Members A–D



Sophie Aigner studied at the HfBK Hamburg, class Thomas Demand. Exhibitions include Benaki Museum Athens, Union Gallery London, Eikon Schaufenster Wien, Galerie im Körnerpark Berlin, Industriemuseum Chemnitz, Temporary Gallery Köln. Her writings were published in book publications and art magazines (Jovis Verlag, DieNadel – Leuphana Universität, Frankfurter Verlagsanstalt i.a.). Sophie did the stage design for various shows by choreographer Antje Velsinger presented at Tanzhaus NRW, K3 Kampnagel Hamburg and Pact Zollverein Essen. She was awarded with grants by the Berlin Senate of Culture, Stiftung Kunstfonds, Deutscher Künstlerbund i.a. Sophie regularly gives lectures at UdK Berlin and HfBK Hamburg, interested in the intersections of art and writing.


Credits: Wo der Rotz rausfließt, da fließt er auch wieder hinein, exhibition view, 2015 / Die lieben Beiden #3, 2019 / In meinem Körper macht es tocktock –, 2021 / 5:6 II #3, 2022 / Ende zu Ende I, 2022



Alma Alloro is a Berlin based artist from Tel Aviv. Her works have a dual existence in digital media and hand crafted formats and explore the possibilities and limitations of hand made objects in our digitally-oriented world. She studied at Midrasha School of Art in Israel and received an MFA in the Public Art and New Artistic Strategy program from the Bauhaus University, Weimar, Germany and participated in Goldrausch Künstlerinnenprojekt.  Alloro has shown works in solo exhibitions at TRANSFER, NYC ; The Store, Dresden and at Alpha Nova, Berlin as well as in group exhibition and festivals internationally.


Photo Credits: Artist portrait: Merav Maroody / Big Screen, 2017, Photo Paul Barsch / Remixing Big Screen, 2018 / Electric Garden, 2016 




Nina Ansari’s artistic activities are characterized by a thematization of topoi like identity or remembrance – thereby corresponding to very different kinds of artistic expression and media: recently having begun to make film, Ansari has developed a wide ranging photographic oeuvre, whose overwhelming effects of both elegance and criticality stem (....) reminds us of a tradition of Iranian artists like Shirin Neshat or Parastou Forouhar. Yet Ansari is more distanced from the direct political implications and more concerned with the further filiations of her own inner images. That’s why she has no reservation even about tendencies towards spheres of fashion, dance or performance within her sujets, which leave an ambiguous or merely magical touch to the viewer. (Dr. Prof. Christian Janecke)


Credits: Blue ocean No.3, 2015 // Camouflage No.2, 2006–2008 // Munition No.16, 2014



Katharina Arndt reflects in her artistic work life as both a homo consumens and a woman in the Western world. Substantial focus is the critical-ironical dispute about topics like sexual stereotyping, consumerism or self-actualisation. Her pictorial and textual worlds are based on everyday culture such as e.g. Hollywood movies or advirtising slogans. She transforms it into large drawings and text-objects. The current work materials include plastic fabric, neon markers, LEDs, rhinestone, acrylic glass. The materials themselves are cool and trendy and are representative of the media used in the 21st Century.


Credits: NOT CRY IN PUBLIC, 2011 // Exhibition view flesh & blood, galerie t, in view: girl with axe, 2014, + STILL LIFE WITH MEAT # 9, 2015 + impatient/pathologic/postcoital, 2011 // STILL LIFE WITH MEAT # 6, 2015



Diana Artus is a visual artist dealing with the perception of urban space and its imagery as well as with topics like narration, memory production and contemporary concepts of love and self-constitution. She is especially interested in the interdependency between city and mood and explores architecture and urban situations from an associative-metaphorical point of view. Photography provides the base of her creative process resulting in reinterpretations of urban phenomena and architectural bodies, often taking the form of sculptural image objects or images of images.    


