FEEDBACK BODIES

Feedback Bodies proposes an exhibition of works situated in a process-based material field- practices in which form emerges through iterative operations rather than fixed categories of medium. Drawing on ideas of feedback and self-regulation, embodiment, and contemporary material theory, the exhibition foregrounds processes in which an action conditions its successor and remains legible as trace. Here, “bodies” names three interlocking agencies: human bodies (gesture, attention), material bodies (surfaces, joins, resistances), and technical bodies (tools, devices, procedures). Across diverse media, the works share a processual coherence: each articulates a compact cycle of cause, effect, and return in which outcomes reshape subsequent decisions. The result is an ecology of practice in which translation – between touch and technique, sensation and system – becomes the site of meaning. Rather than demonstrating media difference, Feedback Bodies reads material operations as discursive ones: forms think through their making, and the traces of adjustment, latency, and response are not by-products but the very content of the work.

Artists

Paul Schwer

Paul Schwer develops his work through an exploration of transformation- a negotiation between color, material, and spatial perception. Trained as a painter, he expands pictorial practice into three-dimensional form, working with transparent and thermoplastic materials that allow painting to become an event in space.

His process is characterized by physical engagement and unpredictability. Layers of color are poured, bent, and shaped under heat, forming sculptural planes that retain the traces of their manipulation. These gestures are not erased in the final work; rather, they remain visible as signs of resistance, gravity, and motion. The material thus records its own history - a visual memory of change. Light plays a crucial role in this transformation. As it moves across the folded and translucent surfaces, the work continually redefines itself, oscillating between presence and disappearance. The result is not a static object but a dynamic field in which pigment, transparency, and reflection interact.

Schwer’s practice invites an embodied mode of looking: color becomes spatial, and perception becomes tactile. His works establish an environment of shifting boundaries - between painting and sculpture, control and accident, surface and depth- where material process and visual experience are inseparable.

Full CV and further information available on the artist’s website: https://paulschwer.de

Jan Kolata

Jan Kolata’s work unfolds between painting and print, exploring how color, structure, and material generate spatial experience. His practice treats the pictorial surface as a field of negotiation - a site where gesture meets construction, and perception becomes material.

In both his paintings and woodcuts, layers are built through iterative processes of addition and removal, allowing traces of each decision to remain visible. The print’s tactile qualities - incision, pressure, and transfer - echo the painterly act, extending it into the realm of physical contact.

Kolata’s compositions often evoke architectural rhythms, translating color into a spatial and structural force. Rather than separating painting and print, he understands them as parallel modes of inquiry: both ask how form and meaning arise through repetition, resistance, and transformation.

Full CV and further information available on the artist’s website: https://jankolata.de

Denise Werth

Denise Werth’s artistic language unfolds within a field of material and semantic tension, where form is no longer bound to function but opens itself to reflection. Her works transform elements of the constructed world into abstract propositions - fragments that hover between recognition and uncertainty. What once served a practical role now operates as a sign, detached from use yet charged with memory.

Werth’s choice of materials - XPS foam, lacquer, filler, pigment - translates industrial syntax into a tactile field of experimentation. Surfaces oscillate between smoothness and fragility; traces of sanding, layering, and attachment reveal a process that is both precise and intuitive. Each piece becomes a thinking structure, in which the act of making is inseparable from the act of questioning.

Rather than representing construction itself, Werth’s works engage with its underlying logic - repetition, alignment, stability, and collapse. Through this reconfiguration, she exposes the instability underlying all constructed systems - material, structural, and perceptual.

Her practice unfolds as a study of transformation. When an object loses its intended function, it begins to generate new meaning; when matter is released from purpose, it begins to think. In this state of suspension, Werth’s work proposes form as a mode of inquiry - an open field where construction becomes a metaphor for thought itself.

Full CV and further information available on the artist’s website: https://www.denisewerth.de

Donja Nasseri

Donja Nasseri’s practice operates at the intersection of image, memory, and power. Working through photography, installation, and collage, she engages with the visual codes of history - museum displays, archival fragments, and inherited cultural symbols - to question how narratives of identity are constructed and circulated. Her works do not reproduce the archive but intervene in it, treating each fragment as an active site of re-inscription.

In this sense, Nasseri’s approach can be read through the theoretical lens of postcolonial and feminist discourse. The image becomes a political instrument, not through explicit representation but through the act of rearranging visibility itself. By placing Western art-historical forms in dialogue with non-Western genealogies, she exposes the asymmetry of cultural memory and challenges the illusion of a unified historical canon.

