Archiv des Autors: balthasar

Jasmine Deporta & Present Books „11“

Book Release: February 9th – 18pm

11 is a collection of mostly unpublished photos from
different series of the last 6 years, first time to be shown
printed and as a body of work.
The title of the book is an ode to Jasmines birthday, the 11.11. Since always this number followed Jasmine around and in form of the book title, it gets synonymous for a life journey and her personal
visual exploration of it.
11 is a introspective documentation of a journey called life
and the result of a personal reflection on desires, fears and
most of all identity.

Come in and join us ♥


AUKTION: Fr., 8. Dez. ab 19:00 Uhr

Die Ausstellung/Auktion „Das Werk vom Künstler befreien“ bietet die Möglichkeit Originale und Prints direkt vom KünstlerIn zu ersteigern. Alle Positionen werden hier vorweg publiziert, können aber auch am Tag zuvor in Natura in Augenschein genommen werden. Die Versteigerung startet ca. 20.30 Uhr.
English version below.

Teilnehmende Künstler:

Dean Annunziata –
Juan Arata –
Nikolas Claussen – NCL
Eli Cornejo –
Anais Edely –
Wilfrid Grössel – wilfrid-grö
Helen Hecker –
Chrisse Kunst –
Karmen Kraft –
Pedro Moraes Landucci
Sven Lindhorst-Emme –
Wolfgang Ranft –
Susanne Schirdewahn –

Weitere folgen…

The exhibition/auction „Das Werk vom Künstler befreien“ offers to bid on original works and prints directly from the artist.
All positions will be shown here, as well as one day before in the gallery. The auction starts round 8.30pm.



Luz Peuscovich
In collaboration with Milena Pafundi
Opening: 08.09.2017 at 07pm
Exhibition: 08.09. – 14.09.2017
Opening hours: Sat 09. / Sun 10.09. 04 – 08pm / Tue 12.09. / Wed 13.09. 05 – 08pm
Closing: 14.09.2017 – 07pm

Luz Peuscovich is an explorer. During her multiple trips around the world, she collects natural elements becoming the physical and symbolic medium of her installations.

Hole reflects upon the different forms that nature adopts and the way we humans have categorized and valued it and by extension everything around us, including our own human condition, our bodies and their practices.

It all began as a game between the artists where they would talk about and find new names for the natural objects referring to sexual organs which Luz found during her travels.
Why are certain parts of the body sexualized and not others? This question arose when reading the text „The Contrasexual Manifest“ by B. Preciado.
The game turned into conversations to deconstruct and redefine the ideas of nature, body, uses of the body.

After reading Preciado, the question ‘what is natural?’ becomes erroneous. There is nothing natural (pure, prior to the human), the categorization of nature and precisely of the sexual nature is merely a social construction legitimating some bodies’ subjection to others.
“Sex, as organ and practice, is neither a precise biological place, nor a natural impulse. Sex is a technology of heterosocial domination that reduces the body to erogenous zones according to an asymmetrical distribution of power between the genders (feminine/masculine), matching certain effects with certain organs, and certain sensations with specific anatomical reactions”. (Our translation from Preciado, Beatriz: El Manifiesto Contrasexual. Barcelona, Anagrama, 2011, p.17).

“Sex becomes part of power calculations, so that the discourse on masculinity and femininity and the techniques of sexual identities’ normalization are transformed into life modelling and controlling agents”. (Our translation from the Interview of B. Preciado in El Ciudadano, 22d of december 2009).

During the collection process arose the question of how what we call organic nature manifests itself. It does so, as a consequence of the elements that combine it and that can have infinite manifestations. It appears as anarchic and diverse. For example, the same species of fungi has infinite shapes and sizes, never a unique one.
So why would the sexual nature have to be one?
Nowadays an inequality based on sex still exists because of the hetero-norm’s hegemony, but is there a hegemony in the organic nature?

What parts of the body could be re-thought, re-constructed, re-named in order to counter that hegemony?

