https://justinalos.com Justina Los Sun, 13 Sep 2026 23:16:48 +0000 https://justinalos.com en https://justinalos.com/Home Wed, 12 Oct 2022 12:15:08 +0000 Justina Los https://justinalos.com/Home https://justinalos.com/News Wed, 12 Oct 2022 11:32:26 +0000 Justina Los https://justinalos.com/News &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; NEWS ︎︎&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; News —17.09.2026 Performance: Political Animal, Saturday 19.09.26 – 8pmKreuzber Pavillon, Berlin, DE19.09.2026 <img width="1536" height="1024" width_o="1536" height_o="1024" data-src="https://freight.cargo.site/t/original/i/6e12f2aa463fc14036054dbeac88a3bbafb79438f5afe95f4289526e4590a868/5FE311BD-502B-46B8-9551-FC35FD90318B.PNG" data-mid="252246807" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/6e12f2aa463fc14036054dbeac88a3bbafb79438f5afe95f4289526e4590a868/5FE311BD-502B-46B8-9551-FC35FD90318B.PNG" /> “On the eve before the Berlin election, Justina Los presents a performance in which she ends her two-year membership in a political party. Most resignations from political parties tend to be quiet and go largely unnoticed. &nbsp;A quiet resignation is recorded statistically, while the party’s policy platform rarely change. A resignation from a political party often only becomes public knowledge when it sparks a debate or puts pressure on the party leadership. The artist joined a party when it came to power. Two years later, at the end of the legislative term, she attempts to draft her letter of resignation. With publicly announced resignations from political parties, the focus is often on expressing differences of opinion or criticizing the direction a party is taking. In this performance, however, the events leading up to such an announcement become a public process in and of themselves.___________________________ With the return of a far-right party to a German parliament, the Berlin election on sunday marks a decisive turning point. After the performance, visitors will receive free drinks at the bar with a valid voter's registration card.”curated by Heiko Pfreundt ︎ Kreuzberg Pavillon&nbsp;Kreuzberg Pavillon, Naunystraße, 10999 Berlin News —06.08.2026 Opening: Healing, Group Show, Friday 07.08.26 – 6–10pmHilbertraum, Berlin, DE07.–16.08.2026 <img width="3904" height="5208" width_o="3904" height_o="5208" data-src="https://freight.cargo.site/t/original/i/82292e248b5d683e19892e08383a4dd4f877c5c223f86774bd83089fb2147a01/P1666393_2.jpg" data-mid="251047033" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/82292e248b5d683e19892e08383a4dd4f877c5c223f86774bd83089fb2147a01/P1666393_2.jpg" /> <img width="1281" height="1284" width_o="1281" height_o="1284" data-src="https://freight.cargo.site/t/original/i/366801b41e6a3c7cb1eec8ab4cbd8689afc675d7a186d2012f622242281216e8/Flyer-HEALING_vorne.jpg" data-mid="251047546" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/366801b41e6a3c7cb1eec8ab4cbd8689afc675d7a186d2012f622242281216e8/Flyer-HEALING_vorne.jpg" /> <img width="1283" height="1284" width_o="1283" height_o="1284" data-src="https://freight.cargo.site/t/original/i/9cc0457cd6083d3c0c05311477abae5cec4e6cde5c3bc2bbb48b2898d5e81726/Flyer-HEALING_ruck.jpg" data-mid="251047543" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/9cc0457cd6083d3c0c05311477abae5cec4e6cde5c3bc2bbb48b2898d5e81726/Flyer-HEALING_ruck.jpg" /> Installtion view, Illicit Means of Recuperation, Healing, Hilbertraum, Berlin, 2026 with&nbsp;AXEL BUNT | ELLEN DEELAINE | FELIX DEITERS | HILKA DIRKS | ANNIKA HIPPLER | MAIKE ILLIES | BIANCO LEE | JUSTINA LOS | MIKE MACKELDEY | TOM MEIER | FETTE SANS | LUKE VELTEN | KURT VON BLEY | OLAV WESTPHALEN curated by Elllen DeElaine, Holm Friebe, Bianco Lee ︎ Hilbertraum&nbsp; Hilbertraum, Reuterstraße 31, 12047 Berlin News —14.07.2026 Artist Tour, Sunday 19.07.26 – 12pm Fight or Flight III: SexStudio1 | Kunstquartier Bethanien, Berlin, DE19.07.2026 <img width="4489" height="3102" width_o="4489" height_o="3102" data-src="https://freight.cargo.site/t/original/i/5de1f9b0b392eeaf9f76f6a9323dfb9488138c6887e5c7e6abe495cedaee7fcf/P1655988.jpg" data-mid="250688608" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/5de1f9b0b392eeaf9f76f6a9323dfb9488138c6887e5c7e6abe495cedaee7fcf/P1655988.jpg" />Installtion view, Breasticles (General Assembly), Fight or Flight III: Sex, Studio1|Kunstquartier Bethanien, Berlin, 2026 curated by Julie Legouez &amp; Evelina Reiter ︎ Gruppe Gorgone Studio1 | Kunstquartier Bethanien, Mariannenplatz 2, 10997 Berlin News —23.06.2026 Fight or Flight III: SexGruppe Gorgone | Group Show, Studio1, Berlin, DE10.07.– 19.07.2026 <img width="842" height="1080" width_o="842" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bfc65dcf4e17f23391515209a8531920f7f3f24d511a6396a039c2bd7f6561af/Breasticles_-1.jpg" data-mid="250749936" border="0" data-scale="51" src="https://freight.cargo.site/w/842/i/bfc65dcf4e17f23391515209a8531920f7f3f24d511a6396a039c2bd7f6561af/Breasticles_-1.jpg" /> <img width="4724" height="6669" width_o="4724" height_o="6669" data-src="https://freight.cargo.site/t/original/i/00c38a92a8c047856531bd097ddb4571a5428fcb722c73f3a6d9276b5ed28e12/sex-poster_03.jpg" data-mid="250657728" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/00c38a92a8c047856531bd097ddb4571a5428fcb722c73f3a6d9276b5ed28e12/sex-poster_03.jpg" /> curated by Julie Legouez &amp; Evelina Reiter ︎ Gruppe Gorgone&nbsp;Studio1 | Kunstquartier Bethanien, Mariannenplatz 2, 10997 Berlin News —01.05.2026 Block PartyKreuzberg Pavillon | Group Show, Berlin, DE02.05.– 10.05.2026 <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/a35a943804082765feffce3a63d314018ac942d7486af78ab15d95d826d998bb/Kreuzberg-Pavillion_Block-Party_13888_JCLARK.jpg" data-mid="250692129" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/a35a943804082765feffce3a63d314018ac942d7486af78ab15d95d826d998bb/Kreuzberg-Pavillion_Block-Party_13888_JCLARK.jpg" />With over ninety high-rises in the planning stages, Berlin is currently making another push toward radical verticalization. Although nearly 2 million square meters of office space in the city stands vacant, a series of skyscrapers is set to define new office and business districts. The plan to give Berlin a new, striking skyline is not merely another attempt to catch up aesthetically with major U.S. cities or other metropolises. It is driven primarily by rising real estate prices, which have turned speculative vacancies into a safe investment since 2010. Returns where actual demand and rental income are often secondary. New York artist Josh Kline recently wrote a widely acclaimed essay on the fateful connection between real estate prices and artistic creation. He argues that cultural production will continue to shrink. If urban development focuses largely only on the idea of representative skylines, the idea fails to meet the expectations of a city itself. The website of the company building Europe’s largest hostel in Kreuzberg still lists nearby clubs—which have been closed for years due to a doubling of their rent. While the Offspace is being converted into office space and the city’s skyline may be transforming into a stage for active radical politics, one haunting question remains: Where’s the party? Text Heiko Pfreundt Fotos Joe Clarkcurated by Louis&nbsp;Hilson ︎ Kreuzberg Pavillon&nbsp;KREUZBERG PAVILLON, Naunynstrasse 53, 10999 Berlin &nbsp; News —03.02.2026 Mi Inseguridad es tu SeguridadSucesiva x Incierta | Solo Show, Mexico City, MX04.02.– 16.02.2026 <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/2eb836b3d54e8e37017e9c205e97ac0abf8043aba48b86a3e5a1bcacbd66ca55/MI-INSEGURIADAD-ES-un-flyer.png" data-mid="246731920" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/2eb836b3d54e8e37017e9c205e97ac0abf8043aba48b86a3e5a1bcacbd66ca55/MI-INSEGURIADAD-ES-un-flyer.png" /> Mi Inseguridad es tu Seguridad – sentence that formulates a principle of governance and quietly carries a threat within it.At Incierta Arte (Mexico City)&nbsp;in collaboration with Sucesiva (an itinerant project focused on contemporary art), we and Justina Los proudly present &nbsp;two works that confront the architecture of order and the language that legitimizes force:&nbsp;Las Caras del Orden – two riot helmets suspended at the verge of collision, forever about to impact. From within, printed ribbons descend with fragments of political theory and state doctrine, exposing the ceremonial language that authorizes violence.Mi Inseguridad es tu Seguridad is an exhibition developed in Berlin amid police repression during political protests, sharpened in the wake of the genocide in Gaza. The work reflects on the expansion of executive power and the normalization of force in the name of security.Between collision and control, Justina Los reveals how systems of order stabilize themselves through repetition and how security is often built on the production of insecurity. Berlin–Mexico City exchange | Mexico Art Weekcurated by&nbsp; Sucesiva ︎ Incierta Arte&nbsp;Icazbalceta 32b, Colonia San Rafael, CDMX &nbsp; News —05.08.2025 Forbidden FruitSalty Acid Space | Group Show, Berlin29.08.–05.09.2025 <img width="1920" height="2400" width_o="1920" height_o="2400" data-src="https://freight.cargo.site/t/original/i/babf1a500a4978922baee96b0aee0facfb8124a5daa77c730d976978769e63d3/poster-fruit.jpg" data-mid="239276015" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/babf1a500a4978922baee96b0aee0facfb8124a5daa77c730d976978769e63d3/poster-fruit.jpg" /> We are thrilled to unveil our inaugural exhibition, FORBIDDEN FRUIT, opening on August 29, 2025. The exhibition is set within the unique living space of a “houseboat” and takes the biblical symbol of the “forbidden fruit” as its starting point. It examines the latent thirst for power behind humanity’s pursuit of knowledge—an impulse to transcend the divine, and to control, judge, and define the world. Also explored is how this “divine illusion” of knowledge, once it permeates daily life, emerges as an invisible mechanism that subtly reshapes desire, value systems, and modes of action.With: Carsten Becker, Vasil Berela, Kurt von Bley, Jacopo Dal Bello, Miriam Döring, Robert Gschwantner, Yun Kima, Lilia Kovka, Justina Los, Anna Mészáros, Anna Nezhnaya, Ou Yanshan, Seongwon Park, Jakub Šimčik, Yiy ZHANGPerformance: Samantha Bohatsch, Elana KatzCurated by Qin YanVisual Design: Ou Yanshan*** Due to the unique venue, admission is by reservation only. The link will be shared on August 15. ︎ Salty Acid Space&nbsp;Uferweg &nbsp;10245 Berlin News —03.07.2025 Prison BarPOV Gallery | Solo Show, Berlin12.07.–10.08.2025 <img width="1955" height="2768" width_o="1955" height_o="2768" data-src="https://freight.cargo.site/t/original/i/07332feb5aaff64e7ca6b62229abce0c1c0f187c669bc1b14dcf349aea60bebc/PRISON_Plakat___.jpg" data-mid="239276045" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/07332feb5aaff64e7ca6b62229abce0c1c0f187c669bc1b14dcf349aea60bebc/PRISON_Plakat___.jpg" /> Prison Bar – An exhibition about language, censorship, and the quiet machinery of control.What happens when language is no longer expression, but protocol?When freedom of speech dissolves not only in silence, but in structure?From softened barriers to wearable warnings, the exhibition follows how institutional language shifts from expression to justification — and how protection begins to look like enforcement.PRISON BAR won’t just serve drinks — it will offer you the aesthetics of institutional order: filtered, arguably familiar, and ready to deploy.Opening Saturday, July 12 – 6 PM︎ POV Gallery&nbsp;Tempelhofer Feld &nbsp;10245 Berlin News —17.06.2025 PRESS Fight or Flight II“Eine toxische Beziehung” – TAZ die Tageszeitung (print &amp; online)17.06.2025 “ Schon beim Betreten der Halle schlägt einem rebellische Stimmung entgegen: Aus einem kleinen, verglasten Vorbau tönt Justina Los’ Karaoke-Song „I Can’t Get No Funding“, dazu ein Musikvideo im Freizeitpark. Es geht um abgelehnte Förderanträge und die emotionale Achterbahnfahrt zwischen Frust, Beharrlichkeit und Trotz: „I’m gonna do the show anyways. Don’t care’bout the next unpaid burnout“. Wer will, kann mitmachen – falsch singen ist erlaubt, laut sein erwünscht. Auf der Fußmatte zum Raum steht passend dazu „Widerstand“. “︎LINK Eine toxische Beziehung – TAZ die Tageszeitung, Emilia Papadakis, 17.06.2025 <img width="2501" height="2571" width_o="2501" height_o="2571" data-src="https://freight.cargo.site/t/original/i/0d21e83c983f015b436c6830068b07912e3769b070853600805283622b388068/IMG_4506.jpg" data-mid="234692455" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/0d21e83c983f015b436c6830068b07912e3769b070853600805283622b388068/IMG_4506.jpg" /> ︎ FIGHT OR FLIGHT II at&nbsp;Stadtwerkstatt Friedrichshain-Kreuzberg Mehringdamm 20 &nbsp;10961 Berlin News —20.05.2025 Fight or Flight IIStadtwerstatt Friedrichshain-Kreuzberg | group show, Berlin12.06.