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Nina Pacherová (*1998, works in Zurich)

1-2. Free Play, 2023
3. We won’t tell daddy, 2025
4. The Reality Check, 2024

Finalist Kiefer Hablitzel|Göhner Art Prize,
presented @swissartawards
16–21 June 2026
Halle 1.1, Basel

Photo 5: Dita Pepe

#KieferHablitzelGöhnerArtPrize
#KH26
#SwissArtAwards

Nina Pacherová (*1998, works in Zurich)

1-2. Free Play, 2023
3. We won’t tell daddy, 2025
4. The Reality Check, 2024

Finalist Kiefer Hablitzel|Göhner Art Prize,
presented @swissartawards
16–21 June 2026
Halle 1.1, Basel

Photo 5: Dita Pepe

#KieferHablitzelGöhnerArtPrize
#KH26
#SwissArtAwards

Nina Pacherová (*1998, works in Zurich)

1-2. Free Play, 2023
3. We won’t tell daddy, 2025
4. The Reality Check, 2024

Finalist Kiefer Hablitzel|Göhner Art Prize,
presented @swissartawards
16–21 June 2026
Halle 1.1, Basel

Photo 5: Dita Pepe

#KieferHablitzelGöhnerArtPrize
#KH26
#SwissArtAwards

Nina Pacherová (*1998, works in Zurich)

1-2. Free Play, 2023
3. We won’t tell daddy, 2025
4. The Reality Check, 2024

Finalist Kiefer Hablitzel|Göhner Art Prize,
presented @swissartawards
16–21 June 2026
Halle 1.1, Basel

Photo 5: Dita Pepe

#KieferHablitzelGöhnerArtPrize
#KH26
#SwissArtAwards

Nina Pacherová (*1998, works in Zurich)

1-2. Free Play, 2023
3. We won’t tell daddy, 2025
4. The Reality Check, 2024

Finalist Kiefer Hablitzel|Göhner Art Prize,
presented @swissartawards
16–21 June 2026
Halle 1.1, Basel

Photo 5: Dita Pepe

#KieferHablitzelGöhnerArtPrize
#KH26
#SwissArtAwards

✨ Rencontre(s) avec Nina Pacherová

Tout au long du festival, découvrez les 24 projets présentés cette année à Circulation(s) à travers la voix des artistes. L’occasion de découvrir plus en détail leurs univers et d’en apprendre plus sur leurs oeuvres et leurs démarches.

« L’objectif de ce travail était de mettre en lumière les moments de conditionnement que traversent les femmes ». Nina Pacherová revient sur les raisons personnelles qui l’ont amenée à travailler sur son projet « The Reality Check » [La prise de conscience]. Elle y explore notamment les effets des injonctions sociales sur les femmes, et particulièrement le désir de devenir mère à travers le jeu vidéo Les Sims.

🗓️ Les expositions sont ouvertes du mercredi au dimanche de 14h à 19h, jusqu’au 17 mai
📍CENTQUATRE-PARIS
🔗 Rendez-vous dans le lien en bio pour plus d’informations pratiques !

-

✨ Meeting(s) with Nina Pacherová

Throughout the festival, discover the 24 projects presented this year at Circulation(s) through the artists’ voices. This is an opportunity to explore their worlds in greater detail and learn more about their works and creative approaches.

«The goal for this work was to kind of uncover the moments of conditioning that women go through». Nina Pacherová reflects on the personal reasons that led her to work on her project « The Reality Check ». She explores the effects of social impositions on women, particularly the desire to become a mother through the video game The Sims.

🗓️ The exhibitions are open Wednesday to Sunday from 2 pm to 7 pm, through May 17
📍CENTQUATRE-PARIS
🔗 Check out the link in bio for more practical information!

The Reality Check
by Nina Pacherová

This project can be seen this year at Circulation(s), which takes place from March 21 to May 17 in Paris, France.

@ninapacherova
@festival_circulations  

The Reality Check explores how gender-based conditioning shapes female identity, desires, and life choices. Reflecting on the social expectation of motherhood, the artist traces the origins of this desire back to childhood memories of constructing an ideal family in The Sims. Using the game as a stage for domestic scenarios, Nina Pacherová examines the ambivalence of romantic relationships, which can exist both as refuge and a trap. [...]

On view on yogurtmagazine.com

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#visualresearch #motherhoodjourney

The Reality Check
by Nina Pacherová

This project can be seen this year at Circulation(s), which takes place from March 21 to May 17 in Paris, France.