As Preciado points out, “The anus has no sex, no gender. Like the hand, it escapes the rhetoric of sexual difference. The anus defies the logic of masculine or feminine identification. (…) There is no partition of the world in two. Rejecting the sexual difference and the anthropomorphic logic of the face and the genital, the anus (and its opposite end, the mouth) sets the basis for an inalienable sexual equality: every body (human or animal) is first and foremost anus. Neither penis, nor vagina, but an oral-anal tube. In the horizon of the post-human sexual democracy is the anus, as an orgasmic cavity and non-reproductive receptor muscle, shared by all”. (Our translation from Paul B. Preciado, Terror anal in Hocquenghem, G: El deseo homosexual. Spain, Me­lusina, 2000, pp.186-187).

From that process arises Hole, symbol for a horizontal way of getting linked together, from where something hidden and unknown is available to be explored, renamed and revalued.

The exhibition opens with two works, „Hole“ (sculpture / installation) and the catalog of collections. The third work „V“ (video installation), a collaboration between Luz Peuscovich and Milena Pafundi, will be presented on Thursday September the 14th for the finissage day in the space’s basement.

Curator: Camille Cousin

Luz Peuscovich was born in 1984 in Argentina. She studied Fine Arts at the University of La Plata, Art Curatorship and Management in Buenos Aires and attended a scenography course at the Colón Theater (Buenos Aires). As from 2009, her explorations in painting have been followed by multidisciplinary works and installations, with frequent collaboration with other artists, seeking to expand the perceptual abilities of active viewers.
Her current projects are linked to travel experiences during which she collects objects found in nature with which she realizes installations. By generating a change in the usual context, the artist seeks to transform the perception of space so as to inhabit it in a different way than the usual. Her research focuses on the integration of man within nature and the experience connecting him with beauty.
She exhibited her installations in different art spaces in Argentina, the United States,
Germany, Panama, China, India, Brazil and Norway.

Milena Pafundi was born in 1983 in Buenos aires. She is a transdisciplinary artist. As a visual artist Milena develops contents and techniques for audiovisual shows, performance, theatre and dance plays. She produces installations. She founded the Articiclo Collective. She teaches visual arts with gender perspective. As an audiovisual director, she is creative in both artistic and journalistic digital contents focused on Human Rights and Gender Violence. She studied Film direction and took several courses and seminars of videoart, live visual softwares and programming. In 2017, she took part in a Feminist Art residency in Toronto, Canada, after taking part to others residency programs in the Museum of Contemporary Art (2015) and the Cultural Center Matienzo (2016) in Argentina.

EDIE. JUST LIKE KIDS: the early diaries

Vernissage: 25.08.2017, ab 19 Uhr

Ausstellung: 26.08. – 03.09.2017

26. & 27.08.2017, 15:30 – 18:30 Uhr
31.08 – 03.09.2017, 15:30 – 18:30 Uhr


In der Ausstellung „_JUST LIKE KIDS: the early diaries“ präsentiert die französische Künstlerin EDIE. Fotografien und eine Installation, die jeden Betrachter in die eigene Jugend zurückversetzt.
EDIE. wuchs im französischen Saint-Brieuc auf. Dort erlebte sie ihre Pubertät vor allem in der Langeweile und Trostlosigkeit einer Kleinstadt. Um sich diesem Trott zu entziehen, trieb sie sich viel im Internet herum und bekam dort den Kontakt zur Außenwelt und dem Leben, was neben positiven Impressionen auch teilweise Ängste mit sich brachte. Ihre Jugend gab ihr den Anlass sich bereits während des Kunststudiums mit den eigenen Erlebnissen und Beobachtungen bei anderen Teenagern auseinanderzusetzen und dies in der Kunst zu verarbeiten. Ihre Werke vermitteln auf sehr feine und empathische Art und Weise die typischen Gefühle, Wünsche, Träume und Zustände von Jugendlichen. Der Betrachter spürt keine Distanz zu den Werken, sondern kann sich sofort selbst in diese Zeit hineinfühlen. Dabei setzt sich die Künstlerin vor allem mit der Hauptfrage auseinander, was die eigentlichen Unterschiede zwischen den Erwachsenen und Jugendlichen sind. Mit der Ausstellung „_JUST LIKE KIDS: the early diaries“ möchte EDIE. nicht etwa die Schwierigkeiten und Probleme der Pubertät darstellen, sondern eher dazu ermutigen, die Ehrlichkeit dieser Zeit in den heutigen Alltag zurückzuholen.