With a candid low-fi approach as its starting point, Tatjana Danneberg’s photographic practice is a layering of media and techniques. She captures casual memories of everyday life using simple automatic cameras and depicts friends, acquaintances, or her partner in intimate shots, revealing moments where action or the lack of it manifests. Danneberg is preoccupied with the nature of images and the possibilities that can unfold through their manipulation and deconstruction, leading to a painterly attitude defined by deep material and processual experimentation. Through her exploration of the nature of images and the possibilities that can arise through their manipulation and deconstruction, she exposes the constructed nature of identity and the ways in which images can shape our perceptions of ourselves and others.

Noémie Degen and Simon Jaton’s artistic practice is characterized by a constant exploration of different visual codes and techniques. Their images are multi-layered and complex, making use of a grid that seems to be present but remains opaque, making it difficult to grasp the logic behind the picture’s construction. Drawing inspiration from various sources, including cinema and comics, their work transcends a narrative aim and instead establishes relationships between multiple forms and contents through a logic of shifts and interference. Their pictures recall a sense of subjectivity, as the viewer is invited to project their own meanings onto the work, resulting in a complex interplay of perspectives. Additionally, there is an impression of archetypal imagery that runs throughout their pieces. This quality creates a sense of familiarity, yet also a sense of mystery, as the images resist being fully pinned down. In this way, their work reflects a sense of identity that is constantly in flux, shaped not only by the influence of others but also by their own individuality.

Through painting and collages, Chris Kauffmann provides space for a modest figure, often represented as a self-portrait, whose hidden talents and abilities can finally shine. The naively edited or vulnerably painted bodies evoke a sense of importance, combined with the awkward and shy way these portraits are viewed. In doing so, he challenges viewers to question their assumptions about the nature of identity and the role of art in shaping our sense of self. Kauffmann’s playful game of revealing and hiding between the non-functional objects and the main characters further emphasizes the complexity and fluidity of the notion of self in contemporary society.

Gizela Mickiewicz’s work explores the interplay between the body and emotions, as she observes how bodily gestures and movements can convey internal states. The works in this exhibition focus on emotions such as stress, fear, and anxiety – experiences that are often difficult to articulate. Her art invites the viewer to connect with these complex emotions in a visceral way. Although deeply personal, her sculptures aren’t confessional. Instead, they’re formulated in a language of their own, rich with meaning and content. By inviting the viewer to relate to their own experiences, Mickiewicz creates a space for mutual understanding and empathy. Her work reminds us of the complex interplay between the body and mind, and of the shared humanity that connects us all.

In this exhibition, Davide Stucchi reflects on the cyclical movements of settling down in precarious lives. The installation features neon lights wrapped in packaging material and a collection of Italian-designed lamp shades, a moving in or moving out landscape. The title hints at further narratives and even suggests a possible neighbor, alluding to intimate encounters and sexual tensions. These works are partially concealed by their wrappings, drawing on the possibilities of darkness and revealing the domestic aspect of public spaces, while the other series of lampshades appears completely naked to present the same truth.