https://wieyi.at wieyi.at Thu, 13 Nov 2025 12:19:52 +0000 https://wieyi.at en https://wieyi.at/Nav-on-pc Wed, 12 Jun 2019 20:49:43 +0000 wieyi.at https://wieyi.at/Nav-on-pc W I E - Y I&nbsp; &nbsp;T.&nbsp; &nbsp;L A U W studio@wieyi.at instagram news S E L E C T E D&nbsp; &nbsp;W O R K S The sea around usSprouting ties Burning waves Dong Xuan Center Unschuldiges Ungeheuer Nature morte Swallow me whole Every loss has its landscape Fleeting Universe Dunkle Paarung Artist Book Dunkle Paarung III Dunkle Paarung II Dunkle Paarung IMother Not Your Story I Not Your Story Either IIThree Days Of Rain Ich hätt doch lieber ... Bussi Baba While Archiving And Even Dust Burst Into Flames Slow Sculpture Things I Things II P U B L I C&nbsp; &nbsp;A R T Originality and Other Myths 01 &amp; 02 Public AffairsUnDinge In BetweenI N F O R M A T I O NBiography / CV &nbsp; https://wieyi.at/About Wed, 19 Jun 2019 12:51:53 +0000 wieyi.at https://wieyi.at/About Contemporary life is a living tapestry of global ties, intertwined in a past that still echoes. Wie-yi T. Lauw examines the present, woven with unfinished, fragile and fluid identities, and its potential for transformation.&nbsp; T. Lauw’s works are testimonies of a personal, shaped by the Asian diaspora in Europe and sprouting from that, a universal preoccupation with existential themes. They examine the various connotations of the ‘foreign’ that arise from colonial powers, migration and their histories. Through the use of exotic fragments, everyday symbols and clichés, T. Lauw critically scrutinises the domination of colonial mindsets over colonized cultures. The fascination with the exotic has a long history, and this gaze stems from a deeply rooted hierarchical understanding of the „foreign“ and the „other“. Downloads CV Portfolio Impressum &amp; Datenschutz All rights reserved. ©Wie-yi Lauw 2024, VG-Bildkunst Bonn Inhaltlich Verantwortliche gemäß P. 55 Abs. 2 RStV: Wie-yi Takasaki Lauw https://wieyi.at/CV Tue, 25 Jun 2019 08:11:05 +0000 wieyi.at https://wieyi.at/CV W I E - Y I&nbsp; &nbsp;T.&nbsp; &nbsp;L A U W CV Ausbildung 2010 - 2012 Kunsthochschule Weißensee Berlin / MA Raumstrategien bei Maren Strack, Fritz Balthaus 2011&nbsp; &nbsp;Universität der Künste Berlin / Entwerfen Raumbezogener Systeme / Gaststudent bei Gabi Schillig 2009 - 2010 Central Academy of Fine Arts, Beijing / Chinese Traditional Painting 2005 - 2008 London College of Fashion / BA Photography 2004 - 2005 London College of Fashion / Art and Design Einzel &amp; Duo- Ausstellungen 2024 “Threads of Power”, micro installation, Dong Xuan Center, Berlin 2022 “Milk&amp;Honey”, with Lilla v Puttkamer, KollektivVolume, Berlin 2022 “Dunkle Paarung”, FotoWien Festival, Weltmuseum Wien 2021 “Fleeting Universe“, Konfuzius Insititut, curated by Ronald Kiwitt, Nürnberg 2021 “Until the clichés glow”, with Flavio Degen, Kiezkapelle Neukölln, Berlin 2021 “Dunkle Paarung”, Booklaunch, Lotus Blumenladen, Neukölln, Berlin 2021 “Dunkle Paarung” , Weltmuseum Wien 2018 "Originality and other modern myths“,&nbsp; with Roberto Uribe-Castro, Raizvangarda, Bordeiro, Portugal 2016 "Slow Sculpture“, Volume Space, Berlin 2012 “unDINGe”- Performative Körper Raum Prothesen, Volume Space, Berlin Gruppenausstellungen&nbsp; 2026 &nbsp; “A Spiral, a Mouth, a Horn and a Halo“,&nbsp; Galerie Tanja Wagner, Berlin, DE&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;curated by Lucía Sciandro and Miriam Schwarz 2025 &nbsp; “The sea around us” ,&nbsp;Passerelle, Centre d’art contemporain d’intérêt national, Brest, FR&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;curated by Tristan Deschamps, Marlene A. Schenk with Loïc Le Gall 2025&nbsp; ZK/U Plant Stories -&nbsp;&nbsp; Performance, DE&nbsp; &nbsp; &nbsp; &nbsp; 2025&nbsp; &nbsp;“Displaced Becoming”,&nbsp;Kunstpunkt Berlin / Raum für Aktuelle Kunst, Berlin, DE&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; curated by Keumhwa Kim, Yeni Ma 2024&nbsp; “We may be separated like islands, but”, Dongjak-gu, Daegu Art Factory, Korea, curated by Yeni Ma&nbsp; 2024 “Kunst am Bau” with G013 Landscape architects, Gipsformerei der Staatlichen Museen zu Berlin,&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Bundesamt für Bauwesen und Raumordnung, Berlin 2024 “Concealed Presence”, Gr_und, Berlin 2024 “Dragoner0x”, Dragoner Areal, Berlin, curated by Luis Bortt 2024 “Unheimliches Ungeheuer”, Hibertraum Berlin, curated by Keumhwa Kim 2023 “nature morte”, Galerie Burster, Berlin, curated by Miriam Schwarz 2023 “ Book Nomad”, Einbuch.Haus, Berlin2023&nbsp; “Total Recall 2/ Break the Charm”, Galerie Burster, curated by Fousieh