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From the 27th of November until the 3rd of November


Residence period: 27th November until the 3rd of December

Opening hours to public: Tuesday, Wednesday & Saturday from 15h to 18h

Workshop/ Lecture for the Academy of Fine Arts in Vienna: Thursday the 30th from 10 to 12h

Public Presentation Lecture/ Performance: Friday 1st of December at 19h


The project that will be developed in the Fem-Lab residency is part of the series of speculative projects conducted by neuX, a futurisc interactive laboratory conducting experiments on pleasure and sexuality in post-humanism, from a performative and transfeminist perspective, where sci-fi erotic narratives, cyborg skins and biomateriality are intertwined with natural environments and dystopian scenarios.

This chapter focuses on the design and speculative research of a wearable sensory bio-textile that utilises surrounding natural elements and bodily fluids to generate activist frequencies.

The aim is to create a symbiotic link between the human body, its fluids and its surroundings for an active and visceral listening to the events and changes that are taking place, in and around us from a climatic, social and political perspective.

The tissue is made from biocircuits of bodily fluids, such as menstrual blood, to create a wearable interactive synthesiser using human and non-human, internal and external sounds;

each natural and bodily change will influence the frequency itself, generating activist noises that will open a discussion/performance that will challenge topical issues.


Claims, Quests & Desires. Around the Table of Queer and Feminist Curating.

Round-Table & Think Lab with inputs, discussions, dialogues and poster production

18.11.2023, 14:00-17:00 Uhr (in German and English)

Mz*Baltazar’s Laboratory

***please register until Nov 16 via***


Denise Palmieri (performance artist and board member VBKÖ),

Thomas Trabitsch (interdisciplinary artist and part of the initiative Queer Museum Vienna)

Katharina Koch & Sylvia Sadzinski (artistic directors of alpha nova & galerie futura, Berlin)

Claims, Quests & Desires is a series of events organised by the feminist Berlin art space alpha nova & galerie futura in the form of a round table and think lab dedicated to various questions relating to feminist perspectives on the present and the future, developing strategies for feminist knowledge building and practices and forging alliances together with invited guests and other participants.

For this edition of Claims, Quests & Desires in Vienna, we would like to focus on curatorial practices and the production of feminist art spaces, exhibitions and working methods. Questions that concern us include: What do we mean by an intersectional (queer) feminist practice of curating? What issues, questions and problems arise in this regard? What political need for action do we see and define? To what extent can we speak of a we? What can solidary, inclusive structures and practices in the art field look like, be created and implemented? What alliances and coalitions are necessary for this? How do we work together?


Claims, Quests & Desires. Around the Table of Queer and Feminist Curating.

Round-Table & Think Lab mit Inputs, Diskussionen, Dialogen and Postergestaltung

18.11.2023, 14:00-17:00 Uhr (auf Deutsch und Englisch)

Mz*Baltazar’s Laboratory

***um Anmeldung bis zum 16.11. an wird gebeten***


Denise Palmieri (Performancekünstlerin und Vorstand VBKÖ),
Thomas Trabitsch (interdisziplinärer Künstler und Teil der Initiative Queer Museum Vienna)

Katharina Koch & Sylvia Sadzinski (künstlerische Leiterinnen von alpha nova & galerie futura, Berlin)

Claims, Quests & Desires ist eine Veranstaltungsreihe  des feministischen Berliner Kunstraums alpha nova & galerie futura in Form eines Round-Tables und Think Labs, die sich verschiedenen Fragen rund um feministische Gegenwartsperspektiven und Zukünfte widmet und gemeinsam mit eingeladenen Gästen und weiteren Teilnehmer*innen Handlungsstrategien für feministische Wissensbildung und Praxen entwickelt und Allianzen schmiedet.

