The first volume gathers a variety of artists' publications that engage with the city of Berlin. Not as a fixed entity, but as a shifting material shaped through artistic adaptation. In these contributions, the city becomes a site of projection, negotiation, and reinterpretation. Rather than defining Berlin, the works collectively trace an undefined, evolving identity that resists closure.
By leaving Berlin open-ended, the artists point to the constructed nature of urban character itself: how cities, like communities, are constantly reassembled through perspective, memory, and method. This open form reflects broader social tensions: the ongoing conflict between the desire for coherence and the reality of fragmentation.
impressi0n.net
Sofia Duchovny
Tobias Hohn & Stanton Taylor
Till Hunger
Aura Rosenberg
Stella Sieber
Lilli Thiessen
Amadeus Vogelsang
Frederik Worm
Tomomi Yamakawa
Schirin Charlot Djafar-Zadeh
impression.net is an online magazine that presents artistic production, with a focus on the variation and interrelations of artistic processes and vocabularies. It considers how artists' forms of production are characterized, how decisions, repetitions, and material operations construct a language specific to each practice.
The subject of each issue serves as a framework that brings together diverse working methods and forms of presentation side by side. Each volume is structured around two types of work: newly produced contributions alongside archival material. Throughout the magazine, resonances between distinct artistic approaches become apparent.
Each issue is built around a keyword, forming an open structure through which contributions are realized. Artists engage with the theme in different ways. Some respond to it for the first time, while others continue an existing line of inquiry. Selected archival works by artists are drawn from sketchbooks, diaristic materials, and fragments of production, not as complete works, but as parts of the artistic process that reflect how the subject of the issue is explored and understood. This openness allows for a diversity of methods, timelines, and responses to coexist within the same context.
In addition to the online publication, each issue includes editions created by contributing artists, available for those who wish to engage more directly with the work.
The publication's aim is to reveal and shed light on the act of making art, rather than focusing solely on the finished outcome, and to create threads between a wide range of positions shaped by a shared subject. With every release, the magazine seeks to expand ideas of seriality and cumulative development, so that one issue builds upon the next.
The subject of each issue serves as a framework that brings together diverse working methods and forms of presentation side by side. Each volume is structured around two types of work: newly produced contributions alongside archival material. Throughout the magazine, resonances between distinct artistic approaches become apparent.
Each issue is built around a keyword, forming an open structure through which contributions are realized. Artists engage with the theme in different ways. Some respond to it for the first time, while others continue an existing line of inquiry. Selected archival works by artists are drawn from sketchbooks, diaristic materials, and fragments of production, not as complete works, but as parts of the artistic process that reflect how the subject of the issue is explored and understood. This openness allows for a diversity of methods, timelines, and responses to coexist within the same context.
In addition to the online publication, each issue includes editions created by contributing artists, available for those who wish to engage more directly with the work.
The publication's aim is to reveal and shed light on the act of making art, rather than focusing solely on the finished outcome, and to create threads between a wide range of positions shaped by a shared subject. With every release, the magazine seeks to expand ideas of seriality and cumulative development, so that one issue builds upon the next.
Sofia Duchovny
Sofia Duchovny's contribution captures a city caught in the unresolved crash of the present: Berlin as a shifting emotional landscape, less a motif than a lived atmosphere. Her work unfolds in quiet oscillations between personal perception and spatial intuition, where repetition in layout becomes a method of holding and reconfiguring experience. Through expanded drawings and photographic fragments, she constructs a scenographic logic grounded in affect and memory. The result is a suspended narrative space - a melancholic yet vital terrain where images speak, not of Berlin, but from within its tension.
Olga Hohmann
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Olga Hohmann approaches Berlin not as a subject to be described, but as a texture to think with. Through shifting registers of memory, observation, and critical reflection, she draws the city as a mutable interface. At once melancholic and material, historical and affective. Referencing thinkers from Latour to Irigaray and filtering everyday scenes through a literary lens, Hohmann renders Berlin as an unresolved question: a space where presence is defined by absence, and where neutrality becomes a generative force.
Tobias Hohn & Stanton Taylor
Tobias Hohn & Stanton Taylor use Berlin as a framework, a stage on which fragments from art history are digitally reassembled into a dense visual field. Stripped of origin but heavy with reference, the images trace a recurring cycle of authority, collapse, and coded belief. Green marks and textual residues expose the mechanics of cultural memory: how history is edited, packaged, and replayed in loops.
Till Hunger
Till Hunger's contribution interrogates the transformation of resistance into spectacle, mapping the uncanny dissonance between lived histories and their commodified doubles. Anchored in Berlin, his work traces the violent rupture of a once-occupied house and its later reincarnation as cinematic fiction -repackaged, resold, and reinhabited by the very forces it once defied. What unfolds is not only an indictment of gentrification, but a haunting study of how ideology mutates into image, and image into product. Beneath the surface of satire lies a sharp anatomy of urban erasure, where the ghosts of political struggle become props in a capitalist mythscape.
