Etan Nechin / Breakaway State


Israel, 1991

Israel, 1991

Etan Nechin is an Israeli born writer. He holds an MFA in Creative Writing from Columbia University. His writing has been published at ZYZZYVA, Apogee, Columbia Journal, Huffington Post, MonkeyBicycle, Entropy, and more. His co-written text for a performance, UTTER: The Violent Necessary for the Embodied Presence of Hope, was shown at the 2015 Venice Biennale.  (Put in what you think is appropriate) He is the recipient of the Felipe De Alba Award and the Center for Fiction Emerging Writers Fellowship.

Sarah Lüdemann / This is my land

„I want to scream somehow - for myself, for others. I want to be part of a revolution that is
happening right now - inside me, outside also.“ „Does it have to be so vulgar and so militant?“,
my grandmother replied and I reminded her of the violent screaming that many revolutions had
To be heard.
My choice of obscure poetry, rather than plain fact is an artistic one. I indulge in the many
meanings and entangled utterances. And so art remains to be free and ungoverned. I fight for
that, the inexplicable aspects of creation, like a plant that grows into whatever direction it wants,
while you simply water it.
I also proclaim that growth does not necessarily come from going forward all the time. We
mustn’t forget sidesteps and backflips. The animal that we have caged inside us is our
evolution. There is something to be gained in dispossessing the imperative of rational thinking.
There is something to be gained in not letting go of our body, our senses, our pre-historical
Animalistic rationality.
That is content. That is art.
This is my Land!

Bremen, March 2018

Photo by James Robinson

Photo by James Robinson

Sarah Lüdemann (1981) lives and works in Berlin & Bremen, Germany.
She is represented by Gallery Schlachthaus.


I find the living space extremely important, which is why I began painting it. The space in which you find yourself often determines your mood. Spending the major part of my days in my flat, I realised that this is what determines the amount of light I receive, how warm I am, essentially how I feel. And this is what I explore through paintings – through materials, colours, light ... While seeking the ideal space for me, I am seeking the ideal space for the contemporary man.


It is with the choice of colours that I seek to find tranquillity, However, certain people are bothered by the subject matter, contemporary architecture being quite a delicate topic. Others tell me that it was the colours that touched them and they find it surprising how quiet they seem despite the monumentality of buildings.



I have been following the feeling of safety, peace and the idea of being sheltered. All shades are linked through the same brightness, no contrasts and shades. I use colours to create specific atmospheres, which I use to channel the viewer's feelings and achieve a certain impression through the entire presentation. The exhibited paintings make you feel overexposure and softness, while, being so minimal they remain open for your own reflections.


f. Ada Hamza


Nina Čelhar (1990) lives and works in Ljubljana, Slovenia.







Nina's work was brought to our attention by  R GALLERY SPACE.


Carolina Pozzi / This Painting Was Whitened Unbeknownst to Me

Back of the canvas, or what can be seen of My Little Plate and what happened / Left: natural light, Right: Artificial light


With the foolish mistake of a student at the Venice Academy of Fine Arts, the painting of My Little Plate was whitened unbeknownst to me. It was part of a series “emotional still lives.”

Last spring I would make lists of things that I love: meaningful objects, like wheels, ribbons, boxes, the heartening loops of things, butterflies, the sun-being of citrus fruit. I wanted to express a sensation, an obsession or a sense of stopped time. For some reason I was secretly attached to that painting, for me so enigmatic, suspended in a condition of waiting by an empty little Plate, topped with grey and red tones. 
My mind was preoccupied, so I left it unguarded outside the atelier where I work and found it the next day covered with a coat of white paint. 




Besides anger, that ignorant act gave me the chance to face that instant, when two-dimensionality is split, or three-dimensionality is canceled in the fragile balance between things. When does one thing end and a new one begin? I painted abstract spaces, watching those forms, which by then, were only the memory of that annoying matter, disappearing. My little Plate is submerged like a heart, the smooth profile of its beat can only be seen slightly on the back of the canvas.