@ninapacherova
@festival_circulations  

The Reality Check explores how gender-based conditioning shapes female identity, desires, and life choices. Reflecting on the social expectation of motherhood, the artist traces the origins of this desire back to childhood memories of constructing an ideal family in The Sims. Using the game as a stage for domestic scenarios, Nina Pacherová examines the ambivalence of romantic relationships, which can exist both as refuge and a trap. [...]

On view on yogurtmagazine.com

.
.
.
.
#visualresearch #motherhoodjourney

The Reality Check
by Nina Pacherová

This project can be seen this year at Circulation(s), which takes place from March 21 to May 17 in Paris, France.

@ninapacherova
@festival_circulations  

The Reality Check explores how gender-based conditioning shapes female identity, desires, and life choices. Reflecting on the social expectation of motherhood, the artist traces the origins of this desire back to childhood memories of constructing an ideal family in The Sims. Using the game as a stage for domestic scenarios, Nina Pacherová examines the ambivalence of romantic relationships, which can exist both as refuge and a trap. [...]

On view on yogurtmagazine.com

.
.
.
.
#visualresearch #motherhoodjourney

The Reality Check
by Nina Pacherová

This project can be seen this year at Circulation(s), which takes place from March 21 to May 17 in Paris, France.

@ninapacherova
@festival_circulations  

The Reality Check explores how gender-based conditioning shapes female identity, desires, and life choices. Reflecting on the social expectation of motherhood, the artist traces the origins of this desire back to childhood memories of constructing an ideal family in The Sims. Using the game as a stage for domestic scenarios, Nina Pacherová examines the ambivalence of romantic relationships, which can exist both as refuge and a trap. [...]

On view on yogurtmagazine.com

.
.
.
.
#visualresearch #motherhoodjourney

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

The last edition of Prix Photoforum recently closed, and for some time I wanted to revisit the memory of the previous edition. I got to be part of it with my teddy bears fam in 2024-2025. Then fresh diploma project, reflecting on sharenting and dangers of digital footprints, went straight into a public institution which was super rewarding. For critical projects like this it is especially valuable, and I am grateful for the space it got. Since then, it travelled around different places, but it feels even more relevant today, unfortunately for the wrong reasons.

It is scary but beautiful, how a negative observation can spark creative agency and through that deepen the sensitivity that catalyses action. This ambivalence intensifies after the recently published J.E. files. Though incomplete and among other things, they reveal enough to conclude that the children are a target. It is paralysing to see how the power can be so easily misused against (not only) them, more so that it is without any consequences. I made multiple projects on these topics in the past. The tendency is to get lost under the weight of it, but I am trying to embody the active approach. Envision what I can bring and define where is my task in the chaos, while asking how can I remain vulnerable, soft, sensitive, and nearby.
Though such problems challenge my own smallness and creating content out of them is uncomfortable, they guide my action. And I see it as probably the most sustainable way to subvert the forces making us believe we are powerless and helpless bodies. The ambivalence is even stronger for as much as I am saddened by the observations, I am thinking back to myself, that it is an obligation to create more of similar works, as apparently this world still truly and urgently needs it.

I wanted to share this as a positive memory of the moments from the process and the exhibition in these intense times. And highlight not only the urgency of the topic, but mainly the efforts of the team of @photoforumpasquart and @ameliesroses for giving space to works like this and activating discussions on challenging topics through Prix Photoforum. Thank you 🤍

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

things long promised and never shared I.

We won’t tell Daddy! took part in group exhibition
-,,i’ve lost every photo that i took since 2012”
w. Zuzana Baková @suzanet_bakova
Nina Pacherová @ninapacherova
Iulia Bucureșteanu @iuliabucurezteanu
and Noah Ismael Wyss @noahwyss

curated by Zuzana Baková, at Sébeillon
Lausanne, 13.12.2024 – 15.12.2024

Merci everyone, shoutout especially to Zuzana for bringing us together & for her unmatched cooking skills too 💥💥

For more photos check @kubaparis or @fakewhale_xyz

#GreifGuestRoom: Guest Room aims to inspire collaboration and creative exchange. For this edition of Guest Room, FOTO ARSENAL WIEN (@foto_arsenal_wien) steps into the curatorial spotlight with Marit Lena Herrmann (@marit__lena), Mona Schubert (@silver_iodide), and Felix Hoffmann (@felix_hoffmann__), who came together to curate around the theme "Messy." 🧩

📍 Selection 14:
⚡ Nina Pacherová (@ninapacherova)
⚡ Nora Sapárová (@nora.saparova)

Nina Pacherová (b. 1998) is a Slovak photographer and visual artist based in Zurich, working across photography, objects, and installations. A graduate of ECAL’s MA in Photography and recipient of the Swiss Government Excellence Scholarship, her work explores social issues and underrepresented experiences, often through themes of childhood, digital culture, and speculative storytelling.

