Members S–Z



A central theme in Ina Sangenstedt's work is the common denominator between different kinds of creatures which are extremely similar on the one hand, but at the same time strongly differ from each other. She is interested in the animal, particularly with regard to its potential as symbol of society and culture. Animals play an important part in a variety of contexts to which the artist refers and whose language of form she quotes. By doing so, she creates cult objects which proclaim the exhibition space as a secular space of cult, in which people strive to find their faith as well as satisfy their yearning.


Credits: Tisch (Tier) / Table (animal), 2008 // Prinzip / Principle, 2012 (Photo: Gerald Imhof) // The Lamia, 2014



Curator Tina Sauerlaender focuses on the impact of the digital and the internet on individual environments and society as well as on virtual reality in visual arts. She is Artistic Director of the VR ART PRIZE by DKB in Cooperation with CAA Berlin. With her independent exhibition platform peer to space she has been curating and organizing international group shows since 2010. She is Co-Founder of Radiance VR, an international online platform and research database for virtual reality experiences in visual arts. She is a PhD Candidate at The University of Art and Design Linz, Austria. Her research topic is artistic self-representation in digital art. She is the founder of the SALOON.,,


Credits: Portrait: J. Pegman, 2020 // Exhibition views: The Unframed World, HeK Basel, 2017, Photo ©  Franz Wamhof / Speculative Cultures, Parsons/The New School, New York, 2019, Photo ©  Marc Tatti / PORN TO PIZZA—Domestic Clichés, DAM Gallery, Berlin, 2015, Photo © Marcus Schneider / Entering Space, m3 Kunsthalle, Berlin, 2013, Photo © Alena Kühn 



Fiene Scharp  studied Fine Arts at UdK Berlin with Gregor Schneider and participated in numerous exhibitions in museums and galleries in Europe, North America and Southwest Asia. She has received several awards and scholarships. Her works are represented in public collections such as Staatliche Museen zu Berlin or Kunstmuseum Stuttgart. Patterns and serial structures are basic elements of her work, which merges them into a fine gridwork of lines. The manual process leads to a minimal unevenness of otherwise strict patterns and grids. Against this background, for example, delicately rastered paper cut drawings hanging freely in the room show their ambivalence between graphic and sculpture.


Credits: Portrait © James Robinson //  Images of artworks: Untitled, 2015, detail, papercut / Facade II, 2016, papercut between glass plates // Untitled, 2016, Detail, graphite on metal /  all: Courtesy the artist and 401contemporary /  Photos: setform



Julia Schiller works as Art Director and Creative Director for global brands & smaller clients, preferably in the cultural sector. As Art Director she was part of team who created the website of Work.Life – Panasonic LUMIX Award 2010 and won the Red Dot Award in the category communication design. In 2010 she co-founded Actual Colors May Vary {ACMV}, an international online magazine for contemporary photography. In March, 2015, she launched PiB | Photography in Berlin – a platform for fine art photography, dedicated to presenting highlights from Berlin's versatile photography scene.


Credits: Portrait by Oliver Schneider // PiB | Photography in Berlin © Julia Schiller // Actual Colors May Vary {ACMV} © Julia Schiller // untitled, 2012 (detail), from the series “Almost There.” © Julia Schiller





Katharina Schilling studied art history and linguistics at RWTH Aachen and FU Berlin. She worked for Suermondt-Ludwig-Museum Aachen, Akademie der Künste, Goldmann PR and DNA Gallery in Berlin. Since 2003 she is the curatorial assistant and office manager at Haus am Lützowplatz, Fördererkreis Kulturzentrum Berlin e.V. (HaL). Curated exhibitions (selection): Jim Avignon, me and the establishment (2011, HaL - Große Galerie + Studiogalerie), Herakut, Jukebox kontrovers (2012, Große Galerie), Ekaterina Burlyga / Felix Kiessling, ALLE GEGEN ALLE (2014, Lady Fitness, Berlin).


Credits: portrait by Sebastian Bolesch // exhibition view: Jim Avignon, photo: Uli Klose // exhibition view: Herakut, photo: Jirka Jansch



Peggy Schoenegge is a project manager & curator for peer to space. Additionally she assists janinebeangallery with projects and co-curated the gallery’s show URBANFUSE (2013). She completed her bachelor degree in art and image history in addition to social science at HU Berlin. Her bachelor thesis is about Valie Export’s performance Kausalgie and the staging self. Now she is working on her master degree in art history at TU Berlin. She focuses on art from the 1950s onwards, in particular performance and new media art in the context of gender.