Credits: There is tiresome, but attractive, 2015, exhibition view // Elegantly successful, 2015 // Circling around objet petit a, 2013/15




Clara Bahlsen’s photography, multimedia works, artist books and writing all address questions of belonging. Her work is based on cultural-anthropological examination of society. Bahlsen explores the everyday, subjects as origin and biography and her own role within society’s system. Her work has been shown at Museum Kunst der Westküste, Kunstverein Hannover, Zeithaus Autostadt Wolfsburg and Berlinische Galerie. Her self-published books are represented in renowned international collections and present at art-book fairs worldwide. Bahlsen was awarded the Aenne-Biermann prize for contemporary German photography, and a studio scholarship of the Karl-Hofer Gesellschaft. She taught photography at Berlin’s University of the Arts.


Credits: Töchter, Kunstverein Hannover, 2013 / Pferde & Autos, Fohlen, 2011 / Touch, Sign – Contemporary Institute for Art & Thought, Berlin, 2017 / Zement, Galerie f5,6, Munich 2017



Nina Barge studied Art History, Literature and Media Studies in Konstanz, Madrid and Dusseldorf. She worked with Galerie Hans Mayer, Dusseldorf and Van Ham Art Auctions, Cologne, before she moved to Berlin. From 2012 - 2021 she worked at Grisebach Auctions as Specialist and Auctioneer. In 2022 she joined neugerriemschneider gallery, Berlin.



Marlene Bart is a visual artist and editor of transdisciplinary publication projects such as the "Atlas of Data Bodies". Her multimedia artistic practice focuses on methodological interfaces between art and natural history. She works with prints, artist's books, glass, taxidermy and virtual reality. She studied fine arts at the HBK Braunschweig, the Villa Arson in Nice and the Art Center College of Design in Pasadena. Since 2018, she has been doing her PhD at the Bauhaus University Weimar on the topic of "The artist's book as a multimedia encyclopaedia". She is represented by Galerie Peter Gaugy in Vienna and is regularly featured in international solo and group exhibitions.


Credits: Portrait by Gideon Rothmann / Still from the Virtual Reality Animation, Theatrum Radix, 2022 / Mollusca Love Affair, Glass, 40 x 18 x 38cm, 2020, Photo by Gideon Rothmann / B R A I N, artist book, 29,7 x 42cm, 2016



Basic material of my work is found material. (photos, magazine cuttings...) I use exclusively found material from anonymous people. I am not interested in the original message or the content connection of  the found material, rather I try to filter out a certain emotional state and a new connection. I change only by a minimum intervention the original statement and put them in a new context. The subjects of my works are psychic and moral abysses, the physical decay of man, transience, network of relationships, limit states, loss of control and anxiety. I am analyzing the fragile context between deeply private feelings and social constraints. Nature who defines us and the human being trying to control it but ultimately has to succumb. Everyone fights this struggle inside oneself. The beast within us, the animal one tries to control yet that will always win, if you like it or not.


Credits: Entreakt, 2014 // Intervall, 2015 // Crucifixion (36Watt), 2015, photo: Catharsistudio



Janine Bean grew up in Mecklenburg in the former German Democratic Republic. She moved to Berlin in 1994, where she worked in the „Galerie am Wasserturm“ for two years. After finishing her studies in Museology at the FhTW, Berlin in 2000, she began working with several artists groups. In 2004 she founded the janinebeangallery. Since then, she frequently curates national and international exhibitions and projects. As a curator and gallerist Mrs. Bean promotes young and established art, emphasizing on exhibitions and projects with specific themes or working titles. For her, the close collaboration with the artists is important and necessary to develop themes in cooperation. Often, and ideally, a reciprocal inspiration among the artists and the curator is a result.


Credits: Portrait, in the exhibition of Grigori Dor, The Archeology of Dreams and Desires, 2015, photo by Matthias Bergemann // install view: Fairytale of Berlin, Los Angeles, 2009



Hannah Beck Mannagetta’s current exhibition project 2016 The impossibility of Being at Kunsthalle Exnergasse, Vienna, she curated, as well as the interdisciplinary guided tour format Walk the Talk, first created in 2014 for Berlin Weissensee School of Art, in cooperation with Lena Fließbach. 2008-13 she was co-director of the gallery Metro, Berlin. Most recently, she curated the group exhibition Friday the 13th | 13 – יום שישי ה at C1, Berlin. As chairwoman of the association she enables young people a glimpse behind the curtain of the Berlin art scene since 2007. 



