kubaparis studio sh

Alungoo Xatan, Aurola Gyorfy, Charlotte Rohde, Hyejin Ha, Lauriane Daphne Carl, Lasse Müller, Leonie Specht, Luana Cloșcă, Nora Schmelter, Timo Schichtel, Vaia Tatopoulou & Lor Willkomm, Zody Burke

Come on in! The water is fine

Project Info

  • 💙 Culterim Gallery Berlin
  • 💚 Antonia Steitz
  • 🖤 Alungoo Xatan, Aurola Gyorfy, Charlotte Rohde, Hyejin Ha, Lauriane Daphne Carl, Lasse Müller, Leonie Specht, Luana Cloșcă, Nora Schmelter, Timo Schichtel, Vaia Tatopoulou & Lor Willkomm, Zody Burke
  • 💛 Nora Schmelter

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Exhibition view
Exhibition view
Alungoo Xatan, Don't Flinch (2024); Nora Schmelter, fife minute action or fife minutes reversed (2024)
Alungoo Xatan, Don't Flinch (2024); Nora Schmelter, fife minute action or fife minutes reversed (2024)
Hyejin Ha, Unstable stability (2022); Leonie Specht, 1. External blur 1 (Bunnies), External blur 2 (Dolphins), External Blur 3 (Ornaments)(2024)
Hyejin Ha, Unstable stability (2022); Leonie Specht, 1. External blur 1 (Bunnies), External blur 2 (Dolphins), External Blur 3 (Ornaments)(2024)
Exhibition view
Exhibition view
Charlotte Rohde, Trophy Wife (2023)
Charlotte Rohde, Trophy Wife (2023)
Vaia Tatopoulou & Lor Willkomm, I'm a girl you can hold IRL II (2024)
Vaia Tatopoulou & Lor Willkomm, I'm a girl you can hold IRL II (2024)
Lauriane Daphne Carl, VOUYEURS VULNÉRABLES (2024)
Lauriane Daphne Carl, VOUYEURS VULNÉRABLES (2024)
Lasse Müller, Ip-652_InnsbruckerPlatz (2024); Luana Cloşcă, We came back to hunt us (2024), Movement error and the mindless parasite (2024)
Lasse Müller, Ip-652_InnsbruckerPlatz (2024); Luana Cloşcă, We came back to hunt us (2024), Movement error and the mindless parasite (2024)
Aurola Gyorfy, until they go insane, we're waiting (2024)
Aurola Gyorfy, until they go insane, we're waiting (2024)
In a world of hyper-connectivity and constant surveillance, 'Come on in - The Water is Fine' questions the complexity of observation. The exhibition offers insights into the relationship between the public and private spheres, expanding the concept of observation beyond the mere act of looking. 
Works on surveillance as internalised power, fogged dream images, self-staging and observation draw the viewer's attention to patterns of behaviour, identity and social norms that trap us in the dance between information disclosure and information acquisition. The exploration of the installations, paintings and multimedia displays highlights the balance between transparency and privacy and raises awareness of social surveillance and individual autonomy.
 "Come On In — The water is fine" reveals the invisible, confronts taboos and provokes social ruptures and a dialogue about connection and isolation, intimacy and loneliness.

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