Ann Schomburg (*1984) lives and works in Berlin and Frankfurt am Main. Schomburg is focused on playing giving structures in her own sense to blur the lines between life and art. Her latest project The Idling Mobile is a hybrid object: a sculpture which transforms into an artist in residency program, inviting artists into exhibitions, and residencies she was invited to as part of the artwork.


Credits: portait by Benjamin Brix // The Idling Mobile, 2015 Ann Schomburg // 12 Lovers, Photo/Sound Installation, 2012 Kati Liebert // Sculpturemachine, 2014 Kati Liebert




Theresa Schubert is an artist and curator and has a Ph.D. in Media Arts from the Bauhaus University Weimar. A key element in her artistic practice is the experiment, whereas she exceeds traditional boundaries of the visual arts by including new technologies and life sciences. Organic materials and living organisms become part of the artworks and collaborators in the work process. This manifests in various media, from video, photography and performance to algorithmic installations as well as drawings. Her work has been exhibited internationally, ia. Ars Electronica Linz, ArtLaboratory Berlin, KW-Kunstwerke Berlin, Newcastle Region Art Gallery, Istanbul Biennial, European Media Art Festival, Museum Villa Roth.


Credits: Theresa Schubert, still from the video "Chroma+Phy", Photo: Kristefan Minski // The Forestal Psyche, exhibition view, FineArt Print and sculpture in collaboration with Attilio Tono, 2017 // Growing Geometries, living installation and video, 2016 // Somniferous / Observatory no.7, LightJet Print,  90x65cm, 2012



Dagmar Schürrer is an artist working with the moving image. She assembles found footage, digitally generated objects and animations, text, drawing and sound to form intricate video montages, evocative ofpainting, collage or poetry. Her videos reflect on the surface of digital imagery and their patterns and repetitions, on late capitalist paranoia and projected utopian futures and our relationship to technological development within the digital and the analog.


Credits: Artist Portrait: Xiaofu Wang // Ideal Deficiency, 2016, Videostill // Hard Wet Soft, 2018, Videostill // On Longing, 2018, Exhibition view Centrum Berlin, Photo: Ute Klein



Madeleine Schwinge is a multidisciplinary artist focusing on IDENTITY and TRANSFORMATION. She studied art history (FU Berlin) and curation (UdK Berlin) and was tutored by distinguished artists. Her work has been published in exhibition and science contexts and was nominated for The Social Art Award in 2019. It merges painting, collage, print, object, installation and texts with lecture performances to a 'Gesamtkunstwerk'. Born out of her passion for human evolution and the changing world she founded the re:future Lab with the ambition to explore how art can catalyse a mindset revolution and help make the world a better place.


Credits: Portrait by Olivia Haudry // Images of artworks: End of the night (The Psychedelic Chicks), detail, 2019 / Prepare the ark (The Psychedelic Chicks), detail, 2019 / Logo re:future Lab / all: courtesy the artist



Lisa Seebach is an artist mainly working with installations, sculptures and drawings. Her sculptures are appearing like enlarged scenographic drawings transcribed in space by blurring the boundaries of the mental and physical, the material and immaterial space in order to create psychological spaces, bodily experiences of thoughts. The use of handmade glazed ceramics and steel typifies her work. She received various scholarships / grants e.g. New York Stipend (Niedersächsisches Ministerium und Sparkassenstiftung), Stiftung Kunstfonds, Friedrich Vondemberge Stipendium (Stadt Köln).The artist is represented by Turn Gallery (N.Y) and Meliksetian / Briggs (L.A.). Seebach´s work is exhibited internationally.


Credits: Parallel Shifts And Aquarium Views, 2017, photo: Jenny Gorman // Soft Architecture, 2018, Installation View, Meliksetian, Briggs Gallery, L.A., photo: Michael Underwood // And It Was All A Dream, 2018, photo: Achim Kukulies// When The Stage Turns Dark Tomorrow, 2018 photo: Achim Kukulies 



Writing about sexuality and sensuality," says Anaïs Nin, "has nothing to do with pornography. For me, writing erotica is wild poetry." The same is true of Tanja Selzer's painting. She, too, is interested in the voyeuristic gaze of a society that, however, rarely openly admits to it. The artist's painting style is also poetic. The softly applied, light colors create a melancholy that envelops the viewer and establishes an intimate closeness. Her mostly large-format works appear like snapshots, revealing that films are her main source of inspiration.  Tanja Selzer's works are exhibited internationally and are represented in public and private collections. The artist lives and works in Berlin.