Mobayen, Berlin 2023 “Dissecting Globality”, Künsterhaus Dortmund curated by Atelier Amore, Dortmund 2023 “Ogranic Motion”, Cate Wind Studio, Berlin 2023 “Gedanken spielen Verstecken”, HausKunstMitte, curated by Rebecca Raue, Berlin 2022 “2525”, Spoiler, curated by Niklas Jeroch &amp; Isabelle Thul, Berlin&nbsp; 2022 “Friday the 13th, What could possibly go wrong?”, Plus DeDe, Berlin 2022 “Wo-men beliefs”, AVU, Kunstakademie, curated by Charlotte Esser, Prag&nbsp; 2022 “Redraw Tragedy”, Künstlerforum curated by Nathalia Wehler &amp; Michael Stockhauser, Bonn&nbsp; 2021 “Wo-men beliefs”, Kiezkapelle Neukölln, Berlin 2021 “Direkte Auktion”, XBerg Tower (Postbank), curated by Hilka Dirks, Berlin 2021 “SONDERLAGE 4/5” feat. BACKBONEBOOKS, Lage Egal, Berlin 2021 “Rethinking Nature” (Slide Show), Mois européen de la photographie, IMAGO, Lisboa 2021 “Charming Dismissals”, @plusDeDe, curated by Tristan Dechamps, Berlin 2017 "Riso Festival Berlin“, with Penthaus für schöne Formate, Berlin 2017 "Even dust can burst into flames“, Volume Space, Berlin 2017 "Public Affairs“, Friedrichshain-Kreuzberg Museum, Berlin 2017 "Reclaim Your space“, Friedrichshain-Kreuzberg Museum, Berlin 2014 "Another Austria", Austrian Cultural Center, London 2013 "Chapter 0: Introducing daydreams of precarious bodies." , District Berlin 2013 Werders Wohnzimmer, Bento, Karlsruhe 2012 “Zuhause im Exil der Utopie”, 48 Stunden Neukölln, 2012 "Das Gesetz des Marktes / Berlin- Bangalore", Freies Museum, Berlin 2012 “Die Kunst nicht dermaßen regiert zu werden”, 100grad Festival, Hebbel am Ufer, Berlin 2011 "37 Manifestos, How to become collective in 4 easy lessons ", Forum Factory, 2011 "La Belle Alliance", Mehringplatz, Berlin, 2011 Rundgang, Kunsthochschule Weißensee,Berlin, 2011 Rundgang, Universität der Künste,Berlin, 2010 "Da Bao, the next 21 artists from Austria ", Austrian Sino Arts Program, Beijing 2009 "Cou Huo,16 Artists in a tent" , Beijing 2008 John Hopkins Space, London Residencies und Stipendien 2026 European Ceramics Work Centre (EKWC), Netherlands 2025 Bmkoes, Austrian Federal Ministry of Culture and Sports, artist residency Shanghai&nbsp; 2024 3rd Prize with GM013 Landscape Architects, Kunst am Bau, Gipsformerei der Staatlichen Museen zu Berlin &nbsp; 2023 - 2024 Alexander Tutsek Stiftung&nbsp; 2023&nbsp;Stiftung Kunstfonds, Neustartplus Stipendium 2023 Bmkoes, Wien, artist residency Shanghai (on hold) 2022 Stiftung Kunstfonds, Neustart Kultur Stipendium 2021 BBK, Projektstipendium Neustart Kultur, Modul C 2021&nbsp;takingcareproject.eu &amp; co-funded by the Creative Europe Programme of the European Union 2018 Raizvangarda Residency, Bordeiro, Portugal 2018 Step Travel Grant 2008 Darwarsiswa Residency Programm, Yogyakarta, Indonesien Publikationen &amp; Artist talk 2024 “H-ART numero 15: Los libros del arquitecto, written by Roberto Uribe-Castro 2024 “Ephra- Thoughts Play Hide and Seek, Ausstellungskatalog,&nbsp;,Hatje Cantz Verlag 2023&nbsp;“Spaces of Care – Confronting Colonial Afterlives in European Ethnographic Museums”, Transcript Verlag, Cover &amp; S. 222023 “5 Jahre Kunstraum”- Festschrift zum fünfjährigen Jubiläum des Kunstraums des Konfuzius-Instituts Nürnberg-Erlangen 2023 “Ephra - Gedanken spielen Verstecken”, Abendschau Rbb24 2022 “Ephra unterwegs bei Wie-yi T. Lauw”, Tagesspiegel, Berlin 2022 Artist talk, Weltmuseum Wien 2022 Artist talk with Samantha Bohatsch, Yannis Pappas &amp; Mothers Artlovers, AVU Kunstakadmie, Prag 2022 Interview über cultural appropriation in “Auf Laut” Fm4, Radio, Wien 2022 “Redraw Tragedy”, Kunstforum Bonn, General Anzeiger Bonn, by Jill Mylonas 2022 Artist talk mit Roberto- Uribe Castro &amp; Michael Stockhausen, Künstlerforum Bonn 2022 Artist talk, Konfuzius Institut, Nürnberg2021&nbsp; neuesMuseum, die Österreichische Museumszeitschrift, S.52.-552021 “Mother” im Deutschlandfunk für Direkte Auktion2021 Portrait “Menschen in Berlin” von Anette Mingels &amp; Anna Bauer (upcoming) 2021 Artist talk, Weltmuseum Wien2021 Dunkle Paarung, published by backbonebooks2020 Not your story, published by backbonebooks2018 Artist talk, Raizvangarda, Bodeiro, Portugal2014 Another Austria, Austrian Cultural Center, London, Katalog2012 Das Gesetz des Marktes / Berlin- Bangalore, Freies Museum, Berlin ,Katalog 2011 Stadraum Magazin, Macht im öffentlichen Raum, DAZ, Berlin2010 Da Bao, the next 21 artists from Austria, Austrian Sino Arts Program, Sammlungen Weltmuseum Wien, Metropolitan Museum of Art NYC, Miriam Gallery NYC, Art Institute of Chicago, Bibliothek Angewandte Wien, private SammlerInnen https://wieyi.at/The-sea-around-us Tue, 28 Oct 2025 19:37:26 +0000 wieyi.at https://wieyi.at/The-sea-around-us <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/8ad45aadb01b1cd3aa90ba0fae54a28081e05988b01acad2c51a1bd223d18c59/cacp-2025-cette-mer-qui-nous-entoure-008.1200x0-tiny.jpg" data-mid="239988534" border="0" src="https://freight.cargo.site/w/1000/i/8ad45aadb01b1cd3aa90ba0fae54a28081e05988b01acad2c51a1bd223d18c59/cacp-2025-cette-mer-qui-nous-entoure-008.1200x0-tiny.jpg" /> <img width="1200" height="1600" width_o="1200" height_o="1600" 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data-src="https://freight.cargo.site/t/original/i/1168ebd6f84e6946139c26540e0c7e7245f950663390984f132db512d6f137dc/cacp-2025-cette-mer-qui-nous-entoure-038.1200x0-tiny.jpg" data-mid="239988543" border="0" src="https://freight.cargo.site/w/1000/i/1168ebd6f84e6946139c26540e0c7e7245f950663390984f132db512d6f137dc/cacp-2025-cette-mer-qui-nous-entoure-038.1200x0-tiny.jpg" /> The Sea Around Us] 17 Oct 2025 — 3 Jan 2026,&nbsp;Centre d’art contemporain Passerelle Hoël Duret, Marta Dyachenko, Lena Henke, Ben Saint Maxent, Wie-yi T. Lauw, Sophie T. Lvoff Wie-Yi T. Lauw's practice situates itself between narratives, global and personal, and the direct surroundings where her works come to life. From a fluid process of immersion and transformation, her installations tell stories both near and far but always with a backbone rooted in decolonialism, migratory fluxes, power relations and shared mythology. In her work Burning waves, a tapestry reproduces shared knowledge of myth and legends from across the seas, retracing routes of trade, and systemic abuse of people and resources. Drawings of creatures embrace and cut off routes across what can slowly be understood as a map, or the survey of a territory shared by mankind, shrouded in layers of stories and history. The thick softness of the textile is pinned down by glass pearls, connected by the loaded aspect, especially in the open seas, of metal chains. Those elements embodying the systems of oppression and trade work as stark reminders, beyond the poetical sea fog, of what harbours have also been built and used for. Working between personal history, archival works and how those are woven into daily life, Wie-Yi started developing Index during her spring 2025 residency in Shanghai. Index is a work in progress, a bit like a board journal that was started almost a century ago, see the Jesuit archival photography from 1928. Those archives were given to the artist's father by the Jesuites themselves, as he migrated by boat from his native Indonesia to Europe. Stepping away from a grand interpersonal course, the installation works as a spring board for narratives to take their own course, meeting dead ends or continuing out of the artist's control. By whom, for whom and against whom are crucial questions that Wie-Yi's work brings into the room with Burning waves and Index, from the East China Seas and the mainland, heading towards Brest, her work tells tales of mystery, migration, courage and absolutely, freedom. Text by Tristan&nbsp;Deschamps - “An ocean must be a story pieced together from many sources and containing whole chapters the details of which we can only imagine,” wrote Rachel Carson in The Sea Around Us (1951), translated into French as Cette mer qui nous entoure. In her book, this American biologist combined science and poetry to describe the abundant life of the various levels of the ocean, from the icy darkness of the depths to the power of the tides and currents. She also reminded us that the ocean’s origin, two billion years ago, was not witnessed by any human being, yet is nevertheless the source of our own existence. To Carson, the sea is both a process far beyond the human scale and a place deeply entwined with our imagination. The exhibition Cette Mer qui nous entoure [The Sea Around Us] is set in this divide, between invisibility and imagination, between the immensity of natural phenomena and the fragility of our human gaze. First shown at the Kunstverein Friedrichshafen, in Germany, in February 2025, with the title It must be a story pieced together from many sources, the project is embarking on a second chapter in Brest. Moving from the shores of Lake Constance to the Atlantic coast provides not simply a change of geographical location, but also a change of scale and resonance. Two port cities therefore become spokespersons, asking the question of what happens when works travel and are re-presented in a different context. The exhibition explores dialogue and transformation: how do works evolve when they are placed in new environments? What do they become when they are