Für die Ausgabe von Claims, Quests & Desires in Wien möchten wir den Schwerpunkt auf kuratorische Praxen und die Produktion feministischer Kunsträume, Ausstellungen und Arbeitsweisen legen. Fragen, die uns dabei beschäftigen sind u.a.: Was verstehen wir unter einer intersektionalen (queer-)feministischen Praxis des Kuratierens? Welche Themen, Fragen und Problematiken stellen sich in dieser Hinsicht? Welchen politischen Handlungsbedarf sehen und definieren wir? Inwiefern kann von einem Wir gesprochen werden? Wie können solidarische, inklusive Strukturen und Praxen im Kunstfeld aussehen, geschaffen und umgesetzt werden? Welche Allianzen und Bündnisse sind dafür notwendig? Wie arbeiten wir zusammen?


by Pamela Breda

In the framework of the PEEK/FWF research project “The Unexpected”

6th of November from 16h to 18h  – Mz* Baltazar’s Lab, Vienna

Register to:

This workshop will present a unique opportunity to explore uncharted digital territories. Participants will not only gain a comprehensive understanding of the dynamic world of technology and how it’s impacting everyday life, but will also have the chance to engage with some practical tests in order to explore how their emotional and cognitive skills are affected by the use of smartphone applications, vision enhanced softwares and other AI-generated content.

The workshop will be introduced by a presentation by Pamela Breda, PEEK project leader based at Angewandte University. With her talk, she will provide us with a comprehensive introduction to the current state-of-the-arts interactions between users and technology, sharing insights that challenge conventional wisdom and inspire innovative thinking.

By fostering direct interactions with cutting-edge softwares, the workshop aims to facilitate a deeper understanding of the challenges, opportunities, and complexities that lie ahead in this transformative field. 

What you will learn

By attending the workshop, participants will develop a deeper understanding of various technologies, platforms, and digital tools. They will learn how to leverage technology for productivity, communication, or educational purposes, improving their digital literacy and navigating the digital landscape more effectively. 

IMPORTANT: Remember to bring with you your own laptop.

Constant landed in Vienna

Sunday 29th of Oct 2023 14:00

with Wendy Van Wynsberghe and Imane Benyecif

Meetup and talk with Constant ( members Imane Benyecif & Wendy Van Wynsberghe. We go through current and future Constant projects and lenses, invite you to come and play the SPLINT game with us ( What could/should Speculative, Libre and Intersectional Technologies (SPLINT) do? We touch upon ATNOFS (a travelling feminist server – and rosa (, how server infrastructure can (attempt?) to be feminist.

Imane Benyecif is an artist and code person that collaborates with her colleagues Fré and Lieven, alongside other students, to lead coaching sessions, workshops, and re-learning opportunities at Code Space in Sint Lucas Antwerpen. Alongside her friend and colleague, Tunde Adefioye, she co-founded Braver Spaces, a “collective” dedicated to fostering sustainable practices that empower marginalized communities in their artistic growth, well-being, and the development of alternative learning tools.
Wendy Van Wynsberghe is a tinkering and digital artist, sound & field recorder, intertwined with nature and its wildlife, fascinated by protocol in all its forms, including inter-human and non-human relations, frankenscript coder, physical computing aficionado, dabbling in weaving, embroidery, crochet & knitting (with or without eTextiles).


more info

Opening: 29.9.2023, 19h

Midd opening: 14.10.2023, 19h

Finissage: 3.11.2023, 19h

Exhibition duration: 30.9 – 3.11.2023

Opening hours: Every Saturday from 14h to 18th

Photo © Janine Schranz

About the exhibition:

“A culture of domination is anti-love. It requires violence to sustain itself. To choose love is to go against the prevailing values of the culture. Many people feel unable to love either themselves or others because they do not know what love is.” Bell Hooks (1994)

In the light of the current situation deeply shaped by conflicts and disasters caused by anthropocentric politics, actions and practices, we ask ourselves the question: “What’s love got to do with it?” 

