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Art Wonderers - Urban adventures for children in Berlin
Art Wonderers invites children to explore Berlin through art and creative engagement. In small groups of up to three, we wonder and wander through the city each week, visiting a curated selection of artistic spaces, from street art walks to galleries, museums, exhibitions, and other creative environments.
Each session is a two-hour encounter where children observe, collect, and respond to their surroundings using artistic materials. They draw, create, and develop their own artistic identities as a way of interacting with the city.

The program supports children in finding personal ways to connect with the spaces around them, having art as a tool of self-expression, and transforming the city from something sometimes unfamiliar into something experienced.

The project begins with a question: what happens when artistic production moves from the gallery to the factory? It proposes participatory artworks that introduce moments of unproductive play into the workplace, where workers collectively create visual language, dialogue, and new forms of meaning. Rather than producing goods, the project creates space for expression, reflection, and collective imagination.

"Fragmented Reality" explores a society torn between its proclaimed values such as equality, tolerance, and democracy, and the everyday discriminations and inequalities embedded in its structures. This fragmentation arises from a deep contradiction between a society's self-image and the deeply rooted inequalities within its institutions and daily interactions.Guided by the conviction that art functions as a mirror of society and that it can provoke meaningful discourse, this project aims to make this discrepancy visible and discussable. Many people profess values like justice and respect, yet in international political contexts and daily life, these principles are often set aside.

A deep-seated disgust for these social contradictions has always guided me. I observe that many people in Germany wish to discuss and learn about equality and justice only on a superficial level, because the genuine implementation of these values is incompatible with maintaining the same privileges many people in Germany live. Upon perceiving this cultural disinterest in political discussions and reflections from an early age, I understood that I needed to seek growth and learning in other parts of the world. In my early twenties, I moved to Brazil, where social inequalities and societal fragmentations are far more visible than in the German context, but where there is, at least, more disposition for political discourse.

Through figurative painting and accompanying written descriptions, I interrogate these societal structures. Figures in motion, sharp triangles, and visible tensions become visual metaphors for this fragmentation: stretched bodies with gestures that oscillate between calmness and threat. My artistic approach embraces the necessity of reflecting uncomfortable truths, seeking to expose the tensions and conflicts arising from the often contradictory expectations most people face in their everyday lives.

Alongside my painting practice, I attend political art courses, participate in mentorship programs, and deepen my knowledge of the mechanisms of inequality. These references nourish my work and sharpen my ability to articulate how systemic injustices persist even within spaces that claim to be progressive or neutral. "Fragmented Reality" creates images that not only make the gap between what our society claims to be and what it actually does and says visible, but also fertile ground for dialogue.

Desde la tierra is a research and/or curatorial project documenting and studying contemporary artistic practices in Latin America that engage with soil-based materials. It investigates artists who work with materials such as clay, adobe, sand, and earth, mobilizing the ground not merely as a sculptural medium but as a site of encounter where bodies, matter, and histories converge.

Emerging from preliminary research spanning the past three decades, the project identifies a constellation of practices that approach soil as both material and interlocutor. These practices vary widely in form - installation, performance, ritual gestures, community-based processes, and material experimentation - yet they share a sustained attention to embodied interaction with earthly matter. The project refers to this field of practices through the working term earthing as an artistic process that activates the encounter between human bodies and soil as a mode of sensing, making, and knowing.

Rather than approaching these works primarily through national narratives or identity-based frameworks, Desde la tierra foregrounds the material relation between artist and ground. Clay, sand, and soil appear not as inert resources but as active participants in the formation of artistic meaning. Through touch, pressure, weight, erosion, and transformation, these materials shape the gestures, temporalities, and epistemologies of the practices they sustain.

The project attends to how such encounters reconfigure the relationship between the body and the earth in a time marked by ecological crisis and epistemic fragmentation. In many of these works, soil becomes a site where perception is recalibrated and where alternative forms of attention emerge, forms that resist the disembodied logics of modern knowledge production. Rather than positioning themselves solely as critique, these practices often operate as proposals for experiments in sensing, inhabiting, and imagining otherwise.

