The works of Clara Bahlsen and Sophie Aigner navigate the thresholds between visibility and concealment, body and space. Windows, walls, and openings simultaneously mark boundaries and facilitate transitions. In Aigner’s ceramics, the human body becomes legible as a system of signs: fingers form letters or chromosome-like structures, while questions from internet forums about one’s own body appear as engravings in sink-like forms. Bahlsen’s installation featuring porcelain dogs draws on the legend of the so-called “chimney dogs.” The direction of their gaze in the windows of port cities could be read as a coded sign, thereby determining visibility, access, or exclusion.

The artsist will be present.