–22.06.2025 with Alexandra Gaul, Alungoo Xatan, Anna Mészáros, Aura Roig, Constanze Klar, Dana Lorenz, Daniela Villalobos Araújo, Dasha Buben, Emily Kelly, Evelina Reiter, Felix Deiters, Franziska Harnisch, Ines Grassmann, Josephin Hanke, Julie Legouez, Justina Los, Karla Zipfel, Karo Kuchar, Linda Herrmann, Lisa Marie Schmitt, Locu&amp;Ruth, Madlin Bentlage, Mareice Kaiser, Mizi Lee, Nadine Fecht, Nastia Eliseeva, Neda Aydin, Paula Niño Ramírez, SAKO &amp; Indira, Selina Hellfritsch, Silke Panknin, Sina Niemeyer, Susanne Schmitt curated by&nbsp;Julie Legouez and Evelina Reiter<img width="1732" height="2166" width_o="1732" height_o="2166" data-src="https://freight.cargo.site/t/original/i/a09720309e618eeda8d4fc70ad45b4c9c4ede2ad617c46d8025a951d294f6e1c/Plakat-FoF-II.jpg" data-mid="233662097" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/a09720309e618eeda8d4fc70ad45b4c9c4ede2ad617c46d8025a951d294f6e1c/Plakat-FoF-II.jpg" /> ︎ Stadtwerkstatt Friedrichshain-Kreuzberg&nbsp;Mehringdamm 20 &nbsp;10961 Berlin News —21.11.2024 Humor my love, HumorRoam Projects | group show, Berlin12.12.2024–24.01.2025 with Gökçen Dilek Acay, Ellen Akimoto, Johannes Albers, Barbara Breitenfellner, Florian Hesselbarth, Bretz/Holliger, Zohar Fraiman, Anja Fußbach, Stella Geppert, Alexei Gordin, TAK, Alana Lake, Kennet Lekko, Barbara Lüdde, Justina Los, Robin Ellis Meta, Claudia Pegel, Daniel Rossi, Alicia Valladares, Geerten Verheus Curator Thorsten Kasper, Co-curator Helene Bosecker A cooperation between frontviews e. V. und roam projects e. V.<img width="2048" height="1072" width_o="2048" height_o="1072" data-src="https://freight.cargo.site/t/original/i/34a3bba109c9578f4ac5755a4f1a2abdff12720981229dd6f511a2f7972364d3/banner_1.jpg" data-mid="233661968" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/34a3bba109c9578f4ac5755a4f1a2abdff12720981229dd6f511a2f7972364d3/banner_1.jpg" /> ︎ roam projects e.V. Lindenstraße 91 &nbsp;10969 Berlin News —18.09.2024 METALMORPHSchau Fenster | group show, Berlin25.10.–17.11.2024 <img width="1748" height="2480" width_o="1748" height_o="2480" data-src="https://freight.cargo.site/t/original/i/668d9dffbb1ad3005215485428e42e1cbed2420d1f7b9c209186b181ba61fde5/METALMORPH_Grafik-Web.jpg" data-mid="220418464" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/668d9dffbb1ad3005215485428e42e1cbed2420d1f7b9c209186b181ba61fde5/METALMORPH_Grafik-Web.jpg" /> <img width="1748" height="2480" width_o="1748" height_o="2480" data-src="https://freight.cargo.site/t/original/i/8f32cca7e2f14f50aa17dcf217e0af95dc2eb1bf616f3b730352f79cb6064997/METALMORPH_Grafik-Web2.jpg" data-mid="220418485" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/8f32cca7e2f14f50aa17dcf217e0af95dc2eb1bf616f3b730352f79cb6064997/METALMORPH_Grafik-Web2.jpg" /> ︎ Schau Fenster Berlin Lobeckstr. 30-35 &nbsp;10969 Berlin News —09.09.2024 Paris – Munich – BerlinGalerie Claire Gaustaud | Paris17.10.–21.11.2024 with Judith Grassl,&nbsp;Justina Los, Boris Saccone, Erik Schmidtcurated by&nbsp;Erik Schmidt<img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/7cc7cc1d7b0a4854c38f19828f556ee3b3f77514ca783fb079a3af25dfca7bb9/P1077154.JPG" data-mid="219679731" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/7cc7cc1d7b0a4854c38f19828f556ee3b3f77514ca783fb079a3af25dfca7bb9/P1077154.JPG" /> &nbsp;︎&nbsp;CLAIRE GASTAUD | PARIS&nbsp;37 rue Chapon 75003 Paris The "Paris-Munich-Berlin" exhibition opens during the Paris Contemporary Art Week, which has become a key event on the international scene. As in previous years, Galerie Claire Gastaud has decided to open its space to foreign partners. This year, Germany is in the spotlight with the Paris-Munich-Berlin exhibition. During these privileged few weeks, when Paris once again becomes the world capital of contemporary art, this exhibition opens a window on the German scene, its specificities, its parallel and sometimes contradictory vision, its differences and similarities, through the prism of the works of four artists: Two artists from Munich, two artists from Berlin, two generations, four media, four languages: Erik Schmidt (1968) Berlin, painting and video, Judith Grassl (1985) Munich, painting, Justina Los (1986) Berlin, installations, ceramics, Boris Saccone (1991), Munich, painting. News —15.08.2024 INDUSTRYn.b.k. Neuer Berliner Kunstverein at Uferstudios and Uferhallen e.V. | BERLIN ART WEEK12.09.–22.09.2024 with&nbsp;Karo Akpokiere, Stefan Alber, Bettina Allamoda, Elena Alonso Fernández, Sascha Appelhoff, Ilaria Biotti, Antje Dorn, Brad Downey, Heiner Franzen, Mark Fridvalszki, Lola Göller, Asta Gröting, Mingrui Jiang, Oscar Juul-Sørensen, Peter Klare, Philipp Lachenmann, Justina Los, Jens Pecho, Manfred Peckl, Oscar Peters, Rob Prideaux, Alona Rodeh, Hansjörg Schneider, Bettina Scholz, Gry Tingskog, Tim Winter, Silvia Witte Curators Marius Babias, Arkadij Koscheew <img width="4960" height="2480" width_o="4960" height_o="2480" data-src="https://freight.cargo.site/t/original/i/199d1c1fa53530d5cc262d53f60636f24f42c4c87b2fd60120ead22a8782adff/nbk_INDUSTRY_Faltblatt_Digital.jpg" data-mid="219679588" border="0" src="https://freight.cargo.site/w/1000/i/199d1c1fa53530d5cc262d53f60636f24f42c4c87b2fd60120ead22a8782adff/nbk_INDUSTRY_Faltblatt_Digital.jpg" />︎ n.b.k. Neuer Berliner Kunstverein&nbsp;︎ BERLIN ART WEEK 2024&nbsp; Neuer Berliner Kunstverein (n.b.k.) presents INDUSTRY as a guest at the Uferstudios and Uferhallen. This project sheds light on the entire complex of the former main workshops of the Berlin Transport Company (Berliner Verkehrsbetriebe, BVG) and links the history of the Gesundbrunnen district in the 20th century with current discussions on deindustrialization and the cultural industry. A new work by Karo Akpokiere and a large-scale kinetic piece by Oscar Peters revisit forgotten aspects of Wedding’s history and the former “Boulevard Badstrasse.” The exhibition also provides a platform for artistic interventions by locally based and internationally networked artists.Uferhallen and Uferstudios form a production hub for contemporary visual and performing arts in the heart of Berlin. This unique environment enables artistic productions and cultural exchange, significantly enhancing Berlin’s status as a leading European cultural metropolis. In the current political landscape, shaped by geopolitical challenges and the growing impact of climate change in Germany, the spectre of deindustrialization has been haunting Germany, conjured by specific interest groups and political stakeholders. Against this backdrop, n.b.k. aims to highlight those sites that reflect Berlin’s industrial past and its rapid development in the early 20th century while offering an indispensable infrastructure for cultural workers.The centerpiece of INDUSTRY is an expansive work by Oscar Peters (*1981 in Borger / Netherlands, lives and works in Amsterdam), referencing a rollercoaster built in 1924 near the Uferstudios at Badstrasse 8. Using the rollercoaster as a metaphor for the district’s historical ups and downs and linking spatially to the site’s past, The Twins (2024) becomes a stage for artistic contributions. Where one would expect cheering people, sculptures ride the rollercoaster cars. INDUSTRY thus takes a humorous look at the potential futures of cultural and art venues while exploring the neighborhood’s historical roots. News —05.07.2024 AIR BAGLast Show at Spoiler Zone19.07.–21.07.2024 with Willem de Haan, Lisa Götze,&nbsp;Justina Los, Jana Mertens, Charlotte Rahn, Marco Schmitt, Verena Schöttmer, Aline Schwörer, Martina Grlic, René Wagner, Philipp Zrenner <img width="1448" height="2048" width_o="1448" height_o="2048" data-src="https://freight.cargo.site/t/original/i/6364f96b79930ff46382078de5bb36f33fa39233d8f9cec206a3edec45371698/ead88665-4199-43b4-bf9b-a5701b3f2cf4-2.JPG" data-mid="219677551" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/6364f96b79930ff46382078de5bb36f33fa39233d8f9cec206a3edec45371698/ead88665-4199-43b4-bf9b-a5701b3f2cf4-2.JPG" />︎ SPOILER ZONE &nbsp;Quitzowstr. 108a, D-10551 Berlin News —05.06.2024 Extroverted Spacesuper bien! berlin as part of B-LA-M 30.06.–27.07.2024 with Amelie Laurice, Justina Los, Meghan de Roma, CROMA <img width="2312" height="2312" width_o="2312" height_o="2312" data-src="https://freight.cargo.site/t/original/i/133e05e62c4a44e471ff65f57d199025d678132a0f132bd47fb34c032292c140/Bildschirmfoto-2024-10-13-um-17.56.54.png" data-mid="219678392" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/133e05e62c4a44e471ff65f57d199025d678132a0f132bd47fb34c032292c140/Bildschirmfoto-2024-10-13-um-17.56.54.png" /> ︎ super bien!&nbsp; Schwedter Straße 232, D-10435 BerlinB-LA-M: 54 artist initiatives in 18 projects, each showing a projectspace from Berlin, Los Angeles, Mexico City. Kick-off in Berlin: 27.06. - 14.07.2024 Artistic direction: Daniel Wiesenfeld (Berlin), Carl Baratta (Los Angeles), Laura Reséndiz (Mexico City) Extroverted Space Participating spaces &amp; artists: CROMA, Mexico City (Studio Croma collective - Santiago Gómez &amp; friends)Dorado 806, Los Angeles (Meghan DeRoma, Amelie Laurice)super bien! Berlin (Justina Los) The exhibition in the transparent greenhouse reflects the view inwards through works that “look” outwards and expand into the outside space. The space, normally a protective container for art, is used in a contradictory way by turning the glass walls into a membrane that connects inside and outside. Without a programmatic theme, three very different installations come together in the working process on site in an overall structure which marks the beginning of an encounter and mutual perception in friendship and presents the richness and diversity of artistic practice with our partner spaces. After the kick-off in Berlin, an extended exchange will be shown 2025/2026 in the partner spaces in Mexico City and Los Angeles. CROMA, Mexico City (Studio Croma collective - Santiago Gómez &amp; friends) For its collaboration with super bien! and Dorado 806, CROMA proposes a site-specific installation that engages in dialogue with the translucent architecture of super bien!: a thin plastic in the outside is being moved by a fan from the inside. Within the greenhouse, the opposite is also happening, a small fan is blowing in front of an 3d printed versión of the superbien! space. A game of tensions and scales reproduces the inside-outside dynamics of the space. &nbsp; studiocroma &nbsp; Dorado 806, Los Angeles (Meghan DeRoma, Amelie Laurice) Rock-bottom: A playful twist on words mixes with a touch of cheeky humor, blurring lines between serious art and playful wit. Each piece has been exposed to California’s weather and will continue to evolve throughout its tenure in Berlin. Rock-bottom stage invites reflection, from personal to societal levels, aiming to unite viewers in solidarity. Ultimately, it uplifts, aiming to liberate viewers from life's burdens. &nbsp;&nbsp; dorado806super bien! Berlin (Justina Los) The work complex Deathinitely is a homage to a social and economic system that has long since ceased to function globally, in which the future belongs only to those who can afford it, while the unprivileged eat frozen pizza through the domination mechanisms of dependencies and burnouts. Death is deathinitely as certain as the fact that the gates to ecological and social decline have already begun to open. &nbsp;&nbsp; superbienberlin News —20.06.2024 Breasticles FountainSPORNO Festival 2024 at ÆTHER Art Space25.06.