Credits: Portrait © René Fietzek// Studioansicht, photo: Tanja Selzer, 2021 // Works (c) Tanja Selzer, 2021



Keren Shalev is an artist working mainly in the fields of drawing, sculpture, and installation. In her works, she explores structures that evoke mental images through their physical qualities.

Keren has obtained in 2009 her B.A. in Fine Arts at the University of Haifa (IL), in 2010 completed a Teaching Diploma in the Kibbutzim College of Education (IL), and in 2014 she studied Museumskunde (DE) in the HTW Berlin.

Keren Shalev ́s works have been exhibited among other places in the Jewish Museum Berlin, a permanent sculpture at Max Planck Institute for Human Development, Berlin; Schlosspark Stammheim Köln, Radial System V; Berlin, Starke Stiftung, Berlin; Tête, Berlin; Haus am Kleistpark, Berlin; Helmut, Leipzig, and Kreuzberg Pavillon.


Credits:  Portrait photo is by Anna Motzel. All other photos are by the artist.



Ivana Sidjimovska is a visual artist, researcher and educator. Her interest lies in critical engagement with topics of migration, transculturality, a-nationalism, decoloniality and belonging as related to her biography and a wider contemporary context. Her professional backround is in art, digital media and urban practice. With this transdiciplinary expertise she utilizes a wide range of methodologies – mental mapping, walking, soundwalking, interviewing, oral history telling, audio-visual documentation, archival research. She creates audio walks, 3D and audio-video installations in public spaces and cultural venues, conceptializes and gives workshops, trainigs and seminars, conducts research and publishes monographs.


Credits:  1: Recounting Skopje, 2018 © Ivana Sidjimovska; 2: Liminal States, 2018 © Bozho Gagovski; 3: Brexit means Brexit, 2019 © Bozho Gagovski; 4: Solidarity of Art. The Decolonial Museum, 2022 © Ivana Sidjimovska




Tracey Snelling’s work derives from voyeurism, geographical location, and sociology. Through the use of sculpture, video, performance and installation, Snelling gives her impression of a place, its people and their experience. She has exhibited in numerous institutions, including the Palazzo Reale, Milan; Museum of Arts and Design, New York; and Kunstmuseen Krefeld, Germany. In 2015, Snelling received the Joan Mitchell Painters and Sculptors Grant. She was awarded a fellowship at the Institute for the Humanities at the University of Michigan in 2017. Snelling has permanent commissions at the Historisches Museum Frankfurt and Facebook in California. She was a 2017/2018 residency artist at the Künstlerhaus Bethanien. Her work was shown in the Arsenale at the 2019 Venice Biennale, sponsored by Swatch, and was included in the 2019 Havana Biennale.


Credits: Portrait, Sookoon Ang // Shanghai/Chongqing Hot Pot/Mixtape, 2019, installation / Sozialbau Admiralstrasse, 2020, sculpture, photograph / Clusterfuck 9, 2019, installation with performance, David Pace 



Vanessa Souli (*1992 in Athens) is a curator, writer and cultural manager. She studied English Language and Literature (B.A.) and Art Management and Curation (M.A.) in Greece, Denmark and the Netherlands. Since 2017, she has curated more than 20 exhibitions in Germany, France and the Netherlands and has contributed several articles and essays for artist and magazine publications. In 2021, she co-founded Schindler LAB in Potsdam, a new space for contemporary art in collaboration with Gallery Schindler, where she curated six shows. She is also the creator and tutor of the A-to-Z Coaching programme, a visual artist professionalisation coaching course. She has worked among others, for established museums, Biennales and art festivals in Germany and abroad. Souli’s main curatorial interests revolve around environmental and social topics together with a passion for art and literature. She is currently based in Berlin, Germany.



