzolli, Rosilene Luduvico, Tiago Romagnani Silveira


Sponsored by / Supported by





NOWADAYS – Tiago Batista

July 20 – August 30 2014

Nowadays, technology occupies a central place in our culture, particularly present in the way we communicate with each other, reaching thus new dimensions of relationship and life, autonomous of the sphere of tangible. Many try to fit in and identify with these new dimensions, penchant is essentially communicative content, either through the use of pseudo-personalized social networks or electronic gadgets, celebrating, or simply accepting the new representations of life in society through electronic means.
The works that comprise this exhibition serve as testimony to this new reality, and with opposite sign, in the sense that confront the viewer by virtue of its tangibility, and have their starting point in an individual way of looking at these matters, contrary thus, the behavior of the new standard recurring preformatted communication dimensions. (T.B.)

Tiago Batista (Lisbon 1967).
Attended the Lisbon College of Arts where he finished the course in Plastic Arts/Painting. 2011, Master’s Degree at the Department of Visual Arts of the University of Lisbon.
Founded the group Authors in Movement with Peter Cabral-Santo, Paul Carmona and José Quaresma, which produced and curated several exhibitions in the nineties, among those: “Jetlag”, University of Lisbon, “Greenhouse Display”, Greenhouse Lisbon, “X-rated”, Gallery Zé dos Bois, Lisbon.
Several collective exhibitions since the nineties. 2004, individual exhibition “One Week Show”, Sala do Veado, National Museum of Natural History and Science Lisbon. 2007, intervention “War/Work” in the context of Art Building.
Teaches Visual Art at the University of the Algarve.





June 7 – 28 2014

A collaborative exhibition inspired by David Bowie exploring the ruins of amnesia

Subterraneans is the second collaborative exhibition by artists Sam Melser and Cameron Tauschke. Inspired by Low, an experimental album by David Bowie recorded and mixed in France and Berlin and released in 1977, Melser and Tauschke reinterpret ‘Subterraneans’, the final song on the album by digging new holes and clearing new tracks. Being Subterranean is much more than being underground. For these two artists from New Zealand and Australia it is a method to rediscover historical juxtapositions. For Bowie, Subterraneans refers to the imposed silence and isolation of those living in East Berlin during the cold war.

Tauschke’s pictures sometimes originate from old DDR and soviet style architecture references. He creates pictorial spaces that are strangely familiar, nostalgic and occasionally solitary. Melser too combines different historical temporalities and creates a kind of anachronistic timeline – a mind map of organic prehistoric structures; a cave of interconnectivity. The lyrics of Subterraneans, as well as the experimental musical soundscape, resemble the ‘cut up’ technique popularised by the writer William S. Burroughs, which Bowie used and expressed admiration for. Bowie became disinterested in the traditional pop song writing structure and became involved in non-conventional writing methods.

Both artists Melser and Tauschke use collage in their art and see image making as necessarily fragmented – a never ending meta narrative. This procedure is one of decontextualisation, where images and texts are extracted from their original context and recontextualised. In a game against amnesia, both artists create memories, either prospective or retrospective and reconsider the musical moods picked at by Bowie and other, past, present and future ‘Heroes’.

Tauschke will exhibit a series of paintings and collages on paper and Melser will present a multi-media darkroom installation exhibiting two and three dimensional artworks.
(Falco Sternburg)





Agente Costura + Project space. Display 4

We are a sewing agent + Kuiperdomingos Projects
Lisa Simpson, Hans Kuiper, Tiny Domingos

March 29 – April 12 2014
Opening with Performance by Lisa Simpson & Co
and Neoschlager by Hans Kuiper on March 28 at 8 pm
CLOSING EVENT: Saturday, April 12 at 4 pm with musical sewing performance

we turn your wardrobe upside down and inside out
and right side up again
we turn your skirt into a dress and your dress into a skirt
we make new clothes from old clothes
we tailor any garment to your body type
we get you the clothes you’ve always wanted but never imagined
we make it all up on the spot!

Come along just to have a look, or join in the transformation! It’s easy:
1. Go through your wardrobe and pick out the garments that have been sitting there for a long time.
2. Bring them in and explain what it is that stops you from wearing them.
3. Watch as your garment is reconstructed and adapted to your desires!

Lisa Simpson will inhabit rosalux between March 28th and april 12th in a durational performance based installation, repurposing vintage and second hand garments. The audience is encouraged to participate during the exhibition with their own clothes to upcycle, interacting with the artist and bringing new life to old garments. This interaction is based on the personal needs of each participant, who may also bring along music as the score for the alterations.