Nora Sapárová is a freelance photographer based in Bratislava, Slovakia. From 2014 to 2023, she co-founded and ran the Nora & Jakub studio and studied Advertising Photography at UTB in Zlín. Nora is also a mother of two and known for her love of sweet snacks. Her work spans a wide range of projects, from intimate shoots for small businesses to large-scale global campaigns.

👉 Head to dergreif.org to explore the full online exhibition 👈

Submissions hosted on @picter_com.

We're partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #ContemporaryPhotography #MessyPhotography #FotoArsenalWien #DeutscheBörsePhotographyFoundation

#GreifGuestRoom: Guest Room aims to inspire collaboration and creative exchange. For this edition of Guest Room, FOTO ARSENAL WIEN (@foto_arsenal_wien) steps into the curatorial spotlight with Marit Lena Herrmann (@marit__lena), Mona Schubert (@silver_iodide), and Felix Hoffmann (@felix_hoffmann__), who came together to curate around the theme "Messy." 🧩

📍 Selection 14:
⚡ Nina Pacherová (@ninapacherova)
⚡ Nora Sapárová (@nora.saparova)

Nina Pacherová (b. 1998) is a Slovak photographer and visual artist based in Zurich, working across photography, objects, and installations. A graduate of ECAL’s MA in Photography and recipient of the Swiss Government Excellence Scholarship, her work explores social issues and underrepresented experiences, often through themes of childhood, digital culture, and speculative storytelling.

Nora Sapárová is a freelance photographer based in Bratislava, Slovakia. From 2014 to 2023, she co-founded and ran the Nora & Jakub studio and studied Advertising Photography at UTB in Zlín. Nora is also a mother of two and known for her love of sweet snacks. Her work spans a wide range of projects, from intimate shoots for small businesses to large-scale global campaigns.

👉 Head to dergreif.org to explore the full online exhibition 👈

Submissions hosted on @picter_com.

We're partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #ContemporaryPhotography #MessyPhotography #FotoArsenalWien #DeutscheBörsePhotographyFoundation

The installation view and some more details of the project The Reality Check.
A series of four double-sided tapestries, exploring a dream, a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, and the challenges and expectations of a woman within the family life.

The exploration happens through return to the first memory of me dreaming about being a mother, in the game The Sims. While playing and photographing moments of the game I tried to relive the lost dream, and observe the single versus the family dynamics, the comfort of home alongside the challenges of family life, the safety that resides in it, and the danger of the delusion this safety comes with.

The uncertainty of these moments is materialised through the digital jacquard weaving with an emphasis on the clash of the dream meeting with reality. The choice to work with this technology is based on the possibility of the double sided weaving, creating a reversed image through a glitch like aesthetic.

Combining the digital game collages with the traditional technique of weaving and textile work is here clashing the story on another level. Showing the importance of the family bonds through the luxurious jacquard material, yet highlighting the fact that the danger of the unexpected is always present, even in the safest of places.

The tapestries are a result of collaboration with Karolina Tomaszewska , a professional weaving artist, who was an amazing support during the conceptual and technological part of the process, and thanks to her expertise we were able to put this complex and intangible story into this precious piece.
I also want to thank Elisa Medde @elsmdd , an exceptional tutor who guided me during the process and offered a safe space for a very personal topic, which comes with it’s own challenges. I made it thanks to you.

I remain forever fascinated by the amount of meaning the soft material can carry and grateful to all the people who helped bring this project to life. You were many 🤍

#tapestry #digitalweaving #tapestryweaving #ecal #ecalphotography #jacquardweaving #textileart

The installation view and some more details of the project The Reality Check.
A series of four double-sided tapestries, exploring a dream, a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, and the challenges and expectations of a woman within the family life.

The exploration happens through return to the first memory of me dreaming about being a mother, in the game The Sims. While playing and photographing moments of the game I tried to relive the lost dream, and observe the single versus the family dynamics, the comfort of home alongside the challenges of family life, the safety that resides in it, and the danger of the delusion this safety comes with.

