Members L–R



Ines Lechleitner is an artist using a varity of mediums such as photography, performance, sound, video, drawing and scent. Her research focuses on systems of nonverbal communication and aims for situations of interdisciplinary dialogue. Selected shows: Friends With Books, Hamburger Bahnhof, Berlin; The Inner Acoustic, Errant Bodies, Berlin, 2015; PER/FORM, CA2M Centro de Arte Dos de Mayo, Madrid, 2014; Imagine Two Rivers, Galerie für Landschaftskunst, Hamburg; Platzwechsel, Galerie Nagel Draxler, Cologne, 2013; Le son des mots, Fondation Cartier, Paris; Objets Reposés, M_Museum, Leuven, 2012;


Credits: Four to Two Feet, 2015, Installation and performance by Ines Lechleitner with Alice Chauchat, Part of exhibition I have always imagined that paradise would be some kind of library at Hamburger Bahnhof, Photo © Friends With Books // Imagine Two Rivers: The Search for the Elbe—Yamuna Perfume, 2013 // Silver Back, 2012






Niina Lehtonen Braun studied fine arts at the Helsinki Academy of Fine Arts. Since graduating in 2000, she has lived and worked in Berlin. Her collages, which at first glance seem light and cheerful, trace ambivalent, often taboo subjects, with the role of women in the context of domestic violence, alcoholism and loneliness, as well as the fear of being overwhelmed as a mother. Kerber Verlag has published three artist books, „Mother Said“ (2013), „These Foolish Things Remind Me of You“ (2016) and „Let Go Girl „ (2021) featuring her work. Niina Lehtonen Braun is part of the performance group JOKAklubi and member of the Berlin project space HilbertRaum.


Credits: Photos by Stella Braun, Timothy Haccius & Mirka Raito; JOKAklubi performance "The Theory Show", ASC Gallery, London, 2022; Installing "Woman was not alone" -exhibition, Galleria Huuto, Helsinki 2022;  Collage "Untitled (Painter sawing birch log)", 2022.



As director of Contemporary Fine Arts, where she has been working since 2010, she is particularly responsible for sales and the customer and collection liaison. Her field of action also comprehends artist support and exhibition arrangements in general. A number of times in the year, they show their artists' works at art fairs, such as in New York, Hong Kong, Basel, London, and Miami.


Credits: Portrait by Andrea Stappert / Installation view Georg Baselitz, Sigmunds Höhle, 2015, photo: Jens Ziehe / Courtesy CFA Berlin 



The curator Nicole Loeser founded her label WHITECONCEPTS in 2009. She has curated numerous exhibitions with renowned partners, e.g. Rivers and Trees (2015), The inner wealth (2014), Money Works Part I (2013), Impossible? (2012), The Golden Cage (2012), The universe is built on a plan ... (2012), The end of the dream (2011). As an art critic, she contributes texts on contemporary art and is editor of catalogues and monographs (p.e. Katrin Korfmann, Thorsten Goldberg, Elmar Hess). Additionally she serves as project manager of socially and environmentally engaged art projects (Battlefield Love Memorials, The Tree Walker). WHITECONCEPTS focuses on artist and project management, art consulting and exhibitions in collaboration with international artists, institutions, collections and enterprises.


Exhibition views: The affective turn, 2016, Photo © Andreas Wengel // Ensembles assembled , 2014, Photo © Katrin Korfmann // Preview Berlin, 2011, Photo © Nicole Loeser, Battlefield Love Live, 2015, Photo © BLM



Anja Lückenkemper is a writer and curator based in Berlin with work experiences in institutional as well as non-institutional contexts. She is interested in questioning labor and labor conditions – focussing on a feminist perspective –, as well as in the (artistic) construction of identity. In January 2016 she was appointed artistic director at Kunstverein Göttingen and continues to write for artist publications and exhibitions catalogues among others.