–30.06.2024 Delighted to be a (last minute) submission for this year’s Art Porn Festival SPORNO in Sofia, Bulgaria, with my 3D Animation “Breaticles Fountain”. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e0c04b698fcab879ac226723c08eb03132bdb40b4336322475d99704ed2eb0c5/Breasticles.JPG" data-mid="219677549" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/e0c04b698fcab879ac226723c08eb03132bdb40b4336322475d99704ed2eb0c5/Breasticles.JPG" /> Breasticles Fountain, 1:20 min., 3D animation, 2024 News —01.06.2024 From Dust WithdrawnTina Coupé at Project Space Festival 202401.06.–30.06.2024 with Michaela Lakova, Diese Frau, Ildikó Buckley &amp; Marco Meiran und Tintin Patrone, Christian Diaz, Justina Los, Elisa Jule Braun &amp; Moritz Stumm,&nbsp; Bruno Siegrist, Lola Göller, Alice Heron, Carola Uehlken &amp; Arthur Debert, Ute Waldhausen, H.O.LL.Y.W.OO.D. and TREPTOWERZ 14.06.2024 | 16.00-21:00Lindenstraße 80, 10969 Berlin-Kreuzberg <img width="3619" height="2181" width_o="3619" height_o="2181" data-src="https://freight.cargo.site/t/original/i/31caf5f477300785aebea1088a51fe39f55701eb765ab7aa4ebbb6153141f92e/240526_PSF_TC_wideCAR.jpg" data-mid="219677898" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/31caf5f477300785aebea1088a51fe39f55701eb765ab7aa4ebbb6153141f92e/240526_PSF_TC_wideCAR.jpg" />︎ Project Space Festival&nbsp; News —01.06.2024 Weird Sculpture FestivalStudio Rangsdorf23.06.2024 with Johannes Büttner, Felix Deiters, Fine Freiberg, Girl to Guerilla, Zu Kalinowska, Justina Los, Dietrich Meyer, Zoë C. Miller, Alice Morey, Dominik Nawrocki, Marco Schmitt, Nina Wienagrotzki, Zwek <img width="3544" height="3544" width_o="3544" height_o="3544" data-src="https://freight.cargo.site/t/original/i/23dbbc92c94c810abe9a36f4b76ebbf8b2b2d12374d3ff8aad76e9a67b91911a/Weird-Sculpture-Festival-Flyer_____1.PNG" data-mid="219677547" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/23dbbc92c94c810abe9a36f4b76ebbf8b2b2d12374d3ff8aad76e9a67b91911a/Weird-Sculpture-Festival-Flyer_____1.PNG" /> ︎ Studio Rangsdorf&nbsp; Seebadallee 50,&nbsp;15834 Rangsdorf News —01.05.2024 Peace on EarthPeace Piece at Provinzeditionen16.05.–21.06.2024 posters and editions by Dragutin Banic, Dirk Bell, Walter Dahn, Katja Davar, Friederike Feldmann, Claus Föttinger, Gesine Grundmann, Krzysztof Gruse, Karin Hochstatter, Behrang Karimi, Maximilian Kirmse, Clementine Klein, Stephanie Kloss, Carsten Kraemer, Svenja Kreh, Justina Los, Florian Meisenberg, Maria-Margaretha Modlmayr, Alex Müller, Sonja Münten, Stefan Panhans, Dan Perjovschi, Wolfgang Plöger, Simona Pries, Gerhard Richter, Erik Schmidt, Jürgen Stollhans, Wawrzyniec Tokarski, Ina Weber, Joseph Zehrer <img width="7017" height="9934" width_o="7017" height_o="9934" data-src="https://freight.cargo.site/t/original/i/fe8a3f5b9ce6c2fb96a2c7917816cb38ffcd1ae8b818c01764428ec8a83eeada/Justina-Los_Peace-On-Earth_1.jpg" data-mid="186723652" border="0" data-scale="29" src="https://freight.cargo.site/w/1000/i/fe8a3f5b9ce6c2fb96a2c7917816cb38ffcd1ae8b818c01764428ec8a83eeada/Justina-Los_Peace-On-Earth_1.jpg" /> ︎&nbsp;www.provinzeditionen.de/shows News —15.04.2024 Fresh fruit for Rotting PotatoesTina Coupé&nbsp;at Sellerie Weekend17.06.–01.07.2023 with Alice Heron, Ute Waldhausen, Carola Uehlken &amp; Arthur Debert, Treptowerz, Bruna Siegrist, H.O.L.L.Y.W.O.O.D., Christian Diaz, Lola Göller, Elisa Jule &amp; Moritz Stumm, Justina Los, K.O.S. <img width="2860" height="1328" width_o="2860" height_o="1328" data-src="https://freight.cargo.site/t/original/i/99d5b69cbb26d1226d4e549a0102988ff13e27f1e692c5e65e16f3d36ed8ee29/Tina-Sellerie-Weekend.png" data-mid="214677634" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/99d5b69cbb26d1226d4e549a0102988ff13e27f1e692c5e65e16f3d36ed8ee29/Tina-Sellerie-Weekend.png" /> News —17.06.2023 Torches of Freedom&nbsp;EditionA:prés D:éssert at A:D:Curatorial Torches of Freedom is a series of live sized glazed ceramic cigarettes, drawing attention to the tobacco industry's historical role as a pioneer in disseminating false information regarding the health risks associated with smoking. It serves as a poignant reminder of the industry's deceptive tactics, which extended far beyond marketing strategies aimed at women's emancipation.&nbsp;The title, "Torches of Freedom", harkens back to this specific era, referencing the term coined by public relations pioneer Edward Bernays to describe cigarettes as symbols of liberation for women. <img width="4064" height="2976" width_o="4064" height_o="2976" data-src="https://freight.cargo.site/t/original/i/4a2e68a8cf0dcd63e5ddc18422669086bdc7ac502b4640422853d3ccfb863671/P1077369_cr.jpg" data-mid="186575045" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/4a2e68a8cf0dcd63e5ddc18422669086bdc7ac502b4640422853d3ccfb863671/P1077369_cr.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/520130b1d404f1a8cf4f14ac641a58b24609c26e431c446af84c67b9cf616070/P1066848.jpg" data-mid="186674379" border="0" src="https://freight.cargo.site/w/1000/i/520130b1d404f1a8cf4f14ac641a58b24609c26e431c446af84c67b9cf616070/P1066848.jpg" /> Torches of Freedom glazed ceramics, glass ashtray, glass bell, metall base platevarious dimensions2023 unique &nbsp;︎&nbsp;Contact for price&nbsp;&nbsp; News —20.03.2023 Upcoming group show A:prés D:éssert at A:D:Curatorial, Berlin as part of Project Space Festival17.06.–01.07.2023 with: Ellinor Aurora Aasgard &amp; Zayne Armstrong, Aram Bartholl, Carsten Becker, Johannes Büttner, Sarah Doerfel, Lola Göller, Mathias Gramoso, Hannah Hallermann, Marianna Ignataki, Zina Isupova, Jill Kiddon, Justina Los, Zoë Claire Miller, Alice M. Morey, Ariel Reichman, Ariel Schlesinger, Marco Schmitt, Adam Slowik, Maximilian Thiel, Mirce Velarde, Ivar Veermäe, Nazim Unal Yilmaz Curated by: Marco Schmitt, organised by: A:D:Curatorial The group exhibition A:PRÉS D:ÉSSERT addresses social change under expanded aspects of Maslow's system of needs. Hierarchies dissolve and human needs intersect with the holistic nature of ecosystems. The entrances to social constructs transform into systemic exits of collectivity. Multi-perspective escape routes can be discovered in the exhibition. The impossible becomes conceivable, imaginable and negotiable. This can lead to a social-ecological R-evolution that is detached from structural aberrations of our social system. Unforeseen, symbiotic relationships can thus develop between the viewer and the artistic works. The echo reverberates into the future: "Qu'ils mangent de l'A:PRÉS D:ÉSSERT!" <img width="3200" height="2400" width_o="3200" height_o="2400" data-src="https://freight.cargo.site/t/original/i/26f5a94c3ed527be380030539840e6678035d735a4c6d4840408f231e8f70a58/A-D-Curatorial_Veranstaltungsbild_Alternative.JPG" data-mid="186658139" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/26f5a94c3ed527be380030539840e6678035d735a4c6d4840408f231e8f70a58/A-D-Curatorial_Veranstaltungsbild_Alternative.JPG" /> &nbsp;︎ A:D:Curatorial&nbsp;, Kurfürstenstraße 142, 10785 Berli News —20.03.2023 Finissage of&nbsp;Deathinitely at super bien!, Berlin21.05.2023 Warmest invitation to the Finissage of my solo show Deathinitely on Sunday 21 May, 6 PM at super bien!, Berlin. One for All, All for One (Happening) &nbsp;| 8 PM <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/746e2b482a13ee05e44113dc38e906e92fb0fe10bed711c4ec8b67bc19142089/IMG_9773.jpg" data-mid="186661193" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/746e2b482a13ee05e44113dc38e906e92fb0fe10bed711c4ec8b67bc19142089/IMG_9773.jpg" /> ︎ super bien!, Schwedter Straße 232, D-10435 Berlin News —04.05.2023 ‘Umschlagplatz’ in the group show Traces/gestures/images of memory, Czapski Palace, Museum Night in Warsaw, Poland 13.05.2023 Screenings of video works by former and present students and lecturers from the Public Domain Studio of the Media Arts Department, led by Dr. Krzysztof Wodiczko and Dr. Ewa Bobrowska Artists: Justina Los, Julia Golachowska, Ewa Bobrowska, Iga Niewiadomska, Marta Normington Czapski Palace , first floor 18.00 - 23.00 The exhibition shows the afterimages and traces of war, including those whose visible trace is the experience of immigration, in relation to the search for the scars of history and the stigma of the present. The screenings are a continuation of a project and exhibition that took place from February 13 to 17 at EASD in Spain.Exhibition within the framework of the European Commission grant "Art for Democracy and Peace”. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/52573624898a6c4c7b131cd380482930c03aa73c7bec635d7a20d9c765bd2bf7/JustinaLos_Umschlagplatz_02.jpg" data-mid="186660326" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/52573624898a6c4c7b131cd380482930c03aa73c7bec635d7a20d9c765bd2bf7/JustinaLos_Umschlagplatz_02.jpg" /> Umschlagplatz, Videostill, 2’03’,&nbsp;2015 &nbsp;News&nbsp;—20.03.2023 Upcoming solo show&nbsp;Deathinitely at super bien!, Berlin15.04.–21.05.2023 Justina Los' works are homages to a social and economic system that has long since ceased to function globally, in which the future belongs only to those who can afford it, while the unprivileged eat frozen pizza through the domination mechanisms of dependencies and burnouts.Death is deathinitely as certain as the fact that the gates to ecological and social decline have already begun to open. With "Deathinitely", super bien! becomes a smoking, neglected buffet landscape: petrified pizzas topped with cigarette butts, as if freshly fetched from the underground burning gas crater - a post-apocalyptic catering, with worthless resources that might have remained with us after a possible catastrophe. Part of #3 related to flow <img width="2363" height="2363" width_o="2363" height_o="2363" data-src="https://freight.cargo.site/t/original/i/b0c6dc87ff652c47c5bc1093b0a3e01963df1da6aa2300ea49b29564b5d739f6/Deathinitely-Finale_hq-web.jpg" data-mid="186258662" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/b0c6dc87ff652c47c5bc1093b0a3e01963df1da6aa2300ea49b29564b5d739f6/Deathinitely-Finale_hq-web.jpg" /> ︎ super bien!, Schwedter Straße 232,&nbsp;D-10435 Berlin News —02.02.2023 ‘Umschlagplatz’ in the group show&nbsp;The Lines of War at Escola d’Art i Superior de Disseny de Castelló, Spain13.02.–17.02.2023 The exhibition focuses on contemporary approaches to the issues of war and post-war traces (both physical and mental). During their artistic research, the participating artists explored the physical and social space of Warsaw. The presented artworks relate to the topic of war, immigration, traces of war both physical and mental which undergo a double process of restitution and erasure from the public memory, the issue of death, and testimonies of war, the past and the present. Artists from the Academy of Fine Arts in Warsaw: Malwina Bątruk, Ewa Bobrowska, Urszula Grzelka, Olga Dyjak, Marta Jabłońska, Andrzej Jachiewicz, Justyna Kałęcka, Justina Los, Iga Niewiadomska, Marta Normington, Wiktor Olendzki, Barbara Pazio, Adrianna Szadzińska, Filip Zubowski. Curated by Lorena Cuenca, Ewa Bobrowsk <img width="8000" height="4500" width_o="8000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/9e496decdde67e8f9c9661766b9862fa6c6791273b88ec5149196bf00a0f1b98/thelinesofwar_exhibition-JL.jpg" data-mid="186656593" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/9e496decdde67e8f9c9661766b9862fa6c6791273b88ec5149196bf00a0f1b98/thelinesofwar_exhibition-JL.jpg" /> ︎ EASD Castelló&nbsp;,&nbsp;Plaza Fadrell nº 1 – 12002 Castelló News —13.07.2022 New Adventures in Vexillology #8 group show at Kunstverein Amrum, Amrum01.06.–01.10.2022 with Cäcilia Brown, Julia Frankenberg, Kasia Fudakowski, Thomas Hörl, Nadja Kurz, Justina Los, Marco Schmitt curated by&nbsp;Matthias Droste Since the 2014 summer season, the Amrum Art Association has existed on the Nebel beach. It was founded to bring contemporary art to the island and to create an opportunity for islanders and summer guests to come into contact with the current international art cosmos.The seasonal exhibitions, however, do not take place in the usual framework of an institutional presentation, but in a subtle context with the found structures on the beach. The Kunstverein Amrum has no premises to visit at certain times, it is found in that place that attracts everyone in the summer: The beach. The public presence on the beach and the natural curiosity of the bathers promise an engagement of society with contemporary art outside the usual white cubes, which is a fundamental concern of Kunstverein Amrum.With various projects that are relaunched annually and expanded with new formats, we seek to present a spectrum of contemporary artists. <img width="1864" height="2798" width_o="1864" height_o="2798" data-src="https://freight.cargo.site/t/original/i/b2f74d2e94aa66ba8db543d0157fba6d00ebedaab46f3df29f8972f4626df4ec/Justina-Los-1.JPG" data-mid="186726253" border="0" data-scale="36" src="https://freight.cargo.site/w/1000/i/b2f74d2e94aa66ba8db543d0157fba6d00ebedaab46f3df29f8972f4626df4ec/Justina-Los-1.JPG" /> <img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/93bef7314ffecdcca3c74ad6191ed20a010e6735a4bf79c65ed9723ecf752467/9T6A3602.JPG" data-mid="186726260" border="0" data-scale="36" src="https://freight.cargo.site/w/1000/i/93bef7314ffecdcca3c74ad6191ed20a010e6735a4bf79c65ed9723ecf752467/9T6A3602.JPG" /> &nbsp; Civilians, Kunstverein Amrum, 2022 Fotos: Janine Eggert ︎ Kunstverein Amrum , Nebel, Amrum News —07.06.2022 Images moving inside a Surface, +Dede at Modellpark Berlin-Brandenburg, Project Space Festival, Berlin 28.08.2022 with Anne Gathmann, Alizée Lenox, Yon Natalie Mik, Marco Schmitt and Justina Los, Philip Topolovac “In order to create our own version of a metaverse, this event is organized at the Modellpark Berlin-Branderburg, a miniature version of Berlin located outside of the ringbanh – as +DEDE current physical space is. You will find models of real and iconic spaces, as high as the veins in your legs. They are real, but only on a surface level. They lack memory, frictionless they are a pure element of observation.” <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/f26b7651e07ee2577fe23fda017e9042c1be33081d917b3a75b5a99bc0abcef4/28-DEDE_JCLARK_MG_5033.jpg" data-mid="186725745" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/f26b7651e07ee2577fe23fda017e9042c1be33081d917b3a75b5a99bc0abcef4/28-DEDE_JCLARK_MG_5033.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/8f8c0af8e8652cfca5d1f0c801f5f2f4904fdfda5d98c3fa4397a21a1e7b645b/28-DEDE_JCLARK_MG_5214.jpg" data-mid="186725641" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/8f8c0af8e8652cfca5d1f0c801f5f2f4904fdfda5d98c3fa4397a21a1e7b645b/28-DEDE_JCLARK_MG_5214.jpg" /> Wahrzeichen, performance with Marco Schmitt, +Dede, Project Space Festival Fotos: Joe Clark ︎ +Dede, Projekt Space Festival&nbsp;, An der Wuhlheide 81, 12459 Berlin News —12.06.2022 ‘Deathinitely’ in the group show JUBILEE X at Haunt, Berlin18.06.–02.07.2022 Opening &nbsp;| &nbsp;Friday, June 17, 2022, 4-9 PM This spring frontviews looks back on 10 years of joint projects. 10 years of creating space, visibility and exchange for contemporary art - we celebrate our JUBILEE X !&nbsp;The Anniversary Celebration presents a group show with approx. 90 artists - each artwork will be sold for 400€ + 7% VAT to support the artists and the place HAUNT. The exhibition is accompanied by a music programme and an open pop-up yard with a bar.with Alana Lake, Aletta de Jong, Alexej Meschtschanow, Alice Dittmar, Alke Reeh, Andreas Helfer, Andreas Schmid, Anja Schwörer, Anke Becker, Anke Völk, Anna-Maria Bogner, Antonio Mesones, Antonya C.Wolfram, Aram Tanis, Barbara Lüdde, Bethan Hughes, Bettina Allamoda, Birgit Hölmer, Bretz/Holliger, Carolin Seeliger, Carsten Becker, Claude Eigan, Daniel Kupferberg, Daniela Elorza, Dennis Scholl, Despina Flessa, Dominik Bucher, Eberhard Bosslet, Emma Howes, Ena Oppenheimer, Fabian Bechtle, Fabian Knecht, Flavia Stagi, Gesa Troch, Elom 20ce&amp; Musquiqui Chihying &amp; Gregor Kasper, Haleh Redjaian, Hanako Geierhos, Hanna Hennenkemper, Hannu Prinz, Hans Wilschut, Hendrik Silbermann, Isabel Kerkermeier, Jacub Simcik, Jana Müller, Jeroen Jacobs, Jessica Buhlmann, Joachim Grommek, Johannes Weiss, Jörg Gelbke, Josep Maynou, Joseph Zehrer, Julie Oppermann, Justina Los, Justina Moncevičiūtė, Karl-Ludwid Lange, Kathrin Köster, Katinka Pilscheur, Katja Pudor, Kim-Kathrin Hoffmann, Konrad Karsten, Leon Manoloudakis, Lidia Sigle, Lukas Schmenger, Marei Löllmann, Marianna Ignataki, Marie Rief, Marco Schmitt, Marc Klee, Markus Wüste, Matteo Lorusso, Matthias Wermke, Michael Schultze, Michaela Zimmer, Monika Rechsteiner, Moritz Hirsch, Nadine Fecht, Natalie Reusser, Nele Marie Gräber, Nico Ihlein, Nicole Wendel, Nikola Ukic, Ole Meergans, Oliver Thie, Paula Kvasnikoff, Paulina Hoffmann, Philip Topolovac, Pius Fox, Robert Gschwantner, Roman Liska, Sara Lu, Saskia Wendland, Sinta Werner, Spiros Hadjidjanos, Stefanie Kägi, Stefanie Seufert, Stella Geppert, Stephan Ehrenhofer, &nbsp;Susanne Bürner, Susanne Roewer, Sven Fritz, Theemetra Harizani, Thomas Grötz, Thorsten Kasper, Timo Herbst, Tobias Kappel, Tom Früchtl, Tolia Astali &amp; Dylan Peirce, Tula Plumi &amp; Stelios Karamanolis, Ulrike Mohr, Vanessa Enríquez, Vassiliea Stylianidou aka Franck-Lee Alli-Tis, Vincent Grunwald, Willem Besselink. <img width="6024" height="4020" width_o="6024" height_o="4020" data-src="https://freight.cargo.site/t/original/i/1a74bf563c8884986e13571af442cd8e861619c5d36f25f58dfc1d9942c60a0a/IMG_6911_WB.jpg" data-mid="186662165" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/1a74bf563c8884986e13571af442cd8e861619c5d36f25f58dfc1d9942c60a0a/IMG_6911_WB.jpg" /> Deathinitely, glazed ceramics, 9x14x2cm,&nbsp;2022 ︎ Haunt, frontview e.V., Kluckstraße 23A, 10785 Berlin News —15.04.2022 Poster campaign Never again war – Safe Haven Provinz Editionen02.2022 “The war in Ukraine has, as an attack on a country in Europe, come as a shock to many Europeans. However, the terrible wars in Syria, Afghanistan, Ethiopia, Libya, Mali, Yemen, Myanmar and many others have been bringing suffering to civil societies for decades.&nbsp;Today, more thanever, it is time and an imperative of humanity to oppose war and offer all refugees&nbsp;a safe haven in Europe.In August 1924, for a maior peace demonstration in Leipzig, the staunch pacifist Käthe Kollwitz published her iconic "Nie wieder Krieg", („Never Again War") poster, which is deeply embedded in our visual memory. In this artistic tradition, Provinz called friendly artists for a poster action on the occasion of the current events in Ukraine and the armament plans of the German government. Together we can at least make this small contribution, one that formulates clearly the wish for peace and chooses a form of protest, which sets a visible and endurina image in resistance to the war.”Provinz Editionen <img width="7017" height="9934" width_o="7017" height_o="9934" data-src="https://freight.cargo.site/t/original/i/fe8a3f5b9ce6c2fb96a2c7917816cb38ffcd1ae8b818c01764428ec8a83eeada/Justina-Los_Peace-On-Earth_1.jpg" data-mid="186723652" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/fe8a3f5b9ce6c2fb96a2c7917816cb38ffcd1ae8b818c01764428ec8a83eeada/Justina-Los_Peace-On-Earth_1.jpg" /> Peace on Earth, digital collage, 2022 ︎ Provinz Editionen – Safe Haven&nbsp; News —02.02.2022 ‘Pizza Nikotina’ in the group show Never mind the burnout&nbsp;at Studiogalerie,&nbsp;Haus am Lützowplatz, Berlin12.02.–10.04.2023 Opening &nbsp;| &nbsp;Friday, February 11, 2022, 7 PM Showcasing works by 4000, Katharina Arndt, Jim Avignon, Fehmi Baumbach, Alexandra Baumgartner, Clud Becker, Isabella Bersellini, John Bock, Birgit Brenner, Jan Brokof, Danielle de Picciotto, Tatjana Doll, Brad Downey, Galya Feierman, Emilie Gleason, Lukas Glinkowski, Katharina Grossmann-Hensel, Anni Heuchel, Anna Ingerfurth, Juliane Kownatzki, Niina Lehtonen Braun, Justina Los, Irina Mmur, Jaybo Monk, Moritz Schleime, Patrick Sellmann, David Shrigley, Yukihiro TaguchiCurated by Katharina Schilling and Jim Avignon „It’s better to burn out than to fade away“ Kurt Cobain quotes Neil Young in his farewell letter, thus declaring his suicide as a refusal to settle for a life of mediocrity.&nbsp;Almost 30 years later, burnout is no longer the prerogative of rock and pop stars, iconic artist, significant historic figures and managers, but has become an almost dominant attitude towards life.After spending two years in a corona-induced state of emergency, large parts of society have come to terms with the fact that a life of uncertainty and isolation has become a permanent condition and near-burnout a permanent companion.The group exhibition „never mind the burnout“ explores how life on the edge of exhaustion is reflected in the art production of the past few years.The video works, drawings, paintings, collages, linocuts, and sculptures give evidence to the epiphenomena of permanent excess, and approach the symbolic concept of „burning out“ in an ironic-humorous manner. A lifestyle that has long since exceeded its own resiliency is manifested in the excessive consumption of pizza and alcoholic beverages, in deconstructed faces, tired looks, fragmented movement sequences, and in a disorientation expressed in images and text. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7ff10e4d974a7a4a7594172ca0dec6587a37fe4e1713cdbf32ce3ed1c5a98efe/SN_08870.jpg" data-mid="186661768" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/7ff10e4d974a7a4a7594172ca0dec6587a37fe4e1713cdbf32ce3ed1c5a98efe/SN_08870.jpg" /> Pizza Nikotina, installation detail, Studiogalerie, Haus am Lützowplatz, Berlin, 2022 ︎&nbsp;Haus am Lützowplatz, Lützowpl. 9, 10785 Berlin&nbsp; News —01.12.2021 ‘Border Pill’ part of the Green Light Fundraiser exhibition at Haus der Statistik, Berlin11.12.– 31.12.2021 Fundraiser exhibitionOpening&nbsp; Saturday, &nbsp;December 11, &nbsp;2021, 3 PM Duration at&nbsp;Haus der Statistik (Haus D) 11.12. – 12.12.2021 Online exhibition 11.12. – 31.12.2021 We warmly invite you to help us raising money for the grassroots initiative Grupa Granica who support the refugees at the Polish-Belarusian border. participating artists: Basma Alsharif, Marwa Arsanios, Wera Bet, Joanna Chwilkowska, Peter Cusack, Zuzanna Czebatul, Jacopo Dal Bello, Monika Dorniak, Clementine Edwards, Angelica Falkeling, Louis Henderson, Domenique Himmelsbach De Vries, Marta Hryniuk, Lukasz Jastrubczak, Idil Kizoglu, Daria Khvorova, Justina Los, Thomas Mader, Jumana Manna, Jasmina Metwaly, Koushna Navabi, Agnieszka Polska, Martyna Poznanska, Stefan Roemer, Alicja Rogalska, Evan Roth, Studio Tomás Saraceno, Lorenzo Sandoval, Max Schneider, Setareh Shahbazi, Antonia Stoke and Marc Quinn INITIATED BY CO-LIBERATION COLLECTIVE BERLIN &amp; FRIENDS (Monika Dorniak, Julka Gnatowska, Jasmina Metwaly, Maja Zagórska, Ola Zielinska) <img width="2879" height="2153" width_o="2879" height_o="2153" data-src="https://freight.cargo.site/t/original/i/f227e8ae651d09b18df49efce7e9bcb0139bfe216dce46ff2e90ae2854d91c65/Bildschirmfoto-2023-08-01-um-16.52.15.jpg" data-mid="186683806" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/f227e8ae651d09b18df49efce7e9bcb0139bfe216dce46ff2e90ae2854d91c65/Bildschirmfoto-2023-08-01-um-16.52.15.jpg" /> ︎ Haus der Statistik, Otto Braun Str.70/72, 10178 Berlin News —02.10.2021 Participation in the workshop presentation of “Exorzier Raku” &nbsp;at&nbsp;„The Sun Machine Is Coming Down“ at Berliner Festspiele,&nbsp;ICC Messe, Berlin07.10.–17.10.2021 A project by Zoe Claire Miller and Marco Schmitt at Floating University For EXORZIER-RAKU, Zoë Claire Miller and Marco Schmitt constructed a mobile kiln at the Floating University and held a multitude of raku workshops over the course of this summer. Raku means “fun, delightful” in Japanese, it is the ceramic technique of removing clay objects from the kiln when they are red hot, at around 1000°, and covering them with organic material such as sawdust, leaves or hair. The goal of EXORZIER-RAKU is to banish the evil spirits and traumas of the capitalist, heteropatriarchal, techno-feudalist social order into clay sculptures in order to exorcise them through the ritual act of raku firing. Contrary to the notion that technology can solve all earthly and man-made problems, EXORZIER-RAKU ignites a muddily haptic counterpoint to the high-tech dicktatorship of individualist extractivism with earthy, collective creation processes. The raku kiln is a metabolistic organism that opens up a liminal space, marking the transition to a post-capitalist future. The city and the clay dug out from beneath it, used to form sculptures, become fuel for a r-evolutionary impulse. TERRA-粒 unites us with Terra Mater, activating organic and social forces of resilience, materializing them in sculptural iconographies of resistance. How can we overcome the Anthropocene? How can the city remain livable, and the earth? Of course an important first step is to exorcise the landlords.&nbsp; <img width="10031" height="5254" width_o="10031" height_o="5254" data-src="https://freight.cargo.site/t/original/i/725bbebcf165052475e0e04e81b01d44b38aa8cf8cdd3712b56fef473d89c8cd/ICC__0804-Pano.jpg" data-mid="186692527" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/725bbebcf165052475e0e04e81b01d44b38aa8cf8cdd3712b56fef473d89c8cd/ICC__0804-Pano.jpg" /> <img width="7357" height="4904" width_o="7357" height_o="4904" data-src="https://freight.cargo.site/t/original/i/2eac321ad2fe3d999986663bff11980f46bd6d32f1a9de034b2dc7d10f9f8f0d/ICC__0812.jpg" data-mid="186692524" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/2eac321ad2fe3d999986663bff11980f46bd6d32f1a9de034b2dc7d10f9f8f0d/ICC__0812.jpg" /> <img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/18ec775af0e0818190d68576f691e9aae3a92ab45a06d4496206a11c698f2651/ICC__0855.jpg" data-mid="186692531" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/18ec775af0e0818190d68576f691e9aae3a92ab45a06d4496206a11c698f2651/ICC__0855.jpg" /> <img width="7312" height="4877" width_o="7312" height_o="4877" data-src="https://freight.cargo.site/t/original/i/296521b7f0b2c1db198b8f779c324f456e758b75440646aa6cfb7717cd52899d/ICC__0821.jpg" data-mid="186692537" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/296521b7f0b2c1db198b8f779c324f456e758b75440646aa6cfb7717cd52899d/ICC__0821.jpg" /> Exorzier Raku, exhibition views, Berliner Festspiele, ICC Messe, Berlin, 2021 ︎ International Congress Center(ICC),&nbsp;Messedamm 22, 14055 Berlin News —10.11.2021 ‘Pizza Nikotina’ in the group show P.L.U.R. at Haus der Statistik, Berlin13.11.2021 Haus der Statistik (Haus D) Opening &nbsp;| &nbsp;Saturday, November 13, 2022, 3 PM In the next edition of PLUR more than 30 artists will symbolically represent the difference between the intellectualization of contemporary life and the result obtained. The lack of corporate responsibility, emotional intelligence and social commitment that results in trauma, obsolescence and unsustainability, showing us how art can be a practice of liberation, criticism and reflection, uniting us to face the challenges in a playful way. with Aaron Perera, Aaron Schauenburg, Alexander Skorobogatov,&nbsp;Anna Nezhnaya,&nbsp;Cruz Proxy,&nbsp;Dmytro Zubyskyi,&nbsp;Franzysko, Jesper Just,&nbsp;Justina Los,&nbsp;Kristina Becker, Lawra,&nbsp;L‘Enfant,&nbsp;Maciej Makalowski, Marco Schmitt,&nbsp; Mark Stroemich,&nbsp;Miriam Kongstad,&nbsp;number1mainroad,&nbsp;Robert Gründler,&nbsp;Samara Sallam,&nbsp;Sofiia Stepanova,&nbsp;Synthtati,&nbsp;Thomias Radin,&nbsp;Tobias König, Tom Esam,&nbsp;Victor Payares <img width="1125" height="1128" width_o="1125" height_o="1128" data-src="https://freight.cargo.site/t/original/i/d7c83193d860a563cb31bc65233191f69e5f5270a8b3f8638bd509e4f4d50587/IMG_6950.jpg" data-mid="186666483" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/d7c83193d860a563cb31bc65233191f69e5f5270a8b3f8638bd509e4f4d50587/IMG_6950.jpg" /> ︎ Haus der Statistik, Otto Braun Str.70/72, 10178 Berlin News —21.04.2020 Self-House Residency, interview by Piotr Policht with Magdalena Morawik &amp; Lukasz Horbow, Culture.pl&nbsp;21.04.2020 <img width="1844" height="2074" width_o="1844" height_o="2074" data-src="https://freight.cargo.site/t/original/i/9d11e0a5ca9ba5f0a7a651c2a73c04c678e0911910458d5c9c3986a9e75b8c55/Selfhouse-Residency_CulturePL.png" data-mid="187150930" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/9d11e0a5ca9ba5f0a7a651c2a73c04c678e0911910458d5c9c3986a9e75b8c55/Selfhouse-Residency_CulturePL.png" /> ︎Culture.pl, interview by Piotr Policht with Magdalena Morawik &amp; Lukasz Horbow, Culture.pl, 21.04.2020 Self-House is a residential project founded by Łukasz Horbów and Magdalena Morawik in response to the current coronavirus situation which promote the self-isolation movement in their own houses where artists can still create freely. The residenceis based on taking over our IG profile. It would take up to 3 days and would involve making 6 posts and creating a video summarizing the residency on IGTV in which the resident will talk about her/his artistic tactics in isolation. Each resident can count on our support and can nominate next artists. ︎ Self-House Residency, Instagram, 2020 https://justinalos.com/Index Wed, 12 Oct 2022 12:08:01 +0000 Justina Los https://justinalos.com/Index selected projects Illicit Means of Recuperation Breasticles (General Assembly) None for All, All for None Mi Inseguridad es tu Seguridad&nbsp; Somos Los Restos Del Sistema Dead Labor&nbsp; I Can’t Get No Funding (II)&nbsp;We Didn't Start The Fire Airborne Clusterfuck Nowhere Safe Take My Breath Away Breasticles Fountain I Can’t Get No Funding They Live Deathinitely Pizza Disillusa Non-Stop Profit Breasticles Civilians Peace on Earth Wahrzeichen Metaphysical Baywatch On Diplomacy Modern Clown Pop-Up Miracle Umschlagplatz Baywatch Season 12 Heil(e) Welt I like your skin Mama, I’m (not) coming home ︎ ︎ https://justinalos.com/Illicit-Means-of-Recuperation Thu, 06 Aug 2026 10:34:04 +0000 Justina Los https://justinalos.com/Illicit-Means-of-Recuperation Illicit Means of Recuperationaluminum case, polyester satin, granite paving stone, gauze bandages, synthetic hair wig, digital print on paper “Healing”, Group Show, 07.08.-16.08.2026,Hilbertraum, Berlin 2026 <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/d24356e53495863a8a1827a6398aa2fcf83bc26980fd8ed8fae23561bab2bdd2/P1666386.jpg" data-mid="251046834" border="0" src="https://freight.cargo.site/w/1000/i/d24356e53495863a8a1827a6398aa2fcf83bc26980fd8ed8fae23561bab2bdd2/P1666386.jpg" /> <img width="3904" height="5208" width_o="3904" height_o="5208" data-src="https://freight.cargo.site/t/original/i/452533a34f26a60b2462444fd5199308964544abda199d1d05cbbbeb4263e046/P1666290.jpg" data-mid="251046837" border="0" src="https://freight.cargo.site/w/1000/i/452533a34f26a60b2462444fd5199308964544abda199d1d05cbbbeb4263e046/P1666290.jpg" /> <img width="3904" height="5208" width_o="3904" height_o="5208" data-src="https://freight.cargo.site/t/original/i/a5a9704168ff057ac1e6cde02ccebf7827428d19e6a789900dfa1ebc75c212cf/P1666380.jpg" data-mid="251046835" border="0" src="https://freight.cargo.site/w/1000/i/a5a9704168ff057ac1e6cde02ccebf7827428d19e6a789900dfa1ebc75c212cf/P1666380.jpg" /> Installation views Illicit Means of Recuperation, Healing , Hilbertraum, Berlin, 2026 [photos © Justina Los] Curated by / kuratiert von Elllen DeElaine, Holm Friebe, Bianco Lee EN Illicit Means of Recuperation brings together objects commonly associated with damage, protection, or anonymity, and transposes them into the context of a speculative model of radical healing. The work is based on the assumption that the aesthetic transformation of one’s surroundings can be understood as a form of individual self-regulation. The subversive act appears here as an attempt to regain the capacity for action and to initiate processes of inner regeneration.Historically, vandalism has taken various forms: the destruction of political symbols during revolutions, iconoclastic movements such as those in European history, or moments when monuments become a focal point for social struggles. Vandalism is rarely directed solely at the object itself, but rather at the power structures, ideologies, or inequalities that the object represents.Psychologically, vandalism is often understood as an act that arises from a mixtureof feeling overwhelmed, frustration, and the urge for self-efficacy. The act of “damage” is a physical, immediate action that crosses a boundary and thereby leaves a clear mark. It does not rely on dialogue; it forces visibility through expression. For people who feel systematically overlooked or devalued, this can provide an opportunity to reclaim their agency and to respond to a situation they perceive as hopeless through individual expression and self-regulation. DE Illicit Means of Recuperation versammelt Objekte, die gemeinhin mit Beschädigung, Schutz oder Anonymität assoziiert werden, und überführt sie in den Kontext eines spekulativen Modells radikaler Heilung. Ausgangspunkt der Arbeit ist die Annahme, dass die ästhetische Umgebungsumgestaltung als Form individueller Selbstregulation verstanden werden kann. Der subversive Akt erscheint dabei als Versuch, Handlungsfähigkeit zurückzugewinnen und Prozesse innerer Regeneration anzustoßen. Historisch zeigt sich Vandalismus in unterschiedlichen Formen: in der Zerstörung politischer Symbole während Revolutionen, in bildfeindlichen Bewegungen wie der europäischen Ikonoklasmusgeschichte oder in jenen Momenten, in denen Denkmäler zu Projektionsflächen gesellschaftlicher Kämpfe werden. Vandalismus richtet sich dabei selten allein gegen das Objekt, sondern gegen die Machtstrukturen, Ideologien oder Ungleichheiten, die dieses Objekt repräsentiert. Psychologisch wird Vandalismus häufig als Handlung verstanden, die aus einer Mischung von Überforderung, Frustration und dem Drang nach Selbstwirksamkeit entsteht. Der Akt der „Beschädigung” ist eine körperliche, unmittelbare Handlung, die eine Grenze überschreitet und dadurch eine klare Spur hinterlässt. Er ist nicht auf Dialog angewiesen, er erzwingt Sichtbarkeit durch Ausdruck. Für Menschen, die sich systematisch übergangen oder abgewertet fühlen, kann darin ein Moment der Rückeroberung sowie die Möglichkeit entstehen, durch individuellen Ausdruck und Selbstregulierung auf einen als ausweglos empfundenen Zustand zu reagieren. <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/46285a75350ee87ae5b284fdc98fdd913e274dc8caa94e09cf5906492df23483/P1666376.jpg" data-mid="251046836" border="0" src="https://freight.cargo.site/w/1000/i/46285a75350ee87ae5b284fdc98fdd913e274dc8caa94e09cf5906492df23483/P1666376.jpg" /><img width="5184" height="3888" width_o="5184" height_o="3888" data-src="//freight.cargo.site/t/original/i/759070435b8b30a9deeef76643884b2345df3efcd29f9613ce7f9ab17219c0f9/P1666201.jpeg" data-mid="250753274" border="0" style="width: 566.015625px; height: 424.511719px; display: none;"> ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/Breasticles-General-Assembly Thu, 23 Jul 2026 12:04:02 +0000 Justina Los https://justinalos.com/Breasticles-General-Assembly Breasticles (General Assembly)concrete, polyester, metal, rubber, foam, cotton, acrylic paint, DTF transfer “Fight or Flight: Sex”, Group Show, 10.07.-19.07.2026 ︎Gruppe Gorgone, Studio1 | Kunstquartier Bethanien, Berlin 2026 <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/dd5329aa2ddf14bd7202d69b84f79038d52ea70ea3d9cef9ae42c29572434617/P1655909-2.jpg" data-mid="250655915" border="0" src="https://freight.cargo.site/w/1000/i/dd5329aa2ddf14bd7202d69b84f79038d52ea70ea3d9cef9ae42c29572434617/P1655909-2.jpg" /><img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/ed448bfd11e4db682abf42fb67e526e8bb51f749879edc3f63229efbaefae992/P1655691_2.jpg" data-mid="250655914" border="0" src="https://freight.cargo.site/w/1000/i/ed448bfd11e4db682abf42fb67e526e8bb51f749879edc3f63229efbaefae992/P1655691_2.jpg" /> <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/03381be7f688d2f166766266ce7beef8a56552a5c57a561d0cdc30250d83fb6c/P1666260.jpg" data-mid="250655919" border="0" src="https://freight.cargo.site/w/1000/i/03381be7f688d2f166766266ce7beef8a56552a5c57a561d0cdc30250d83fb6c/P1666260.jpg" /> <img width="4984" height="3736" width_o="4984" height_o="3736" data-src="https://freight.cargo.site/t/original/i/512e8267a791aef5c2630cab06c3e6a5424688876df307ac775a6a39c71878da/P1655679_2.jpg" data-mid="250655913" border="0" src="https://freight.cargo.site/w/1000/i/512e8267a791aef5c2630cab06c3e6a5424688876df307ac775a6a39c71878da/P1655679_2.jpg" /> <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/eabac3b93c16a5136fe0fffed8623d0b6278e4edc809dda85f02e66f950393c0/P1666111.jpg" data-mid="250655918" border="0" src="https://freight.cargo.site/w/1000/i/eabac3b93c16a5136fe0fffed8623d0b6278e4edc809dda85f02e66f950393c0/P1666111.jpg" /> <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/cb1a1162ae5cf87ff13ce40c6335822edfa1118b5ea5735d276d924b23184a38/P1655953.jpg" data-mid="250655916" border="0" src="https://freight.cargo.site/w/1000/i/cb1a1162ae5cf87ff13ce40c6335822edfa1118b5ea5735d276d924b23184a38/P1655953.jpg" /><img width="4271" height="3201" width_o="4271" height_o="3201" data-src="https://freight.cargo.site/t/original/i/ed8a2513f6e30726369432b0ca5f90d4471efc30e17c2a6cbac570ce5278f432/P1655916.jpg" data-mid="250753247" border="0" src="https://freight.cargo.site/w/1000/i/ed8a2513f6e30726369432b0ca5f90d4471efc30e17c2a6cbac570ce5278f432/P1655916.jpg" /> Installation views Breasticles (General Assembly), Fight or Flight III: Sex, Studio1 | Kunstquartier Bethanien, Berlin, 2026 [photos © Justina Los] Curated by / kuratiert von Julie Legouez &amp; Evelina Reiter EN „Breasticles (General Assembly)“ shows concrete-cast body fragments situated between assembly, disintegration, and disciplining. The Breasticles bring together anatomically gendered body parts in a new hybrid form in which established linguistic attributions of gender-coded strength and weakness no longer correspond to it. Ratchet straps bear the inscription “Ordo ex usu” – order through use. They point to order as something that is produced through repetition and comes to inscribe itself as self-evident. The work addresses the unequal valuation of genders as it appears in everyday language: “to have balls” stands for courage, strength, and assertiveness, while “being a pussy” implies weakness and cowardice. In such expressions, body parts become cultural signs: male-coded anatomy is associated with power, female-coded anatomy with vulnerability or lack. Between joke, habit, and insult, it becomes clear that language cannot detach itself from its hierarchies. DE „Breasticles (General Assembly)“ zeigt aus Beton gegossene Körperfragmente, die sich zwischen Versammlung, Zerfall und Disziplinierung verorten. Die Breasticles vereinen anatomisch geschlechtlich codierte Körperteile zu einer neuen hybriden Form, in der etablierte sprachliche Zuschreibungen von geschlechtercodierter Stärke und Schwäche nicht länger greifen. Spanngurte tragen die Inschrift Ordo ex usu – Ordnung durch Gebrauch. Sie verweisen auf Ordnung als etwas, das durch Wiederholung hervorgebracht wird und sich schließlich als selbstverständlich einschreibt. Die Arbeit thematisiert die ungleiche Bewertung von Geschlechtern, wie sie sich in der Alltagssprache manifestiert: „Eier haben“ steht für Mut, Stärke und Durchsetzungsvermögen, während „eine Muschi sein“ Schwäche und Feigheit impliziert. In solchen Redewendungen werden Körperteile zu kulturellen Zeichen: Männlich codierte Anatomie wird mit Macht assoziiert, weiblich codierte mit Verletzlichkeit oder Mangel. Zwischen Witz, Gewohnheit und Beleidigung wird deutlich, dass Sprache sich von ihren Hierarchien nicht lösen kann. <img width="5208" height="3904" width_o="5208" height_o="3904" data-src="https://freight.cargo.site/t/original/i/01a63baf88e3ccf4c9461246b89ddbadda506415cc5f988a0d64906f0295a672/P1655770.jpg" data-mid="250657194" border="0" src="https://freight.cargo.site/w/1000/i/01a63baf88e3ccf4c9461246b89ddbadda506415cc5f988a0d64906f0295a672/P1655770.jpg" /> <img width="3888" height="5184" width_o="3888" height_o="5184" data-src="https://freight.cargo.site/t/original/i/7e4f95be004d8d351723395a7164a6f331711572fbb15e636f7e9524742dbd6e/P1666195.jpeg" data-mid="250753276" border="0" src="https://freight.cargo.site/w/1000/i/7e4f95be004d8d351723395a7164a6f331711572fbb15e636f7e9524742dbd6e/P1666195.jpeg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/e55f627148015fba4402302b2332bc2f78631813325e614822657b50bba9fa77/P1666201.jpeg" data-mid="250753275" border="0" src="https://freight.cargo.site/w/1000/i/e55f627148015fba4402302b2332bc2f78631813325e614822657b50bba9fa77/P1666201.jpeg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="//freight.cargo.site/t/original/i/759070435b8b30a9deeef76643884b2345df3efcd29f9613ce7f9ab17219c0f9/P1666201.jpeg" data-mid="250753274" border="0" style="width: 783.265625px; height: 587.449219px; display: none;"> ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/None-for-All-All-for-None Sun, 13 Sep 2026 23:16:48 +0000 Justina Los https://justinalos.com/None-for-All-All-for-None None For All, All For Nonewooden fence poles, acrylic paint, coal “Trash Studies”, Group Show, 07.05.-27.08.2026,vacant AOK branch, Neukölln Arkaden, Berlin 2026 <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/f6a6d20652762a6c01b6b90c0ebd5a60547ae818d66d2b42cbb2015795c5721a/Gro-P1666581_ret_stroke_big.jpeg" data-mid="252119695" border="0" src="https://freight.cargo.site/w/1000/i/f6a6d20652762a6c01b6b90c0ebd5a60547ae818d66d2b42cbb2015795c5721a/Gro-P1666581_ret_stroke_big.jpeg" /><img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/ea27bdce1fabd08d6f1e2df12d95fd7b79db91484e9173060dd5fc7f77b37971/Gro-P1666701.jpeg" data-mid="252119696" border="0" src="https://freight.cargo.site/w/1000/i/ea27bdce1fabd08d6f1e2df12d95fd7b79db91484e9173060dd5fc7f77b37971/Gro-P1666701.jpeg" /> Installation views None for All, All for None, Trash Studies&nbsp;, vacant&nbsp;AOK branch, Neukölln Arkaden, Berlin, 2026 [photos © Justina Los] EN Installed in a vacant former branch of the German health insurance provider AOK, None for All, All for None places five oversized wooden cigarettes within the residual architecture of an administrative space.The title reverses the familiar motto “one for all, all for one”, turning an expression of solidarity into its negation. In a site formerly dedicated to the administration of healthcare and collective insurance, this inversion points to the erosion of structures based on mutual responsibility and social provision.The cigarettes appear spent, displaced and out of scale. Some lie scattered across the office floor, while another leans against the wall, leaving behind the dark trace of its burnt tip. Against the intact office infrastructure — carpet, suspended ceiling, electrical fittings and service units — they read as remnants of exhaustion and consumption within an environment originally designed for order, administration and care.What remains is a space once devoted to organising collective provision, occupied by objects whose very form is defined by consumption and gradual disappearance. DE In einer leerstehenden ehemaligen Filiale der AOK platziert None for All, All for None fünf überdimensionierte Zigaretten aus Holz innerhalb der erhaltenen Architektur eines Verwaltungsraums.Der Titel verkehrt die bekannte Losung „Einer für alle, alle für einen“ in ihr Gegenteil. An einem Ort, der zuvor der Organisation von Gesundheitsversorgung und kollektiver Absicherung diente, verweist diese Umkehrung auf die Erosion von Strukturen, die auf gegenseitiger Verantwortung und gesellschaftlicher Fürsorge beruhen.Die Zigaretten wirken verbraucht, deplatziert und aus ihrem üblichen Maßstab gerissen. Einige liegen verstreut auf dem Bürofußboden, eine weitere lehnt an der Wand und hinterlässt dort die dunkle Spur ihres abgebrannten Endes. Vor der nahezu intakten Büroinfrastruktur – Teppichboden, Rasterdecke, Anschlüsse und technische Einbauten – erscheinen sie als Überreste von Erschöpfung und Verbrauch innerhalb einer Umgebung, die ursprünglich für Ordnung, Verwaltung und Versorgung geschaffen wurde.Zurück bleibt ein Raum, der einst der Organisation kollektiver Absicherung diente und nun von Objekten besetzt ist, deren Form selbst durch Verbrauch und allmähliches Verschwinden bestimmt wird. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/8817abfb551e8147907383b65fe31f785caf0d1c1b7b9e79e42f147e6ea851b5/Gro-P1666699.jpeg" data-mid="252119697" border="0" src="https://freight.cargo.site/w/1000/i/8817abfb551e8147907383b65fe31f785caf0d1c1b7b9e79e42f147e6ea851b5/Gro-P1666699.jpeg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="//freight.cargo.site/t/original/i/759070435b8b30a9deeef76643884b2345df3efcd29f9613ce7f9ab17219c0f9/P1666201.jpeg" data-mid="250753274" border="0" style="width: 783.265625px; height: 587.449219px; display: none;"> ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/Mi-Inseguridad-es-tu-Seguridad Sat, 07 Mar 2026 00:08:14 +0000 Justina Los https://justinalos.com/Mi-Inseguridad-es-tu-Seguridad Mi Inseguridad es tu Seguridadriot security helmets, heat print on polyester, glazed ceramics, broom Solo Show, 04.02.-16.02.2026 ︎&nbsp;Sucesiva x Incierta&nbsp;, Mexico City 2026 <img width="4024" height="6024" width_o="4024" height_o="6024" data-src="https://freight.cargo.site/t/original/i/ee5f1f1d22beadae899aa5a9571f33308133b3a36fe6aeb73253748de1af5bce/DSC00412_3.jpg" data-mid="246732223" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/ee5f1f1d22beadae899aa5a9571f33308133b3a36fe6aeb73253748de1af5bce/DSC00412_3.jpg" /> <img width="4024" height="6024" width_o="4024" height_o="6024" data-src="https://freight.cargo.site/t/original/i/43d8f81436b325efb2a36f88e8b45c498fd08157c38002106a9e26e174722102/DSC00374.jpg" data-mid="246732222" border="0" src="https://freight.cargo.site/w/1000/i/43d8f81436b325efb2a36f88e8b45c498fd08157c38002106a9e26e174722102/DSC00374.jpg" /> <img width="3449" height="5160" width_o="3449" height_o="5160" data-src="https://freight.cargo.site/t/original/i/e34bd361adbbdea6d13b1fd4a52df6d4df98797a95c1589d4802cfc957d425fa/justina4.jpg" data-mid="245717787" border="0" src="https://freight.cargo.site/w/1000/i/e34bd361adbbdea6d13b1fd4a52df6d4df98797a95c1589d4802cfc957d425fa/justina4.jpg" /> <img width="1352" height="2024" width_o="1352" height_o="2024" data-src="https://freight.cargo.site/t/original/i/b949290b7351e837d1192220c14452a382053138e76422de60cb7a665f088b10/IN_402_3_retouch__sat.jpg" data-mid="246735770" border="0" src="https://freight.cargo.site/w/1000/i/b949290b7351e837d1192220c14452a382053138e76422de60cb7a665f088b10/IN_402_3_retouch__sat.jpg" /> <img width="3913" height="5870" width_o="3913" height_o="5870" data-src="https://freight.cargo.site/t/original/i/fc916b767817fcc9b91aa835e17039a63b7d99711a3918de510e76c4cc846065/justinalos6.jpg" data-mid="246732227" border="0" src="https://freight.cargo.site/w/1000/i/fc916b767817fcc9b91aa835e17039a63b7d99711a3918de510e76c4cc846065/justinalos6.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/9d28347e83e942756572367de95e5f1f6c65be09a3cac05126a18ad675b2455b/justina3.jpg" data-mid="246732225" border="0" src="https://freight.cargo.site/w/1000/i/9d28347e83e942756572367de95e5f1f6c65be09a3cac05126a18ad675b2455b/justina3.jpg" /> <img width="6024" height="4024" width_o="6024" height_o="4024" data-src="https://freight.cargo.site/t/original/i/c20a8a5c3d0b4e5aa4a65595dfff52b6ed76ec91e1210b72214849085994a4d9/DSC00423_2.jpg" data-mid="246732224" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c20a8a5c3d0b4e5aa4a65595dfff52b6ed76ec91e1210b72214849085994a4d9/DSC00423_2.jpg" /> Installation views Mi Inseguridad es tu Seguridad, Incierta, Berlin, 2026 [photos © Fernando Muñoz] Curated by / kuratiert von Sucesiva EN “Mi inseguridad es tu seguridad” is a phrase that formulates a principle of governance and, at the same time, contains a threat within it. A logic that does not need to be spoken, because it is already embedded in institutions, laws, and the protocols of the national order.The works in this exhibition stem from this logic. The idea that gives rise to them emerges in Berlin, in the context of concrete observations of state control and police violence during political protests. Especially since the beginning of the genocide in Gaza, new precedents have become more visible in Germany: an expansion of the powers of the executive, a growing normalization of violence, and a shifting of the limits of what can be imposed in the name of order and security. In Germany, under Section 114 of the Criminal Code (StGB), “assault against law enforcement officers,” full discretion is granted to the officer, even in the event of a slight touch or bodily collision by a civilian, as sufficient pretext to act with any amount of force and hostility that the authority deems appropriate, most often becoming excessive. This condition is shared in the Global South: executive violence exercised by the police, the military, border regimes, or other state apparatuses follows comparable mechanisms at an international level. It operates in the name of political power and is reproduced through the claim of generating security, while simultaneously and systematically producing insecurity.In “Las Caras del Orden”, two riot helmets are shown on the verge of colliding with each other without actually touching, through a mechanical movement. Violence is not directed outward, but instead turns in on itself. The helmets represent a function: executive intervention in public space and the constant tension now transferred to the viewer. Their repeated intention to collide points to a system that seeks to stabilize itself through force and repetition and, in doing so, acts against its own means. From inside the helmets hang printed ribbons bearing phrases taken from political theory, philosophy, and state doctrine statements about order, authority, violence, and security. Visually, they refer to ceremonial or commemorative practices: mourning ribbons, honorary decorations, official insignia.The second work assembles ceramic forms resembling bones to form the word “justice.” The letters are dispersed and must be read through their disarticulation. Justice is presented as something fragmented, corporeal, and precarious. The bone-like material refers to physical injury, to bodies marked by force, and to the persistent consequences of violence. Justice appears as something that can break, be displaced, and become inoperative. A broom stands upright, touching the final letter, as if the act of sweeping were suspended mid-motion. The work is titled “Ordnung muss sein” (Order must be maintained), a German expression that embodies discipline and obedience. To clean, to order, to eliminate traces. Order becomes an operation that follows violence rather than preventing it. Across the works, order is understood as something produced and sustained through control and violence. “Mi inseguridad es tu seguridad” articulates this reality from the perspective of oppression; a relationship that, necessarily, produces what it claims to prevent. ESP “Mi inseguridad es tu seguridad” es una frase que formula un principio de gobernanza y, al mismo tiempo, contiene una amenaza en su interior. Una lógica que no necesita ser pronunciada, porque ya está incrustada en las instituciones, las leyes y los protocolos del orden nacional. Las obras de esta exposición parten de esta lógica. La idea que las origina surge en Berlín, en el contexto de observaciones concretas sobre el control estatal y la violencia policial durante protestas políticas. Especialmente desde el inicio del genocidio en Gaza, se han hecho más visibles en Alemania nuevos precedentes: una expansión de las facultades del poder ejecutivo, una creciente normalización de la violencia y un desplazamiento de los límites de lo que puede imponerse en nombre del orden y la seguridad. En Alemania dentro de la sección 114 del código criminal (StGB) “asalto hacia las fuerzas oficiales de seguridad” &nbsp;se concede total libertad al oficial incluso ante un ligero roce o colisión corporal por parte del civil como pretexto suficiente para actuar con cualquier cantidad de fuerza y hostilidad que la autoridad considere adecuada. En la mayoría de las ocasiones tornándose, excesiva. Esta condición es compartida en el Sur Global, la violencia ejecutiva ejercida por la policía, el ejército, los regímenes fronterizos u otros aparatos estatales sigue mecanismos comparables a nivel internacional. Opera en nombre del poder político y se reproduce a través de la pretensión de generar seguridad, mientras produce de forma simultánea y sistemática inseguridad.En “Las Caras del Orden”, muestra dos cascos antimotines a punto de colisionar entre sí sin llegar a tocarse, mediante un movimiento mecánico. La violencia no se dirige hacia el exterior, sino que se vuelve sobre sí misma. Los cascos representan una función: la intervención ejecutiva en el espacio público y la tensión constante ahora contagiada al espectador. Su intención de choque reiterado señala un sistema que busca estabilizarse a través de la fuerza y la repetición y que, al hacerlo, actúa en contra de sus propios medios. Desde el interior de los cascos cuelgan listones impresos. Estos portan frases tomadas de la teoría política, la filosofía y la doctrina estatal: enunciados sobre orden, autoridad, violencia y seguridad. Visualmente, remiten a prácticas ceremoniales o conmemorativas: listones de duelo, condecoraciones honoríficas, insignias oficiales. La segunda obra ensambla formas cerámicas similares a huesos para conformar la palabra “justicia”. Las letras se encuentran dispersas y deben leerse a través de su desarticulación. La justicia se presenta como algo fragmentado, corporal y precario. El material óseo remite a la lesión física, a cuerpos marcados por la fuerza y a las consecuencias persistentes de la violencia. La justicia aparece como algo que puede romperse, desplazarse y volverse inoperante. Una escoba se mantiene erguida, tocando la última letra, como si el acto de barrer quedará suspendido a medio movimiento. La obra se titula “Ordnung muss sein” (El orden debe mantenerse), una expresión alemana que encarna la disciplina y la obediencia. Limpiar, ordenar, eliminar rastros. El orden se convierte en una operación que sigue a la violencia en lugar de prevenirla. En el conjunto de las obras, el orden se entiende como algo producido y sostenido a través del control y la violencia. “Mi inseguridad es tu seguridad” enuncia esta realidad desde la perspectiva de la opresión; una relación que, de manera necesaria, produce aquello que afirma evitar. ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/Somos-Los-Restos-Del-Sistema Sun, 16 Nov 2025 16:13:58 +0000 Justina Los https://justinalos.com/Somos-Los-Restos-Del-Sistema SOMOS LOS RESTOS DEL SISTEMA glazed raku-ceramics, cardboard boxes, digital print on vinyl stickers various dimensions DESCONOCIDO, group show, 24.10.-07.11.2025 ︎&nbsp;STUDIO CROMA , Mexico City 2025 <img width="2202" height="1466" width_o="2202" height_o="1466" data-src="https://freight.cargo.site/t/original/i/6ebfba59551b3796557993185bcb30e3fe49a1a42554bf73bd8b9598161015fb/IMG_9483.jpg" data-mid="240704801" border="0" src="https://freight.cargo.site/w/1000/i/6ebfba59551b3796557993185bcb30e3fe49a1a42554bf73bd8b9598161015fb/IMG_9483.jpg" /> <img width="2202" height="1466" width_o="2202" height_o="1466" data-src="https://freight.cargo.site/t/original/i/5a788ed82ba168cffe3f489b9d76f9c72c2b41706a84f32af65e52e4ebc7e9a8/IMG_9328.jpg" data-mid="240705855" border="0" src="https://freight.cargo.site/w/1000/i/5a788ed82ba168cffe3f489b9d76f9c72c2b41706a84f32af65e52e4ebc7e9a8/IMG_9328.jpg" /> <img width="5202" height="3464" width_o="5202" height_o="3464" data-src="https://freight.cargo.site/t/original/i/6dfdab7dc3fcec7caea4a6cc99cb48964ee06e3586f512b3963256440ed792c2/IMG_9563_-min.jpg" data-mid="240747908" border="0" src="https://freight.cargo.site/w/1000/i/6dfdab7dc3fcec7caea4a6cc99cb48964ee06e3586f512b3963256440ed792c2/IMG_9563_-min.jpg" /> <img width="2202" height="1466" width_o="2202" height_o="1466" data-src="https://freight.cargo.site/t/original/i/95b1e665b473cc728b0f8726f83bcbd5a2cbcf07c365a2b3d2ae31c81f178d0f/IMG_9472.jpg" data-mid="240704040" border="0" src="https://freight.cargo.site/w/1000/i/95b1e665b473cc728b0f8726f83bcbd5a2cbcf07c365a2b3d2ae31c81f178d0f/IMG_9472.jpg" /> <img width="3174" height="2050" width_o="3174" height_o="2050" data-src="https://freight.cargo.site/t/original/i/36dd63d94260ee98e294173da349635bcc67abc991322c2f87d12ec55532d6c1/Somos.png" data-mid="240747586" border="0" src="https://freight.cargo.site/w/1000/i/36dd63d94260ee98e294173da349635bcc67abc991322c2f87d12ec55532d6c1/Somos.png" /> Installation views&nbsp;DESCONOCIDO, STUDIO&nbsp;CROMA, Ciudad de México, 2025 With/Mit Meghan DeRoma (US), Willie Gurner (US), Fabiola Larios (MX), Amelie Laurice (US), Justina Los (DE), Elisa Malo (MX), Hannah Rath (DE), Yanin Ruibal (US), Christian Schiebe (DE), Elisabeth Sonneck (DE), Sofiia Yesakova (UA) Organised by/organisiert von Aleph Escobedo (MX) EN Somos Los Restos Del Sistema is a work that originated in Mexico City and was developed for the exhibition DESCONOCIDO&nbsp;at CROMA Galería. The title refers to remnants – food scraps, material waste, social by-products, and what remains of political structures. Cigarette butts on ceramic pizzas, untouched food, packaging without function – things that should have disappeared – end up forming a construction of remnants that traces our “modern” parallel societies. The pizza box, an object of fast consumption and quick disposal, bears phrases that express universal yet everyday observations:«El sistema me come y yo lo devoro» (“The system devours me, and I devour it.”); «Somos los restos del sistema» (“We are the remains of the system.”); and «Todos participamos, nadie controla» (“Everyone participates, no one controls.”). The phrases read like slogans, but they claim nothing – they merely repeat what is already visible. They describe power imbalances that look different across the globe yet share the same origin. A system that includes everyone without truly empowering anyone. A system that devours us while we continue to feed it, often providing us only with its leftovers – politically, socially, economically. We are part of the system – without choice, yet also without control. The typography imitates the Presidencia – a typeface developed exclusively for the Mexican state and not licensed outside official governmental institutions. The work employs a deception that is simultaneously an act of recognition and appropriation: an unofficial echo of an official voice. Somos Los Restos Del Sistema was developed for the second edition of the B–LA–M Festival in Mexico City, whose first edition took place in Berlin in 2024. DESomos Los Restos Del Sistema ist eine in Mexiko-Stadt entstandene Arbeit, die für die Ausstellung DESCONOCIDO in der&nbsp;CROMA Galería entwickelt wurde. Der Titel spielt auf Abfallprodukte an – Essensreste, materielle Abfälle, soziale Nebenprodukte und das, was von politischen Strukturen übrig bleibt. Zigarettenstummel auf Keramik-Pizzen, unberührtes Essen, Verpackungen ohne Funktion – Dinge, die eigentlich verschwinden sollten, enden in einer Konstruktion aus Resten, die unsere „modernen“ Parallelgesellschaften nachzeichnen. Die Pizzaschachtel, ein Objekt für schnellen Konsum und schnelle Entsorgung, trägt Sätze, die universelle, aber alltägliche Beobachtungen formulieren:«El sistema me come y yo lo devoro» („Das System frisst mich, und ich fresse es.“); «Somos los restos del sistema» („Wir sind die Überreste des Systems.“); und «Todos participamos, nadie controla» („Alle machen mit, niemand hat die Kontrolle.“). Die Phrasen wirken wie Parolen, aber sie behaupten nichts – sie wiederholen nur, was ohnehin sichtbar ist. Sie beschreiben Machtgefälle, die global unterschiedlich aussehen und doch denselben Ursprung haben. Ein System, das alle einschließt, ohne jemanden wirklich zu bevollmächtigen. Ein System, das uns verschlingt, während wir es weiter füttern, und uns oft nur mit seinen Resten versorgt – politisch, sozial, ökonomisch. Wir sind Teil des Systems – ohne Wahl, aber auch ohne Kontrolle. Die verwendete Typografie imitiert die Presidencia – eine Schrift, die ausschließlich für den mexikanischen Staat entwickelt wurde und außerhalb offizieller Regierungsinstitutionen nicht lizenziert werden kann. Die Arbeit nutzt eine Täuschung, die zugleich Anerkennung und Aneignung ist: ein inoffizielles Echo einer offiziellen Stimme. Somos Los Restos Del Sistema wurde für die zweite Ausgabe des B–LA–M Festivals in Mexico-Stadt entwickelt, deren erste Ausgabe 2024 in Berlin stattfand. ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/Dead-Labor Mon, 17 Nov 2025 18:00:47 +0000 Justina Los https://justinalos.com/Dead-Labor Dead Labor glazed raku-ceramics, heat print on satin ribbon various dimensions El Hub, group show, 23.10.-26.10.2025 ︎ EL HUB&nbsp;, Mexico City 2025 <img width="3184" height="2388" width_o="3184" height_o="2388" data-src="https://freight.cargo.site/t/original/i/b4c67c3b48e97d22e506758f035193d915712ae47dccf7fd6b145892e44de571/P1655357_web.jpg" data-mid="246923540" border="0" src="https://freight.cargo.site/w/1000/i/b4c67c3b48e97d22e506758f035193d915712ae47dccf7fd6b145892e44de571/P1655357_web.jpg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/07e10bdda2a0bdf0f791d33e6ed0c247ad5ba270e79a954350c1c31b1547944f/P1655351.jpg" data-mid="246923474" border="0" src="https://freight.cargo.site/w/1000/i/07e10bdda2a0bdf0f791d33e6ed0c247ad5ba270e79a954350c1c31b1547944f/P1655351.jpg" /> <img width="2268" height="3024" width_o="2268" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6b0353c0a3e3ffa3512141c4db1ca78f12f5acba89f9ff80fb539f225a5a2cdc/IMG_9128.jpg" data-mid="241022635" border="0" src="https://freight.cargo.site/w/1000/i/6b0353c0a3e3ffa3512141c4db1ca78f12f5acba89f9ff80fb539f225a5a2cdc/IMG_9128.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/70e8b903ccc1041bd1b62469e244f866e8368ad264fb944fe88604c534cc8899/IMG_9500.jpeg" data-mid="241022245" border="0" src="https://freight.cargo.site/w/1000/i/70e8b903ccc1041bd1b62469e244f866e8368ad264fb944fe88604c534cc8899/IMG_9500.jpeg" /> <img width="2268" height="3590" width_o="2268" height_o="3590" data-src="https://freight.cargo.site/t/original/i/295508b602ecad082c614b94e7a2db23a32f61c7cb5644ac107558c97c40c245/IMG_9130.jpg" data-mid="243242145" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/295508b602ecad082c614b94e7a2db23a32f61c7cb5644ac107558c97c40c245/IMG_9130.jpg" /> <img width="3888" height="5184" width_o="3888" height_o="5184" data-src="https://freight.cargo.site/t/original/i/dc1a51db3801a954b184bbce9e85996e6a2bb8b7a7d833f36a73fa6d321b28c9/1__P1655337_Dead-Labor_2025_mittelhell.jpg" data-mid="246923473" border="0" src="https://freight.cargo.site/w/1000/i/dc1a51db3801a954b184bbce9e85996e6a2bb8b7a7d833f36a73fa6d321b28c9/1__P1655337_Dead-Labor_2025_mittelhell.jpg" /> Installation view Dead Labor,&nbsp;EL HUB, Mexico City, 2025 With/Mit&nbsp; Justina Los, Hannah Rath, Christian Schiebe, Elisabeth Sonneck , Sofiia Yesakova&nbsp; EN “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.” (Karl Marx, Capital, Vol. 1, Chapter 10, Section 1) Dead Labor presents an oversized Raku-ceramic tooth, roughly palm-sized, with blood-tinted tips. A hole runs through the entire tooth, threaded with a black ribbon. On this ribbon appears a shortened version of Marx’s sentence:&nbsp;“Dead labor lives only by sucking the living – and the more it sucks, the more it lives.” The quote describes the relationship between “dead” and “living” labour: dead labour is past labour, stored in machines, tools, and commodities. It can only exist in connection with living labour—the active force of human work. When Marx writes that dead labour lives in a vampire-like way, he means that capital grows only by draining living labour; the more labour it extracts, the more it multiplies. The black ribbon evokes a mourning ribbon, a quiet farewell to body parts that are irretrievably lost.&nbsp;Dead Labor reflects on how economic pressures turn even the most basic human needs—such as access to dental prosthetics—into privileges, and how life under capitalism becomes increasingly dependent on the extraction of life itself. DE “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.” (Karl Marx, Capital, Vol. 1, Chapter 10, Section 1) Dead Labor zeigt einen überdimensionalen Keramikzahn aus Raku-Keramik, handflächengroß, mit blutigen Spitzen. Ein Loch zieht sich durch den gesamten Zahn, durch das eine schwarze Schleife geführt ist. Auf der Schleife steht eine verkürzte Version eines Marx-Zitats: „Dead labor lives only by sucking the living – and the more it sucks, the more it lives.“ Das Zitat beschreibt das Verhältnis zwischen „toter“ und „lebendiger“ Arbeit: Tote Arbeit ist vergangene Arbeit, die in Maschinen, Werkzeugen oder Waren gespeichert ist. Sie kann nur in Verbindung mit lebendiger Arbeit existieren. Lebendige Arbeit ist die aktive menschliche Arbeitskraft. Wenn Marx sagt, dass tote Arbeit vampirartig lebt, meint er, dass Kapital nur wächst, indem es lebendige Arbeit „aussaugt“. Je mehr Arbeit es entzieht, desto stärker vermehrt es sich. Die schwarze Schleife erinnert an eine Trauerschleife, ein stiller Abschied von Körperteilen, die unwiederbringlich verloren gehen. Dead Labor&nbsp;reflektiert, wie ökonomische Zwänge selbst grundlegende menschliche Bedürfnisse – wie den Zugang zu Zahnersatz – zu Privilegien machen und wie Leben im Kapitalismus von Leben abhängig wird. ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎ https://justinalos.com/I-Can-t-Get-No-Funding-II Thu, 09 Oct 2025 20:40:12 +0000 Justina Los https://justinalos.com/I-Can-t-Get-No-Funding-II I Can't Get No Funding (II) stockmusic, found footage, child car seats, office chair casters, seat belts, heat print on textile straps, speaker boxes, monitor, microphones, LED spotlights, audio mixer, door matt, acrylic paint Fight or Flight II, group show, 13.06.-22.06.2025 ︎ Stattwerkstatt Friedrichshain-Kreuzberg&nbsp;, Berlin 2024 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fb5d6391b40bfafb0a9a3fb1c9b323f88bf2709894d7bf72ebe4f82691452427/Justina_Los.jpg" data-mid="239266587" border="0" src="https://freight.cargo.site/w/1000/i/fb5d6391b40bfafb0a9a3fb1c9b323f88bf2709894d7bf72ebe4f82691452427/Justina_Los.jpg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/383f0b619ffd739727e4cd0da1694d59ab9267fd1658f1cdaa2b300cb952903b/P1644615_2-crop.jpg" data-mid="239268172" border="0" src="https://freight.cargo.site/w/1000/i/383f0b619ffd739727e4cd0da1694d59ab9267fd1658f1cdaa2b300cb952903b/P1644615_2-crop.jpg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/051c7b6cf7f128f2ae9be0471ba7254e133523d34b32f8c2b92d470a53c4907e/P1644395_position.jpg" data-mid="239268173" border="0" src="https://freight.cargo.site/w/1000/i/051c7b6cf7f128f2ae9be0471ba7254e133523d34b32f8c2b92d470a53c4907e/P1644395_position.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bf5539af4a0e37e4906bb8280e018386e4a14ceb94db1599c69a2f3f6c8eab1f/Justina_Los3.jpg" data-mid="239266588" border="0" src="https://freight.cargo.site/w/1000/i/bf5539af4a0e37e4906bb8280e018386e4a14ceb94db1599c69a2f3f6c8eab1f/Justina_Los3.jpg" /> <img width="5184" height="3888" width_o="5184" height_o="3888" data-src="https://freight.cargo.site/t/original/i/7ae574fafa64c17507ae994e3180688beb8f1345add6f3b7ae32d0d8e5e84815/P1644506.jpg" data-mid="239268188" border="0" src="https://freight.cargo.site/w/1000/i/7ae574fafa64c17507ae994e3180688beb8f1345add6f3b7ae32d0d8e5e84815/P1644506.jpg" /> Installation view FIGHT OR FLIGHT II, Stadtwerkstatt Friedrichhain-Kreuzberg, Berlin, 2025 [© photo 1+4: Kollektiv Symbiose] With/Mit Alexandra Gaul, Alungoo Xatan, Anna Mészáros, Aura Roig, Constanze Klar, Dana Lorenz, Daniela Villalobos Araújo, Dasha Buben, Emily Kelly, Evelina Reiter, Felix Deiters, Franziska Harnisch, Ines Grassmann, Josephin Hanke, Julie Legouez, Justina Los, Karla Zipfel, Karo Kuchar, Linda Herrmann, Lisa Marie Schmitt, Locu &amp; Ruth, Madlin Bentlage, Mareice Kaiser, Mizi Lee, Nadine Fecht, Nastia Eliseeva, Neda Aydin, Paula Niño Ramírez, SAKO &amp; Indira, Selina Hellfritsch, Silke Panknin, Sina Niemeyer, Susanne Schmitt Curators/Kuratoren Julie Legouez, Evelina Reiter EN "I Can’t Get No Funding" is an interactive installation in the form of a karaoke booth, displaying a song that addresses the constant financial uncertainties and hurdles, as well as occasional highs, in the everyday struggles of artists: feelings of rejection and self-doubt, triggered by repeatedly denied funding applications, which then shift into sudden bursts of motivation – through emerging panic attacks and future anxieties caused by severe cuts in cultural budgets, up to the fear of not receiving funding in an era of state-induced censorship and self-censorship due to one’s political positioning.Visitors can sing the song themselves, directly engaging with the feelings that artists experience in their search for financial support and recognition of their existence by society DE„I Can’t Get No Funding“ ist eine interaktive Installation in Form eines Karaoke-Booths, in dem ein Song gezeigt wird, der die ständigen finanziellen Unsicherheiten und Hürden sowie gelegentliche Höhenflüge im Alltag von Künstler*innen thematisiert: Gefühle der Ablehnung und Selbstzweifel, ausgelöst durch wiederholt abgelehnte Förderanträge, die sich anschließend in plötzliche Motivationsschübe wandeln – über aufkommende Panikzustände und Zukunftsängste, verursacht durch gravierende Kürzungen im Kulturbudget, bis hin zur Furcht, in einer Ära staatlich induzierter Zensur und Selbstzensur Fördermittel aufgrund der eigenen politischen Positionierung nicht zu erhalten. Besucher*innen können den Song selbst singen und sich so direkt mit diesen Gefühlen auseinandersetzen, die Künstler*innen in ihrer Suche nach finanzieller Unterstützung und der Anerkennung ihres Daseins durch die Gesellschaft erleben. <img width="3888" height="5184" width_o="3888" height_o="5184" data-src="https://freight.cargo.site/t/original/i/60651ec52a414caaa9f8b26fd1c21220e6be272d7934c60b979fe4f0ff3f7564/P1644363.jpg" data-mid="239266688" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/60651ec52a414caaa9f8b26fd1c21220e6be272d7934c60b979fe4f0ff3f7564/P1644363.jpg" /> <img width="3888" height="5184" width_o="3888" height_o="5184" data-src="https://freight.cargo.site/t/original/i/be7ac2c516ee24cd24d999d52f051a2b585f5377c3e3a19eed8a123a0a69ad69/P1644371.jpg" data-mid="239268118" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/be7ac2c516ee24cd24d999d52f051a2b585f5377c3e3a19eed8a123a0a69ad69/P1644371.jpg" /> <img width="3906" height="5859" width_o="3906" height_o="5859" data-src="https://freight.cargo.site/t/original/i/c0c0099e5f933e9cb7639ad7677169acb0ab153854103a673b225d3b9fdcb6f4/Fight-or-Flight-Vernissage-cNinaHuepenBestendonk-45.jpg" data-mid="239211976" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/c0c0099e5f933e9cb7639ad7677169acb0ab153854103a673b225d3b9fdcb6f4/Fight-or-Flight-Vernissage-cNinaHuepenBestendonk-45.jpg" /> <img width="2860" height="4290" width_o="2860" height_o="4290" data-src="https://freight.cargo.site/t/original/i/3219672db88bb5905e66d0a70c70a2c2b689759e5273292f02f2b5271edfe14f/Fight-or-Flight-Vernissage-cNinaHuepenBestendonk-47.jpg" data-mid="239211977" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/3219672db88bb5905e66d0a70c70a2c2b689759e5273292f02f2b5271edfe14f/Fight-or-Flight-Vernissage-cNinaHuepenBestendonk-47.jpg" /> Performance © photos: Nina Huepen Bestendonk ︎︎︎︎︎︎︎︎︎︎ ︎︎︎︎︎︎︎︎︎︎