The uncertainty of these moments is materialised through the digital jacquard weaving with an emphasis on the clash of the dream meeting with reality. The choice to work with this technology is based on the possibility of the double sided weaving, creating a reversed image through a glitch like aesthetic.

Combining the digital game collages with the traditional technique of weaving and textile work is here clashing the story on another level. Showing the importance of the family bonds through the luxurious jacquard material, yet highlighting the fact that the danger of the unexpected is always present, even in the safest of places.

The tapestries are a result of collaboration with Karolina Tomaszewska , a professional weaving artist, who was an amazing support during the conceptual and technological part of the process, and thanks to her expertise we were able to put this complex and intangible story into this precious piece.
I also want to thank Elisa Medde @elsmdd , an exceptional tutor who guided me during the process and offered a safe space for a very personal topic, which comes with it’s own challenges. I made it thanks to you.

I remain forever fascinated by the amount of meaning the soft material can carry and grateful to all the people who helped bring this project to life. You were many 🤍

#tapestry #digitalweaving #tapestryweaving #ecal #ecalphotography #jacquardweaving #textileart

The installation view and some more details of the project The Reality Check.
A series of four double-sided tapestries, exploring a dream, a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, and the challenges and expectations of a woman within the family life.

The exploration happens through return to the first memory of me dreaming about being a mother, in the game The Sims. While playing and photographing moments of the game I tried to relive the lost dream, and observe the single versus the family dynamics, the comfort of home alongside the challenges of family life, the safety that resides in it, and the danger of the delusion this safety comes with.

The uncertainty of these moments is materialised through the digital jacquard weaving with an emphasis on the clash of the dream meeting with reality. The choice to work with this technology is based on the possibility of the double sided weaving, creating a reversed image through a glitch like aesthetic.

Combining the digital game collages with the traditional technique of weaving and textile work is here clashing the story on another level. Showing the importance of the family bonds through the luxurious jacquard material, yet highlighting the fact that the danger of the unexpected is always present, even in the safest of places.

The tapestries are a result of collaboration with Karolina Tomaszewska , a professional weaving artist, who was an amazing support during the conceptual and technological part of the process, and thanks to her expertise we were able to put this complex and intangible story into this precious piece.
I also want to thank Elisa Medde @elsmdd , an exceptional tutor who guided me during the process and offered a safe space for a very personal topic, which comes with it’s own challenges. I made it thanks to you.

I remain forever fascinated by the amount of meaning the soft material can carry and grateful to all the people who helped bring this project to life. You were many 🤍

#tapestry #digitalweaving #tapestryweaving #ecal #ecalphotography #jacquardweaving #textileart

The installation view and some more details of the project The Reality Check.
A series of four double-sided tapestries, exploring a dream, a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, and the challenges and expectations of a woman within the family life.

The exploration happens through return to the first memory of me dreaming about being a mother, in the game The Sims. While playing and photographing moments of the game I tried to relive the lost dream, and observe the single versus the family dynamics, the comfort of home alongside the challenges of family life, the safety that resides in it, and the danger of the delusion this safety comes with.

The uncertainty of these moments is materialised through the digital jacquard weaving with an emphasis on the clash of the dream meeting with reality. The choice to work with this technology is based on the possibility of the double sided weaving, creating a reversed image through a glitch like aesthetic.

Combining the digital game collages with the traditional technique of weaving and textile work is here clashing the story on another level. Showing the importance of the family bonds through the luxurious jacquard material, yet highlighting the fact that the danger of the unexpected is always present, even in the safest of places.

The tapestries are a result of collaboration with Karolina Tomaszewska , a professional weaving artist, who was an amazing support during the conceptual and technological part of the process, and thanks to her expertise we were able to put this complex and intangible story into this precious piece.
I also want to thank Elisa Medde @elsmdd , an exceptional tutor who guided me during the process and offered a safe space for a very personal topic, which comes with it’s own challenges. I made it thanks to you.

I remain forever fascinated by the amount of meaning the soft material can carry and grateful to all the people who helped bring this project to life. You were many 🤍

#tapestry #digitalweaving #tapestryweaving #ecal #ecalphotography #jacquardweaving #textileart

The installation view and some more details of the project The Reality Check.
A series of four double-sided tapestries, exploring a dream, a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, and the challenges and expectations of a woman within the family life.