Credits: From the magazine: ANGRY TIME #2 Shadow Work, 2015, with Anna Dobrucki, photos © Michael Kohls 



Maria Lukomsky is a Berlin-based artist who graduated with a bachelor's degree in Graphic Design. Her artistic exploration primarily focuses on watercolor painting, drawn to its transparency and spontaneous qualities. Maria's current work delves deeply into themes of motherhood and attachment, capturing personal moments with abstract forms and vibrant colors. As a full-time artist and mother, Maria's paintings challenge norms and authentically express her identity. She finds endless inspiration in teaching art to children, viewing them as a boundless source of creativity and joy.


Credits: Maria Lukomsky



Cora Marin is a multidisciplinary visual artist and researcher based between Berlin, Barcelona, and Athens. She holds a Fine Arts Diplom and Meisterschulerin Degree from the Kunsthochschule Weißensee Berlin (coursed under Nader Ahriman's mentorship). She also has a background in Philosophy and Comparative Literature, which is present in the constant mergence of ‘the seen’, ‘the thought’, and ‘the written’ in her work, and explains her literary/conceptual contributions and collaborations with several independent publications. She is a self-published author and internationally-exhibited artist working on a wide range of media, although most known for her collages and socio-political and satirical subject-matters. Outside of her own artistic practice, Cora works as an art educator, director, and activist in cooperation with several cultural institutions and art galleries throughout Europe.


Credits: Portrait: Roberta Stein // A Tale of Asphyxia, Exhibition Momentanaufnahmen der Unendlichkeit, 2021, Neues Kunsthaus, Ahrenshoop // New Forms of Agency, Collage and Mixed Media on Paper, 2020, Berlin 



Sarah Maske is an independent curator and researcher based in Berlin. Currently she is working as doctoral researcher and curator at Daimler Art Collection in Berlin. Additionally she is involved in a long-term ecological art project called “Sandsturm - And Then There Was Dust”, which will be finalized with three exhibitions in Berlin, Istanbul and Tehran.  She is a doctoral student at University of Potsdam and researches about Ecological and Generative Art as well as processes and their visibility in art. In the past she has worked on numerous exhibitions, e.g. at Museum Morsbroich, Museum Wiesbaden and ZKM | Center for Art and Media, Karlsruhe and has been a scholar at Brandenburg Center for Media Studies.



Emily McDermott is a freelance writer and editor, who focuses on visual arts and culture. She is currently completing a Fulbright grant for Young Professional Journalists and her writing has been published by i-D, ARTnews,, Interview magazine, W magazine, Nylon, and T: The New York Times Style Magazine, among others. Commissioning clients include Carbon 12, Dubai; SAVVY Contemporary, Berlin; Iwalewahaus, Universität Bayreuth; and Before moving to Berlin, she was the digital art and music editor at Interview magazine in New York. She graduated as valedictorian from New York University’s Arthur L. Journalism Institute and her thesis was a finalist in the 2015 Hearst Multimedia Enterprise Competition.




Sylvia completed her studies in art history, psychology and classical archaeology with a dissertation on Willem de Kooning. As a DAAD scholar she did research in Rome and New York. Her professional stations include Deutsche Bank Collection, Deutsche Guggenheim Berlin, Schirn Kunsthalle Frankfurt, Justus Liebig University Gießen, Philipps University Marburg and Deutsche Akademie Rom Villa Massimo, where she was the artists' liaison. In 2018 she founded “Art and Audience”. Her focus is on direct collaboration with artists, institutions and media. Since 2019 she is Managing Director of the Mart Stam Gesellschaft.


Credits: Portrait // Exhibition view “Innere Orte. Fotografien von Mirjana Vrbaški”, Kulturhaus Karlshorst, Berlin, 2019 // Catalogue “Inner Places. Photographs by Mirjana Vrbaški”. Photos: Stefan Kobel, Mirjana Vrbaški, Sylvia Metz.





Sophie Michel studied art history, philosophy and Romance philology in Berlin, Kiel and Paris. During and after her studies, she worked for galleries as i8 (Reykjavik), Daniel Marzona (Berlin), Grundemark & Nilsson (Berlin & Stockholm) and for the private collection Safn (Reykjavik & Berlin). After two years working for the press office of Galerie EIGEN + ART Leipzig/Berlin, she is now Head of Press & Communications at Haus am Waldsee (Berlin). Based in Berlin, she also works as freelance writer in the field of contemporary art.