Meta Marina Beeck studied Art History and German Literature at Humboldt University Berlin and was enrolled for Chinese language studies at Peking University, China. She graduated with a master thesis titled »Notation as a visual form of thought – John Cage, Allan Kaprow and Trisha Brown«. Several study and research trips brought her back to China and since 2015 also to Iran. 2015/2016 she worked at Kunsthalle Bielefeld as an assistant curator. Currently she is writing her PhD thesis on Anna Oppermann, who is one of the key figures of German Conceptual Art.

Her main research focuses on Notation Systems in the Art of the 20th Century, Video Art, Contemporary Art in China,Art and Propaganda, Feminist Avant-Garde.


Credits: Exhibition view, »A Historic Studio Of A Drunk Genius«, 2017, photo: Yuzheng Cheng // portrait, Yuzheng Cheng: »Meta Marina Beeck, Art Historian, Accidentally Spilled Wine on the Table While Flipping Through a Jackson Pollock Catalogue«, Oil on canvas, 45 x 40 cm, 2014.




Anne Bitterwolf studied art history, German literature studies and communication studies at Freie Universität Berlin and Università degli Studi di Napoli – L’Orientale, Italien. During her studies, she founded the blog On the Subject of … and was editor of the Berlin section of Currently, she's the curatorial assistant to the director of the Berlinische Galerie, where she oversees the video art programme and assists in the conception and realization of various exhibits. She is also a visiting lecturer at Humboldt Universität Berlin.



The Danish sculpturer Anna Borgman studied history of art at the Aarhus University and architecture at the Royal Danish Art Academy. She finished her studies as Meisterschüler of sculpture (postgraduate) at the Art Academy Berlin-Weissensee. Her installative work is often site specific and interacts explicitly with the environment. Thematically and in the choice of materials, she is directly inspired by her surroundings and every day life. In collaboration with Candy Lenk she has realized several works in public space; Together they have won and implemented numerous art in architecture competitions.


Credits: Anna Borgman, Battery Rack, 2018 // Anna Borgman, Himmelbett, 2016 // Anna Borgman and Candy Lenk, Radiator, 2017-18 // Anna Borgman and Candy Lenk, Wurf III, 2016 




Om Bori´s work combines still and moving images with different narratives genres, from memoir to documentary through to song and tale. It explores the intersection of visual and verbal exposition by means of videos, animations, drawings, objects, rhythms and algorithms. Point of departure are studies of a milieu, place or landscape and the human and nonhuman relations enfolding therein. Conceptually, it directs attention to how structural forces steer individual and collective lives, and how the individual and the collective attempt to resist such structural determination, whether through labour, hope, love, migration or madness.


Credits: mine, 2021, Kunstraum Potsdamer Straße // Maria-Josefin-Margarete, 2019, Künstlerhaus Wien // Der Apparat, 2020, MŰTŐ artspace



Simone Bruehl is a German-Italian conceptual artist living and working in Berlin. Her (often multi-media) works include objects, videos, photos, collages, paintings as well as interactive and participational installations with research and longterm character. She is mainly concerned with a philosophical approach to the arts, based on the study of being, in terms of what something is and of what something is able to become.


Credits: Portrait: Simone Bruehl //  Point of view, detail, installation, 2012 // The Globe, detail, participational installation 2012- continuing project  // o.T., object/multiple, 2013 




Kristina von Bülow is the founder and director of Novokolorit Kulturkommunikation in Berlin. As cultural

manager and art historian, she launched the business in 2014 after having worked for eight years for

international galleries of contemporary art and having earned the Master's degree. Novokolorit

Kulturkommunikation specialises in communication specifically for the cultural and creative sector –

from strategic concepts for communication and exhibitions, website development and layout to writing,

translating, and copy-editing. The twofold academic qualification in cultural management and art

history, combined with multifaceted international experience, ensures active and targeted

communication with a sense for the unique mindsets in arts and culture, for new creative connections,

and for intercultural dialogue.