The exploration happens through return to the first memory of me dreaming about being a mother, in the game The Sims. While playing and photographing moments of the game I tried to relive the lost dream, and observe the single versus the family dynamics, the comfort of home alongside the challenges of family life, the safety that resides in it, and the danger of the delusion this safety comes with.

The uncertainty of these moments is materialised through the digital jacquard weaving with an emphasis on the clash of the dream meeting with reality. The choice to work with this technology is based on the possibility of the double sided weaving, creating a reversed image through a glitch like aesthetic.

Combining the digital game collages with the traditional technique of weaving and textile work is here clashing the story on another level. Showing the importance of the family bonds through the luxurious jacquard material, yet highlighting the fact that the danger of the unexpected is always present, even in the safest of places.

The tapestries are a result of collaboration with Karolina Tomaszewska , a professional weaving artist, who was an amazing support during the conceptual and technological part of the process, and thanks to her expertise we were able to put this complex and intangible story into this precious piece.
I also want to thank Elisa Medde @elsmdd , an exceptional tutor who guided me during the process and offered a safe space for a very personal topic, which comes with it’s own challenges. I made it thanks to you.

I remain forever fascinated by the amount of meaning the soft material can carry and grateful to all the people who helped bring this project to life. You were many 🤍

#tapestry #digitalweaving #tapestryweaving #ecal #ecalphotography #jacquardweaving #textileart

This one mysterious project, carrying so much personal meaning, stories woven thread by thread into a tapestry of a dream which in the end never manifested in reality, but now exists as a longlasting and precious artifact.

A dream can be a vision, or a distraction. It can make you act and grow, or disconnect you from yourself for years. The more beautiful and longlasting the dream, the harder the crash after the dellusion wears off.

The Reality Check, a series of four double-sided tapestries, exploring a dream or a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, the challenges, the position and expectations of a young woman within the family life.

Forever grateful for the collaboration to Karolina Tomaszewska, professional weaving artist who shared her expertise in the digital weaving technology.
And huge thanks to Elisa Medde, for her support, trust, the safe space and guidance on such a personal project.
Working with sensitive professionals who care and understand to this extent is something truly special 🤍

Read more about the story and details about the concept, and the technology in the next post. One would not be enough to contain the complexity of it. But believe me it is an exciting one!

#tapestry #digitalweaving #jacquardweaving #motherhood #ecal #ecalphotography #textileart

This one mysterious project, carrying so much personal meaning, stories woven thread by thread into a tapestry of a dream which in the end never manifested in reality, but now exists as a longlasting and precious artifact.

A dream can be a vision, or a distraction. It can make you act and grow, or disconnect you from yourself for years. The more beautiful and longlasting the dream, the harder the crash after the dellusion wears off.

The Reality Check, a series of four double-sided tapestries, exploring a dream or a wish to be a mother at a young age, the origins of it, social conditioning around it versus the reality, the challenges, the position and expectations of a young woman within the family life.

Forever grateful for the collaboration to Karolina Tomaszewska, professional weaving artist who shared her expertise in the digital weaving technology.
And huge thanks to Elisa Medde, for her support, trust, the safe space and guidance on such a personal project.
Working with sensitive professionals who care and understand to this extent is something truly special 🤍

Read more about the story and details about the concept, and the technology in the next post. One would not be enough to contain the complexity of it. But believe me it is an exciting one!

#tapestry #digitalweaving #jacquardweaving #motherhood #ecal #ecalphotography #textileart

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

Having my work featured in FOAM @foam_magazine is certainly one of my personal highlights from 2024!

As we are more and more used to seeing images produced by AI or directly interacting with it in the everyday, the more challenging it was to develop a work in collaboration with it, without using it in the way it is “programmed” to be used.

Find a little sneak peek into the work and many lovely memories of me and my friends, unexpectedly finding the magazine around bookshops in Athens, Prague, Lausanne, Paris or Bratislava.

Having my project shown among the projects of the most inspiring and leading artists working with AI?! This would not have been possible without the guidance of Marco De Mutiis, and his support in exploring the unknown. And Milo Keller who included my project in the selection.
So grateful for this opportunity!

How excited I was, waiting for the day I will be able to show you my past months work. Finally breaking the quiet with a few shots I did at ON.
Crazy to be back on track, and especially with this collab!

How excited I was, waiting for the day I will be able to show you my past months work. Finally breaking the quiet with a few shots I did at ON.
Crazy to be back on track, and especially with this collab!

