Online Exhibiton

"Auf der Laube"


Odur Odessa, Franziska Harnisch, Jinran Ha, Barbara Bulhao

Carla Souto, Claudia Holzinger, Elisa Breyer, Lenia Hauser 

Francisco Duarte Coelho, Georg Vierbuchen

Gaspar Scholl Chafirovitch, Ilana Pichon, Paul Diestel

Rafael Raposo Pires, Joongyong Kim, Laura Ballon, Maria Serga

Niklas Apfel, Nora Keilig, Patrick Ostrowsky, Rudolfs Stamers

Yannick Riemer, Lisa-Maria Steppacher, Katia Clicks, Kevin Lüdicke Björn Heyn, Fred Unruh, Pedro Tinoco, Lena Skrabs 

Paloma Sanchez-Palencia 

Yannick Riemer



180 x 150cm

Silkscreen pint, acrylics, chalk and pencil on canvas 2019


This work, called "CAVE CANEM (Ziniaré)", has its origin in a drawing series made while an artist in residence program of Schlingenseif`s Operndorf Afrika. The closest city to the " Operndorf" is Called Ziniaré it‘s architecture like markets, bars, shops, houses, monuments and public facilities have been the material for these drawings. Based on the series from Burkina Faso this work was develloped back in berlin as described above.

Niklas Apfel


"The doormat or the exquisite carpet and the housesitting animal."

60 x 40 cm

Rafael Raposo Pires 


"Condominium Loop"

Inkjet print on photographic paper, with aluminium frame and glass, 66x100 cm, 3 + 1 a.p.;


The photograph "Condominium Loop” belongs to the project "Espaço | Marca" ("Space | Mark"), in which I aim to reflect on the act of occupying land and its subsequent marking. This image shows a predominantly open and horizontal landscape interrupted by a mass of pilled bricks, that to me resemble the idea of a condominium. In this case it can be seen either as a happening before construction, or as a volume at the end of its life, questioning if a building can be the ruin of itself. The occupation of public space as a cyclical event.

Pedro Tinôco 


A person in a box, my order has arrived. And I can’t wait to unpack my treasure. Can I hug you now? 


Untitled, 2020, Mixed media on paper 70 x 100 cm 


                Patrick Ostrowsky


                "it makes me feel giddy"


                 wood, steel, paper concrete 

                 86 x 29 x 10 cm  

Laura Ballon



"Warum Ketchup mich so glücklich macht" 




Die Fotografie "Warum Ketchup mich so glücklich macht" behandelt die Liebe zu den industriell gefertigten Absurditäten, die die Menschheit hervorbringt, um sich das Leben einfacher zu machen. Es geht um das Zeitalter, in dem wir Ketchup melken, durch die Gegend fliegen und dabei gute Selfies machen.   

Katia Clicks & Kevin Lüdicke


"Element Show"

Acrylic and video collage on print 

Franziska Harnisch

"Wikipedia- me"

click image for more info! 

Gaspar Scholl Chafirovitch 


 "Waldsein" Holzdruck auf Bütten

 80 x 60 cm

Björn Heyn 


"Jakob & Samuel Nakedei auf Rügen YES NO", 2019 

oil, acrylics, oil stick, spray paint, pastels, charcoal, pencil, wood 


wood 160 x 5 x 2 cm 

canvas 130 x 100 cm 

canvas 35 x 40 cm 

Paul Diestel



"pas de deux" 2019

70 x 40 x 11 cm

poplar wood, earth, chalk, bone glue



Fascinated by things in the process of transformation I collect natural finds. By reducing them to an archetypical, simple shape, I create new objects, that are connected and though freed from their origin. For me, the sculptural process is a digging for the essential by removing the nonessential. Trough the many layers of natural pigments, I enclose my sculptures with a surface that covers the form like a protective skin. 

Maria Serga


Oil, 2.90 x 1.90m 


I have now painted the picture in the quarantine time and it is about senseless hobbies, the slow going crazy and the party drive in Berlin flat-sharing communities. 