In her writings Bell Hooks identifies Love as a blind spot within the human struggle for liberation, from oppression and exploitation. The white male supremacist domination of the planet attributed to love becoming a symptom of weakness, that love has no value. We might have forgotten what love really is or perhaps we’ve never really understood its meaning since it became capitalized and traded as a commodity-chain, sold as desire that can and should be consumed at a fast pace. Love in its true meaning is something that people might feel ashamed to relate with, as an old-fashioned concept, in the same way Tina Turner declined love in her musical success hit in 1984.

Loving is a verb that demands for action and for choice and can become an important tool to decolonize and to demystify systems of oppression. We need to critically question our position within the planet of beings and things. To love is to care for the others. Love is rooted in community, in exchange and democratic choices. In order to recover love we need social changes rooted in new love ethics. The exhibition “What’s love got to do with it?” aims to be an essay and a tribute to new love politics acknowledging caring as a crucial facet of Love for creating, repairing, and empowering our relations with the world. 


Interstitial Alchemy by Catarina Reis

In ancient times practitioners of alchemy sought the transmutation of matter and the production of an elixir that would induce rejuvenation and cure all diseases, in a time when art, science, and mysticism belonged to the same realm. Although most of alchemy’s claims have been disproved by modern science, we now acknowledge its influence on the development of scientific methods. Through  speculative and ‘magical’ practices and narratives, alchemists dreamed of science for the future.

Interstitial Alchemy presents an experiment of practice-based artistic research, that speculates on the healing of aquatic ecosystems, through a process of transmutation of micro pollutants. The transmutation is mediated by a set of objects made from Zeolite clay. Zeolites possess a cage-like molecular structure that enables the selective ‘trapping’ of pollutants and toxins. To optimize this property, the work tests the production of porous and permeable objects, creating micro interstitial spaces, that could contribute to different ecological functions. This work is particularly interested in how an intervention on a microscale can affect broader ecosystems and their territories. In the last years scientists have demonstrated that ecological variability at small spatial scales—often less than a square meter — can have very significant consequences in big territories. So could we perform micro interventions that produce relevant transformations, potentially independent from anti-ecological political and economic and forces?

The installation is composed of three water tanks, connected through a water flow circuit. In the main tank is a set of Zeolite ceramic objects, capable of purifying the water. Behind the main water tank there are two screens representing two different scales of this system. In the other two tanks there is clean water, which the public is invited to contaminate with heavy metals and toxins, performing the role of a pollutant agent. Through this interaction the public is confronted with the negative effects of human actions in local aquatic environments, but also with the possibility of their remediation. While the water is flowing, the objects trap the noxious substances, changing their microstructure and physical appearance.

The design of these objects is inspired by the study of estuary oysters and freshwater pearl mussels – fundamental ecosystem healers capable of filtering  dozens of liters of water per day. The species of freshwater pearl mussel Margaritifera margaritifera is currently endangered in the Danube, even though it can live up to 100 years or even more. As many other mollusks, mussels form pearls when a strange particle, bacteria or virus penetrates inside of the shell, by building layers of nacre. In this work, Catarina proposes to explore an ‘alchemic’ transmutation of micro pollutants inspired by oysters and mollusks’ capacity to persist and create beauty out of trauma.

Opening: 1.9.2023, 19h

Exhibition duration: 2.9.- 21.9.2023

Opening hours from 14h to 19h: 2.9, 3.9, 10.9, 11.9

Riot im Riot. On Re-claiming Space

Riot im Oikos- Photocredits: Caro Wiltschek

Ruth Erharter, Christina Jaques, Olivia Jaques, Aylin Mutluer, Berenice Pahl, Marlies Surtmann, Anna Watzinger, Caro Wiltschek, Conny Zenk/Verena Dürr/Martina Moro/RAD Performance

Vernissage: Mi, 5.7._18h-22h

RAD Performance – Photocredits: Hannah Mayr

Performance Parkour:

5.7._ ab 18h:
Performative Interventionen von Christina Jaques, Olivia Jaques und Anna Watzinger

7.7.19h – 21:30h (bei gutem Wetter!):

RAD Performance:

Soundrides x SPIRAL BIKE 

19h Soundride, Prater Hauptallee / Höhe Südosttangente

20h Konzerte, Brigittenauerbrücke / SPIRALE Donauseite Live-Konzert von Outside Eye, Gischt, Fabian Lanzmaier, Jakob Schauer, Conny Zenk

Withnessing/Dokumentation von Marlies Surtmann

Waschperformance 3.0 (replay von “BLAUPAUSE_Wiener Waschweib 2.0” )

von Anna Watzinger; Intervention von Olivia Jaques

8.7. ab 18h:
RAD Performance: Booklet | Audioplay | Augmented Reality von Conny Zenk in

Zusammenarbeit mit:

amateur | Birgit Rampula, Artifical Museum, Ramona Cidej, Verena Dürr, Gischt, Georg Hartl, Matthias Hurtl, Suzie Léger, Bianca Ludewig, Martina Moro, Judit Navratil, Magdalena Scheicher, Joanna Zabielska;

Lesung von Verena Dürr

Performance von Berenice Pahl

Performative Interventionen von Christina Jaques, Olivia Jaques und Anna Watzinger

Finissage: 5.8._19h

Performance von Berenice Pahl

Weitere Öffnungszeiten auf Anfrage:

Lorand Tanase/Bildrecht (BLAUPAUSE_Wiener Waschweib 2.0, Anna Watzinger/Donaukanal 2015)

“Riot im Riot” ist eine spielerische Auseinandersetzung mit verschiedenen feministischen Strategien der Vergangenheit. Ehemalige Bühnenelemente und Kostüme erzählen von vergangenen Riots. Mit gedanklichen performativen Übersetzungsversuchen anhand der verschiedenen Elemente von Ruth Erharter, Aylin Mutluer und Caro Wiltschek darf Widerstand imaginiert werden. Berenice Pahl holt Feministinnen der Vergangenheit in die Gegenwart, Christina Jaques, Olivia Jaques und Anna Watzinger versuchen mit verschiedenen performativen Interventionen die Selbstermächtigung sowohl in urbanen Raumgefügen als auch im www zu erproben (“Was hat Datenschutz mit Emanzipation und dem Spiegel-Phänomen zu tun?”) und Conny Zenk lädt mit ihrem multidimensionalen “Soundride” ein zur Partizipation – auf ihren Spuren Withness Marlies Surtmann: Riot und Ride, Riot im Riot, Re-claiming the (imaginative) space.

“Riot im Riot” is a playful exploration of different feminist strategies of the past. Former stage elements and costumes talk about past riots. Resistance may be imagined through mental performative translations based on the various elements by Ruth Erharter, Aylin Mutluer and Caro Wiltschek. Berenice Pahl draws feminists of the past into the present, Christina Jaques, Olivia Jaques and Anna Watzinger try out self-empowerment with various performative interventions both in urban spatial structures and in the www (“What does data protection have to do with emancipation and the phenomena of a mirror?”) and Conny Zenk invites you to participate in her multidimensional “Soundride” – on her tracks Withness Marlies Surtmann: Riot and Ride, Riot in Riot, Re-claiming the (imaginative) space.


by Natalie Deewan



16.6.2023, 19h–22h

Anagrammatischer Stammtisch:

Mo 12.6.2023, 12–15 Uhr
Fr 16.6.2023, 19:00 Uhr
Sa 17.6.2023, 14–17 Uhr
Mo 19.6.2023, 14–17 Uhr
Di 20.6.2023, 11–14 Uhr
Di 27.6.2023, 15–18 Uhr


Mz* Baltazar’s Lab Jägerstraße 52-54 1200 Wien


Seit 2017 realisiert Natalie Deewan im Stadtraum die Reihe der WIENER LEERSTANDSANAGRAMME, zuletzt die TRUE FACTS ARENA aus einem ehemaligen CAFE RESTAURANT (2021, Floridsdorf) oder COOKIE: ARBEITERKIND aus einer BÄCKEREI KONDITOREI (2022, Hernals).