On opening night a musical sewing performance is staged, the sewing machine is turned into a percussion instrument and clothes are altered in a musical and textile composition, in collaboration with Guido Henneböhl, Hopek Quirin and Kris Limbach. The audience is also encouraged to participate by putting on the garments that will be altered. The performance is a celebration of improvised music and improvisational clothing, emphasizing the process of transformation.

“ (…). It reminded me of my view of aesthetics – aesthetics not being a sociology of art but as being a form of experience. That is, an experience of disconnection. This has been conceptionalized by Kant and Schiller in terms of disconnection: there is something that escapes the normal conditions of sensory experience. That is what was at stake in emancipation: getting out of the ordinary ways of sensory experience. This thought has been important for my idea of politics, not being about the relations of power but being about the framing of the sensory world itself.“
(Jacques Rancière, Interview by Sudeep Dasgupta in „Art is going elsewhere. And politics has to catch it. An interview with Jacques Rancière“ in KRISIS, the Journal for contemporary philosophy (2008), pp. 71-76)





Reflections on Art and Literature

February 22 – March 22 2014

Curators: Artemis Potamianou, Thalia Vrachopoulos
Artists: Rebecca Agnes, Giorgos Papadatos, Isabel Baraona, Christina Mitrentse, Artemis Potamianou, Richard Humann, Nikos Papadimitriou, Meg Hitchcock, Kostas Bassanos, Renee Magnanti, Maria Ikonomopoulou, Tiny Domingos, Barbara Knight, Cris Giannakos, Imni Lee, Robert C. Morgan

A catalogue in English, Greek and German is available. (PDF, 13MB)

Lo and Behold presents the exhibition entitled Reflections on Art and Literature, at rosalux – the Berlin-based art office. Artemis Potamianou (Athens based) and Thalia Vrachopoulos (New York based) are the curators of the exhibition which will open on Saturday 22nd of February 2014 at 7 pm.
The exhibition will remain open until 22nd March 2014.
The relationship between visual art and literature — close, reciprocal and multifaceted in terms of aims and objectives — is characterised by a dynamic interaction which had been going on for centuries and constitutes a popular area of art history, with different approaches depending on the researcher’s starting point.
Yet even without aspiring to follow such an approach, one can hardly fail to observe the common path, the parallel interpretation of historical reality and the interaction among so different fields of artistic creation, to the point where they go beyond being mere stimuli and sources of inspiration for each other as their boundaries are abolished in the oeuvre of certain artists.
The different roles but also the influences exchanged between literature and visual art make this a typical example of the evolution of a productive symbiotic relation. Although varying in their nature and expressive media, their creative process heeds comparable principles and fulfils similar needs, providing new paths and opportunities for discourse over and beyond the individual traits of images and language. (text: press release)

An exhibition organised by
Lo and Behold, Athens

sponsored by





EYES ON, EYES OFF – Seet van Hout (NL), Chika Takabayashi (JP), Anina Brisolla (DE)

September 28 – October 26 2013
Artist Talk: October 25, 7pm

„Dans la perception, un savoir se crée lentement.“(Jean-Paul Sartre)

to close your eyes and see many things: stains, traits, particles, motion… the wish to share images that only you can see and feel.

to open your eyes.

to close your eyes. not for the sake of it, but simply to close your eyes, breathing deeply. the mind is free and associates images and thoughts. a complex gallery of faces unfolds.

open your eyes.

leave them open. open your eyes to see not only with your eyes but with your imagination. let yourself be surprised by possible interactions between the view and the image you have dreamed.

Chika Takabayashi was born in Japan in 1980. Lives and works in Berlin. 1999—2003 Aichi Prefecture University of fine Art and Music, Japan; 2003—2007 Academy of visual arts and design AKI ArtEZ, Enschede (NL). Active in the field of sculpture, installation.
Selected shows: „Eyes ON / Eyes OFF“, rosalux, Berlin; „Requiem“, Japanese Embassy, Berlin, 2013; „Lovely Wildness“, Roosendaal (NL), 2012; · „Gyeonggi International CeraMIX Biennale“, Korea, 2011; EKWC artist in residence program, Den Bosch (NL), 2010; „Dürer war auch hier“, AIAS, Pan Kunstforum, Emmerich (D); Kunsteyssen artist in residence program, Alkmeer (NL), 2008; · „Art olive jong talent 07“, Amsterdam, 2007