Carolina Pozzi (1994) lives and works in Venice, Italy.

Hannah Rowan / Water Atlas

When all that is fluid, even time itself, melts away.

To exist in a fluid state is to be submerged in the constant lap and flow of movement. 

I have a fixation with the fluid and transitory properties of water as material and metaphor. Water as it drips, drifts, drizzles, flows, freezes, gushes, laps, leaks, pours, sloshes, soaks, submerges, ripples, rests, and evaporates through hydrological cycles of interconnecting networks.

The footage in this video was recorded while in the Atacama Desert, the driest place on earth, where I began this project. This project will continue to grow and move as I expand Water Atlas into different environments. Water Atlas is a recent, expanding and still developing project that archives my encounters with the presence, absence and journeys of water to permeate and interconnect ecological and artificial cycles.


Hannah Rowan (b. 1990) currently lives and works in London, UK.

Éva Ostrowska & Constance Walsh / Coca Apéro



Softening bitterness and you wait in
Corners of sand fields
And a woman's hands draw
Your eyes open
As the mouth moves to sing
Clear words beam morning in the
glossy dusk that welcomes night








«APERO» in France is the time around 7 pm where you gather with friends to drink (usually alcohol).

At the foot of the volcano Lincancabur in Chile, we organized  «Coca Apéro». The aperitif drink was brewed from natural coca leaves. We indulged in our drinks and had a little meditation. Constance Walsh had written some haikus that she read to us. We chewed some of the raw coca leaves as the Incas used to do, and then we spat them on the floor.


Thanks to the participants Sofie, Hannah, Francesca, Kamila, Annie.

Coca Apéro is a collaborative work between Eva Ostrowska (images). and Constance Walsh (haiku).

photo eva ostrowska.jpg

Éva Ostrowska (b.1989) lives and works in Paris, France.



Constance Walsh lives and works in New York City.

Martin Cacic / Cosmic friends


"Meeting somehow out of the pure darkness of the universe two light particles collided and decided to journey together. They shared the same shimmer as they traveled and eventually came to shine brighter than some suns. Laying waste to the cosmos in their wake. Far out is where they went to, someplace they can’t seem to get back from. Never lost their perceptions of what to do was to keep going, it’s the natural thing to do."


9 images in this one are all new work from the last few months and 1  found cleaning out my studio. They are all in the  20" inch x 40"inch range give or take most being a little bigger I think. 

They are all works on paper made with acrylic paint, ink, pastels, graphite and other drawing materials.

Martin Cacic (1979, Sacramento, CA) is a Brooklyn based artist, moving soon.


Meta Grgurevič / The Big Bowed (Silenzio's main protagonist)

My largest kinetic sculpture up to date for which I invested measured amount of time and material:

aluminium washers (d30mm/ hole d 16mm)
FCA 1mm = 36 pcs = 36mm; D 1mm = 6 pcs = 6mm; B 6mm = 8 pcs = 48mm; 8mm = 14pcs = 112mm; J 2mm = 8 pcs = 16mm; G 22mm = 8 pcs = 176mm; FCA +D 1mm = 38 pcs =38mm; 
B 6mm = 7 pcs = 42mm; 8mm = 8 pcs = 64mm; G 10mm = 8 pcs = 80mm; 2mm = 8 pcs =16mm = 643mm
aluminium washers with thread fi 30mm /hole d 16mm /15mm
7x2 =14X8= 112+ (4x5)= 132pcs = 1.980mm
aluminium driving pillars (40x40X400mm)
9pcs = 3.600mm
aluminium pillars ( 40x20mm)
G 907 x 3pcs = 2.721mm; FCA 1000mm x 3pcs= 3000mm = 5.721mm
metals conical pins (d 6 x 30mm)
4x8= 32pcs = 960mm
aluminium handles (25x12mm)
275mm...2x8=16pcs= 4.400mm
aluminium d 16mm
 100mm x 3pcs = 3000mm
aluminium d 16mm
52mm= 32pcs = 1664mm; 34mm= 16pcs = 554mm; 1664mm + 554mm=2.208mm
metal construction (40X60X4mm)
1100mmx4= 4.400mm
locking washers d 16mm
64pcs+ 112 pcs= 176pcs
wooden handles
2500x1500X6mm = 3 pcs; 2500x1500X8mm = 2 pcs = 136pcs
wooden pulley d 500 x50mm