Credits: 1, 3 © Falk von Traubenberg // 2, 4, 5 © Novokolorit Kulturkommunikation



The video installations and photographies of Yvon Chabrowski explore the construction of realities and historical awareness in a society that is determined by media images. Yvon Chabrowski transforms still media images into moving images which can be experienced through a projection in the exibition space.

The size of the projection is chosen by the artist to depict the people in the picture in lifesize. Thereby the viewer can become a participant in the performance.


Credits: Abduction, installation view, 2007 © Yvon Chabrowski & VG Bild-Kunst, 2016 // 

Afterimage/Protest, installation view, © Yvon Chabrowski & VG Bild-Kunst, 2016



Lisa Colin is a curator of contemporary art, living between Paris and Berlin. Her recent research focuses on languages, whether spoken or signed, as a political tool. First curatorial assistant at Bétonsalon - Center for Art and Research then at the Palais de Tokyo, she now collaborates with galleries, institutions, and artist support organisations in Europe, such as ADIAF. She is the co-founder of the collective Champs magnétiques, curating several group exhibitions with emerging artists. In 2024, she is the Artistic Director of Les Vitrines, an exhibition space dedicated to the French art scene at the Institut français Berlin. 


Credits: Portrait Lisa Colin, 2024, © Kathleen Pracht // Arthur Gillet, Tout ce dont vous n'avez jamais entendu parler, 2024, © Kathleen Pracht // Juliette George, Soixante-deux vœux français, 2024, © .Kit  // Auriane Preud'homme, By Gossip I Mean Contaminate, 2020, © .Kit



Christa Joo Hun D'Angelo is an American artist born in Busan, South Korea. D'Angelo's work encompasses a research based practice concerning the politics of representation regarding class, race, sexuality and gender. Her work explores post-colonial themes and the intersectionality of migration and sexuality through installation, video, sculpture and works on paper. She has been reviewed in Artforum, Art in America, The New York Times, and has exhibited at The Centre for Contemporary Art Glasgow, Volta Artfair, Somos Artspace and the Screen City Biennial and was the 2014 studio grant holder from District Berlin. 


Images: Portrait //  Exhibition View, Winner Takes All, Alpha Nova Galerie, Berlin 2016 // Installation View, Marit, 2014 // Past Present Tense Image Still, 2015



Sarah E. Davies is a freelance curator and consultant from Melbourne, living in Berlin since 2008. She studied Interior Design at RMIT University in Melbourne and Architecture at the Kunstakadamiets Arkitektskole in Copenhagen. She has worked for and consulted with several galleries and art organisations, most notably heading Circle Culture Galleries in Berlin and Hamburg as Gallery Manager and Co-curator between 2009 and 2013 and CFA Gallery between 2014 and 2016. She is currently producing the catalogue for THE BEACH exhibition series, which saw it’s two iterations in Berlin and Melbourne respectively, as well as collaborating with artist Gretta Louw on a digital online art project entitled the online body IRL.


Photo Credits: Portrait by Antje Taiga Jandrig // The Beach II: Nicky Broekhuysen & Joseph L. Griffiths, Bus Projects, Melbourne, by Christo Crocker // Cecily Brown: The Sleep Around and the Lost and Found, Courtesy CFA, Berlin, by Jens Ziehe // Curate Curiosity - Final Student Exhibition, RMIT Design Hub, Melbourne, by Alis Garlick // Jonathan Yeo: Under My Skin, Courtesy Circle Culture Gallery, Berlin, by Uwe Walter



Credits: Portrait by Mark Arvin // Painting in forest #2 - Animal Look, 2016 // Painting and Research - Studioshot, 2015 



Alyssa De Luccia is a visual artist, who lives and works in Berlin and New York. Simultaneous dualities is a recurring theme in her work. As an artist, she draws inspiration from unfamiliar environments with the knowledge that everything isn't what it appears to be. Alyssa DeLuccia engages in a range of disciplines which include photo-documentation, installation, portraiture and photo-montage and most recently drawing, reflecting her interest in formalism while at the same time following a strong tradition in feminism, surrealism and dadaism. While her work increasingly reflects these influences, in recent times it also leans towards a social and political statement of a society out of balance as well as paying homage to the work of Hannah Hoch, a pioneer of Photomontage and social criticism of mass media.