Seet van Hout was born in the Netherlands in 1957. Lives and works in Nijmegen (NL) and Berlin. 1975—1984 Academy of Fine Arts s’Hertogenbosch and Arnhem (NL)
Solo shows (selected): Eyes ON / Eyes OFF, rosalux, Berlin, 2013; „Thinking the Garden“, Galerie Nouvelles Images, The Hague (NL), 2013-2012; „Melancholy Girls“, Stadtmuseum Siegburg (D); Klosterschloss Bentlage, Rheine (D); · Red Greenhouse AkkuH, Hengelo (NL), 2011; Stadtmuseum Beckum (D); „Bittersweet“ , Galerie Gist, Amsterdam, 2010; „Melancholy Girls“, Middendorf Gallery, Baltimore (USA), 2009;· „Jelangerjelieber“, Pan­Forum Emmerich – with Uwe Poth – (D), 2006
Group shows (selected): Eyes ON / Eyes OFF, rosalux, Berlin; „Tijdloos Eigentijds“, Museum Flehite, Amersfoort (NL), 2013; · „50 years Galerie Nouvelles Images“, The Hague (NL), 2010; · „Small Works“, Ram Foundation, Rotterdam (NL), 2009; „Imagining the Book“, Bibliotheca Alexandria (Egypt), 2007; „Rijke Uren“, Museum het Valkhof, Nijmegen (NL), 2005

Anina Brisolla was born in Hamburg in 1976. Lives and works in Berlin. 2000—2001 School of Visual Arts, New York; 1997—2001 Academy of visual arts and design AKI ArtEZ, Enschede (NL)
Selected shows: „Eyes ON / Eyes OFF“, rosalux, Berlin; „pieces“, KWADRAT, Berlin; „The pleasure house is about to burn down“, Galerie Jaap Sleper, Utrecht (NL), 2013; „reKOLLEKT“, Kunstraum Kreuzberg/ Bethanien, Berlin, 2012; „Jeder Tag ist Freitag“ Kunsthalle Düsseldorf, Düsseldorf, 2011; „Highlights from the Cologne Kunstfilmbiennale in Berlin“, KW – Institute for Contemporary Art, Berlin; „Noire et pourtant lumineuse“, Matthew Bown Galerie, Berlin, 2010, „Internationaler Wettbewerb“, KunstFilmBiennale, Filmforum Museum Ludwig, Cologne, 2009; „Documental. Contemporary Video Art from Europe“, Guggenheim Gallery, Los Angeles; „Toy-Void // Doing Identity“, Münchener Kammerspiele, Munich, 2008





Faceandbookme / Beyoncé 4,95 – Kerstin Weichsel

August 31 – September 21 2013

Video premiere, photo exhibition & info lounge



also as well although nonetheless still tomorrow today not again always farther higher just next door the most beautiful and bang do it once more hey presto up up and away (FACEANDBOOKME)


Tiny Domingos about the project:

German version


art campaign FACEANDBOOKME / Beyoncé 4,95

June 29 – August 24 2013

Kerstin Weichsel’s current exhibition, Beyoncé 4,95, shows a selection of photos which are part of her art campaign FACEANDBOOKME. What she presents are images of overwhelming marketing campaigns. Buy me, take me, for the pleasure of the fiercely contested customer, here and now, at this very moment. Resistance is futile, isn’t it?

‘You know, what they are dumping on the market here is nothing but pieces of cloth. Let’s face it! I am simply taking apart the high-gloss messages into their constituents, every centimeter of them is worth its length in gold—quite innocent—click—let’s see what’s up—click—let’s see what’s up two hundred more times. The big pleasure is a small one, it hurts the click—so what?’ (Kerstin Weichsel)

In 2001 Kerstin Weichsel was the artistic director for the multimedia exhibition ‘HOMO@HABITAT – The Evolution of British Lifestyle Design’, where she developed ten installations central to the theme featuring fashion, interior design, product design and new media. Homo@Habitat has appeared at the Hadrian’s Temple, Rome 2001, and at the National Gallery of Modern Art, Prague 2002. The exhibition displayed a man-made world that goes far beyond man’s needs and that he or she is completely unable to cope with. Kerstin Weichsel lives and works in Berlin. (English translation: Werner Richter)





May 11 – 31 2013

Exhibition curated by Lan Hungh, Yun-Ting Hung & I-chen Tsou with works by

Wu Ma-Li + Action Team
Tang Huang-Chen
Kao Jun-hong
Ye Yu-Jun

The exhibition intends to present the diverse relationships between body and religious, Zen, civilisation, nature, social interaction and confronting repression and additionally shows how Taiwanese performance/action artists grow a unique performance/act art contextual brook with historical torrent.