Desde la tierra engages with theoretical perspectives that examine the entanglement of knowledge, coloniality, and embodiment, drawing on the work of thinkers such as Walter Mignolo, Anibal Quijano, and Suely Rolnik. In dialogue with these frameworks, the project explores how artistic practices grounded in bodily engagement with matter can open spaces for other epistemic orientations; forms of knowing that arise through sensation, relation, and material co-presence.

At the same time, the project resists framing these practices as culturally essential or geographically exceptional. While the research focuses on artists working within Latin American contexts, it approaches these works as situated practices rather than as expressions of a singular regional identity. The emphasis remains on the relational field between bodies, materials, and environments through which these works unfold.

Conceived as a living research platform, Desde la tierra documents art history as it is taking shape. Its outcomes will include a digital platform, curatorial exhibitions, and critical publications that bring together artists, curators, and researchers engaged with soil-based artistic practices. Through these formats, the project seeks to cultivate a space for dialogue around the aesthetic, ecological, and epistemic implications of working from and with the ground.

Rooting Solidarities is an interdisciplinary project produced by the Balkanism platform. Guided by an ethos that rejects ethnonationalism as the primary foundation of our methodological approach, Rooting Solidarities employs artistic, scholarly, and archival explorations and interventions to expand how solidarities can be built in both regional and diasporic contexts, particularly among communities shaped by historical and present-day experiences of violence, displacement, and interethnic strife.
Our methodology, centered on disavowing ethnonationalism, is articulated through a deliberate critique of exclusionary, violent, and highly heteronormative ideologies that promote mono-ethnic, anti-pluralistic, and segregated societies. Through our selection of artistic works, scholarly research, and creative practices, we seek to foreground the complexity of Balkan histories, cultures, and communities, past and present, within the region and across its diasporas. In doing so, we challenge reductive narratives that frame the Balkans and its global diasporas through notions of inherent “ancient hatreds.”
Emerging as an extension of Balkanism Issue #1: Diversity as Strength, Rooting Solidarities invites both regional and diasporic Balkan communities to explore how solidarity can be cultivated, sustained, and reimagined across borders. By foregrounding interconnected histories, shared struggles, and plural identities, the project opens space for alternative imaginaries of belonging beyond ethnonationalist frameworks.
Commissioned artists, researchers, and creatives come from a range of socio-economic backgrounds and engage in diverse practices. Balkanism is committed to ensuring that those living and working within the region and across its diasporas are meaningfully represented. This commitment is reflected in its collective working structure, which includes both Balkan-based and diasporic team members. A collective composed of multi-ethnic and interreligious members, inclusive of people with diverse abilities and a wide range of sexual and gender identities.
Through Rooting Solidarities, the aim is to build, open up, and illuminate historical, cultural, and artistic representations that strengthen channels of communication regionally and across diasporas, while also creating opportunities for learning and engagement among communities with no direct connection to the region. The use of the term Rooting draws clear inspiration from the natural world, metaphorically invoking organic symbolism to provoke reflection on how solidarities can be cultivated, grounded in enduring traditions of care, cultural relation, and mutual recognition already embedded within the region’s cultures, while reorienting these practices toward more expansive, inclusive, and future-facing forms of connection.
Through a careful and socially engaged curatorial approach, one that acknowledges regionally entrenched forms of discrimination as well as tensions within diasporic communities, the project brings together multidisciplinary works that ask how solidarities can be built and sustained. It invites reflection on historical and contemporary examples of solidarity within the region: What forms have they taken? Under what conditions have they flourished or fractured? And how might they be reimagined and strengthened for the present and the future?
With an exploratory approach, rather than a fixed, prescriptive definition, the commissioned works will meaningfully guide the direction of the project, culminating in a publication and exhibition. At the same time, Balkanism operates with clear intentionality: while we create space for the open exploration of ideas and expressions, we unequivocally reject fascist ideologies, notions of mono-ethnic societies, and any narratives that perpetuate harm toward our communities, in the region and in their diasporas.
Abstract: Rooting Solidarities is an interdisciplinary project by the Balkanism platform that explores how solidarities can be cultivated within the Balkans and across its diasporas. Rejecting ethnonationalism as a primary methodological framework, the project brings together artistic, scholarly, and archival practices to examine shared histories, plural identities, and collective struggles among communities shaped by violence, displacement, and interethnic conflict.
Emerging from Balkanism Issue #1: Diversity as Strength, the project challenges reductive narratives that frame the Balkans through notions of inherent “ancient hatreds.” Instead, it foregrounds the complexity of the region’s histories, cultures, and communities while creating space for alternative imaginaries of belonging beyond mono-ethnic and exclusionary ideologies.
Through a socially engaged curatorial approach, Rooting Solidarities commissions multidisciplinary works by artists, researchers, and creatives from diverse socio-economic backgrounds across the region and its diasporas. The project asks how solidarities have historically emerged, under what conditions they flourish or fracture, and how they might be reimagined for the present and future.
The project will culminate in a publication and exhibition, opening spaces for dialogue both within Balkan communities and among audiences beyond the region. While fostering exploratory and critical engagement, Balkanism maintains a clear commitment to rejecting fascist ideologies, ethnonationalist frameworks, and narratives that perpetuate harm toward communities in the Balkans and across its diasporas.
Elevator pitch: Rooting Solidarities is an interdisciplinary project by the Balkanism platform that explores how solidarities can be cultivated across the Balkans and its diasporas. Rejecting ethnonationalism as a primary framework, the project brings together artists, researchers, and creatives to examine shared histories, plural identities, and collective struggles shaped by violence, displacement, and interethnic conflict. Through artistic, scholarly, and archival practices, it challenges reductive narratives that portray the Balkans through notions of “ancient hatreds,” instead foregrounding histories of coexistence, care, and resistance.