Credits: "HERE", 2019  //  "Terror with Theresa May turning her Back on Europe wearing Red", 2017 //

"Don't Fear", 2017.  Digital, printed on Fine Art Paper. © Alyssa De Luccia



After studying art history in Berlin and Rome, Daniela Dietsche worked for many years as a research assistant at the National Museums in Berlin. Then she worked in the field of contemporary art as a cultural manager and curator. Since 2015, she has been the managing director of the ADKV. Arbeitsgemeinschaft Deutscher Kuntvereine.



Djourina explores in her practice the nature of light through photographic experiments. She investigates the cause and effect of light phenomena on photosensitive paper, incorporating characteristics of several genres: By means of various light sources, a performative movement, an object or a combination of both effects is traced, whereby a painterly gesture is captured in the process of analogue photography. Individual series concentrate on the interplay of concrete impulses, narrowed down and repeated until the desired aesthetic is achieved. In doing so, the hidden is given a photographic expression, the ephemeral is secured and the potential of light as a medium achieves visibility.


Credits: Untitled, 2020, direct exposure on analog folded photo paper, photo: Luis Bortt / Kunzten // Untitled, 2020, direct exposure on analog photo paper, photo: courtesy galerie burster // Untitled, 2020, Kirilian photograph, detail // Untitled, 2020, direct exposure on analog folded photo paper, detail; photo: Luis Bortt / Kunzten



Claire D’Orsay moved to Berlin from Brooklyn in 2010 after finishing her MA in Psychology. Immediately inspired by the opportunities and freedoms in Berlin, she moved quickly into the arts scene, working at Bilderrahmen Landwehr. She began privately exploring more intimate and unique options for custom framing, and opened her own boutique picture framing store 2014 in Kreuzberg: Frameworks Berlin. Frameworks creates a novel, professional, and intimate experience in the field of picture framing, through personal connections with artists and customers. In addition to traditional custom framing, they provide workshops, rental frames, art, and pre-made frames.



Marie DuPasquier is a freelance museologist and curator living in Zurich and Berlin. She studied art history and museology at the University of Neuchâtel in Switzerland (MA, Eugene Ferdinand Piccard Award, 2012). In her recent researches, she focuses on exhibition design and devices, the activation of image systems and the interlacing of bodies, behaviours, architecture and materials in space, under the idea of « Contact Zone ».  Since 2015, she is the director of Display, space for artistic and curatorial practices in Berlin (DE). In 2018 and in 2020, Display was awarded by the prize for project spaces of the City of Berlin. She collaborated with Mumbai Art Room (IN), Kunsthalle Neuchâtel, CAN or Zurich Art Weekend (CH), the Mulhouse Biennial of Photography or Les Rencontres de la photographie d’Arles  (FR), The Others; Torino (IT), Berlin Art Prize, Berlin Art Week, Horse & Pony, Berlin (DE), Greylight Projects or Poppositions, Brussels (BE).


Credits: Portrait Marie DuPasquier / Neha Kudchadkar / Eva Funk / Dominique Hurth  - All Photos by Chroma



Thea Dymke worked on the repositioning and communication strategy of Berlin-based ZKR – Zentrum für Kunst und öffentlichen Raum Schloss Biesdorf. The institution explored contemporary art and art from the GDR and the interaction between art, architecture and public space. As well as in her former occupation at Bundesverband Deutscher Galerien (BVDG) she manages the communication tools and fosters exchange, innovation and collaboration within the art scene. One of her main concerns is the digitalization and its impact on the art world.


Credits: anniversary book cover 40 years of BVDG // event: in Dialog, at Commeter gallery, Hamburg, July, 2014 / persons (f.l.): Thomas Levy, Prof. Barbara Kisseler, Thea Dymke, Bert Atonius Kaufmann, photo: Bildagentur Abi Schmidt // Schloss Biesdorf, photo: Lutz Wasserkampf

SALOON BERLIN © 2012–2022