Beatrice Miersch is a Berlin based curator, researcher, lecturer. She holds a PhD in Art History. Within her curatorial work, her academic research and teaching, she loves to combine practice and cultural theories – preferably interdisciplinary with a political oriented team and from different fields. Her Dissertation is a queer-feminist and a radical-relational approach of curatorial work: “Queer Curating. To the moment of curatorial disruption” develops alternatives to power structures and normative ways of curating within the museum exhibition system.


Credits: Martin de Crignis



As an artist Miller works primarily with ceramics and installation, often site-specifically, and often in modes of collaboration with others, often with a focus on thingness, texture, symbolic mutability, negative space and embodied affectivity. She cofounded and codirects the Berlin Art Prize, an independent art award, coorganizes the Refugee Phrasebook and the Utopian Union, and codirected the campaign for Time Grants in 2015. She exhibits internationally. · · ·


Credits: Portrait: Alexander Coggin // domestic exoskeletons, α,β,γ, 'he was there when I first smelled the smell, and now he is the smell', Rinomina, Paris, 2016, photo: Quentin Dubret // Terminal Screen Vision, 'Objects in a Room', Kunstraum, Kreuzberg, Berlin, 2014, photo: Christian Rose // Perfect for Your Beach Home, 'Konkrete Utopien', Berlin, 2015, photo: Blanca Gomila


Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore the paradoxical subjectivity of connected bodies and the friction at the frontiers between virtual and physical worlds. She creates intricate universes, occupied by misfits and recluses and populated by strange devices and artefacts. These speculative fictions and environments are conceived using a mixture of obsolete and pioneering technologies, and informed by the history of cinema and broadcast technologies. Lauren completed her studies at the College of Fine Arts (AU), Université Paris VIII (FR), and at Le Fresnoy Studio National des Arts Contemporains. She lives and works in Berlin.


Credits: Lauren Moffatt / Le Fresnoy 



MOON Martina Zelenika is a Croatian-born and Berlin-based interdisciplinary artist, a founder and art meditation facilitator at Vibrations Matter in Berlin. She took a master's (2006) from Video and New-Media at the Academy of Visual Art and Design of Ljubljana University. Through innovative methods, the artist explores and creates art projects which are related to the theme of post-humanism. She establishes a link between spirituality, philosophy, alchemical practice, and the latest digital technologies. Inspired by cosmology, geo-philosophy, and metalanguage, her interest is focused on creating different realities to express vibrations/energies/frequencies such as sound visualisation, data sonification and more.



Credits: 6thSENSE (MSSS) – AR, image sonification, photo credit: Nevio Smajic, 2018 // Meta_Signal Sonar System (MSSS) - drawings, photo credit: Martina, 2017 // INTROVERSION – video installation, photo credit: Martina, 2019 // RECEPTILIUM (MSSS) – performance, data sonification, photo credit: Nevio Smajic, 2018 



Maria Muñoz came in 2009 to Berlin with a DAAD-Scholarship, where she obtained her Master Degree (Meisterschüler) at the Universität der Künste. Within her artworks she confronts how we perceive space. Her sculptural wall pieces, site-specific installations made out of wood and drawings explore visual perceptions based on abstract spatial compositions and colorful structures. They challenge the viewer to question the reliability of the visual information served to us. In this manner she aims to bring the visual perception of Art on to an existential level: in terms of what and how we see? · ·


Credits: Lemniscata, Wallpiece, Sexauer Gallery, Berlin, 2015 // Alltagsgeometrie, Wallpiece, Berlin, 2015 // Interruption, Installation, 3 parts, Kunsthalle M3, Mengerzeile, Berlin, 2013 



Yvette is co-founder and director of the platform Contemporary And (C&). Yvette is also curator-at-large at Stedelijk Museum, Amsterdam and lectures at the Institute of Art in Context at the UdK, Berlin. She was part of the curatorial team of the 10th Berlin Biennale and Guest Professor for Global Discourses at the Academy of Media Arts Cologne. 2012 to 2016 Yvette was curator at the Weltkulturen Museum, Frankfurt a. M. She holds a PhD in art history from Birkbeck, University of London. Yvette was awarded "European Cultural Manager of the Year" in 2020, together with Julia Grosse.