Nun kommt im 20. Bezirk ein elftes Anagramm dazu: die PERMAFURIE, eine immerwütende, vor Zorn schnaubende, anhaltend rasende Rachegöttin, zusammengesetzt aus den Lettern einer aufgelassenen PARFUMERIE im 10. Bezirk, schwingt sich auf die rostrote Fassade einer anderen, ehemaligen Parfumerie im 20. Bezirk, die nun Mz* Baltazar’s Laboratory, ein feministisches Künstlerinnenkollektiv mit Fokus auf Open Source Technologie beherbergt.

Diese verschwundene Parfumerie in der Jägerstraße, die nur mehr am leichten Letternschatten an der Fassade erkennbar ist, ist nun mithilfe ihrer Schwesterparfumerieaus der Favoritenstraße wiederauferstanden, anagrammatisch verwandelt zur PERMAFURIE, mit der besser nicht zu spaßen ist …

Begleitend zur Installation an der Fassade findet im Inneren der ANAGRAMMATISCHE STAMMTISCH statt, wo sich das Publikum in mehreren Workshops mit 36 Spielesets selbst am Fassadenspiel versuchen und in der Kunst des Anagrammierens üben kann.

Weiters werden auch die beiden neuen Postkartenbooklets „Angewandte Literatur: Text am Bau“ und „Pixendorf ist ausbuchstabiert: Gemischter Satz“ sowie 18 Montagevideos bisheriger einschlägiger Projekte im öffentlichen Raum präsentiert.




Since 2017, Natalie Deewan has been mounting the WIENER LEERSTANDSANAGRAMME (= Vienna Vacancy Anagrams) series, all over Vienna. Lately, she realized the TRUE FACTS ARENA from a former CAFE RESTAURANT (2021, in 21st district) and COOKIE: ARBEITERKIND (= working-class child) from BÄCKEREI KONDITOREI ( = baker’s and cake shop, 2022, on a social housing block in 17th district).
Now, there is an eleventh anagram adding to the lot: the permanently furious, raging and snorting hellcat of a fury, the PERMAFURIE, composed from letters of a former PARFUMERIE (= perfumery) in 10th district, will conquer the rust red façade of another former perfumery in 20th district, which now houses Mz* Baltazar’s Laboratory, a feminist artists’ collective with a focus on open source technology.
Some barely visible ghostletters on the façade are the only traces left from the former perfumery in Jägerstraße, which is now rising from the dead with the help of her sister shop in Favoritenstraße, and finds herself transformed into an ever-raging hellcat … you better don’t mess with the PERMAFURIE!
The installation on the façade will be accompanied by the ANAGRAMMATISCHE STAMMTISCH (= Anagrammatic regulars’ table), a façade game consisting of 36 sets, that invites everybody to find their own, new (and better!) solutions and exercise in the anagrammatic art.
Furthermore, two recently published postcard booklets „Angewandte Literatur: Text am Bau“ (= Applied Literature) und „Pixendorf ist ausbuchstabiert: Gemischter Satz“ (= Pixendorf is spelled out) as well as 18 short videos dedicated to similar projects in public space, will be presented.  

Natalie Deewan, geboren 1978 in Wien, sucht und findet Sprachliche Lösungen, praktiziert Reine, Reale, Angewandte und Kollektive Literatur im öffentlichen und veröffentlichten Raum und macht design. Zuletzt remontierte sie die Aufschriften geschlossener Geschäfte zu Wiener Leerstandsanagrammen, baute Statistische Skulpturen (Finkenschieber + Melting Plot) und beklebte Bushaltestellen mit codierten Texten von Kindern und Jugendlichen: Neue Wiener Linien – Graffitirecycling & Coded Quotes. Ihr Interesse für Text am Bau zeigt sich auch in der Heterotypia Font Family, die handschriftliche Zeichen aller Art fontifiziert. Seit 2005 leitet sie den Wiener Deewan, ein pakistanisches Curry-Lokal mit pay-as-you-wish-Prinzip, gemeinsam mit Afzaal Deewan. 2021 erschienen vier neue Postkartenbooklets, großteils zu realisierten Projekten im öffentlichen Raum. 2022 erschien das dreisprachige Buch Lucida Console – ein Translatorium Maximum im Klever Verlag.


