For her first institutional solo exhibition, Alice produced a group of works that built on her research and experimentation with pigments and yoghurt bacteria. The artist understands these works as living entities that morph, mould and decay decentering the human. The title-giving installation Conditioning Demands presents six closed ecosystems hanging in hand-blown glass vessels that are framed by printed silk fabrics. As in a laboratory, a biochemical process takes place in the transparent vessels: six mineral pigments of art-historical significance (aegirine, cinnabarite, cavansite, yellow ochre, malachite, lapis lazuli) are each placed in a bacterial solution with a folded canvas. Some of these natural pigments have been used in painting since the Stone Age. For centuries then they have been systematically extracted through mining activi- ties, shipped and sold as powder to be mixed with binders and applied as painterly means. Their material origin testifies to human exploitation of natural resources and capitalist commodifica- tion. The aesthetic development of Western painterly tradition goes hand in hand with the history of this violent relationship. Alice Morey attempts a different way. Throughout the exhibition dura- tion, the activity of microorganisms forms changing constellations of colour and form with the pigments. The artist allows a planned loss of control with the intention of liberating the painterly means from human determination. Following this approach, Test One (Malachite) is the most radical painting in the exhibition. The artist’s agency was almost completely withdrawn and the canvas was left in the glass vessel to the processes of pigment and bacteria. The resulting mould moves the pigments, leaving marks on the canvas. After ten days, Morey removed the canvas and framed it, thus transfering it into a classi- cal presentation format. In contrast, the single brushstrokes in Burnt out Blue, on a canvas primed with yoghurt bacteria, signal the presence of an active painterly hand. They are fugitive marks at the verge between pure gesture and hinted sign system that evoke formal associations with the microorganisms involved. A Map of Tenderness gets its earthy colour note from the clay which the artist collected in Portugal. Under the influence of lactic acid bacteria, the surface has developed a mould patina. Although the painting is declared a map by the title, it dissolves into a play of hap- tic surface and sensual immersion.

"One Thing Left to Try“ is a series of three solo exhibitions by the artists Zishi Han (23.10.21- 23.1.22), Gabbi Cattani (5.3.-15.5.22) and Alice Morey (4.6.-18.9.22) at the MEWO Kunsthalle in Memmingen. Curated by Lorenzo Graf, the project deals with experiences of overwhelming and powerlessness. The subjects of the Global North are supposed to act in a strong, self-determined, resilient and, above all, entrepreneurial way. The narrative of liberal individualism ascribes to subjects the po- tential not only to successfully influence the world, but to oversee it. This alleged potential goes hand in hand with the enormous societal pressure to fulfil these requirements. The philosopher and sociologist Maurizio Lazzarato calls this process "social subjection". At the same time, in the late capitalist system, divisive forces act on every subject, a phenomenon called "machinic enslavement" by Lazzarato. The marketing machineries with their algorithms split subjects into categories of information, whose data sets constitute a capital for companies to be extracted. Subjects become components of a machinery that affects and uses them, but escapes their understanding. Alienation emerges from the fact that the extracted data is not addressed to the subjects and unreadable for them. The discrepancy between the processes of social subjection and machinic enslavement leads to feelings of powerlessness. Subjects are continuously overwhelmed by having to act in a world where their agency is extremely limited. This state of overwhelming has often pathological conse- quences, which are reflected in the spread of depressive disorders. The medical and pharmacologi- cal rehabilitation of the broken subject does not only serve the maintenance of the narrative of a strong-self, but also the interests of the market, which relies for its transactions on subjects who are apparently capable of making decisions and consume. The project One Thing Left to Try intervenes at the point of rehabilitation in order to interrupt the cycle. While the recovery of the pathologised subject aims to minimize the negative implications of being overwhelmed, the project seeks to accentuate its side effects. Instead of restoring a self meant to be systematically broken again, subjects should dwell in their own fragmentation. Sen- sing, touching and searching for an intimacy towards one’s own overwhelming may lead to this alternative path. The invited artists produce new works where the experience of states of overwhelming and powerlessness is allowed, not being regarded as an obstacle. The state of feeling overwhelmed is claimed as a place to stay.

This show would not have been made possible without the help and support of;

Collaborations and discussions with Mirco-biologist, Mirela Alistar
Hand-blown glass vessels in collaboration with Torsten Rötzsch
Berlin-based Screenprint studio, Et al Press
Stiftung Kunstfonds

*** curated by Lorenzo Graf
+++ photo credits by Sebastian Bühler

The title Every Breath You Take is a direct reference to The Police’s hit from 1983, known as one of the most famous love songs in the world, despite its blatantly sinister lyrics. Abuse and stalking masked as love and devotion, in song and in real life. In contrast and in the context of this exhibition, conscious breathing is also central to healing, as it refers to the idea of releasing unprocessed traumas and patterns which no longer serve us, through the simple action of inhaling and exhaling.

Selected parts of the works presented by Alice Morey were created during a collaborative art residency at Heilstätte Grabowsee, an old sanatorium built in 1896, north of Berlin. Once a hospital for treating patients with breathing difficulties, the energies of the past have been healed and the buildings are now inhabited by new life and creativity. As most abandoned places, the hospital with its echoes of collective trauma has been taken over by nature, connecting each artwork to the four elements; earth, wind, fire and water.

Morey reimagines the four elements and their transitory forms - dust, ashes and ice - in pastel tones in a gentle world, where unicorns wear condoms and chains are made of ceramics. The water feature, The Well, is a centre piece inviting the audience to write a word or sentence on the white tiles; something to think about, something needed, something never said.

Two paintings of the sky act as a screen around the wind, protecting its metal structure and hiding the hanging latex piece behind colourful landscapes. The element of earth is paramount, as it holds the space for decay, growth and rebirth. In an attempt to rid herself of painful emotions and memories, the artist buried some of her paintings in various locations and countries, including Greece, UK, Germany, Portugal and Hong Kong. The act itself could be considered violent, however, the artist sees it as a healing process, eventually leading from abandonment to regeneration. For fire and its destructive anger, Morey recorded voices by a crackling campfire, while the video was filmed at Grabowsee by house No. 6, previously used as a surgery room. Morey’s kinetic and skin-like latex sculptures suggest that both humans and inanimate objects bare traces of past events. Exposed to the harshness of the ancient ship, the delicate silks, the softness of the wool and the pastel colours provide a temporary safe environment, where we reveal the secrets we never told and the memories we chose to forget. The audience will be encouraged to touch, move and feel in the space. Through its participatory nature, the exhibition is aiming to offer an opportunity of release and renewal, transforming fear into action and power. The sculptures are activated at the opening reception by ten sound artists, who also participated in the residency at Grabowsee. For the majority of the artworks, the activation process was initiated during the residency. For instance, the silks were gradually dyed with wild and natural materials, but also waste from the communal kitchen; nettles, avocado stones, onion skins, greater celandine, turmeric powder, beetroot and pine cones all left their mark on the fragile textiles.

At the opening, the activation process begins with a ceremony, performed by Laure Boer, Yannik Dörnte, Jannis Feigl, Florian Grove, Rachel Margetts, Aisling Marnane, Juliana Napier, Sebastian Völkers, Samuel Weikopf and Zwek. As the Grabowsee art residency offers a space for collaboration and community, which Morey considers as important processes for healing past wounds, she felt it necessary to incorporate this specific experience and energy into the environment of the exhibition. The activation performance is intended to be intensely triggering and healing, as it evokes the lifespan of an abusive relationship and its aftermath.

*** curated by Linda Toivio
+++ photos credit Aja Jacques & Juan J. Juste Del Valle, courtesy of the artist

This summer's edition of Unlimitedomorrow features the work of Alice Morey, inspired by the transformation of natural elements, the cycles of plant and microbial life, and an exploration of the "unseen" world. Her pieces are showcased in a public space that brings art closer to nature—an urban park setting.

At the small waterfall in Viktoriapark, the works create striking contrasts through materials, textures, elements, and spatial occupation. Sour Sometimes captures observations of the personal environment, reflecting circumstances and interactions with passersby.
The surrounding space becomes an integral part of the site-specific installation. Water plays a central role in this intervention, mirroring Alice's themes of transformation, fluidity, and existence. Large blocks of ice, infused with natural dyes and colors, gradually melt over the afternoon, their vibrant traces spilling onto delicate silks and leaving behind evocative marks.
Yet, the installation can also be something very insignificant, blending seamlessly into the background and reflecting the spontaneous, ephemeral nature of a one-day intervention.

The concept of Unlimited Tomorrow is a one-day intervention in a public space, designed to present art outside traditional contexts—whether in domestic environments or unconventional outdoor settings. These fleeting installations offer audiences singular, immersive experiences.

*** curated by Unlimitedmorrow

The RYDER is pleased to present She doesn’t love, she just devours, the first solo show in the UK by artist Alice Morey. The exhibition offers insight into Morey’s ongoing experimentations with materials and processes to address the impact of ecology, tradition and digital technologies in contemporary subjectivities. Working across installation, sculpture, painting and performance, Morey invites the audience to participate in a ritual with a special sensibility towards materials, care relationships and their political implications. In her installation Quit playing games with my heart, a fragile hanging structure holds a series of elements connected through clinical plastic tubes: pheasant hides, urine bags, a beating heart GIF. All these elements conform an uncanny live system that, when put together, brings up questions of class, feminism and power. The pheasant, historically conceived as a male hunting trophy, shifts here into a different narrative, occupying a new role as an element of this contemporary still life composition. Unexpected encounters also occur in her paintings, where homemade yogurt and charcoal are used to depict abstract configurations of porcelain chains and containers. In her painting Puncture, the canvas is tattooed using a needle and tattoo ink, seeking to address and transgress the physicality of the canvas itself. The porcelain chains portrayed in Puncture come forth at Unicorn Condom, holding a silk conformation containing inflated pig intestines and coloured with natural pigments and Spirulina. This strange form navigates between fantasy and reality referring a mythological character while using biological materials such as guts and seaweed. During the opening, Morey will present her live performance Pure, consisting of the artist cooking a whole pheasant stew with handmade porcelain kitchenware that will progressively break and stain. The process will allow participants to connect to the familiarity of eating together while challenging the complexity of food and craft from a feminine perspective.

+++ photo credits Aina Pomer

LEHMANN + SILVA presents “Shapes of Permanence”, the first solo exhibition by Alice Morey in Portugal. Alice Morey is a London-born artist based in Berlin. She studied at Camberwell College of Arts and University of Brighton before moving to Berlin in 2009. She has been exhibiting regularly in London, Berlin and Prague in venues such as Top Schillerpalais (Berlin), Kunsthaus LA54, (Berlin), National Gallery Veletrzni Palace (Prague) and Kunsthaus Bethanien (Berlin) among others. She has built her art practice amongst an experimental art scene in Berlin and has experimented with building environments in site-specific locations that have been become a heavy influence on her painting processes. She is interested in how the work is controlled by its environment. Her work breaks down boundaries of traditional methods of painting by using chemical experiments and through creating her own rituals in material processes. Her methods often combine categorisations of objects, painting and performance, and her materials range from clay, homemade charcoal, natural pigments, hydrochloric acid and yoghurt. There is a dialectic of absence and presence in her work, as well as of permanence and change. Her paintings’ hazy surfaces often veil deeper layers. Not all can be seen and mutation persists as the art bears the indelible marks of changes through the transformative substances that integrate the texture of her works. Exploring questions around what remains within artworks and what changes and develops beyond the artist’s control, her work evolves out of this dialogue between the expressive narrative of painting and the immersion of the works within the processes of nature.

*** exhibition text written by Louisa Elderton
+++ photo credits Dinis Santos

In her latest solo exhibition, Sui Generis (Love Note), Alice Morey presents a new work that delves into the tension between artistic creation and the nature of the gaze within the transparent, confined environment of Cabine.cabinet. Known for her experimental approach to painting and materiality, Morey responds to the vitrine’s unique spatial and conceptual challenges, creating a site-specific piece for this setting.

Morey’s practice is deeply rooted in her fascination with organic forms, particularly her study of moulds and bacteria. Her ongoing research into microbial systems—used as metaphors for the evolution of marks and traces on surfaces—subverts traditional perceptions of painting. This critique of the commodification of art, particularly painting within the marketplace, was central to her 2022 solo exhibition Conditioning Demands at Mewo Kunsthalle (curated by Lorenzo Graf), where she expressed the frustrations of being an artist in a market-driven context. There, she explored alternative methods of mark-making, challenging the use of paint as the primary medium.

In Sui Generis (Love Note), Morey unveils one of a series of paintings that have evolved over time in an environment she designed within an abandoned house on the same land where her studio has been for the past three years in Rangsdorf, a town just outside of Berlin. Due to property issues, she is soon forced to leave this space. The painting itself was left to decay and transform in the house, wrapped in plastic foil, exposed to bright lights, heaters, and sealed with curtains, all set within the melancholic atmosphere of the house's history. The space itself held a haunting presence, with remnants of the past, including a poem scrawled on the walls: "you were here, before you were drunk."
These paintings represent Morey’s desire to let go of the need for control and beauty in art—much like in life or the fleeting hope of lost love. With this, she allows the viewer to access her intimate space by scanning sections of her diary, presented through a QR code. The work functions as a visual love letter, exploring themes of ephemeral connection and isolation. Encased within the vitrine, it creates a self-contained biotope—a microcosm that reflects the transient, often overlooked nature of intimacy.
Simultaneously, the vitrine serves as a historical mechanism of display and scrutiny, inviting viewers to question their relationship with what is shown.

The title Sui Generis, meaning “of its own kind,” captures Morey’s interest in constructing a personal world of research, process, and archival material. This world includes intimate writings, sketches, photographs, and paintings that chronicle her evolving practice. Her work suggests that social constructs—like the layers in her art—develop organically over time, eventually becoming embedded in society, much like the theories of sociologist Émile Durkheim. Love, like art, is a shared, constructed experience that becomes part of the collective consciousness, though its origins are often difficult to trace.

This exhibition spotlights Morey’s evolving body of work, continuing her exploration of the intersections between art, biology, and social constructs.

*** curated by Muriel Lisk-McIntyre
+++ courtesy of the artist

“The Tie That Binds” was a collaborative exhibition by artists Alice Morey and Dietrich Meyer, held at gr_und in Berlin from. The installation featured two ornamental gates adorned with ceramic tiles bearing motifs created jointly by the artists, flanking a central communal fountain. Within this architectural framework, Morey’s large abstract landscape paintings complemented Meyer’s woven ropes, dried flowers, and hanging sculptures, creating a cohesive environment. The exhibition functioned as a ritual site dedicated to the sun and moon, envisioning a post-climate crisis world where humanity has embraced a culture of care and mystical connection with the earth and cosmos. The artists’ self-taught belief systems informed the creation of this otherworldly gateway, inviting isitors to engage in reflection and transition toward a harmonious relationship with nature.

+++ Photos by Eric Tschernow & James Verhille

The oldest shrines found to this date by archaeologists are in a series of circular structures excavated on the Anatolian Peninsula, dating back to nearly 10.000 years ago. All we can say is that the shrines on Potbelly Hill (Göbekli Tepe) are the oldest we have found. This does not mean they are truly the oldest or the first. The bodies of dead gods might still be buried under mounds we mistake for simple hills, or visited by fish only in the depths of the sea, in areas that were above sea level at one ice age or another.
History is a tapestry of eras and ages. Every human being shares a single planet with all others, but not a single world.We do not live homogeneously, not only due to the socioeconomic inequalities on Earth today. Certain societies become secularised, and their shrines attain different functions. In Maastricht, a 700-year-old cathedral became a bookstore.
In other areas of the world, bookstores become churches. In multicultural countries, monotheistic communities live side by side with polytheistic ones. In one neighbourhood, a single god delivers his ten commandments to new batches of children every year, and just a few kilometres away new initiates receive their head blessing and become children of an entity in a pantheon of many gods.
Our oldest worshipping behaviour must have arisen from similar questions: awe at certain natural phenomena, beautiful as the aurora borealis, or terrifying as a volcano eruption or earthquake. We imbue the inanimate with an 'anima', with volition and consciousness. In animistic societies, everything that lives has a soul and divinity, from humans to ants. We bury our dead and create our ancestors, our guides. Death is a maker of gods. Shrines have a double function. Whatever is placed on a shrine is declared worthy of protection. Worthy of worship. Once protected and worshipped, its function becomes to protect the worshipper in exchange. It is a value exchange system.
How do we select objects and people in our world to declare them godly? What need is served by worship even in secular cultures? The saint and the idol. The hero and the lover. The leader and the star. We elevate some, and by consequence, bring down others? Is there a person on the planet who does not worship anything or anyone? In front of mirrors, individuals make hundreds of their bodies in the hope they too will worshipped. To be an Apolo. To be a goddess. Entire nations select symbols in the hope their citizens remain united under one flag, despite their differences. Our species might be addicted to worshipping.
Teenage boy bands break up and fans commit suicide. A man stalks a female pop star in an obsessive manner. Human beings set themselves on a fire in protest, living shrines of ideas such as Justice and Freedom, who are often personified in statues that imitate those of ancient gods. Is the New York Stock Exchange a temple and a shrine? Is the Old Bailey in London, or the Reichstag in Berlin? Is Route 66 a horizontal shrine? Is the monument in Ostia, where Pier Paolo Pasolini was murdered, a shrine? Is Carnegie Hall a temple of music? Is the site of the World Trade Center a temple? Is the bedroom wall of a fifteen year old girl filled with posters of a Justin, be it a Timberlake or a Bieber, also a shrine?
This exhibition at Studio Hanniball brings together nine artists that investigate worship in different contexts of our heterogeneous world. How about you? What do YOU worship?
Text written by Ricardo Domeneck

+++ photo credits by by Henriette Seibert
*** curated by Studio Hanniball

"The milling machine rattles, the hammers tap brightly on the metal, the belt squeaks as it rotates in circles, endlessly from morning to night.
In the middle of it all, the first bell sounds. The workers flock together, it's lunch break at the Reichsbahnausbesserungswerk (R.A.W) (*). The queue in front of the counter is getting longer, people from different departments are sitting together at the tables. Oil-smeared overalls on one bench, apprentices' overalls on the other.
Where the smell of the hot stew and the fresh bread hangs in the air, there is more going on than just filling hungry stomachs. This is where stories are exchanged and experiences shared, regardless of position in the company.
Time passes quickly until the second bell rings. The clattering milling machine, the pounding hammers, the whirring conveyor belt, until the end of the working day.
The place where people were once trained and worked is now an exhibition space. For the show "sitting here, thinking of", eleven artists come together and occupy the space of the Urban Spree Galerie.
(*) RAW is now a post-industrial complex in the heart of Berlin and the actual location of Urban Spree but was from 1867 to 1990 a large maintenance and repair yard for trains in Berlin.

+++ photo credits by Lukas K Stiller
*** curated by Raumwww

The order of the world is based on theories and science that are influenced by history, archeology, philosophy, and various other information systems of humanity. How we utilize information to decode these systems is very individual, connected to the way we were socialized, and shaped by our life experiences and respective knowledge. We develop different realities, identities and follow cultural habits that define our being. When views collide or dissonance is created, these situations become about defending one's own view, at which point a process is triggered within ourselves that causes irritation and disengagement from the root of our being – is this thinking a collectively learned ritualized pattern or a human truth? The question is, how can we overcome different realities trying to understand the other side without having to discard ourselves?
This group show is an attempt to see different perspectives of the world order. Whether it's a natural, cognitive, humanistic or more cultural standpoint, there are different ways to understand humanity and our world. TOTAL RECALL – Learn the Unlearning is intended to bring new perspectives to given situations that were previously taken for granted or have never been questioned before. To see without bias and perhaps to consider that there are mystics and powers unbeknownst to us. With each work, the artists show what is at the center of their work and their world, and what moves them personally as painters, but also as people and private individuals.

*** curated by Fousieh Mobayen
+++ photo credits by Silke Briel

The exhibition Subject 48 presents the collaborative work of Alice Morey, Zu Kalinowska, Lady Gaby, and Gustav Kleinschmidt (Zwek), who are a vibrant part of the Berlin underground art scene. These exhibiting artists don’t form an official art group and usually work either independently or as collectives across their social connections. We’re talking about the Independent Berlin Scene, which is characterized by this approach as well as a high degree of collegiality and a tendency towards mutual collaboration. They are united by the long personal experience of Berlin expats who have come to the German capital to soak up the city's creative atmosphere, in whose free spirits they carry out diverse individual and community projects and exhibitions. Perhaps for this reason, the authors were inclined to create a joint project for the Dukla Gallery, for which they prepared a site-specific immersive installation. They will offer our audience a new environment that acts as a laboratory, replacing the mundane daily walk through the Poruba passage. Thanks to the art installation, the audience is instantly immersed in a new and unfamiliar situation in which they can explore its requisites and rules, discovering details and connections between the objects.
The form and atmosphere of this year's first exhibition at Dukla Gallery are best described by the phrase Museum of Unwanted Things, a phrase first used during the opening debate on the shape of the exhibition. It can be interpreted in several ways. For example, as a sentimental collection of objects that have already served their original purpose and through artistic intervention are given a new meaning, or as a sarcastic sneer at contemporary artistic practice, the position of artists in society and their need to create artefacts with a highly uncertain future.
The central part of the exhibition in the largest connected spaces consists of two generous installations created by Alice Morey, Zu Kalinowska, and Zwek. Zwek here plays the role of a kind of architect of the exhibition, creating an environment for the development of shared ideas. The artists then put together related aesthetic ideas in the form of original and readymade objects, installations, and paintings.
In both rooms, there are shards of an unfinished story with unclear content. Through a transparent wall, one can look at the laboratory environment with its organically structured dream objects, ceramic mobiles, paintings by Alice Morey, and the distorted hair bodies of Zu Kalinowska. We observe a dismantled environment reminiscent of the principles of the Cabinet of Curiosities, whose aesthetic is to some extent inherent in the entire exhibition. Loosely related to the main idea of the exhibition, the remaining gallery cases present individual artefacts from all four exhibitors.
Thanks to this, we can see the results of their joint work as well as recognize their solitary approaches in the form of fragile and raw objects, collages, paintings, and drawings. During the exhibition’s opening, the spectators can look forward to a performance by Lady Gaby, the fourth member of the Berlin collective, who will respond to the presented works in her performance. In this way, she symbolically links all elements and approaches together, connecting the open passage with the closed space of the exhibition, the individual showcases with the site-specific installation, and the artists with the audience.

+++ photo credits by Tomáš Knoflíček
*** curated by Hynek Chmelař

The RYDER presented She doesn’t love, she just devours, the first UK solo show by Alice Morey. Exploring ecology, tradition, and digital technologies, Morey works across installation, sculpture, painting, and performance to create rituals that reflect material and political relationships. In Quit playing games with my heart, a fragile hanging structure connects pheasant hides, urine bags, and a beating heart GIF via plastic tubes, forming a live system that questions class, feminism, and power. Histori- cally a male hunting trophy, the pheasant takes on new meaning within this composition. Her paintings feature unconventional materials like yogurt and charcoal, depicting abstract forms of porcelain chains and containers. In Puncture, tattoo ink pierces the canvas, transgressing its materiality, while Unicorn Condom integrates silk, pig intestines, and Spirulina into a fantastical biological form. During the opening, Morey’s live performance Pure will involve cooking a pheasant stew with fragile porcelain kitchenware, blending craft, food, and feminist narratives.

+++ photo credits by Aina Pomer

Alice Morey’s performance Pure #2 was featured in the group exhibition Das Große Metzeln at Kunsthalle Trier. This exhibition explored themes of meat in contemporary art, examining aspects of slaughter and the depiction of animal bodies, as well as the use of animal materials like blood, meat, and skin. In Pure#2, Morey adapted her earlier performance Pure, originally presented in London. The performance involved the artist cooking a whole pheasant stew using handmade porcelain kitchenware that progressively broke and stained during the process. This act invited participants to connect through the shared experience of eating, while also challenging perceptions of food and craft from a feminine perspective. By incorporating elements such as pheasant meat and fragile porcelain, Morey’s performance engaged with the exhibition’s themes, prompting reflection on the relationships between consumption, materiality, and gendered labor.

*** curated by Lisi Linster

+++ photo credits by Jörg Snijder & Andreas Thull
*** assistant Julie Treuber

BLANK at BRAVO hosted The Dissolving Palette, an innovative conceptual dinner featuring artist Alice Morey, curated by MOCT, with a menu crafted by Paula Erstmann. The event invited participants on a sensory exploration of edible pigments, colorful liquids, and interactive materials, culminating in guests creating their own culinary "palettes" on handmade ceramics and silks. Alice Morey’s artistic practice, centered on granting autonomy to natural ecosystems and biochemical processes, shaped the evening’s ethos. By stepping back as a dominant creative force, Morey allowed the materials—many foraged or edible—to express their own transformative narratives, challenging traditional human-centric perspectives.
Paula Erstmann, known for her intuitive approach to food and materiality, contributed a thoughtfully designed menu that bridged art and gastronomy. Drawing from seasonal and foraged ingredients, her dishes encouraged guests to experience taste as a medium for storytelling and connection to the natural world. The menu featured an evolving palette of ingredients such as beetroot, turmeric, spirulina, nettles, hibiscus, and wild herbs, offering guests opportunities to engage in a tactile and meditative culinary process.
The event concluded with the debut of a series of 25 unique artworks by Morey and a poem, inspired by natural pigments and the menu, reflecting the symbiosis of art and nature explored during the dinner.
Held at Cafe Bravo in Berlin’s KW Institute for Contemporary Art, The Dissolving Palette was a profound reflection on creativity, collaboration, and the role of nature in artistic and culinary practices.

*** edition available with Topical Ventures
+++ photo credits Lexi Sum

The first Ceremony of an ongoing project, warmly invited 12 participants to gather in the serene forest along the Rangsdorfer See. This immersive experience combined meditation, foraging, tasting, and reflection, guiding attendees to shift their focus from daily routines to a deeper connection with nature. Together, participants wandered, gathered, and discovered the sensory richness of their surroundings—tasting, smelling, touching, listening, and watching with intention. The ceremony concluded in a silk-draped structure, dyed with plants, where a carefully choreographed food ceremony unfolded. Foraged bites, presented on handcrafted ceramic sets stained by fire, were served as a six-course tasting menu inspired by the abundance of the forest. Each dish celebrated the textures, flavors, and stories of the natural world. Led by Paula Erstmann, Jasmine Parsley, and Alice Morey—artists whose organic-led practices explore delicate materials, plants, and immersive experiences—Ceremony was both a gathering and a grounding. It invited participants to notice their environment, reflect on the stories of the plants they encountered, and find grounding through mindful movement and breath. This event offered space to appreciate the abundance surrounding us, land in one’s own body, and take a break to breathe and be. Structured around meditation, a foraging walk, and sensory exploration, Ceremony fostered a deep connection with nature and community, culminating in an intimate and thoughtful celebration of food and form.

+++ photo credits by Maria Dorada

+++ photo credits by Lisa Violetta Gas

The Kunstkombüse was a mobile art initiative that transformed the Kirchwiese near St. Marien Church in Bad Segeberg into a creative hub. This week-long project offered workshops, performances, and collaborative activities, promoting artistic expression and community engagement. Participants explored various art forms, including visual arts, food, plant wandering, music, and theater, in an inclusive space designed to break down barriers between artists and the public. Supported by the Segeberg district, the city of Bad Segeberg, and the Evangelical Lutheran Church congregation, the initiative fostered creativity and connection. The Kunstkombüse emphasised sustainability and inclusivity, tailoring its events to the unique context of the location. by bringing art directly into communities, finishing everyday on the lawn around a table. Led by a team of artists and cultural practitioners, the project highlights the transformative power of art in building connections and fostering creativity.

+++ photo credits by Zwek & Alice Morey

Bad Budz are nestled in the outdoor spaces surrounding Adjunct Positions (which is a standalone home in Highland Park that usually holds exhibitions in their indoor space). The show starts with the life cycles of flowers as figural models for how to consider forms of history, time, development, and aesthetics that will hopefully survive whatever catastrophes will rack the planet over the next decades, even if many of us will no longer be here for them.
Alongside this exhibition is a screening program that, while in dialogue with the theme of the show, also skirts around its edges a bit. Here we’re including work that imagines forms of intimacy, healing, exchange, and endurance with/alongside the “natural” world as it still exists, or as we imagine it will exist in the near future.

+++ photo credits by Horse and Pony

+++ photo credits by BLANK 100 & Nadine Cordeal

+++ photo credits by