Was for her dissertation as Visiting Scholar at Columbia University, New York City. Doctorate (Dr. phil.) on a question at the intersection of urban anthropology, cultural studies and art studies, Humboldt University Berlin. Published her dissertation under the title "Kunst baut Stadt. Künstler und ihre Metropolenbilder in Berlin und New York" (transcript Verlag). She has worked since 2007 as an independent curator for exhibitions such as the 5th Prague Biennale, the Center of Contemporary Art Thessaloniki, Stills Edinburgh, Museum Angewandte Kunst Frankfurt/Main and the Finnish-Institute in Germany. Since April 2018 she is the program coordinator and curator for the Schwartzsche Villa of the Steglitz-Zehlendorf Department of Culture.


Credits: Portrait Christine Nippe, Fotografie: Christina Dimitriadis / Ausstellungsansichten Sur/face.Spiegel, Museum Angewandte Kunst Frankfurt/Main 2017, Fotografie: Anja Jahn / Buch Nasan Tur "Back and Forth", Fotografie: Nasan Tur / Buch "Kunst baut Stadt. Künstler und ihre Metropolenbilder", Grafik + Fotografie: Catherine Nippe 



Jennifer Oellerich is moving in between science and and poetry, watching, collecting and archiving precipitations like rain or snow. Water is the starting point for her to reflect upon the existential conditions of our being. She studied with Tony Cragg and Florian Slotawa at UDK Berlin. Since then her works have been shown in numerous solo and groupshows, e.g. in Israel, Istanbul, Athens and New York. There appeared publications at Monopol and Tagesspiegel, her works can be found in many collections at home and abroad. The artist is represented by KWADRAT gallery in Berlin.


Credits: Portrait by Bernhard Volkwein //  The Hidden Hexagon, ceramics, varnish, wood, glass, dimensions variable, 2014 // Histories, found analog photos damaged by water, plexi glass, wood, varnish, 18x30x15 cm, 2013 // Epsylon Lyrae, digital c-print, 110x160 cm, 2017




Sarah Oh-Mock's surrealistic video works, installations, objects, photographs and drawings deal with the relations between culture, artificiality of urban spaces, nature and the subconsciousness. She often works with hand-made models and analogue as well digitale costumes. After finishing her media art studies as Meisterschüler at UDK Berlin, she won several residencies, awards and scholarships, like the award of Senate Berlin for female video artists in 2018. She  runs the German- Korean „oMo artspace“ in Berlin-Neukölln together with her partner Bongjun Oh.


Image credits: Portrait by Bongjun Oh // exhibition view „Sarah Mock. In between“, Museum Pfalzgalerie Kaiserslautern // Videostill „ The Deluge/ 대홍수/ Die Flut“ // exhibition view „You want it darker“ by Dirk Übele



Yuka Oyama is a Japan-born German artist who grew up in Malaysia, Indonesia, Japan, USA, and Germany. Oyama is working at the intersection between wearable sculpture, performance and video. By basing the wearable sculptures on interviews with individuals, Oyama's sculptural objects reveal the inner worlds of wearers. Oyama invites the subjects to engage in performances wearing the sculptures, which she documents through photography and video. Oyama explores to understand how emotionality in worn objects shape identity, amplify imagination, and generate connections between people.


Credits: Portrait // Vanessa Madec. Artworks // Alex Efimoff // Attila Hartwig // Becky Yee




Hannah Parr (b. 1984, UK) is a Swiss-based artist. Her experimental practice in Object art, sculpture, installation questions formalism, social structures, consumer culture, and addresses social survival and transformation strategies. Her works are based on specific self-developed working processes; for years, she has been collecting and sorting materials, typically from domestic or manufactured sources. Transforming ‘object’ to subject through the process of re-categorisation, displacement, and isolation, she speculates within a relative realm, where subtle interventions, quiet humour reaffirm the intellectual, virtuous, and emotional potential of materials and recovering their capacity as tools for critical analysis.