With Teethe is a multidisciplinary body of work that centers embodiment as a primary form of knowledge.
Emerging from lived experience with traumatic brain injury, epilepsy, and chronic nerve pain, the project
traces how perception, sensation, and communication transform after neurological trauma. When cognitive
language falters, the body speaks first — through teeth, nerves, fatigue, and sensory shifts. This work listens
to those signals and translates them into material, visual, and social forms.
Teeth function throughout the project as sensory instruments and communicative thresholds. In a video
documenting a neuro-therapeutic exercise, the camera records as each tooth is gently tapped with a Q-tip.
Sensation varies wildly — from numbness to shock-like pain — revealing the mouth as an unpredictable
neurological landscape. Here, embodiment is mapped not through metaphor, but through direct sensory

encounter. The body becomes both subject and site of investigation.

This embodied inquiry extends into a handmade zine that weaves personal and clinical imagery: self-
portraits, neurological test results, dental scans, and fabric imprints resembling bite marks. Hand-dyed pages

and visible stitching evoke both wound closure and “brain stitches,” referencing slow neurological repair. A
diagram showing how brain injury affects the entire body anchors the publication in embodied education,
linking invisible trauma to systemic impact. By combining medical documentation with tactile craft, the zine
asserts disabled knowledge as lived expertise. Personal narrative becomes a form of access — a way of
translating complex neurological realities into an intimate, relational understanding.
Access also operates socially through the wearable sculpture known as the “monster teeth.” Cast from molds
of my own teeth and worn on a metal chain, they reference childhood vampire fangs while emerging from a
different transformation shaped by pain and neurological overwhelm. When placed in my mouth during
moments of distress, they act as a visible signal that speech is difficult and care is needed. The piece
functions as an accessibility tool, ornament, and boundary marker simultaneously. By reframing
“monstrosity” as adaptation, the work challenges stigma around visible disability and reclaims difference as
honesty.
The concept of thresholds runs throughout the project’s video installation Night / Day. Identical natural
landscapes are filmed at night and during the day, shown simultaneously across multiple screens. At night,
close light reveals insects and textures in hyper-detailed, disorienting ways, while darkness collapses depth
and orientation. By day, the same spaces appear open, stable, and socially legible. These parallel
environments mirror post-TBI perception, where reality can oscillate between clarity and sensory distortion.
The body, like the landscape, becomes a shifting terrain shaped by changing neurological conditions.
Across media — textile, video, zine, sculpture, and essay — With Teethe positions disability not as a deficit
but as a distinct sensory and perceptual environment. The work insists that fatigue, overwhelm, and pain are
not interruptions to life or art, but forms of data that guide sustainable ways of being. This reframing
challenges cultural expectations of productivity and instead centers care, pacing, and interdependence.
Writing is a crucial extension of this practice. Essays published on my ongoing platform examine the politics
of access in contemporary art, critiquing how institutions adopt the language of inclusion without building
the structures of support to back it up. These texts connect personal bodily knowledge to systemic
conditions, arguing that accessibility must move from metaphor to material reality. Language here becomes
another threshold space — between lived experience and cultural discourse.
Ultimately, With Teethe proposes an art practice shaped by listening to nerves, to limits, to environments, to
social signals. By centering embodiment, insisting on access as relational care, and working at perceptual and
social thresholds, the project offers new sensory and critical languages for understanding chronic pain,
neurological difference, and the creative possibilities that emerge when we honor the body’s own forms of
communication.

Sport is For Everyone is a transdisciplinary platform that uses bodies, movement, and collaboration to explore inclusion, embodiment, and social dynamics in sport.