Natalie Deewan (*1978 in Vienna, Austria) works as artist with signs of different kinds. She is subvertising signs in the urban, rural & virtual space (Vienna vacancy anagrams; Graffiti Recycling & Coded Quotes; Pixendorf is spelled out) & finds Language Solutions all along the way. She is dealing in Pure, Real, Applied & Collective Literature (with a faible for lipograms & montage), Typography (Heterotypia Font Family) & deesign (Statistical Sculptures: Finches’ Abacus + Melting Plot). Since 2005, she runs a curry restaurant (Der Wiener Deewan) on a pay-as-you-wish basis, together with Afzaal Deewan. In 2021, she published four new postcard booklets on projects realized mostly in public space, one year later, her trilingual book Lucida Console – ein Translatorium Maximum was published by Klever Verlag.
by Natalie Deewan 


Vernissage: 16.6.2023, 19h–22h

Anagrammatischer Stammtisch:

Mo 12.6.2023, 12–15 Uhr
Fr 16.6.2023, 19:00 Uhr
Sa 17.6.2023, 14–17 Uhr
Mo 19.6.2023, 14–17 Uhr
Di 20.6.2023, 11–14 Uhr
Di 27.6.2023, 15–18 Uhr


Mz* Baltazar's Lab

Jägerstraße 52-54

1200 Wien

Fotos: Alfred Luft (SW), Natalie Deewan (Farbe)


Vernissage: 03.06.23, 19h – 22h

Exhibition duration: 02.06. – 09.06.23
Artists Talk: 09.06.23,18h 
Artists Talk with Lisa Großkopf and Bernadette Anzengruber; Moderation: Romana Hagyo in cooperation with “Gender and Space”, Academy of Fine Arts Vienna

Finissage: 09.06.23, 19h – 22h

Further opening hours: 
02.06. – 04.06.23, 14 – 18h in the context of the “Independent Space Index Festival” 
07.06.23, 17 – 19h
and by appointment:


Mz* Baltazar’s Lab

Jägerstraße 52-54

1200 Wien

In ihrer Werkserie Das Fotostudio beleuchtet Lisa Großkopf soziale Normengerüste unserer Gegenwart aus einer kritisch-feministischen Perspektive. Die Künstlerin inszeniert fiktive Fotostudios in den Schaufenstern ehemaliger Geschäftslokale und zeigt darin queere Bildwelten. Mal durch subtile Eingriffe, mal durch plakative Modifikationen erzeugt Großkopf irritierende Verschiebungen, die herkömmliche Vorstellungen von Geschlechterrollen unterlaufen. So gibt es in ihren Installationen beispielsweise gegenhegemoniale Lebensentwürfe, pluralistische Beziehungsformen und nicht-binäre Geschlechtsidentitäten zu entdecken. Vor dem Hintergrund, dass konventionelle Fotostudios oftmals ein konservatives Familienmodell vermitteln und tradierte Rollenbilder reproduzieren, stellt die Künstlerin die zunehmende Diversifizierung von Familienstrukturen und die Demontage geschlechtsspezifischer Zuschreibungen zur Diskussion. Die Schauinszenierung im Fotostudio als Mittel kritischer Wirklichkeitsdekonstruktion, verdeutlicht wie durch die Kraft der Fotografie, der traditionell abbildende Eigenschaften beigemessen werden und der demgemäß eine realitätsnahe Wiedergabe der Welt zugetraut wird, bestimmte Sehgewohnheiten und Stereotype über Jahrzehnte weitergetragen werden oder eben auch verändert werden könnten. Indem Großkopf den semi-öffentlichen Raum des Schaufensters bespielt, lädt sie eine breite Öffentlichkeit zum Dialog über den gegenwärtigen gesellschaftlichen Wandel ein.
Lisa Großkopf’s series “The Photographic Studio” explores social norms in our contemporary society from a critical feminist perspective. The artist stages fictional photo studios in the storefronts of former shops and showcases queer visual imagery. Through subtle interventions or striking modifications, Großkopf creates unsettling shifts that undermine traditional notions of gender roles. Her installations showcase counter-hegemonic lifestyles, pluralistic forms of relationships, and non-binary gender identities.
Given that conventional photo studios often convey a conservative family model and reproduce traditional gender roles, the artist’s work discusses the increasing diversification of family The staging in the photo studio as a means of critical deconstruction of reality demonstrates how photography, traditionally attributed to its representational qualities, leads to the reproduction of certain habits of seeing and stereotypes over decades, or how it could potentially be changed. By using the semi-public space of the shop window, Großkopf invites a broad public to engage in a dialogue about current societal changes.