Credits:  Great Hair, 2019, Used paintbrush, synthetic blonde hair Size variable // Ironing board, 2020 , TEFAL Ironing board, construction site barricade wood panels and contact adhesive, 96cm × 120cm × 40cm // Heroic Mistakes, 2021, Found stakes of wood in various workshop bins. 96 x 47 x 10cm 



SUNNY Pfalzer is a performance artist, who studied Visual Art in Vienna and Mexico City. Their methodology builds on embodied and representative attributes of protests and on the possibility of turning “being together” into a tool for empowerment. SUNNY investigates the strength and perils of anonymity and communal bodies in public space and how we can embody sensitive ways of relating to our surroundings, informed by its political and historical complexity. They contextualize this inquiry in poetic and flirtatious performances, time based media and textile sculptures, confusing the lines between the fictional and real, the private and the public.


Image Credits:  Portrait (c) SUNNY Pfalzer  (using an elf filter by @bahbydoll) /  (c) Amit Elkayam / (c) onsoh edward / (c) Savannah Thümler



Karoline is the Managing Director of Independent Collectors, the first online platform to share the passion of collecting contemporary art. Since its launch in 2008, over 5.200 collectors from 97 countries are registered on IC. Prior to that, Karoline worked for a number of different institutions within the cultural sector in cities such as Berlin, Paris and New York. From 2010-2012 she was responsible for the Freundeskreis der Kulturstiftung der Länder and also held the role as Project Manager for handl.e, working on the conception and realization of artistic interventions in organizations.


Credits: Portrait © Anastasia Muna



Reflecting reflection: These terms with their philosophical and physical double interpretation of thinking and mirrowing are central to the art of Sophia Pompéry.The magic of Sophia Pompéry’s conceptual work arises from her fascination with physical and optical phenomena, a fascination that focuses on apparently everyday occurrence and brings the unique in it to sight. She takes the commonplace and then invents a situation in which it becomes divested of ist ordinariness. And suddenly, our supposedly rationally ordered world is turned topsy-turvy.


Credits: Portrait © Honeybunn Photography // Palindrom, 2015 // Blindschlange, 2015 // Berkeleys Katze, exhibition view, Wagner + Partner, 2015 // images of the works and exhibition view: Courtesy Sophia Pompéry, Galerie Wagner + Partner, Berlin



Lisa Premke’s large scale site specific sound installations and performative acoustic objects search for traces of collective systems in everyday objects and mass produced materials. With the aid of motor systems the objects rub, hit or caress each other, creating their own movement, independent voice and narration. Lisa Premke first studied architecture and later Fine Arts at the Gerrit Rietveld Academy in Amsterdam before earning her Master of Sound for the Moving Image at the Glasgow School of Art. She works as well as a sound and space designer for film and stage.


Credits: Portrait © I. Borchart // Soft Power: Neighbours © S. Tagami // Soft Power: Brush I © S. Tagami // Glatt, Glatt, Glatt © L.Premke // Singing Patterns © L.Premke



Gina Reincke studied art history and Italian studies at Humboldt Universität Berlin, Università di Bologna and Freie Universität Berlin. During her studies she worked in several art galleries (Croy Nielsen, CFA a.o.) as an artist and exhibition manager and at the art magazine frieze. Lately, she was the Director of Future Gallery and additionally the curator of several exhibitions. At the moment she is working on independent curatorial programs.