Aura Rosenberg
Aura Rosenberg reflects on Berlin through a dialogue across generations, drawing on Walter Benjamin's early texts Berlin Childhood in conversation with Benjamin's great-granddaughter and her own daughter. Her ongoing project interweaves video and photographic works with personal and historical narratives, tracing the city's layered identities and conflicting figures. This contribution brings together selected writings by Benjamin alongside Rosenberg's visual material, offering a multi-perspective meditation on memory, inheritance, and place.
Gundula Schulze-Eldowy
Gundula Schulze Eldowy captures late GDR life with stark intimacy in photo series Der große und der kleine Schritt. Her photographs from hospitals, factories, and private spaces, are shown alongside an unpublished personal text reflecting on systemic violence and emotional estrangement. Without condemning individuals, she reveals the machinery of ideology and its quiet impact on everyday life.
Michael Sullivan & Clemens Freigang
Clemens Freigang and Michael Sullivan trace the figure of the Litfaßsäule through a series of historical posters and a shared text reflecting on its role in shaping public space and address. Initiated by Ernst Litfaß in the 19th century, the column has since shifted form and function - between utility and spectacle, message and monument. Approached as a structure under constant redefinition, it becomes a lens through which both artists consider the tensions of collective vocabulary, its uses, and its distortions.
Stella Sieber
Stella Sieber, an artist and painter, examines image and text as traumatic, intelligible matter and historiographical space.
Object Klein B is a script for a theater play. It refers no less to Lacan's imaginary object as it does to the city of Berlin. Within the dialogue of the protagonists, two artists, the city appears as a deficient possession. Berlin oscillates between a stage as place and an object as artwork.
Object Klein B is a script for a theater play. It refers no less to Lacan's imaginary object as it does to the city of Berlin. Within the dialogue of the protagonists, two artists, the city appears as a deficient possession. Berlin oscillates between a stage as place and an object as artwork.
Bruno Taut
Bruno Taut's The Dissolution of Cities, first published in 1920, offers a utopian vision for decentralized, egalitarian living in the aftermath of World War I. Combining 30 drawings with selected texts from architecture, philosophy, and socialism, the work reflects a radical reimagining of the urban condition. Best known for his built housing estates in Berlin, many still inhabited today, Taut envisioned the Earth itself as a shared human dwelling.
Lilli Thiessen
Lilli Thiessen pulls the Berliner Bär from its worn-out symbolism into a space of confrontation. Once caged for public spectacle, now paraded through pride marches and nationalist kitsch, the bear has become a pliable mascot - circulated, repurposed, and emptied out. Thiessen doesn’t attempt to redeem it; instead, she pushes it further. Her work dissects the icon into fragments of fetish, farce, and exhausted myth - where meaning slips and surfaces begin to glitch.
Amadeus Vogelsang
Amadeus Vogelsang constructs a personal timeline shaped by memory and affect, working with found footage. His contribution unfolds as a fragmented visual essay, where the act of remembering becomes a form of composition. The work reflects on how understanding, and self-perception, is built through traces, ruptures, and the residual weight of past images.
Stephen Willats
Stephen Willats, artist and founder of Control magazine, has maintained a long-standing engagement with Berlin since the late 1970s. His contribution revisits BERLIN LOCAL (2014), a project developed in the area surrounding MD72, where Super 8 footage was both recorded and later exhibited. This publication presents the complete film material alongside an unpublished interview with MAY REVUE co-founder Catherine Chevalier, offering a layered reflection on site, archive, and editorial practice.
Frederik Worm
Frederik Worm's series unfolds along the threshold of the everyday: stairwells, railings, the unnoticed geometry of shared space. Set in Berlin, the images trace a passage through the artist's immediate surroundings, where each frame becomes a point of contact, a quiet collision with surface, space, and the weight of repetition. Borrowing its tone from a concept in physics, where distance is measured between moments of impact, the work maps a rhythm of nearness and interruption. Out of this movement, a subtle choreography of resistance and reflection begins to take shape.
Tomomi Yamakawa
Tomomi Yamakawa approaches the architecture of state surveillance with a language of careful dissection and quiet irony. Her contribution reflects on the tension between visibility and secrecy, openness and control - where public gestures are meticulously staged while intimacy is held at a calculated distance. Through a precise and reflective style, she renders a portrait of institutional presence that unfolds as much in its silences as in its structures. Her text, accompanied by selected archival material, forms a layered inquiry into the aesthetics of authority and the surfaces it hides behind.
Schirin Charlot Djafar-Zadeh
Schirin Charlot Djafar-Zadeh's work moves through cycles of rupture and renewal, where the constructed pressures of identity collapse into a deeper, bodily search for vitality. In Berlin's dense network of image and performance, her compositions stage confrontation between artificial ideals and private, elemental forms of life. Nature here is not a backdrop, but a force of transformation: raw, resistant, and essential. Out of fragmentation, Djafar-Zadeh builds something like relief, not as escape, but as insistence on the possibility of healing.