The formal fragmentation of her compositions mirrors the conceptual dislocation of belonging: identity is not recovered but assembled, layered, and translated. As in Homi Bhabha’s “third space,” Nasseri’s practice inhabits an in-between zone - a hybrid condition in which past and present, origin and representation, continually reconfigure one another.

Ultimately, Nasseri’s work reframes the photographic and archival image as a field of negotiation. History, in her view, is not a stable record but a performative process, one that must be rewritten through acts of looking, remembering, and re-imagining.

Full CV and further information available on the artist’s website: https://donjanasseri.de

Kevin Clarke

As a conceptual photographer, Kevin Clarke investigates the conditions under which images generate knowledge, identity, and belief. His practice dismantles the documentary function of photography and repositions it as a system of thought - a medium that reflects on its own mechanisms of truth. Extending the legacy of conceptual art into the territories of data, bio-code, and scientific representation, Clarke transforms photography into an analytical tool that questions how the visible is constructed.

In series such as DNA Portraits, the image abandons resemblance and becomes a coded structure - a genetic translation that replaces the visible face with informational sequence. This act of substitution challenges the historical promise of portraiture as likeness. The portrait no longer depicts the subject; it mirrors the systems that define subjectivity itself. In reducing the body to data, Clarke exposes the operations of classification, control, and interpretation that underlie both photography and science.

Within his practice, the photograph functions not as a window but as a model - a conceptual space where the human body intersects with systems of measurement and meaning. The visual and the informational collapse into one another, revealing that in the digital condition, seeing is inseparable from decoding.

Full CV and further information available on the artist’s website: https://kevinclarke.com

Tahmineh Mirmotahari

Tahmineh Mirmotahari’s work unfolds within the fragile space where memory becomes form. Drawing from fragments of personal and collective history, she translates remembrance into a visual and material language that resists closure. Her practice does not document the past; it interrogates how the past persists - how experience sediments into matter, gesture, and trace.

Each work functions as a site of negotiation between what can be recalled and what remains inaccessible. Textiles, archival imagery, and layered surfaces operate as vessels of time: porous materials that hold and release memory simultaneously. Through these accumulations and erasures, Mirmotahari constructs a material epistemology - a way of knowing through touch, residue, and repetition.

Her compositions rarely cohere into linear narrative. Instead, they unfold as palimpsests in which gestures overlap and temporalities collide. The surface becomes an archive of the body’s encounter with history - marked by acts of remembering, unremembering, and transformation. This instability is not a flaw but a method: memory here is not reconstructed, but continually reconfigured.

Mirmotahari’s practice approaches identity as process rather than essence. The movement between cultural references, rituals, and materials echoes a broader condition of displacement and hybridity. In her works, belonging is not located in geography or origin, but in the act of re-composition itself - the continual making and unmaking of meaning.

Through this gesture, memory shifts from a private archive to a shared field of reflection. By rendering remembrance as a material process, Mirmotahari reveals that to remember is not to return, but to re-imagine - to shape presence from the residue of loss. Her work opens a space where recollection becomes an act of construction, and where the past persists not as certainty but as texture, echo, and possibility.

Full CV and further information available on the artist’s website: https://tahmineh-mirmotahari.com

Jörg Lornsen

Jörg Lornsen’s work unfolds within the space where seeing becomes self-aware - where perception turns back upon itself as a bodily and cognitive event. His paintings emerge from processes of close observation, translating visual experience into chromatic structures that both record and question the act of seeing. In this sense, each work operates as a feedback loop: gesture observes itself, colour reflects perception, and the painter’s attention becomes visible as form.

In these chromatic fields, colour acts as sensor, gesture as signal. The body of the painter, the surface of the painting, and the gaze of the viewer form a continuous system of exchange. Lornsen’s practice reveals painting as a feedback body - a medium through which perception perceives itself, and seeing becomes an embodied form of thought. For more information and selected works, visit the artist’s profile on Frautzcontemporary : Jörg Lornsen

Julian Herstatt

Julian Herstatt’s work inhabits the interval between system and surface, between the rational order of the grid and the organic instability of the landscape. Through printmaking, he transforms processes of reproduction into instruments of reflection, revealing how structure both constructs and fractures perception. His compositions evoke the logic of mapping and measurement, yet the precision of the grid is constantly disrupted by erosion, residue, and chance - the traces of process that resist containment.