designed as open processes, capable of growing, changing and reinventing themselves? Water is here both a subject and a method: a means of transportation and a provider of links, but also a source of instability, erosion and change. In Brest, the exhibition expands and deepens. The artists who came together in Friedrichshafen continue their research and produce new versions of their works, sometimes specific to the site. Two artists based in Germany, Wie-yi T. Lauw and Lena Henke, join the project, which remains intentionally open and in flux. The offerings gathered in Passerelle form a whole that includes fictional tales, personal memory, collective stories and observations on the fragilities of our time. For several years Hoël Duret has been inventing maritime tales coloured by science fiction and the absurd: imaginary voyages, jellyfish travelling through undersea cables or pseudo-documentaries on fictional flotillas. In Brest, he presents screen-sculptures in which jellyfish become symbols of globalised capitalism and of the ecological upheavals related to maritime transport. Marta Dyachenko focusses on port infrastructure, slipways, seawalls and floating systems that range from construction to ruin. Her works Schiffbarmachung highlight their corrosion and emphasise our fragile dependence on unstable technical and social structures. Lena Henke investigates the relationship between bodies, city planning and power. Her sculptures play with scale and matter, questioning how space is organised and controlled, especially from a female perspective. Wie-yi T. Lauw is developing the use of personal and collective stories related to migration, colonial heritage and shared mythologies. Her textile and archival installations weave together letters, family stories and maritime tales from around the world, recalling that the sea is crossed by stories of domination as much as by stories of resistance. Sophie T. Lvoff in Dream Code undertakes photographic research to create a visual language from signs and fragments, like a Morse code made up of partially hidden images and texts. Her photographs resemble messages in bottles, coded notes, personal stories and fleeting details tracing invisible routes between places and stories. Lastly, Ben Saint-Maxent bases his practice on the transformation processes of the natural world. Here he enhances his research with personal recollections: the scent of pine resin, saw blades inherited from his family of craftspeople, or large demijohns containing endangered plants, collected at the National Botanical Conservatory of Brest. His installations reflect a conversation between personal memory, familiar objects and natural forces. Just like the sea it is exploring, the exhibition is made up of various different strata and is in motion and resistant to any ending. The artists’ practices flow past each other and re-form like interacting currents. Cette Mer qui nous entoure [The Sea Around Us] evokes not only geographical proximity, but also the state of being immersed in relationships that we cannot fully map, in stories that always remain partial and fragmented. Between Lake Constance and the Atlantic, the exhibition swells like a constantly-expanding story, just like the sea itself, unfinished, ceaselessly starting again. Exhibition curators: Tristan Deschamps, Marlene A. Schenk with Loïc Le GallIn partnership with the Kunstverein FriedrichshafenBrest © photo : Aurélien Mole Supported by the PERSPEKTIVE Fund for Contemporary Art &amp; Architecture of the Office for Visual Arts of the Institut français Germany, sponsored by the French Ministry of Culture, the Institut français Paris and the Goethe-Institut. &nbsp; &nbsp; &nbsp;&nbsp; https://wieyi.at/Sprouting-ties Thu, 13 Nov 2025 12:19:52 +0000 wieyi.at https://wieyi.at/Sprouting-ties <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8b46df9f63e1afa07cf1dc91052f73d8b6062ef2556491a323087c15e43e0b46/IMG_9659.jpg" data-mid="240604507" border="0" src="https://freight.cargo.site/w/1000/i/8b46df9f63e1afa07cf1dc91052f73d8b6062ef2556491a323087c15e43e0b46/IMG_9659.