Bárbara Bulhão


Untitled (the colors of the dreams), 2019

Pigment blue, yellow, green, gray, red
Variable dimensions


The installation consists in 5 pigments of different colors applied directly on the floor. The colors, which the title points, correspond symbolically to the colors imagined during a dream. When installed on the space, gain new readings and forms, maintaining a permanent relationship

mutation and ambulation like a dream.

Carla Souto


Ornamento I, II, III, IV, 2020  

Bread Different dimensions 


Ornamento is a serie of sculptures made of bread. It presents the material as one of the basic foods for the human being, as an example of how the human being shapes the earth and later the product, how this basic food demonstrates the difference of existing economies, in the same way that the ornaments on the railings demonstrate the passive and friendly division of the land, of property.

Lisa-Maria Steppacher


This Mountain Is So Beautiful, 2020

Installation and performance

Acrylic paint, pastel, wood, 2 Performers, 23,5 glasses of sparkling wine


Date: 11.04.2020

Duration: 23 minutes 38 seconds - 1 minute sequence on loop


This Mountain Is So Beautiful is a site specific installation, set on a balcony of a 4th floor apartment in Berlin-Kreuzberg, Germany. On the balcony, which measures just 80cm in depth, in a scenographic arrangement, is a romantic landscape presenting illustrations of cows and a big mountain – the Eiger Nordwand, which belongs to the great north faces of the Alps, the Bernese Alps.


Two overdressed performers enact a stereotype, repeating a one minute take of a clichéd Swiss plot  – “This mountain is so beautiful.” 


It is an undeniable claim, that this mountain is so beautiful. 

And therefore unnecessary to repeat, especially for those who have the honour to enjoy such a beautiful view.


Performer 1: “The sparkling wine was burning on my skin. After 5 glasses of sparkling wine splashing on my face, I couldn’t see anything, even this beautiful mountain.”

Elisa Breyer



"In den Raum gegossene Gefühle I"


Oil on Canvas 100 x 120cm



In dieser Serie habe ich mich intuitiv mit dem Begriff Atmosphäre auseinandergesetzt. Abbildend und Figürlich in Öl zu malen, bedeutet für mich, Augenblicke aus dem alltäglichen, an denen mein Blick haften bleibt und die mich ansprechen, aufzugreifen, festzuhalten und diese durch lange Ausarbeitung auf eine höhere Schwelle zu heben. Was für andere Augen als nebensächliches Fragment erscheinen mag, wird so auch für den Betrachter durch die künstlerische Übersetzung zu etwas besonderem. Ausdauernd und bis ins kleinste Detail zu arbeiten macht für mich den Reiz aus. Wo andere gedanklich kapitulieren, fängt es für mich gerade erst an. 

Jinran Ha 


Asphyxia (Tod durch Ersticken) 2017 

Ventilatoren, Plastikfolie, Klebeband  170 x 150 x 150 cm´


Fünf Ventilatoren sind luftdicht mit einer Plastikplane abgedeckt. Durch die jeweils unterschiedlichen Schwenkbewegungen der einzelnen Ventilatoren wird die Plane angesaugt und wieder aufgeweht.

Francisco Duarte Coelho  


This Works a print screen of a computer virus running on MS DOS. This virus erases all your documents from the hard drive, wiping your memories, and the information that could ne helpful an a distant future, for the archaeologists to study our very (anthropocene).

Georg Vierbuchen


 "Massenrad Reserve & Pfosten1" 


Georg Vierbuchen is a mixed media artist raised in Berlin. Influenced by his 90s childhood Vierbuchen has a faible for nostalgic cartoon characters, pop culture, past fashion

and the aesthetics of everyday objects.

He applies a unique new approach to the art of traditional craft, and looks at the old and familiar in new ways. (From a Text by Alexandra Lange)


Meine neue Arbeit „Massenrad Reverse & Pfosten 1“ zeigt zwei Keramiken von scheinbar unverwüstlichen Gegenständen. 

Zum einen der gehwegpfosten, welcher Fußgänger vor Fahrzeugen schützen soll zum anderen ein Rad was in letzter Zeit zum Sinnbild von Überproduktion geworden ist.