Credits: Installation views: Kunstmuseum Stuttgart "Mixed Realities“ (Projekt mit Spiros Hadjidjanos: HD/VR Sculpture), 2018 // Oskar Koliander „Intelligo“, Future Gallery Berlin, 2018 (photo credit: Andrea Rossetti) // Henri Haake „Panorama", Souterrain Wien, 2018



Yvonne Reiners sees mediating as an artistic research process in itself that allows for enquiry – to re-imagine, re-arrange, and experiment with its methodology and ways of communication. She studied art theory, art mediation and fine art at the Hochschule für Bildende Künste (University of Art) at Braunschweig, Germany and finished her diploma in July 2012. Afterwards she started her doctoral thesis on Performative Conversation as Material in Art at the HFBK Hamburg. In 2014 she initiated the salon-series Performing Encounters. This long term project, which was awarded a research stipend by the city of Berlin in 2015, focuses on games as an area of research. As a holder of a stipend awarded by the nGbK Berlin 2015/16 in the area of art mediation she is currently developing a special mediation project together with a computer.


Credits: Portrait by Aleksander Komarov, 2015 / Performing Encounters 1, Img: Heiko Pfreundt, 2015 / Performing Encounters 2: Img: Sebastian Körbs, 2014 / Performing Encounters 3: Img: Emma Haugh, 2014



Mirae kh RHEE (이미래/李未來) is a transnational, transracial identified artist that creates complex Gesamtkunstwerke (total-works-of-art) that tell autoethnological narratives, incorporating social intervention, participatory performance, drawings, installation, and new technologies.


Recent solo exhibitions include Korean Cultural Center LA, Museum für Asiatische Kunst Berlin, Paul Robeson Galleries Rutgers University, SOMA Artspace Berlin, and Baruch College NY, along with recent group shows at the Tieranatomische Theater, Incheon Art Platform, MARKK Hamburg, Pacific Asia Museum Pasadena, and Galerie Wedding. RHEE is preparing for future presentations at the JTBC Seoul Marathon, the Residenzschloss Dresden, the Museum für Asiatische Kunst Berlin, and the San Diego Museum of Art.


Credits: 1: These are not books…2022 © Choi Chul Lim; 2: Double Eyelid Tape Tutorial, 2016 © courtesy of the artist; 3: The Multiverse Portraits, 2015-16 ©Jens Ziehe; 4: And then there were none., 2015 © courtesy of the artist




Nina Römer studied painting at the Kunstakademie Düsseldorf and became together with Torsten Römer Master Student under A.R. Penck. In 1998, they joined forces as the artist duo and couple Römer + Römer. They are internationally known for their independent and distinctive position in the art world. They are combining digital photography and analogue painting techniques in their artistic approach. The stories of their paintings, which are based on photographs taken on their journeys, tell us about subcultural happenings and utopic celebrations, of community spirit and the desire for freedom, like they experienced on the Burning Man or Fusion Festival.


Credits: Portrait Nina © Octavia Oppermann. Portrait Nina und Torsten © Ernst Stratmann. Exhibition view Haus am Lützowplatz Berlin © Eric Tschernow. Paintings Römer + Römer: House of Enlightenment (2018), 7:30 between GlamCocks and Contraptionists (Detail, 2018)



Ann-Kathrin Rudorf studied media arts (BA) at Bauhaus University Weimar and Art in Context (MA) at the University of Arts Berlin. Her research focusses on non-profit art organizations, art and participation, utopias and the sense for possibilities. From 2014-2018 she was the manager of the International Studio Program of the City of Weimar and ACC Galerie on the annual themes: The Politics and Pleasures of Food (2014), Does Humor Belong in Art? (2015), The Art of Simulation (2016), A Romance with Revolution (2017) and Solidarity – Now more then ever (2018). From 2013-2015 she worked for Galerie EIGEN+ART Leipzig/Berlin and was the director of Galerie Bernau from 2017-2019.


Credits: Installation View, stone27 - Benjamin Langholz, Black Rock Desert, Nevada, 2019, Photo: Verena Ledig // Installation View, Did you mean Bauhaus?, Galerie Bernau, 2019, Photo: Analena Schnick // Installation View, Alle Achtung - Über die Ökonomie der Aufmerksamkeit, ACC Galerie Weimar, 2016, Photo: Claus Bach

SALOON BERLIN © 2012–2022