Situated at the intersection of sport, art, and sociology, the project approaches movement as a relational and political practice through which identities, power structures, and forms of belonging are both reproduced and contested.
The project is grounded in three interconnected dimensions: embodiment, inclusion, and relationality. These dimensions operate both as conceptual lenses and as curatorial strategies. Embodiment considers how lived, sensory, and affective experiences of the body produce knowledge that often remains excluded from dominant, text-based epistemologies.
Inclusion interrogates who has access to movement, visibility, and participation, and under what structural conditions.
Relationality focuses on the ways sport creates connections between individuals, communities, and environments while also revealing tensions between the individual and the collective.
At its core, Sport Is For Everyone positions sport as a microcosm of society, where broader dynamics of race, gender, class, and power become legible through bodily practices. The disciplined athlete, the excluded participant, the performing body, and the collective team are not neutral figures; they are shaped by historical and political forces that structure who gets to move, how, and for whom. By centering these dynamics, the project shifts the understanding of sport away from performance metrics and commercial narratives, toward a critical and embodied inquiry into human behaviour.
Methodologically, the platform operates through a combination of artistic production, field research, interviews, and participatory formats. These include filmed conversations, collaborative workshops, public events such as hikes and playful activities, and curated exhibitions. Each format is designed to translate research into lived and shared experiences. For instance, collective movement practices such as walking, running, or climbing are used as frameworks for dialogue and co-presence. In this sense, the project treats movement as both subject and method: a way of generating knowledge through doing, sensing, and interacting.
The platform also functions as a curatorial and archival space, bringing together contributions from artists, athletes, and researchers across different geographies. These contributions are not presented as isolated outputs, but as part of an evolving ecosystem of perspectives. Through its digital database and publications, Sport Is For Everyone documents these practices, creating a living archive that reflects diverse experiences of sport beyond dominant Western and performance-driven narratives. This archival dimension is particularly important in bridging contexts between the Global North and South, highlighting how alternative sporting cultures emerge from local, grassroots, and community-based practices.
A key concern of the project is the tension between discipline and belonging, as well as between performance and care. While sport is often associated with optimization and competition, Sport Is For Everyone explores alternative modes of engagement that prioritize accessibility and collective experience. By doing so, it challenges the commodification of sport and opens up space for practices rooted in care and mutual support. These interventions are not positioned as oppositional to sport, but as expansions of what sport can be.
The participatory dimension of the project is central. Sport Is For Everyone invites active engagement through collaborative formats. Participants are contributors, whose lived experiences inform and shape the project’s direction. This approach raises important curatorial questions: how to hold space for multiple voices without flattening differences, how to navigate interdisciplinary collaboration, and how to balance artistic experimentation with research integrity. These tensions are part of the project’s ongoing process.
Ultimately, Sport Is For Everyone seeks to reframe movement as a language of critique, care, and cultural reflection. By foregrounding embodied knowledge and relational practices, it proposes alternative ways of understanding society, ones that are grounded in lived experience rather than abstract systems alone. In doing so, the project contributes to broader conversations on inclusion, identity, and social transformation, positioning sport as an open field of inquiry and possibility.