How excited I was, waiting for the day I will be able to show you my past months work. Finally breaking the quiet with a few shots I did at ON.
Crazy to be back on track, and especially with this collab!

How excited I was, waiting for the day I will be able to show you my past months work. Finally breaking the quiet with a few shots I did at ON.
Crazy to be back on track, and especially with this collab!

How excited I was, waiting for the day I will be able to show you my past months work. Finally breaking the quiet with a few shots I did at ON.
Crazy to be back on track, and especially with this collab!

𝐢’𝐯𝐞 𝐥𝐨𝐬𝐭 𝐞𝐯𝐞𝐫𝐲 𝐩𝐡𝐨𝐭𝐨 𝐭𝐡𝐚𝐭 𝐢 𝐭𝐨𝐨𝐤 𝐬𝐢𝐧𝐜𝐞 𝟐𝟎𝟏𝟐

𝐰𝐡𝐚𝐭: pop-up show, music, feast
𝐰𝐡𝐞𝐧: friday 13th of december, 18h - 00h
𝐰𝐡𝐞𝐫𝐞: sébeillon, rue de Genève 103,Lausanne 1004
𝐰𝐡𝐨: Zuzana Baková @suzanet_bakova , Iulia Bucureșteanu @iuliabucurezteanu , Noah Ismael Wyss @noahwyss , Nina Pacherová @ninapacherova

r͟/͟A͟r͟c͟h͟i͟v͟e͟I͟n͟s͟t͟a͟
͟b͟_͟m͟u͟s͟i͟n͟g͟_͟l͟
I have hward the news about it recently... And I am so damn terrified that the internet, especially the Internet Archive and online libraries, could be innedvertedly ruined by this... Is there anything I can do to help in some way? I don’t wanna see the Library of Alexandrea burn again... This has been keeping me up all night with panic and worry

r͟/͟S͟i͟m͟u͟l͟a͟t͟i͟o͟n͟T͟h͟e͟o͟r͟y͟
N͟o͟-͟E͟x͟p͟r͟e͟s͟s͟i͟o͟n͟-͟3͟9͟9͟
I grew up during the late 90s - 2000s and during this time I paid close attention to the world around me. However, I saw a huge shift during the time of late 2012 and ever since it has not felt the same in any shape or form.
I’ve heard the maian calendar ended and the possibility CERN and that this is related

r͟/͟A͟r͟c͟h͟i͟v͟e͟I͟n͟s͟t͟a͟
b͟_͟m͟u͟s͟i͟n͟g͟_͟l͟
I have searched this sub and realised some people have encountered this similar problem. In short, have anyone else’s stories begun to disappear in the archive according to the chronological order recently?

Design by Rebekka Hausmann @rebekkahausmann
Sound by i’m just a girl
Curated by Zuzana Baková

This is a lumen print of a human placenta. It dates back to 2022, when I attended birth for the first time in my life. What triggered my urge to share this image is not the happiest story. A questionable business with cord blood of newborns was uncovered in Slovakia recently.
*informative part of the text in the comments*

But I wanted to speak about other aspect of this topic, which is the disgust we feel, seeing organs, blood, birth related things, and generally things reduced to their most basic forms. I recently cut my hair really short. And instantly understood it triggers people. Yet for me, it was a moment of becoming closer to myself. Feeling myself from a point I could never access before. I was thinking about versions of ourselves, and how we are hiding some, for people mostly only want one of all the ones we can be. And also how distant we are from ourselves. From the core of our being and of other people, too. Connecting through completely different channels than real connection truly comes from.

A moment I truly felt connected to another was the moment when I was about to touch the placenta in this image. I waited, thanked, and gently lifted the organ with my bare hands. Then put it on the sheet of paper and waited for the light to multiply it. Thinking back, I am still in awe of this moment. Of the connection. To a baby, a mother, a family. Simply of one to another. I have never felt so close to another being as in that moment, holding the organ nourishing the human life.
And that is why I am sharing this image with you.

I am happy I did not scream in rage when the drama was uncovered, and post this image alongside an angry text.
Now I can speak to you with a positive message of nourishing connection, making it grow, or trying to build it. I believe the business would not be possible, had the people executing it, would feel the true connection humans are able to feel. I am also not apologizing to the triggered ones, because this is not an image to be offended or disgusted by.

I hope it inspires curiosity to see what is at the core of the others around you. See what makes them come to life, who they are, and how can we get closer to them?