APROX 782pcs
APROX 72.012 mm of material / of diffrent profiles = 72M
APROX 3 months of working in the workshop / 12 hours per day = 1080 hours

The Big Bowed sketch, 2017

Meta Grgurevič (1979) lives and works in Ljubljana, Slovenia & Honolulu (Hawai).



Snövit Snow Hedstierna / Achievement of falling

Achievement of falling is the second act (after Conditions of Participation) in a new series of video installations and dance performances by the visual artist and performance artist Snövit Hedstierna. The series pays attention to notions of “the sporting gaze” and historic traditions of sport related; sites and objects, in order to deal with the constructs, rules and socials roles that Western civilization imprints on its members. And the effect the concomitant use of force, hidden or open, has had for the emotional makeup of those subjected to it.

The first act Conditions of Participation, was created in Athens during the opening of Documenta14 and set in a skateboard park full of tennis balls. While listening to a loop of the manifest of this year’s D14, read aloud by the curator Adam Szymczyk himself, the participants performed a long, exhausting and futile game without any obvious path to winning or scoring a goal.

The second act Achievement of falling was created in the setting of a football field in Montreal, where the artist investigates the emotional consequences of dominant constructs of masculinity and looks at alternative spectrums of being, existing and achieving within the site-specific context. The narrative spans over situations where gender roles have led to emotional restraint, grief and painful inauthenticity for those who for various reasons, don’t fit into a socially acceptable identity. By using the personal narratives of people born into a male body, the artist choreographed bodily interpretations, enigmatic gestures and intimate interactions of tenderness, sensuality, fragility, and affection.

The title refers to the suffering that inflexible gender roles have caused individuals, families, and society over generations, and the urgent need to question these constructs to achieve a radical fallout from these roles. In order not to sink; even further.

Important note: This is a multi-channel video installation that has been shortened for a special screening at We.Are Institute.

Medium: Multi-channel video installation and perfomance. Duration: 50 min.
Year: 2017
Artist: Snövit Hedstierna

Snövit Hedstierna (Swedish/Mestizo) lives and works between her studios in Stockholm, Berlin, and Montreal.

Albert & Livingston/Tale of the Lost Ship


Far it goes. Deep it waves. Out there it stretches, back does it come. Far it sails. Deep it resonates. . Far there it goes, back to us. Sails up and high, into deep waters, of our wisdom and might, as one, as one, we stand. On this sailing island, as far as it goes. It stretches and reaches far, far. You and I.

Albert & Livingston / Tale of the Lost Ship, 2017

Albert & Livingston were formed in 2015.

Wannes Lecompte/Sculpture for Ceramics

I build a pigeon loft for my Birmingham rollers. I made it pretty bad, but nice.

I like to make things badly, but funny. Funny in the way that you don’t need to laugh with it. And funny in the way that things aren’t technically right, but visually they work.

I made ceramic sculptures. I wanted to paint them, so I used them as templates (a shaped piece of rigid material used as a pattern for processes such as cutting out, shaping, drilling, coloring...), so only the borders of the sculptures are painted now.

The pigeons flew away because the roof made of canvas had disappeared. I needed that canvas, to make another sculpture with it.

The ceramics are living in the sculpture now.

video, 01:20, Wannes Lecompte, sound by JAŠA, 2017

Wannes Lecompte (1979, the one on the right) lives and works in Brussels.