Say it How You Feel It gently misbehaves. Through bright color, humor, visual play, and joyful rebellion, the series exposes how emotional performativity operates in everyday life and questions the subtle rules that shape how emotions are “supposed to appear” in public spaces - from social media feeds to professional environments.

The project examines the quiet choreography of emotional performativity. Faces smile when resistance lingers underneath. Bodies follow gestures they are “supposed” to perform, while small shifts in composition, text, and symbols - an exaggerated smile, a fragmented phrase, a displaced motif - reveal alternative ways of feeling. What appears light or playful uncovers the deeper tension between authentic expression and socially legible expression. By borrowing and reconfiguring familiar signs, the project makes visible the cultural templates that dictate “acceptable” emotional behavior.

Rather than offering critique through severity, the series adopts a tone of curiosity and gentle disruption. Humor and play become critical tools: they open a space where viewers can recognize the emotional scripts they inhabit and imagine other ways of feeling, expressing, and being present. Not to preach. Not to despair. Just to catch the conscience in the act, revealing the cultural templates we perform even as we playfully resist them.

"LAC Foundation is dedicated to strengthening the cultural ecosystem by connecting artistic and creative projects with private-sector partners. Operating within existing public policy frameworks that incentivize corporate investment in culture, the foundation facilitates sustainable collaborations beyond short-term sponsorship models. Through an open call and a curated selection process, artists and collectives are supported with professional training in project development, cultural finance, and negotiation, enabling them to articulate the value of their work across sectors.
LAC Foundation prioritizes dialogue over transaction, creating structured encounters where artists and companies can build informed, ethical, and long-term relationships. The initiative seeks to diversify funding sources for the arts, reduce dependence on public grants, and support the professionalization of cultural practices without compromising artistic integrity. By reframing art as a form of social investment, LAC Foundation contributes to a more resilient, inclusive, and economically sustainable cultural landscape, positioning culture as a critical actor in social development and cross-sector innovation."

"Water makes up to 60% of the human body and 71 % of the earth's surface, and is vital for the survival of human and planetary life. Human corporeal ties to elemental waters are more than metaphorical; they are physical, bodily, and essential: to understand water means to understand our existence, our direction, and ourselves.

The project 'Water as a Site of Transformation' aims at the exploration of our embodied experience of water and the reconsideration of our relationship to water as the matter we are composed of and embedded in, changing our perception from seeing it as a commodified system of economy to seeing it as an expression of life.

As proposed by the political theorist Achille Mbembe, culture should be reconsidered and understood as the possible future of life, which should bear in mind the emergence of a new planetary consciousness. In order to make the necessary cultural shifts possible and create a new cultural agenda however, we firstly need to change the way in which we think about ourselves, our relationships with each other, with our planet, and with life as a whole. Imagining ourselves as watery and therefore connected across space through our waters renounces any illusion of nature as separate from culture, or of humans as separate from the world around us, which can allow us to imaginatively think of planetary life differently. To be able to change our thinking of water, ourselves, and our relationships, and understand the idea of watery being and relating we need to embody it, to activate it by experiencing it as watery beings. This exhibition aims to create a space for experiencing embodiment of water through art.

Departing from Plato´s concept of micro and macrocosm—the human being (microcosm) as a micro version of the universe (macrocosm), reflecting the same underlying order and principles, 'Water as a Site of Transformation' shows a collection of artworks, which focus on our relationship to ourselves and the human body as watery being (microcosm); and our relationship to nature and planetary water as a living being (macrocosm). The relation with our inner waters is explored by the works of Tarah Rhoda, Tear Crystal (Drops) and BS&T, and C-Lab´s Bacterial World and KatERED. Tarah Rhoda investigates the fluidity of the human body through her own blood, sweat and tears (bodies of water that contain emotion). C-Lab´s projects focus on bacterial fluidity as a symbolic representation of the physicality of the human.