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/522a47a6401f2878ff369117c70145efa6c57df0ba879a6b8108fd06c1f2c032/751d1480-d96d-4b69-8b74-d792ce9928b2.jpg" data-mid="240604500" border="0" src="https://freight.cargo.site/w/1000/i/522a47a6401f2878ff369117c70145efa6c57df0ba879a6b8108fd06c1f2c032/751d1480-d96d-4b69-8b74-d792ce9928b2.jpg" /> <img width="2722" height="2628" width_o="2722" height_o="2628" data-src="https://freight.cargo.site/t/original/i/89e6633a77197063be34d6b07167940b46ab7986df6d756a5b6966d327229501/DSCF9370.jpg" data-mid="240604501" border="0" src="https://freight.cargo.site/w/1000/i/89e6633a77197063be34d6b07167940b46ab7986df6d756a5b6966d327229501/DSCF9370.jpg" /> <img width="1125" height="2436" width_o="1125" height_o="2436" data-src="https://freight.cargo.site/t/original/i/c0030a12faaefd1b5cafeec27db895c394aee0fce9b990ea69bea39a261ab986/IMG_9670.jpg" data-mid="240604504" border="0" src="https://freight.cargo.site/w/1000/i/c0030a12faaefd1b5cafeec27db895c394aee0fce9b990ea69bea39a261ab986/IMG_9670.jpg" /> <img width="2832" height="4240" width_o="2832" height_o="4240" data-src="https://freight.cargo.site/t/original/i/d9f2b1a9b261cea49fbb54c438eee60b009828237b461ec18c37a0fdf62b4ff6/DSCF9373.JPG" data-mid="240604502" border="0" src="https://freight.cargo.site/w/1000/i/d9f2b1a9b261cea49fbb54c438eee60b009828237b461ec18c37a0fdf62b4ff6/DSCF9373.JPG" /> PLANT STORIESSprouting ties, Performance ca. 5min. at ZK/U, Berlin The repeated act of pressing soil into a mold and breaking it apart reflects the ways we force nature into cultural patterns: colonial, econimic, aestehetic.Yet, through fragmentary rebuilding, new relations can emerge, not as domination but as a process, as layering ,as shared stories.curated by&nbsp;Andrea Goetzke &amp; Lina Brion https://wieyi.at/Burning-waves Fri, 03 Jan 2025 12:53:06 +0000 wieyi.at https://wieyi.at/Burning-waves &nbsp; &nbsp; &nbsp; <img width="2621" height="3494" width_o="2621" height_o="3494" data-src="https://freight.cargo.site/t/original/i/dea8277662064bf08edfd0809ac4d75607e959b50fe03f4504babe1930bab3cf/DSCF6278.jpg" data-mid="225660215" border="0" src="https://freight.cargo.site/w/1000/i/dea8277662064bf08edfd0809ac4d75607e959b50fe03f4504babe1930bab3cf/DSCF6278.jpg" /> <img width="2621" height="3494" width_o="2621" height_o="3494" data-src="https://freight.cargo.site/t/original/i/9b9e421ab3a0fb75e6a20bb98f5957ec2609c7cb836a7f8c47d5c16ef0800d59/DSCF6271.jpg" data-mid="225660212" border="0" src="https://freight.cargo.site/w/1000/i/9b9e421ab3a0fb75e6a20bb98f5957ec2609c7cb836a7f8c47d5c16ef0800d59/DSCF6271.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5cc474aea32453c480c8d145e4c5caf940c6a6f9eb299a1c93c845c3ff278c1e/IMG_1694-3.jpg" data-mid="224087601" border="0" src="https://freight.cargo.site/w/1000/i/5cc474aea32453c480c8d145e4c5caf940c6a6f9eb299a1c93c845c3ff278c1e/IMG_1694-3.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/06c014b6e58913dacdc624666b8506579684fa240698ea5d53b57eaeed0e1f4f/IMG_1700-3.jpg" data-mid="224087642" border="0" src="https://freight.cargo.site/w/1000/i/06c014b6e58913dacdc624666b8506579684fa240698ea5d53b57eaeed0e1f4f/IMG_1700-3.jpg" /> <img width="2823" height="4230" width_o="2823" height_o="4230" data-src="https://freight.cargo.site/t/original/i/7f4d87e20adf6a966a20528c12d7d50ed3ad3ad6d8352d5dcec01bfe5dc62b97/DSCF8667-Kopie.jpg" data-mid="224087288" border="0" src="https://freight.cargo.site/w/1000/i/7f4d87e20adf6a966a20528c12d7d50ed3ad3ad6d8352d5dcec01bfe5dc62b97/DSCF8667-Kopie.jpg" /> <img width="2832" height="4240" width_o="2832" height_o="4240" data-src="https://freight.cargo.site/t/original/i/8146d9fd7ccd2a572e32291993c1590419aacb6d75f39f367bef81f9328e3c87/DSCF8654-Kopie-2.jpg" data-mid="224087281" border="0" src="https://freight.cargo.site/w/1000/i/8146d9fd7ccd2a572e32291993c1590419aacb6d75f39f367bef81f9328e3c87/DSCF8654-Kopie-2.jpg" /> Dein Browser unterstützt kein HTML5-Video. Installation shot, Daegu art factory, Korea, 2024 Tapestry 3,35 x 2,45m , Glasspearls infused burned exotic flowers,stainless steel chains, audio sound 5:37”&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; We May Be Separated Like Islands, But 10.12-16.02.2025 @daegueartfactory Burning Waves This tapestry serves as a metaphorical cartography of the ocean as a site of global entanglements— where cultures, myths, and systems of power intersect. It reflects the historical trajectories shaped by maritime navigation, colonial expansion, and the transoceanic trade of exotic goods. Water emerges not merely as a conduit for material exchange but as a transcultural medium that carries ideologies, stories, and collective memory across time and space. The work unfolds a complex narrative that intertwines the splendor of maritime mythology with the shadowed histories of conquest and displacement. By weaving together historical, cultural, and poetic dimensions, the tapestry—interlaced with opaque glass forms and weighted chains, the tapestry reveals the ocean as a space of dualities: of adventure and exploitation, of longing and domination. The muted luster of the glass alludes to beauty extracted and displaced, evoking