Artist and curator Jonny Star lives and works in Berlin. Star’s work blends a variety of materials and media such as bronze, fabric, photography, collage, embroidery, painting, and elements of installation art. Her ensembles explore biographical experiences, sexuality, gender roles, and identity and how it is perceived by society. Her work is shown internationally since 1996. The art project SUPERUSCHI is Star’s current platform for her curatorial activities. Jonny Star has also been working as a psychological and shamanic counselor since 2022 at her new place STAR LAND in Berlin. Star is happy to make her expertise as an artist with 30 years of professional experience for artists and cultural workers in her counseling sessions available.



Credits: portrait by Stefan Draschan, 2015 // Plonk, 1999 // Toy Girls 3, 2014, photo: Jens Bösenberg 



In her work Charlie Stein deals with dominant cultural aesthetics questioning existing modes of perception within the context of a highly digitized, visually overstimulated world. Her material is gathered through extensive research and translated into drawings, installations, sculptures, paintings and text. Her focus lies on social structures, digital media and contemporary forms of communication. Stein studied sociology and fine art in Munich and Stuttgart and holds a postgraduate degree in fine arts as Meisterschüler of Christian Jankowski. From 2015 - 2018 Stein lived and worked in New York City. Recent exhibitions include Manifesta11, Signs and Symbols in New York, the Songjiang Art Museum in Shanghai and the 2017 edition of the Istanbul Biennial.


Credits: Artist Portrait, Photo: Duncan Smith // Exhibition Views, Study for a Museum Display, 2017, Villa Merkel // Amerika, 2018, Oberwelt // Portrait if a Future Self (Mirror Face), Oil on Canvas, 2019 // All images by the artist unless otherwise noted



Dikla Stern is a German-Israeli artist, designer, and lecturer. After finishing her diploma in fine art and design at the Avni Institute in Tel Aviv, she studied communication design, media theory, and philosophy at the Mannheim University of Applied Sciences where she got her Master's degree. The exploration of society in the context of the charged dichotomy between power and oppression, law and freedom, is a constant in her works. Stern utilizes the language of Pop Art, which is both figurative and realistic. Within this context, her selection of motifs is shaped by the philosophy of Critical Theory. Her acrylic paintings are accompanied by collages caricaturing current events in politics. Stern’s works are owned by collectors and her shows are promoted by foundations, and institutions. Currently, her works can be seen in movies and TV or Netflix series.


Credits: Portrait © Anait Sagoyan // Trophy 2019/20 // Work 324/7, 2014 © Fabian Hensel




Franziska Storch studied history of art, mathematics, didactics, psychology and philosophy in Oldenburg. Currently she is doing her PhD in art history at the Humboldt University zu Berlin, adviced by Prof. Dr. Michael Diers. The topic of her doctoral thesis is “Greyzones. Perspectives on a non-colour at Richard Artschwagers Oeuvre”. Parallel she works together with a private collector from Berlin. She is also part of the studio of the Berlin based artist Christian Jankowski.



Ursula Ströbele is a post-doc research assistant at the Institute of Aesthetics at the UdK, Berlin, author and curator. For her doctorate at the Heinrich-Heine University in Düsseldorf, she explored the sculptural reception pieces of the Royal Academy in Paris (1700–1730), published in 2012. Further publications include Mise-en-scène and Narration. An Investigation into Anish Kapoor (2013) and 24h. Skulptur. Notes on Time Sculptures (2015). Ströbele’s current research focuses on the diversification of the definition of sculpture to include time-based, immaterial, performative phenomena. She runs the DFG-funded academic network Theory of Sculpture


Credits: portrait by Liane Haug 



Annika von Taube is an editorial strategist with a focus on digital media, a publicist and art historian. She was managing editor of community at ZEIT Online and prior to that, chief editor of independent art and fashion magazine sleek. She is the co-founder (together with Juliet Kothe) of Oughtred + Leibniz, a platform exploring different formats for the presentation and mediation of art, and publishes an art blog, BLITZKUNST.


Credit: Portrait © Maxime Ballesteros



Lisa Tiemann is a Berlin-based artist working with sculpture and photography. By an uncompromising confrontation with the gravity and balance of selected materials, she is seeking a new and unusual language of forms while integrating factors of humour and accident. Tiemann’s experimental works upset and challenge the perception and presumptions of her audience.