The relationship of the human with water around us, is approached by Hannah Rowand and the mapuche artist Seba Calfuqueo, who explore the human as inherently interconnected with the natural world, offering an alternative perspective to the fragmented view promoted by modern society. The project Water as a Site of Transformation aims to explore these artworks as a site of emergence of a new culture narrative, as they can allow us to experience, and, as a result, rethink the current situation of planetary illness and destructive culture/nature divide, and create healthy futures for ourselves and our planet.
"

"This project investigates the body as a site of material, sensory, and mnemonic inscription through painting and expanded painterly practices. Conceiving the canvas as a body, the work understands cavities, fractures, and voids as layered structures that hold air composed of memories, emotions, and lived experiences. Through a process of approximation, the artist engages in a performative dialogue with the surface, constantly moving between proximity and distance to negotiate form, boundary, and totality. The act of painting becomes a method of extending the body toward the unknown, where forms emerge through decision, overflow, and transformation. Boundaries remain provisional, defined only through their continuous reconfiguration, allowing the work to unfold as a dynamic reflection of corporeality in constant motion."

"The sound installation reflects on the conflictual relationship between humans and natural environments through an immersive, interactive listening experience.
Inspired by the ecological sci-fi novels of Ursula K. Le Guin and David Monacchi’s soundscape research project Fragments of Extinction, this work aspires to offer an occasion to reflect on the impact of our presence in natural surroundings.

Through an elegant, non–self-explaining use of technology, sound, and the progressive revelation of the rules of action/reaction within the ecosystem, visitors are invited to spend as much time as possible in this ever-changing sensing soundscape.
Central to the work is the creation of an artificial ecosystem in which the presence of visitors alters the equilibrium of its invisible sonic structures.
The space is populated with sound sculptures made of the same components: a resonant metal body suspended from the ceiling (a cymbal), set into vibration by a sound exciter—much like the interaction between the magnetic coil and membrane of a loudspeaker. This agglomerate is connected to the ground through organic materials: an ivy plant growing along a cable from a mound of soil.
This micro, self-enclosed system is replicated at different points in a closed space and is lit by two spotlights placed vertically above and below the cymbal. They react to different sound materials according to shifting rules of interdependency.
We hear various mysterious sound sources behaving like animal calls in a forest. Their identity continuously shifts between recognisable and enigmatic, being based on manipulated soundscape recordings, musical instruments, and objects.
The sound sources interact in an intricate, multi-layered composition, yet as visitors approach the objects, the sounds react in various ways—often withdrawing from them: fading out, moving to another cymbal, or radically changing identity.
This behaviour strongly recalls how the consequences of our disruptive presence expand from local to global scales across the planet: habitat destruction and the consequent extinction of species, both on the above- and below-ground (f.i fungal networks) ecological level.
In the installation we experience something familiar (like birds and insects reacting to us in the woods) while simultaneously observing long-term transformations distant in time and space from our localised position.
Nevertheless, the initially repulsive interactive relationship evolves over time and according to the audience’s behaviour, opening up the possibility of a more harmonic interplay once certain conditions are met (e.g. if visitors water the ivy or behave quietly in the room).
Exploring different possibilities and rules of cause and effect will form the core of the artistic research. What happens when people become aware of their responsibility—not only individually, but collectively?
"

Adornment and Identity: Threads of Return is a multidisciplinary exhibition that explores fashion as both a social phenomenon and an artistic language for shaping and preserving cultural identity. At the heart of the project is the recognition that the sartorial style of Afro-Brazilian acarajé sellers in Salvador, Bahia, is deeply rooted in Yoruba traditions, particularly the Gẹ̀lẹ̀dẹ́ festival, where elaborate costumes, headwraps, and adornments are used to honor women’s spiritual and social power.