Opening: 05.05.2023, 19h

Duration: 06.05.–19.05.2023

Artist talk: 13.05.2023, 17h

Opening hours:

Saturday 06.05.2023, 16h–19h
Saturday 13.05.2023, 12h–19h

Finissage: 19.05.2023, 19h–22h

In der Ausstellung “Photons received, photons responded” zeigen zwei Künstlerinnen und Naturwissenschaftlerinnen ihre neuen Arbeiten – basierend auf ihrem Austausch und ihrer gemeinsamen Auseinandersetzung mit der solaren Strahlung und den uns umgebenden Strahlungprozessen. Das neugierige Verfolgen der Trajektorien der Photonen sensibilisiert für die Nicht-Linearität und Periodizität der Prozesse. Das künstlerische Auseinandernehmen von physikalisch optischen Gesetzen in der Dunkelkammer, sowie Messung und numerische Modellierung des Strahlungstransfers der Atmosphäre, zeigen dass die Naturgesetze uns immer wieder neu überraschen und verzaubern.

Die elektromagnetische Abstrahlung (also auch das Licht) ausgehend von der solaren Kernschmelze der Sonne, erreicht die Erde und ermöglicht Leben auf unserem Planeten. Diese Strahlung durchdringt und erwärmt unsere Atmosphäre und ermöglicht Photosynthese, treibt unser Wettersystem an und ist für unzählige komplexe Wechselwirkungen verantwortlich. Sogar fossile Energieträger basieren indirekt auf der Kernfusion der Sonne. Von dieser Fülle wird nur ein kleiner Teil wahrgenommen oder genutzt.

Die Künstlerinnen stellen nichts in Aussicht oder erheben Anspruch, sondern bieten einen naturwissenschaftlichen Fokus im künstlerischen Kontext an. Zu sehen sind experimentelle fotografische Arbeiten, eine Klangarbeit, eine performative Intervention, ein künstlerisch system analytischer Forschungstext, eine Lichtinstallation und Plots numerischer Simulationsergebnisse.


In the exhibition “Photons received, photons responded” two artists and scientists show their latest works – based on their exchange and their joint examination of solar radiation and the radiation processes that surround us. Curiously following the trajectories of the photons sensitizes to the non-linearity and periodicity of the processes. The artistic dismantling of physical-optical laws in the darkroom, as well as measurement and numerical modeling of the radiative transfer of the atmosphere, show that the laws of nature surprise and enchant us again and again.

The electromagnetic radiation (also the light) from the solar core meltdown of the sun reaches the earth and enables life on our planet. This radiation penetrates and warms our atmosphere, enabling photosynthesis, powering our weather system, and responsible for myriad complex interactions. Even fossil fuels are indirectly based on the sun’s nuclear fusion. Only a small part of this abundance is perceived or used.

The artists promise nothing or make any claims, but offer a scientific focus in an artistic context. Experimental photographic works, a sound work, a performative intervention, an artistic-system analytic research text, a light installation and plots of numerical simulation results can be seen.

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