Credits: installation view: fiebach, minninger, 2015 // detail, notiz schwarz / note black, 2014 // Notiz gelb / Note yellow, 2015 



Ivonne Thein is a visual artist exploring the growing tendency towards objectification, which encodes the body as an arbitrarily manipulable mass. We can do something with our body, shape it or manipulate it. In her cross-media works she question our traditional idea of the body in terms of transience, gender, posthumanism and the change of the traditional body image in the digital age. Her works where shown in national and international exhibitions such as Fotomuseum Winterthur, Kunsthalle Karlsruhe, Lentos Linz, CO Berlin, Kunsthalle Kiel, and Amelie A. Wallace Gallery in NY.


Credits:  portrait: Ivonne Thein // empowerment, 2020 // how not to be seen as a body II, 2020 //  how not to be seen as a body I, 2020 // him, 2021 // untitled body, 2021 © Ivonne Thein / VG Bildkunst Bonn



Artifacts and actions and reasoning associated with them, are the main subject of my work. By Modifying, rearranging or duplicating objects, images or symbols I create and shape cryptic vocabularies of symbols or carriers of encoded Information. The Artifacts so created are fictitious, their forms are only apparently carrying codes. The apparent evidence of information they carry is thereby questioned. Their perception and interpretation by the on viewer is crystallized and made tangible.


Credits: the objective reality V, 2016 // untitled (detail), 2014 // untitled (twenty-one), series null, 2013




Credits: Foto © Anastasia Muna 



Anemone Vostell studied journalism and Slavic studies at the Free University of Berlin. During her studies, she specialized in the areas of media theory and cultural management. She has been active in the international art market for over 20 years. As a gallery partner, freelance curator and cultural manager, she has realized numerous exhibition projects in Germany and abroad. From 2004 to 2018 she headed the business of the Berlin Galleries Association. Following the trend of broader democratization of the art market, in January 2020 she founded berlin art management (bam!)- Art Projects & Advisory.


Credits: Portrait. Photo: S. Strippgen / Catalog Slg Allianz Forum. Layout: F. Young / Art From Berlin NYC, 2016, Photo: N. Bergschwinger / Catalog Post-Everything, 2019, Photo: Veronika Dräxler



Carolin Wagner is a cultural manager and head of friends of Berlinische Galerie. After studying art history and management at Humboldt University Berlin and Philipps-University Marburg, she worked for Berlinische Galerie and Galerie Bastian. Carolin Wagner was responsible for online marketing thoughout the joined venture project "Stadt/Bild" by National Gallery, KW Institute for Contemporary Art, Deutsche Bank KunstHalle and Berlinische Galerie. Since 2017 she has been participating in the Berlin based projekt space "Loge" as part of the curatorial team, where established and new comer artists are shown.



Portrait © Harry Schnittger

Exhibition view, Martin Mlecko 7 seas, Loge, 2017, photo © Loge

Exhibition view, João Penalva, Herr Peter, Loge, 2017, photo © Loge

Exhibition view, Alexa Eisner, Bowler Hat, 2018, photo © Loge



Julia Lia Walter's works are composed out of painting and video projections. Videos are projected onto paintings in such a way that it is barely visible where the painting ends and the video starts. The artist dissolves the boundaries of the media by creating connections through colours and forms. The cinematic sequences can be read as a commentary to the painting. All videos are screened in a loop, thus inviting the beholder to dwell in the endless presence of the video-projection-paintings.


Credits: s41, 2015 // handling the circumstances, 2015 // make it better make it worse, 2015 



Katharina Wendler holds a Bachelor of Arts in Cultural Sciences, Arts Management and Psychology from Leuphana Universität Lüneburg, and a Master of Arts in Art History from Humboldt Universität zu Berlin. Assistantships include Daniel Marzona Gallery, Berlin, Konrad Fischer Galerie Berlin, i8 Gallery Reykjavik, and the Contemporary Arts Museum Tampa, Florida. From 2013-2017 she was Director of the exhibition space SAFN Berlin, 2016-2018 Head of Studio for Karin Sander. She currently works as Artistic Associate at the Faculty of Arts and Crafts at Bauhaus-University Weimar, as well as a freelance curator and writer. In early 2018 she initiated the dialog-based exhibition series __in conversation with__.__,


Credits: Curated exhibitions at Safn Berlin: Notions of Time – Hreinn Fridfinnsson & Roman Signer, 2015 // Magma Works – Ragna Robertsdottir & Lawrence Weiner, 2014 // Cause and Consequence - Kristjan Gudmundsson & Donald Judd, 2014/2015// Invisible Lines – Alan Johnston & Stanley Brouwn, 2015/2016