The layered white garments, vibrant textiles, and symbolic accessories worn by these women in Brazil are not mere adaptations but resonant echoes of Gẹ̀lẹ̀dẹ́ aesthetics carried across the Atlantic during the era of enslavement and reinterpreted in new cultural contexts.

The exhibition also reflects on Yoruba body adornments—tribal marks, tattoos, and scarification—as parallel archives of identity and belonging.

Like clothing, these inscriptions transform the body into a cultural text, one that resists erasure and affirms heritage. By juxtaposing Gẹ̀lẹ̀dẹ́- inspired dress traditions with embodied practices, the project highlights how Yoruba sartorial knowledge has endured, migrated, and regenerated across continents.

Through the works of selected artists, including performance, textile, sculpture, and live craft demonstrations, the exhibition emphasizes that sartorial traditions are not static relics but dynamic expressions constantly reshaped by social realities and personal narratives.

Hosted at IlaBar in Osogbo, the project will serve as a cultural bridge, inviting audiences to encounter the intersections of Yoruba aesthetics, Afro-Brazilian heritage, and global fashion histories. It aims to spark dialogue on heritage preservation, the politics of adornment, and the transformative potential of dress as a site of memory and identity negotiation in a globalized world.

"A Mouth Moving Nothing (to Disarm What Tries to Hold) is a choreographic research grounded in the refusal of categorization. It explores genderlessness not as abstraction, but as a lived method, where movement becomes a way to undo the grip of visibility, identity, and expectation. In a world that demands bodies be legible, nameable, and fixed, this work chooses vibration over form, breath over arrival, and softness as resistance.
I work with ghostly scores, atmospheric shifts, and non-human performers, wind, heat, feedback loops, to create a choreography that moves without declaring itself. These elements, gendered in language but not in function, help build a performance space where ambiguity is not erased but protected. Where care begins not in holding, but in unholding.
During the 8-week mentorship, I aim to deepen the structural and political clarity of this project. I want to develop its flexible formats, from live performance to audio transmission to score-based publication, and build a presentation framework that sustains its quiet radicality. I’m not seeking visibility for the sake of it; I’m seeking the conditions where ungraspable forms can still survive, tour, and be funded.
The project resists spectacle but invites sensation. It slips into the glitch, into the cracks of gender, into what cannot be framed. With your guidance, I hope to transform it from a field of fragments into a soft, persistent strategy of survival.
"

"The residency programs are laboratories for
research, creation, production, and artistic,
cultural, social, and environmental development.
The project includes the participation of artists, curators, scientists, professors, and researchers from diverse areas: urban, peripheral, national, and international, promoting dialogues on knowledge and cultures, sharing knowledge, generating
creative innovation, and positive impact.
The residency program began independently, online in 2020 and in-person in January 2025.
Each program includes curatorial support with
guest curators, visits to studios, museums,
galleries, and research centers, and meetings with cultural professionals in dialogue with professionals from many areas.
There are four thematic axes: Expanded Field, Air, Echo, and Dome, which unfold across various institutional collaborations and a broad relationship with the public in exhibitions, publications, outreach, inclusion, and education. One of my aims with AAC mentorship is to develop a cultural exchange collaboration to expand de visualization across local and global networks for artists, curators and researchers from and or based in Berlin and abroad."

It could have the capacity to connect to Berlin's Art Ecosystem with further research and development. The project aims to imbue a more bold sense of beauty as well as to push the boundaries of the traditional symbolism of floral still-lifes into a more contemporary lens that resonates with people. "Petals of Resistance" would aim to explore resilience. Another idea/option for a project I had in mind was "Still Lives, Loud Voices" which contrasts the traditional still life with the idea that even quiet subjects can speak volumes. In a sense the series reclaims floral still lifes as a space of unapologetic expression as the arrangements are not silent nor purely decorative.