More Info


May 31, 5-10 pm

Live Performances:
Effie Wu, Fu Ya-Wen, Lin Chi-Wei, Tang Huang-Chen, Watan Wuma





Branchings / Verzweigungen – Uwe Poth, Pedro Calapez and Christoph Both-Asmus April 20 – May 04 2013


The exhibition „Branchings / Verzweigungen“ brings together three artists who are all addressing the theme of the tree, in particular its branches and the spaces they enclose. Each artist approaches the theme in a very personal way. Uwe Poth is interested in the relationship between the tree and urban space. Pedro Calapez focuses on a reclining tree whose branches are touched by a breeze, suggesting a new cycle of life. Christoph Both-Asmus climbs to the highest and slenderest branches of a tree, venturing into the border-zone between Heaven and Earth. To invoke and observe nature is also to investigate our place and our role in it, to reconcile ourselves with our environment, with others and – why not? – with ourselves.

Die Ausstellung „Branchings / Verzweigungen“ zeigt Arbeiten dreier Künstler, die sich – jeder von ihnen auf sehr persönliche Art und Weise – mit dem Thema des Baums, seinen Verzweigungen und dem Raum, den diese begrenzen, beschäftigen. Uwe Poth interessiert der Baum im Verhältnis zum urbanen Raum. Pedro Calapez widmet sich in seiner Arbeit einem umgestürzten Baum, durch dessen Zweige ein Windhauch, der Neuanfang verspricht, weht. Christoph Both-Asmus erklimmt die höchsten und dünnsten Äste der Bäume – eine Art Grenzerfahrung zwischen Himmel und Erde.

Sich der Natur zu erinnern und sie zu betrachten, heißt auch, sich unseren Platz und unsere Rolle zu vergegenwärtigen, uns mit unserer Umgebung zu versöhnen, mit den Anderen und – warum nicht… mit uns selbst. (rosalux)

Artist talk – Uwe Poth, Pedro Calapez and Christoph Both-Asmus in conversation with Tiny Domingos (46’22)

Branchings: Invitation to the show

After the exhibition „Branchings/Verzweigungen“ at rosalux in Berlin, the three artists talk about their work (5’20)


Saturday April 27, 3 – 5 pm
Film screening „Branchings“
selected by Christoph Both-Asmus





March 13 – 23 2013





Exhibitions 2012-2006

November 30 – December 2, 2012


Art from Slovenia

February 17 – 19, 2012

rosalux at Supermarket 2012


January 27, 2012

Project VO

(Guest: Stéphane Martineau)

November 26 – December 18, 2011

Salon Kuiperdomingos

October 29 – November 20, 2011


September 30 – October 20, 2011

Project space. Display 2

August 26 – September 20, 2011

Project space. Display 1

JULY 2011

A Dress About Wedding & About Wedding Dresses

Janine Thielen

(Kuiperdomingos Projects)

MAY 28 & 29, 2011


Christoph Both-Asmus

(Kuiperdomingos Projects)

February 18 – 20, 2011

rosalux at Supermarket 2011


September 24 – October 16, 2010


James Newitt




August 27 – 29, 2010


Nuno Vicente

Review by Anne Fäser (German)
June 10 – 26, 2010


Tiny Domingos

fadomaso info (Portuguese)
May 20, 2010

BACK & FORWARD – a film by Ye77a





Trailer on Vimeo

March 26, 2010


Andrés Galeano

andresgaleano_birdmen info


February 27 – March 13, 2010


Rui Mourão

ruimorao_videoarbeiten info | cv


interview (Portuguese)

November 27 – December 12, 2009


Rita Castro Neves

ritacastraoneves info


October 24 – November 07, 2009


Rachel Korman

heshe cv

Review by Maria de Fátima Lambert (English | Portuguese

June 13 – 28, 2009


James Newitt



April 03 – 30, 2009


Jang Young

TAGESSCHU, Jang Young info



November 21 – 25, 2008


José Carlos Teixeira

jct.jpg info


press (pt)

July 8, 2008



yella.jpg info
December 18 – 21, 2007


Tiny Domingos

santa.jpg info


December 01 – 15, 2007


Miguel Bonneville

family_project.jpg info


November 02 – 24, 2007



Nuno Coelho

nuno_coelho.jpg info


October 19 – 27, 2007


Bí­blia Magazine

biblia.jpg info
September 03 – October 06, 2007


Sara & André’s Foundation

sara_andre.jpg info



July 06 &07-21, 2007


The Fictionary Players

bunnys_sports_view.jpg info
June 16 – 30, 2007


João Pombeiro

freedom.jpg cv



April 25 – May 12, 2007


lusolounge.jpg info
April 19 & 20, 2007


João Pombeiro

intrigue.jpg info


March 23 – April 4, 2007


Gonçalo Pena

againstpainting_rosalux_march07.jpg info
March 15 – 17, 2007


Vitor Lago Silva

performorange.jpg info


September 12 & 13, 2006


Paulo Castro

redsky1.jpg info