Anna-Lena Werner is a PhD candidate at Freie Universität Berlin, researching the subject of trauma as an aesthetic strategy. Having studied art history, theatre studies (Freie Universität Berlin) and art theory (Chelsea College of Art and Design, London), she curated exhibitions in project spaces such as Savvy Contemporary, DZIALDOV and Archiv Massiv, and publishes in magazines such as Performance Research, Stedelijk Studies, Monopol Magazine, Schirn Magazine and Engaging in digital research and curatorial practices, she founded and runs the online magazine and was research associate for Black Mountain Research, a collaborative research project between Freie Universität Berlin and Hamburger Bahnhof - Museum für Gegenwart - Berlin.



Anna Wiese holds a BA in European media studies from the University of Potsdam and an MA in cultural history and theory from Humboldt University of Berlin. She also studied abroad at Complutense University of Madrid and Goldsmiths, University of London. Her research interests focus on exploring the intersections of artistic practices, technologies, sound, and environmental change. As a research assistant, she has worked in the joint project museum4punkt0 with designing, prototyping, and testing digital products (AR & VR). This work was completed for the Ethnological Museum in the Humboldt Forum. Previously she was involved in the research and planning of exhibitions and publications in cultural institutions (Haus der Kulturen der Welt, Kulturprojekte Berlin), the gallery neugerriemschneider and the studio of Tomás Saraceno, and Leiko Ikemura.


Anna Wiese's LinkedIn profile


Credits: Guided exploration on the model of the ceremonial house of the Abelam with AR technology. photo: Staatliche Museen zu Berlin / „Leiko Ikemura. Ein Tag“ in the magazine „Tagesspiegel Kunst“, 2017 



Ines Wittneben studied History of Art and Classical Archaeology. Since 2012, she works at Jarmuschek+Partner. As the gallery director, she is responsible for i.a. artist support, exhibitions, fair presentations and communication. For the Positions Berlin Art Fair, she particularly takes care of special projects, cooperations and PR. Above that, she helps organising charity art auctions.


Credits: Sabine Banovic, Treibsand, Jarmuschek+Partner, 2013 // Carina Linge, Theatrum Mundi, Jarmuschek+Partner, 2014 // Positions Berlin Art Fair 2015, photo: Edgard Berendsen




Laura Helena Wurth is the press officer of Urbane Kunste Ruhr, with Britta Peters being the artistic director. After studying Arts & Culture at Maastricht University she did her Master at Humboldt Universitat zu Berlin in Religion & Culture. At the same time she was the studio manager of Christian Jankowski. She completed her Master with a dissertation about contemporary art presented in the sacred space. Afterwards she worked for the artist Constant Dullaart, the communication agency Bureau N as well as press of icer of the 10th Berlin Biennale.






The art historian Anne Zdunek is founder and owner of kunstundhelden — Agency for new art concepts. kunstundhelden provides services in the fields of Public Relations, Art Management and Art Consulting to artists, curators, galleries, businesses and art collectors. Additionally, kunstundhelden regularly exhibits artworks of artists from its own portfolio. These artists work with diverse mediums, such as painting, photography and video work.




Traces of the performative appear almost palpable in both Michaela Zimmer’s constructed and densely textured canvases, as well as in their plain primed equivalents. The conceptual nature of her abstract paintings is evident in her sculptural use of PE film. Enhancing a remarkable oscillation of spatial awareness it points to a key issue in her work by exploring the different possibilities of the spatial conditions we move in and the images we create of these.




Darja is a curator, filmmaker, writer and consultant. She holds a M.A. in art history and psychology. She has been working with galleries and art institutions such as peer to space, Gallery DAM and Artconnect Berlin, Bernhard Knaus Gallery as well as the SCHIRN Kunsthalle and SCHIRN MAG. Currently, Darja contributes her expertise to ARTPRESS - Ute Weingarten. Darja continues to work closely with the artists Bianca Kennedy, Giacomo Santiago Rogado, and Adam Baer. Her academic interest lies in social-political identity and stigma in contemporary art and film. 


Credits: Installation view: We´re are all in this together, solo show of Bianca Kennedy, Alte Münze, Berlin, Mai/May 2018.

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