"Echoes of the Mind is a contemporary art exhibition that brings mental
health conversations into both public and gallery spaces. It exists in
two formats: one in non-traditional public locations such as bus
stations, malls, and hospitals, and another in a gallery setting where
original artworks are displayed. This dual format expands accessibility
while maintaining an in-depth engagement with the original works.
At its core, Echoes of the Mind is designed to be a safe space—both
physically and emotionally—where individuals can explore the
complexities of mental health. The exhibition not only seeks to raise
awareness but also to provide comfort and guidance. For those who
have a loved one experiencing mental health struggles, it offers insight
into how they can offer support. For individuals going through difficult
times, it serves as a reminder that they are not alone. Through the
power of art, visitors can find reflections of their own experiences,
helping to foster understanding, validation, and connection.
The exhibition also explores the intersection of mental health and
memory. Memories—both personal and collective—play a crucial role
in shaping our mental well-being. Some works delve into themes of
trauma, healing, and resilience, while others examine how we
remember, forget, and reinterpret our past. By incorporating these
narratives, Echoes of the Mind highlights the ways in which memory
influences our identity, emotions, and mental states. In public spaces, the exhibition takes the form of high-quality prints,
posters, and reproductions of the original pieces. This version allows
for a broader reach, embedding thought-provoking art into everyday
environments where audiences can engage with it organically. These
installations seek to destigmatize mental health discussions, fostering
awareness and empathy through exposure in high-traffic areas. By
encountering the artworks in unexpected places, people may find a
moment of reflection, comfort, or even the courage to start a
conversation about their own mental health.
Within the gallery space, the original artworks—including paintings,
digital media, and photography—are presented in their full depth and
detail. Here, visitors can experience the textures, materials, and
physical presence of the works. The gallery exhibition provides an
opportunity for deeper engagement, allowing audiences to connect
more intimately with the artists' processes and intentions. It also
offers a contemplative space where visitors can reflect on their own
experiences and emotions in relation to the artwork.
Ultimately, Echoes of the Mind is more than just an exhibition—it is an
invitation to engage, reflect, and connect. By blending art, mental
health awareness, and memory, the project seeks to create a
meaningful dialogue that extends beyond the gallery walls and into the
daily lives of its audience. Through shared experiences and artistic
expression, it reminds us that we are all part of a collective human
experience—one "

This project will reinterpret and search synergies of four iconic paintings by women artists who have portrayed feminime topics or women. By infusing each interpretation with my unique artistic language—utilizing banana leaves to symbolize growth and transformation, and spirals to convey dynamism in thoughts—I will create a cohesive series that honors these trailblazers while embedding my own perspective on femininity. Explore dynamic compositions that weave together the essence of the original works with a contemporary abstract interpretation. Ideas on of artists: Frida Kahlo, Artemisia Gentileschi , Georgia O’Keeffe, Elvira Bach

"Veiled Remains is an ongoing research-based project that investigates
the perception, control, and representation of the female body
through personal, cultural, and political lenses. Initiated during my
participation in the Creative Synergies mentorship program, this body
of work is rooted in a deep curiosity about how women's forms are
shaped—both physically and ideologically—within society.
The project began with intimate, direct encounters: taking molds of
women’s breasts from friends, family members, and strangers.
Conducted in India, where such discussions are often taboo, this act
underscored the societal discomfort surrounding the female body.
These early explorations laid the foundation for a broader inquiry into
historical and political narratives. From the harmful legacy of breast
binding to the restrictions placed on art students (like myself) in India,
where drawing from a nude female model is largely prohibited, the
work questions who holds the authority to define and depict the body.
Materiality is central to this practice. I work with lac (laac), a resin
traditionally used in the crafting of women’s bangles and harvested
from a specific insect. Chosen for its cultural resonance and symbolic
potency, lac gives physical presence to my sculptural forms. When
exposed to sunlight, it melts—emphasizing the impermanence of
women’s stories and the fragility of their historical visibility.
By integrating material exploration with lived experience, Unbinding
the Body becomes both a personal and political inquiry. It invites
viewers to engage with the temporal nature of the female form and to
ask: How long will these bodies be seen? When will these stories be
fully heard?"