Beide verlieren ihre Funktionalität und verweisen durch kleine Details wie fehlende Speiche oder Glasur des Pfostens auf Zartheit und Zerbrechlichkeit des Materials. Sicherheiten werden aufgehoben und es entsteht ein neuer Blick auf alltägliche Gegenstände. 

Ilana Pichon


What are the neighbors doing?

2020 40 x 35 with 25 digital polaroids

digital work based on cut out and college


This series of small cliches was made by taking small cutouts of a large digital collage. The large collage shows invented colorful and connected shapes. Each of them represents someone and its daily path or movement. 

The polaroid Fram was chosen to extract some dynamics and feature connexions and interactions. As we now all are stuck inside, I build a grid presenting 25 cliches looking like a series of windows, each fettering what is going inside at our neighbors.

Fred Unruh 


„Wir reden hier immerhin von einer tausend Zentimeter langen Linie“, 2019 (ongoing)



Charcoal on chinese paper  32 x 45 cm


Around Christmas, I painted a line 1000 centimetres long on a piece of paper just as long. Elsewhere there are already small lines of this line, now there is one hanging here too. And now? Well, I think that is quite something, we are already talking about a thousand centimetres long line.  

Joongyong Kim


"sticky yellow painting"

800 x 1300 Fly trap 2019


In my work, my work begins with a playful attitude. Usually, I work with the surrounding materials of our daily life.In this work, I made a yellow painting with Fly trap and visitors can see the painting constantly changing. 

Lenia Hauser



100 x 140 cm, mixed techniques on HDF board

The ongoing fusion and separation of everything. meandering rivers, moving mountains and evolving clouds like the never-ending conversation of our streets and buildings the surrounding that we constantly create and change a fragile assemblage Breathless, thoroughly calculated and unconsciously balked out at the same time. 

Odur Odessa


"Der fliegende Wandteppich"

2019 Nürnberg (Ger) Skulptur

Holz Fragmente, Sprühdose, Acrylfarbe, Klarlack

B x H: 845 x 1215 mm T: 40 mm


Wie jeder handelsübliche, fliegende Teppich wurde auch dieser mit allen Eigenschaften versehen, um seinen „Reiter“ bequem und sicher zu den entlegensten Sphären ferner Welten zu transportieren. Leider kam es bei der Herstellung zu einem kleinen Produkti- onsfehler weswegen dieses Exemplar nicht zum Fliegen geeignet ist, und so kurzerhand zu einem „Wandteppich“ umfunktioniert wurde. Um ein Erreichen ferner Welten und Sehnsüchte trotzdem zu gewährleisten wurden hier grafische Elemente eingesetzt, um dem nun nicht mehr „Reiter“, sondern „Betrachter“, dabei Unterstützung zu leisten.


Und nicht zuletzt wissen wir ja alle, das es der Teppich ist der die Wohnung erst gemütlich macht.

Claudia Holzinger


Coming of Age Wear is a series of 7 selfportraits, wearing old outfits from my teenagedays. 

The subtext are questions all dealing with 90’s/ 00’s trends and songtexts. 

what is a secret rave?

What is the rythm of the night?

Am i original?

Is the BabY-G of today ticking differently? 

I want to be a Hippie and i want to get stoned

Rüdolfs Stamers


"Animal Leveler"

aluminum cans, zip ties, fur

80 x 10 x 120 cm 2020


You know that feeling when you have drank one beer too much, but still look sober?...

Paloma Sanchez-Palencia & Lena Skrabs




Conceptual shopping Berlin, ongoing since 2018 WE PREFER LIDL is a secret message created while grocery shopping. 

The performer chooses their products according to the first letter and puts the items into the right order during payment process. The statement WE PREFER LIDL is being printed vertically from top to bottom. We prefer LIDL can be performed by anyone. 

Nora Keilig


"Feine Antenne"

Folie, Papier und Zeichnung 28 x 20 cm, 2020

Thanks for enjoying "Auf der Laube". 

If you have any questions about the exhibition, artwork or artist just send us a mail. 

Team Studio Huette