©Courtesy of Artists & Diskurs Berlin




David Szauder


04.03. - 17.03.



It slowly sounds commonplace that our lives have been radically transformed by the COVID pandemic for a year now. We all experience its impact in different ways. The prospect that it will last for an unpredictable time can be quite depressing. For me, it appears as a kind of endless loop that returns again and again and wraps around our days. Never before has there been an epidemic about which the amount of news has been as vast and rapid as it is today, and all of this could only have a more depressing effect. The growing mass of daily information is drawn in curves on a piece of paper by a small drawing robot. Each time the word pandemic occurs in the news, the small robot gets the information to draw the next curve. The position of the curves is determined by the time and GPS coordinates of where the news is coming from, following the virus’s current status. Operating this way, an abstract image of the pandemic, an infinite abstract loop is formed during the two weeks the exhibition is on.

David Szauder is a digital artist, designer, and curator. He is currently working as a Curator and art consultant with his studio (ARTPROJEKT BERLIN, Handshape, Publishing Hungary, 2023 European Cultural capital, etc.). As an artist and curator, he participated in many different exhibitions from Berlin to Seoul in the last nine years. Currently, he is developing a kinetic sculpture (Seoul, Berlin London)

He was also a guest lecturer in film at the University Babelsberg Konrad Wolf, where he found his artistic style and created the unique method and the series of ‘Failed Memories’. David Szauder studied Art History and New Media in Budapest and afterward spent a year on a scholarship in Helsinki. Soon after arriving in Berlin, he started to work as the artistic director for the Hungarian Cultural Institute.




©Courtesy of Artists & Diskurs Berlin



Yiannis Pappas – Half-Staff

04.02. - 17.02.


If anything, Covid-19 represents yet another momentous challenge to the legitimacy of the nation-state. Covid-19 doesn’t ‘think’ in terms of countries, it largely ignores man-made borders, and exposes a need of globally synchronizing in the battle against the virus. The fact that such synchronizing shows to be an extreme challenge may well point to the obstructive aspects of dividing the world up into ‘countries’. How countries — states with their attached nations — are all a matter of ‘made-up-ness’, has been sufficiently argued. For example by Benedict Anderson (1983) in his imagined communities argument, or more recently by Yael Navarro (2012) about the make-believe work that is involved in maintaining the "Autonomous Turkish Cypriot Administration”.

Pappas’s work “Half-Staff” still carries traces of the context it was originally created in: the size was determined by the dimensions of Schloss Ringenberg's great hall. The castle and its related emblazonry inspired the artist and curators to think about the perpetuation of power structures such as the nation-state with its flag. But just as a nation-state, an artwork is an inherently unstable object. How does the artwork change by presentations in different rooms and spaces? Also, more poignantly, how does it change against the background of radically disrupted times?

In this current moment, Pappas’s work may pose questions like: how does Covid stretch and strain the meanings and the shelf-life of the flag? And consequently, the apparatus of the nation-state that makes the flag an ongoing reality?

- Herbert Ploegman



Yiannis Pappas is a visual and performance artist. Throughout Pappas’ work runs a deep fascination for the relation between space and the human body in natural and urban environments. Underscored by a critical interest in space, as sites of physical and symbolic enactment, his artistic work and research explore how different places are sustained collectively and individually throughout history.


Yiannis studied sculpture and photography at the Athens School of Fine Arts (Integrated Master of Arts) and at the University of the Arts in Berlin (UdK). Awarded by the Academy of Athens and by the Greek State Scholarship Foundation (IKY) he completed the artistic and scientific MFA “Space Strategies” at the Academy of Arts Weißensee in Berlin. His art-based researches have been assigned by the Goethe Institute and German Academic Exchange Service (DAAD) through interdisciplinary projects in Asia and the Middle East. An interventionist by nature, he looks for ways to find unlikely methods to engage responsiveness. His resonant and visual language includes video work, photography, performative, and installative practices, all of which bear the signs of Pappas’ anthropological and phenomenological approach toward his subjects.


He exhibited internationally through Europe, Asia, the Middle East, South and North America (Bangkok Biennale 2020, Biennale of Architecture Venice 2018, Bangkok Art Biennale 2018, Athens Biennale 2016, 7th Berlin Biennale for Contemporary Art, and more) while he attracted the attention of the worldwide press (Sky Arts, CNN, New York Times, Art Forum, etc), have given his effort positive reviews. Yiannis Pappas was born on the island of Patmos, he lives and works in Berlin.
































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