The grid in Herstatt’s practice functions not as a stabilising framework but as an unstable syntax, a device through which order is continually negotiated. Each print bears the mark of both mechanical control and material deviation: lines bleed, surfaces corrode, and tonal transitions recall geological sedimentation. The print thus becomes a site where image, matter, and duration converge - a landscape not of depiction, but of formation.

This oscillation between system and decay situates Herstatt’s work within a contemporary discourse on mediation. The act of printing is both indexical and transformative; it leaves a trace that testifies to process while generating a new visual event. Through repetition and variation, Herstatt renders visible the temporal density of making - how every impression contains both memory and difference.

His engagement with landscape operates less as representation than as inquiry. What appears as terrain or horizon is filtered through technical matrices that register human intervention within the natural order. The resulting image is neither organic nor artificial but something in between - a field of translation where material, tool, and gesture co-produce meaning.

In this sense, Herstatt redefines landscape as a conceptual structure: an image that carries the weight of process, and a process that reveals the constructed nature of the image. His prints become meditations on perception and duration, where form is never fixed but always in motion - a continuous negotiation between grid and ground, trace and transformation.

Full CV and further information available on the artist’s website: https://www.julianherstatt.com

Digital Artists

Erfan Ashourioun

Erfan Ashourioun’s practice operates at the intersection of the digital and the tangible, where data assumes material form and material returns to the logic of code. His works begin within computational systems - where forms are modelled, simulated, and distorted—and later emerge as physical presences through 3D printing, silicone casting, and hybrid sculptural construction. The result is not a translation from digital to real, but a continuous exchange between algorithm and substance.

Distortion, for Ashourioun, is not a failure of the image but a generative strategy. Each altered surface and spatial deformation marks the transition from virtual modelling to physical manifestation. The object becomes the trace of data materialized, while matter itself acquires the qualities of a digital artefact- smooth, reflective, synthetic. In this oscillation, the work questions the boundaries between perception and computation, between what is sensed and what is calculated.

Through the integration of sculptural processes and digital fabrication, Ashourioun creates a space in which technology and corporeality co-produce meaning. Silicone, resin, and industrial materials function not only as technical supports but as conceptual agents that embody transformation. His objects evoke both technological precision and organic tactility, revealing that the digital condition is inseparable from the sensory and the physical.

Ashourioun’s art thus examines how information becomes form, how immaterial systems acquire weight, and how the human body is re-inscribed within machinic processes of making. Situated between object and code, his works propose an expanded materiality - one in which the virtual is not opposed to the real, but continuously negotiates its presence through matter, texture, and form.

Full CV and further information available on the artist’s website: https://erfanashourioun.wordpress.com

Plyzitron

Ployz’s artistic practice unfolds within the dynamic intersection of art, technology, and perception. Working across motion graphics, 3D animation, and generative systems, she constructs environments where image, sound, and algorithm coalesce into continuously evolving forms. Her works do not merely employ technology as a tool but interrogate its logic - how digital systems simulate, extend, and transform the experience of time and movement.

At the core of her practice lies an exploration of real-time visualization: the moment when the image ceases to be fixed and becomes processual. This temporal condition situates her work within an expanded field of media art, where the artwork is not a static object but an ongoing computation. The visual event unfolds as data, modulation, and feedback - a living system that materializes duration itself.

Ployz’s approach often bridges digital and analog sensibilities. The precision of algorithmic structures coexists with tactile irregularities and sensory depth, producing works that are both mechanical and organic. This hybrid condition reveals her interest in the convergence of visual coding and embodied experience - how technology mediates but also reconfigures the human sense of rhythm, perception, and space.

Her background within the Eastern cultural sphere inflects this practice with an acute sensitivity to cyclicity and impermanence. Rather than treating technology as an emblem of progress, she engages it as a field of transformation, echoing philosophical notions of flux and becoming. In her audiovisual installations and generative designs, the boundaries between human gesture and machine logic dissolve into a shared aesthetic of motion and transience.

Through this synthesis of art and computation, Ployz proposes a new visual epistemology - one in which the artwork behaves as a system rather than a symbol. Her practice invites reflection on how digital media redefines material presence, how motion becomes structure, and how the image itself evolves into a temporal architecture of thought.

