Water—whether in abundance or in extreme scarcity—is the focus of the work Uncertain Homelands, of which the motif from Indonesia is a part.

With the poster I am God’s Member and the exhibition Holy Shit, Alex Lebus presents a disquieting interplay of the sacred and the profane, the corporeal and the spiritual.

During her walks through the city, Veronika Kellndorfer discovers how the reflection of the Mühlendamm bridge combines with the stone bridge itself to form an eye-like structure. She returns with her camera to capture precisely this moment, when the water is calm enough for the adjacent facade to be reflected in the eye of the bridge as a slightly trembling line structure.

Felix Deiters, alongside the three artists Kallirroi Ioannidou, Johannes Mundinger and Marina Naprushkina, was invited to design a poster commenting on the suspension of the fund. It features a question placed on a microscopically enlarged photograph of a small cut.

At the beginning of spring, Thomas Rentmeister photographed the surfaces of piles of snow that had not yet completely melted away and used them as a motif. The image sections were then paradoxically transformed by a digital filter into a structure that resembles analog television snow (white noise).