nature stripped from its origins, while the chains embody the weight of histories that cannot be erased. This layered composition invites viewers to reconsider the ocean not as a vast and empty expanse but as a palimpsest of human history, where the traces of past movements and forgotten voices remain embedded in its depths. Yeni Ma We May Be Separated Like Islands, But The water that constitutes our bodies, just as it was once part of other bodies, rivers, and lakes long ago, may one day form seas and ponds in the distant future. In the vast timeline of water, this fleeting body will return there, falling as rain and seeping into other beings. Through the lens of water, everything circulates and interconnects. However, people who have over time based their thinking on imaginary lands have constructed concepts such as linear time, history, arbitrary boundaries, and national borders. While they took from each other and built barriers, countless lines were drawn acrossmaps. The exhibition We May Be Separated Like Islands, But, proposes thinking with water to cross these drawn lines, remember the deep and unknowable ancestral time beyond narrated history, and connect it to the present and future. The exhibition title, We May Be Separated Like Islands, But, is excerpted from the artist's note on the performance Muljil by the theatre company "Elephants Laugh," with the original sentence ending "we are immersed in the same sea." If we think and flow like water, everything is not an isolated entity but a medium of constant circulation. 기획 Curators Yeni Ma @yeni.ma.7 Doy Kim@doykim.work Fee Yuni Hoayun Chung @yuni_hoayun_chung Sound in collab with: Filippo Toso Richard Lauw Bethnan Hughes Irwan Radjab Jasmin Lauw Rani Rudoll Stephanie Sutanto Archive Russel Wallace: The Malay Archipelago Excerpts of the poem “Untamed tides” are woven words on tapestry <img width="1240" height="1753" width_o="1240" height_o="1753" data-src="https://freight.cargo.site/t/original/i/f9e1bd9e38a7b2aa321f8d93444c268a0c94b644cd3801e0c66654a358e0fcb0/poem.jpg" data-mid="224087983" border="0" src="https://freight.cargo.site/w/1000/i/f9e1bd9e38a7b2aa321f8d93444c268a0c94b644cd3801e0c66654a358e0fcb0/poem.jpg" /> &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; https://wieyi.at/Dong-Xuan-Center Tue, 19 Nov 2024 12:30:40 +0000 wieyi.at https://wieyi.at/Dong-Xuan-Center &nbsp; &nbsp; &nbsp; <img width="2832" height="4240" width_o="2832" height_o="4240" data-src="https://freight.cargo.site/t/original/i/222160aac7acf5fb2fa0216625190f27b6d717257cd28b88c4161b487cfed073/DSCF8626.jpg" data-mid="222043355" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/222160aac7acf5fb2fa0216625190f27b6d717257cd28b88c4161b487cfed073/DSCF8626.jpg" /> <img width="2832" height="4240" width_o="2832" height_o="4240" data-src="https://freight.cargo.site/t/original/i/cb691e28abf4d0ee8396442598e7d55d737594bb8f528eb180c5d916eeceb1e8/DSCF8619.JPG" data-mid="222043357" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/cb691e28abf4d0ee8396442598e7d55d737594bb8f528eb180c5d916eeceb1e8/DSCF8619.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/298ed54555acc14e0ffce3d9a3862ccdd9f0b69291502aadd0af9a1021d97d5c/IMG_0383.jpg" data-mid="222043359" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/298ed54555acc14e0ffce3d9a3862ccdd9f0b69291502aadd0af9a1021d97d5c/IMG_0383.jpg" /> <img width="2938" height="3918" width_o="2938" height_o="3918" data-src="https://freight.cargo.site/t/original/i/253ecbc2c294186ad6bc447254ec1b2873ae21f70ae6841c5b8a2aa36d19bc5a/IMG_9655-2.jpg" data-mid="222043362" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/253ecbc2c294186ad6bc447254ec1b2873ae21f70ae6841c5b8a2aa36d19bc5a/IMG_9655-2.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Installation shots, Dong Xuan Center, Berlin, 2024&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; For some time now, I have been exploring the paths of colonial trade routes and tracing the threads of power and exchange.The Dong Xuan Centre, with its lavish array of exotic fruits, spices and Asian treasures, is a living tapestry of global connections, woven from a past that still resonates. I have placed original archive photos of Jesuit missionaries and ceramics amongst these vibrant wares. They provide a glimpse into the time when their footsteps first touched Asian soil, when their gaze sought to conquer and convert. Decades later, these missionaries led my ancestor to cross the ocean and wander into the unknown. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; https://wieyi.at/Unschuldiges-Ungeheuer Tue, 19 Nov 2024 12:11:33 +0000 wieyi.at https://wieyi.at/Unschuldiges-Ungeheuer <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/35726fd6978853e1f7416d57f68f0ff9e9610d9e70c1254af577d34f94b7b562/IMG_5672-Kopie.jpg" data-mid="222042808" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/35726fd6978853e1f7416d57f68f0ff9e9610d9e70c1254af577d34f94b7b562/IMG_5672-Kopie.jpg" /> <img width="4000" height="5812" width_o="4000" height_o="5812" data-src="https://freight.cargo.site/t/original/i/eb304da35d001b0d95567a245c9e2aa18b2355e45dff04cfae81d2298dafa7f5/DSCF8432-Kopie.jpg" data-mid="222042805" border="0" src="https://freight.cargo.site/w/1000/i/eb304da35d001b0d95567a245c9e2aa18b2355e45dff04cfae81d2298dafa7f5/DSCF8432-Kopie.jpg" /> <img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/870dc1a27cb46921e6caf2cf11671b60c9806fc6b5488f7325067bd86738b0de/IMG_5663.jpg" data-mid="222042812" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/870dc1a27cb46921e6caf2cf11671b60c9806fc6b5488f7325067bd86738b0de/IMG_5663.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Fallen Angel, 260x 70 x 18 cm &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="3361" height="5216" width_o="3361" height_o="5216" data-src="https://freight.cargo.site/t/original/i/bc0943bed79950205b066811db01ae253d38a2ab29d932a47c2b68f404964673/DSCF83963-Kopie.jpg" data-mid="222042816" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/bc0943bed79950205b066811db01ae253d38a2ab29d932a47c2b68f404964673/DSCF83963-Kopie.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Fallen Angel(2), 90x 90 x 100 cm 2024 Hilbert Raum, Berlin&nbsp; Unschuldiges Ungeheuer, curated by Keuhmwa Kim T. Lauw‘s work examines the various connotations of the ‘foreign that arise from colonial cultures and histories. and histories. Through the use of exotic fragments, everyday symbols and clichés, T. Lauw critically scrutinises the domination of colonial powers over indigenous cultures. The fascination with the exotic has a long history and stems from a deeply rooted hierarchical understanding of the ‘foreign’ in other continents and cultures. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; https://wieyi.at/nature-morte Tue, 19 Dec 2023 13:55:43 +0000 wieyi.at https://wieyi.at/nature-morte <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/30c4379165e9e5bfaf3234c6e34e65c6366a26ac3b3e57f9ae28fc0383693658/C87A1142-Kopie.jpg" data-mid="199746187" border="0" src="https://freight.cargo.site/w/1000/i/30c4379165e9e5bfaf3234c6e34e65c6366a26ac3b3e57f9ae28fc0383693658/C87A1142-Kopie.jpg" /><img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/dcf5ced4ff9e26cb5e743756657440712c0d5cd6527611282d55da3eafc9e161/C87A1129-Kopie.jpg" data-mid="199746186" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/dcf5ced4ff9e26cb5e743756657440712c0d5cd6527611282d55da3eafc9e161/C87A1129-Kopie.jpg" /><img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/80c5644dd45526e7768c544923f169b140f2b12d040a1210e94e4c1eea4dfdce/C87A1149-Kopie.jpg" data-mid="199746192" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/80c5644dd45526e7768c544923f169b140f2b12d040a1210e94e4c1eea4dfdce/C87A1149-Kopie.jpg" /><img width="1137" height="1800" width_o="1137" height_o="1800" data-src="https://freight.cargo.site/t/original/i/b5c30a932e64811f655c4803d8fa3c985c28398ce9ded1ba1f11ea582543ad8f/C87A1158-Kopie.jpg" data-mid="199746197" border="0" src="https://freight.cargo.site/w/1000/i/b5c30a932e64811f655c4803d8fa3c985c28398ce9ded1ba1f11ea582543ad8f/C87A1158-Kopie.jpg" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/603ea420cc08999878c767dd77700ef82f6919a647d0b4a3628303d0d5685f1f/C87A1146-Kopie.jpg" data-mid="199746189" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/603ea420cc08999878c767dd77700ef82f6919a647d0b4a3628303d0d5685f1f/C87A1146-Kopie.jpg" /><img width="1377" height="1800" width_o="1377" height_o="1800" data-src="https://freight.cargo.site/t/original/i/441ed8700f943d54c8736993a4bd835daf55df6cd780f87618c38d1a53d57dc6/C87A1145-Kopie.jpg" data-mid="199746188" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/441ed8700f943d54c8736993a4bd835daf55df6cd780f87618c38d1a53d57dc6/C87A1145-Kopie.jpg" /><img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/8c71f14123dbcf09ae87158ad1ed52046d95889fdd7c8b56d97f0393f5cdc7c7/C87A1113-Kopie.jpg" data-mid="199746184" border="0" src="https://freight.cargo.site/w/1000/i/8c71f14123dbcf09ae87158ad1ed52046d95889fdd7c8b56d97f0393f5cdc7c7/C87A1113-Kopie.jpg" /> 2023 The group show nature morte at galerie burster berlin shows works by artists from the gallery program as well as guest artists with whom we have already worked this