Full CV and further information available on the artist’s website: https://www.ployz.de

Viola Rama

Viola Rama’s practice examines the body as a site of transformation within the technological and cultural systems that define visibility today. Working across photography, digital modelling, and 3D compositing, she constructs figures that oscillate between human and synthetic, intimate and machinic. Her images do not represent bodies but simulate the processes through which bodies are constructed, mediated, and aestheticized in the post-digital condition.

Rama’s compositions frequently inhabit a state of in-betweenness: flesh becomes data, gesture becomes code. This liminal field reveals the instability of corporeal identity in a visual culture governed by algorithms, networks, and hyperreal imagery. The female form, historically coded through ideals of beauty and control, is here reimagined as a field of negotiation — an assemblage of fragments, interfaces, and desires.

The artist’s engagement with digital fabrication and AI-based image generation expands the discourse of representation beyond depiction. Her use of distortion, hybridization, and layered surfaces translates theoretical questions of gender and embodiment into visual syntax. The resulting figures, suspended between attraction and unease, expose the politics of looking and the conditions under which bodies become visible.

Rama’s practice thus articulates a form of critical posthumanism — not through speculative futurism, but through the material logic of images themselves. Her work proposes that identity is neither given nor stable, but continually rewritten within technological systems of perception. The digital apparatus becomes both instrument and metaphor: a mechanism that reveals how power, desire, and visibility intersect within the contemporary body.

Through these hybrid forms, Rama does not imagine a dissolution of humanity but a reconfiguration of it — a space where the boundaries between organism and machine, nature and artifice, are not erased but rethought. In this sense, her art becomes a philosophical exercise in seeing: an invitation to confront how technology not only depicts the body, but actively produces it.

Full CV and further information available on the artist’s website: https://violarama.com

H. Merve Güç

Merve Güç’s practice explores the shifting conditions of perception within technological environments. Working through interactive systems, moving image, and digital interfaces, she examines how the act of seeing is structured by the apparatus that enables it. Her works transform viewing into an event - an unfolding process in which perception is continuously shaped by its mediation.

Through responsive technologies and algorithmic dynamics, Güç constructs visual architectures that operate as fields of relation rather than fixed representations. The image in her work is procedural: it emerges through interaction, feedback, and variation. These temporal operations reveal perception not as a moment of recognition but as a condition of becoming, in which body, system, and environment are mutually constitutive.

Temporal dislocation functions as a central strategy in her installations. Linear time dissolves into recurrence and delay, producing a state in which experience unfolds as simultaneity rather than sequence. Within these layered temporalities, the viewer becomes aware of perception as construction - as something generated in real time between image and observer.

Her practice also interrogates the porous boundary between subject and interface. Interaction becomes performative, transforming the viewer’s presence into a compositional element within the work. The artwork exists not as an autonomous object but as a contingent system - a site where visual, spatial, and cognitive processes intersect.

In this configuration, Güç’s work articulates a critical understanding of the image as process: an active, relational, and temporal phenomenon. What is produced is not merely a visual encounter, but a phenomenological field - an expanded space in which technology and perception coalesce, and the mechanisms of attention themselves become visible.

Pandagunda

Pandagunda’s practice operates at the intersection of technology, perception, and form. Working through 3D simulation, motion capture, and visual compositing, he constructs images that explore how the digital field produces new conditions of materiality and embodiment. His works do not depict the world but investigate how the world is modelled, encoded, and reconstituted through processes of computation.

In his visual language, the digital image becomes an autonomous entity - an organism that evolves through code, texture, and light. Surfaces fold, dissolve, and regenerate, creating a visual ecology in which matter and data are inseparable. These hybrid formations reveal the instability of perception under technological mediation, where the boundaries between the virtual and the tangible, the synthetic and the organic, are in constant negotiation.

Distortion functions here as a conceptual and formal method. By fragmenting the body and reassembling it through digital architecture, Pandagunda transforms the figure into a mutable system rather than a representation. The body becomes a field of translation - a site where information and sensation converge.

His works operate through a logic of immersion and dissonance: light acts as structure, motion as syntax. What emerges is not a static image but an unfolding process that exposes the mechanisms of vision itself. Pandagunda’s art articulates a posthuman sensibility in which technology and perception co-construct one another.

Through these synthetic configurations, he proposes the image as an active system - one that does not mirror reality but generates it. In his works, the digital ceases to be a medium and becomes a mode of thought: a way of seeing that transforms both matter and meaning.

Full CV and further information available on the artist’s website: https://www.pandagunda.com