THE JOHNS / oozin

Yes:  the title is "oozin"

I want it to be signed "the johns" (that's the name of the project whether it's the band or me playing solo or me making some silly video or something.)


 "ya ever feel like you know something?"

Johnny Dydo (1981), lives and works in New York.

Carlo di Raco & Giulio Peirè / Are we too old to start a riot or are we to young to lead one

di raco.jpg

One day I received a phone call.

Giulio: I need to send you a picture of what has happened.

I've received the picture but I needed more explanation from his side. So, I called him back.

Giulio: I thought you would like it, now imagine my surprise once I stepped into his house. I gathered the things he asked me to, then I turned around and I saw a composition of one of his beloved Tex with a quote on it. And of course, the rose on the right.

: Di Raco did it?

Giulio: Yes, of course (laughing)


Situational composition by Carlo di Raco, reaction, and photo by Giulio Peirè, quote taken from UTTER/ The violent necessity for the embodied presence of hope book, text by Etan Nehcin & Jaša

Screen Shot 2017-04-28 at 2.01.23 PM.png

Carlo di Raco, lives and works in Venice, Italy.

Drew Conrad / Towards The Far Horizon

As I venture towards the far horizon, towards the endless possibilities beyond the vanishing point, I amthe disappearing man.


Drew Conrad (1979) Rock Hill, South Carolina, lives and works in Brooklyn.

Michael Clemow / 22 Objects Found on the Road in Limpopo

While making field recordings in Limpopo, South Africa, I would walk through the bushveld, picking up objects that caught my eye.  They were discarded things, things emptied out, or exposed when their previous owner died or was killed.  I carried them with me in effigy, souvenirs of experiences belonging to others long passed, until they were too heavy to fit in my suitcase.  I lined them up on the wall outside the stucco house, enumerating them one-by-one, listening to each one closely.  When I left they were still there, lined up on the wall.  I brought with me only the sounds they made as I handled them, as if I could recall their memories by listening.

Sound Recording & Photography: Michael Clemow
Photo Editing: Craig Clemow

Michael Clemow (1979, United States) Lives and works in Brooklyn, NY.

I am not afraid

I AM NOT AFRAID / JAŠA with Arvid Van Der Rijt, Ayal Brenner, Charlie Stein, Claire Dantzer, Drew Conrad, Eldi Dundee, Etan Nechin, Giulio Peirè, Janez Vidrih, Jyrki Riekki, Luka Uršič, Mark Požlep, Marty Cacic, Maura Pellettieri, Meta Grgurevič, Michele Drascek, Rafael Vigilantic, Snövit Snow Hedstierna, Rosa Lux, Tine Grgurevič, Yohay Ben-Itzakh.

Track by Leftfinger / Black Drops

Charlie Stein / "I woke up alone...

... in a hotel room in which I was not supposed to be in, in a strange city in which I had no business being in, at a time when I probably would have been better off anywhere else; feeling paralysed from an indistinct pain in my guts, sharing my bed with a mutilated Proust and a rotting Bukowski – both of whom were failing to give my mind any consolation. The crying evidently came from a recording, as the skin of my face was dry and pale. It was a composition of ill-fitted arrangements I had let slip into my life, which now had led to a symphony of lonely discomfort.
It was the 7th of January 2017 when fate had dropped me in London like a dud shell."

on-site installation & audio

Charlie Stein 1986, Germany. Lives and works in Steinenberg, Germany.

Yoni Kretzmer / Draft 1

Pretending to get it all out, all out. Yet, some is left inside, maybe most. It's the disparity between this presumption and the dull subjective reality that testifies that they might be one and the same. As said His prophet "Stop bringing meaningless offerings! Your incense is detestable to me. New Moons, Sabbaths and convocations I cannot bear your worthless assemblies." (Isaiah 1, 13)

Yoni Kretzmer (Jerusalem, 1982) lives and works in Brooklyn, New York.

photo by Peter Gannushkin