year and combines painting, installation and photography. In the history of European art tradition, a still life refers to the depiction of inert objects such as flowers, fruit or glasses, whose motifs and composition are selected according to content-related, aesthetic and sometimes symbolically charged aspects. Mostly known from Baroque painting as lavish arrangements, the still life symbolises opulence as well as transience. In the exhibition, however, the French term nature morte transcends the mere motif of the still life and develops its own narrative. In times of ecological crises, in which dystopian images of destroyed natural landscapes penetrate our consciousness, as does the fact that there are hardly any places left – how far away they may be from any civilization – where human traces are not visible or measurable, snapshots of untouched nature can only be understood as utopia. In this changing awareness of what nature means to us today and in the future, each of the positions shown opens up its own perspective on our paradoxical relationship between human and environment and draws a picture of its own individual awareness of nature and identity.withChristian August | Alex Feuerstein | Bethan Hughes | Wie-yi T. Lauw | Nina Röder | Finja Sander | Maria Schumacher | Emil Urbanek | Davide Zucco &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; https://wieyi.at/Swallow-me-whole Mon, 19 Jun 2023 12:12:39 +0000 wieyi.at https://wieyi.at/Swallow-me-whole <img width="3422" height="2066" width_o="3422" height_o="2066" data-src="https://freight.cargo.site/t/original/i/9565087dbb4246dda25500e6d2514ece53114da2823cf84e6dc48b9957f9afbb/CVS3.jpg" data-mid="182536253" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9565087dbb4246dda25500e6d2514ece53114da2823cf84e6dc48b9957f9afbb/CVS3.jpg" />Swallow me whole (serie), 2023 3d ceramic print, glazed approx. 65 x 35 x 40 cm <img width="675" height="900" width_o="675" height_o="900" data-src="https://freight.cargo.site/t/original/i/cef10bb172e102bbce6aaa3851ff2961087c8164882c93ebd3d7d252e42f90a4/web2.jpg" data-mid="184307350" border="0" data-scale="49" src="https://freight.cargo.site/w/675/i/cef10bb172e102bbce6aaa3851ff2961087c8164882c93ebd3d7d252e42f90a4/web2.jpg" /><img width="675" height="900" width_o="675" height_o="900" data-src="https://freight.cargo.site/t/original/i/1befa89e8d7d5fba4d56e96cedd8efdadfaae589862a76e1d22506930ea3623e/web01.jpg" data-mid="184307456" border="0" data-scale="49" src="https://freight.cargo.site/w/675/i/1befa89e8d7d5fba4d56e96cedd8efdadfaae589862a76e1d22506930ea3623e/web01.jpg" /> Swallow me whole (serie), 2023 3d ceramic print, glazed approx. 95 cm x 35 cm x 40 cm unterstützt von Stiftung Kunstfonds, Neustartplus Kultur The 3D ceramic piece consists of many 3D-scanned images from various ethnological museums. These fragments were altered, deconstructed, and digitally melted together in a 3D program, then printed as a single object. The work explores hybridity and questions the heritage of culture. TOTAL RECALL 2 – Break the Charm kuratiert von Fousieh Mobayen In einer Welt, in der jeder hauptsächlich über einen Bildschirm und das Internet kommuniziert und Informationen erhält – in einer Welt, in der die künstliche Intelligenz eine neue Dimension der Wahrnehmung eröffnet, steht die Gesellschaft angesichts globaler Pandemien, Kriege, des Klimawandels und des Verlusts der biologischen Vielfalt am Kipppunkt zwischen Wahn und Menschlichkeit. Anstatt sich auf Narrative zu verlassen, die den Anspruch erheben, wahrhaftig zu sein, umfasst Break the Charm ein vielfältiges Kollektiv individueller Perspektiven, die in ihrer Erkundung dessen vereint sind, was es wirklich bedeutet, im gegenwärtigen Moment zu existieren. Mit den Arbeiten von Frauke Alina Becker, Karin Ferrari, Wie-yi T. Lauw und Davide Zucco begeben wir uns in die Tiefen von Identität, Natur, Krise und Mystik.enIn a world where everyone communicates and receives information via a screen and the internet – in a world where AI opens up a new dimension of perception, society is on the edge between delusion and humanity in the face of global pandemics, wars, climate change and the loss of biodiversity. Instead of relying on narratives that claim to be the truth, Break the Charm embraces a diverse collective of individual perspectives, united in their exploration of what it truly means to exist in the present moment. With the works of Frauke Alina Becker, Karin Ferrari, Wie-yi T. Lauw and Davide Zucco, we dug into the deep areas of identity, nature, crisis and mysticism. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp;