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Reflecting on readings of Slavoj Žižek's How to Read Lacan during WiSe 2020-21

Joined by independent curator,
Ece Pazarbaşı, Berlin/Istanbul


18 +19 FEB • 2:00-3:30pm CET


arin ismail


The work presents a praying position called ruku ( ركوع )

It is a question for me how our religious education forms our mindsets. Being disturbed by the hegemonic position of the so called west, which is presenting the islamic cultures always in a dominated perspective.

It’s the recreation of possible cultural coexistence that I’m interested in. Cultures are like a deforming cells always deforming and recreating themselves throughout different ages with each new generation. As we live a society of im and emigration. The gap between two cultures doesn’t have to be closed but accepted as such. As Francois Julien explained very clearly in his book, “there is no such thing as cultural identity”.

donggeon isu kim

[ synth-homme-trans-meet-her ]

site specific installation (drawings, electric circuit kits, light bulb, mirror), 2021, Donggeon Isu Kim

Lacan’s Graph of Desire is a circuit that never really functions. The disaccordance of the Real, the Symbolic and the Imaginary manifests more intensively in transgender experiences and is inscribed more distinctively on transgender bodies. Sinthome is the fourth ring of the Borromean knot that keeps one safe from psychosis. Act of describing has the potential for the reconciliation of selves of a Subject.

dorna dibaj

Not Exactly Dreams

Not Exactly Dreams is inspired by a funny Christmas present made from painted pomegranate peel, and a ritual of peeling citrus fruits which ran in my family. It is a special meditation for my mom, at the end of an autumn day, when she is relaxing, to peel an orange, share its flesh with the family and then continue to cut its skin into ever smaller fragments. She would sometimes alter this pattern in relation to orange peels, when she wants to make “orange peel marmalade” out of it.

I practice transferring, depicting, and forming the injected, penetrated repression from system "A", where I used to call home – terrain, within a calm meditating process. A process of taking care and protecting fragile tangerine pelts. Pressing tangerine pelts, which once used to be vivid.

With the consent of taking care of each individual tangerine pelt, and sending me a photo of its future home, one pelt can be taken by you.

Concurrent with the process of pressing and drying tangerine pelts, my mental health has proceeded to find balance through my subconsciousness when I was asleep dreaming:

(browse with firefox) https://dornadibaj.com/scroll/?playground=notexactlydreams

gabriela matuszewska


bleach on denim, rope, (100x100cm). 2021, Gabriela Matuszewska

Piece of denim with a pictogram of a face of Jesus bleached in a textile, codes in an emoji language the relic - Shroud of Turin (which is considered as a proof of Jesus's existence and his visual representation) in a capitalistic material of our era. The painting is inspired by a recent beatification of a teenager, called by the media ,,Saint in jeans”, who became the first millennial saint for his internet activity in the name of the church. When even religion starts to recognize the second (online) reality" it raises questions - how material are our immaterial actions, how nowadays everybody has god's tools to shape the other universum that we all exist in, experiencing the reincarnated syndrome of demiurge in the digital era.


Herring Tails

In a see through plastic case, dried herring tails have been exported by mail from a fish factory in the Westman Islands, Iceland to Kunsthochschule Weißensee, Berlin. Listen to the factory; the sound of heads and tails being cut off, 200 tons per shift.

Tracking number: RG000399821IS

lara rocho


Reading Slavoj Žižek “How to read Lacan” brought me back to Freud and psychoanalysis. How much we are driven by our ego and how important self-reflection is. In this intense confrontation with myself and the lockdown, I came to a point of over-stimulation. All the outside influences of the distraction, like series, podcasts, phone messages, social media - it was all too much.

Many feelings that needed space and that I have granted this to. In the form of pencil drawings of geometric shapes and different shades of gray, I was able to find a way to deal with these feelings. This self-healing process should then be continued on the textile level.

The result is a fabric with fragile and stable areas. Different shades of gray, loose and dense areas appear in wave-like intervals, like feelings that come and go quickly. However, the textile element should not appear in isolation in a room, but rather interact and connect with its environment, which is not always under control. For the UNTITLED (NO VISITORS) exhibition, the textile is combined with a metal frame. An extreme connection between the delicate fabric and the rusted, dirty and life-marked frame, the elements merge into a figurative object in the room.

Weaving (Cotton, Wool, Linen)
130 cm x 73 cm

Drawing (pencil)
297 mm x 210 mm

marié nobematsu-le gassic

First Soliloquy (Private Speech)

As an exercise for navigating tender thoughts or memories, the work channels the regulatory mechanisms of private speech (1) to deal with the confinement of self that has occurred via “sugar-coating” (2). The latter concept has been a recurring aspect of growing up first generation, between Japanese and American cultures, where superficial values mask the honest nature of identity. Intertwined is the economy of gifting (towels and sweets) with family dynamics dominated by outward appearances and arbitrary merits.

(1) Private speech is speech spoken to oneself for communication, self-guidance, and self-regulation. Children from two to about seven years old can be observed engaging in private speech. Although it is audible, it is neither intended for nor directed at others (Wikipedia).

(2) to make superficially attractive or acceptable.

Sugar, glycerin, gelatin, multiplex birch.
ca.18 x 50 x 135 cm

marina resende santos

I will build thee a statue

Plaster, pomegranates, wire, concrete.
Variable dimensions.

susanne weber-lehrfeld

Skurriles Kabinett

Found things
Change things
In emotion
With intuition

tibor köhne


Barillascope is a cinematographic system of displaying widescreen moving image through the view of a Barillabox. It crucially turns every standard format into a spaghetti western format, giving a new perspective to old footage.

The first experimentation on Barillascope began 2019 in Croatia and became a worldwide cinematographic standard. It can be calculated taken 2.5 : 0.6 Maccheroni (long side). The calculation may vary from country to country as for example it results also from 2.8 : 0.67 Spätzle or 23 : 6 rice noodle.