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Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Jetzt ist nichts mehr möglich (2025)

The triptych „Jetzt ist nichts mehr möglich“ references the final sentence of Pier Paolo Pasolini’s Medea (1969) — a moment in which meaning and order collapse in a world that has systematically excluded Medea.

The work negotiates three dimensions of violence: the violence women inflict upon themselves, the violence they commit against others, and the violence inflicted upon them. These layers reflect Medea’s ambivalence: as victim and perpetrator, as outsider and acting protagonist at once. Violence appears not as an exception, but as a structuring force within a social order that regulates and marginalizes femininity.
Fragments of bodies, materials, and symbols are detached from their original contexts and reassembled. Between vulnerability and resistance, identity shifts beyond moral and societal attributions. Medea’s act does not mark an ending here, but a radical transformation, a point at which collapse becomes a threshold.

The work was presented as part of MEDEA – A FEATURE, on view from January 30 to February 1, 2026 at @thecloudstudio.munich . Curated by @monashatry and @malinvictoriakraus , the exhibition approached the myth of Medea not as a distant narrative, but as a lens for the present. Through the intertwining of personal narratives, journalistic research, and photographic practices, it examined how ideals of romantic love and motherhood continue to be shaped by patriarchal scripts and how women navigate the tension between individual longing and collective expectation.

I was honored to exhibit alongside the wonderful artists @annapentzlin , @sandsack.fotografie & Melinka Karrer, @janamargareteschuler and @annikaweertz .

photos 1, 6, 7, 8, 9, 10, 13, 16, 17 by @linda_gschwntnr
5, 11 by @therry.em
18 by @sandsack.fotografie

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

Exhibition COMMON GROUND
Bahnwärter Thiel, Munich
June 5 – 27, 2025

The series ALMA MATER is an ongoing photographic body of work that explores diversity and representation in the context of female aging.

In contemporary society, older individuals, especially those read as female, are frequently marginalized: overlooked, romanticized, or reduced to one-dimensional, stereotypical roles. They do not conform to the dominant ideal of beauty, which glorifies, even fetishizes, youth, and are often pushed to the margins of public discourse or rendered entirely invisible.

The series moves between staged visual language and documentary immediacy. It invites critical reflection, challenges the habitual gaze, and disrupts conventional notions of what aging is supposed to look like.

The title ALMA MATER—derived from Latin and originally used as an honorific term for universities—refers to places of intellectual nourishment, education, and human formation. I deliberately reclaim this term and transfer it to women whose life experience, wisdom, and presence are formative and inspiring. Here, ALMA MATER stands symbolically for female strength, the dignity of age, lived diversity, and the essential societal relevance of older women, who all too often remain unseen or forgotten.

Thank you to my powerful protagonist for being part of ALMA MATER @kostjanix

The exhibition Common Ground presents works by 20 photographers from the @femalephotoclub Munich. Through large-format prints they explore and interpret social issues from diverse perspectives.

Curated by Birthe Steinbeck (Art Director, Süddeutsche Zeitung Magazin)

3rd picture by @lily.alssen

So happy to show you my first printed photo book titled VERTIGO, which I made for my bachelor thesis. ✨️🍾

VERTIGO thematizes the subjective perception of vertigo and balance disorders and contrasts associative, lyrical photographs with an observatinal view of strange-seeming medical examination methods.

Let me know if you're interested in getting a copy.
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#photobook #fineartphotography #fineart #35mm #120mm #mamiyarb67 #contemporaryphotography #documentaryphotography #analog #vertigo #dizziness #schwindel #artphotography #artbook #photobookjousting #photobooks

So happy to show you my first printed photo book titled VERTIGO, which I made for my bachelor thesis. ✨️🍾

VERTIGO thematizes the subjective perception of vertigo and balance disorders and contrasts associative, lyrical photographs with an observatinal view of strange-seeming medical examination methods.

Let me know if you're interested in getting a copy.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#photobook #fineartphotography #fineart #35mm #120mm #mamiyarb67 #contemporaryphotography #documentaryphotography #analog #vertigo #dizziness #schwindel #artphotography #artbook #photobookjousting #photobooks

So happy to show you my first printed photo book titled VERTIGO, which I made for my bachelor thesis. ✨️🍾

VERTIGO thematizes the subjective perception of vertigo and balance disorders and contrasts associative, lyrical photographs with an observatinal view of strange-seeming medical examination methods.

Let me know if you're interested in getting a copy.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#photobook #fineartphotography #fineart #35mm #120mm #mamiyarb67 #contemporaryphotography #documentaryphotography #analog #vertigo #dizziness #schwindel #artphotography #artbook #photobookjousting #photobooks

So happy to show you my first printed photo book titled VERTIGO, which I made for my bachelor thesis. ✨️🍾

VERTIGO thematizes the subjective perception of vertigo and balance disorders and contrasts associative, lyrical photographs with an observatinal view of strange-seeming medical examination methods.

Let me know if you're interested in getting a copy.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
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#photobook #fineartphotography #fineart #35mm #120mm #mamiyarb67 #contemporaryphotography #documentaryphotography #analog #vertigo #dizziness #schwindel #artphotography #artbook #photobookjousting #photobooks

Andrea and Pipo 🌙 @kostjanix

Actor @janekmaudrich

Actor @janekmaudrich

Red shoes and green leaves @emma.benke

Red shoes and green leaves @emma.benke

Red shoes and green leaves @emma.benke

Red shoes and green leaves @emma.benke

Red shoes and green leaves @emma.benke

Red shoes and green leaves @emma.benke

Red shoes @emma.benke

Red shoes @emma.benke

Red shoes @emma.benke

Red shoes @emma.benke

Red shoes @emma.benke

Red shoes @emma.benke

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

Actress, lawyer and friend @sophia__schober 🌪️ and the crow

🌬️

Actor @janekmaudrich on a sunny afternoon

Actor @janekmaudrich on a sunny afternoon

Actor @janekmaudrich on a sunny afternoon

Actor @janekmaudrich on a sunny afternoon

Actor @janekmaudrich on a sunny afternoon

Actor @janekmaudrich on a sunny afternoon

MEDEA - EIN FEATURE
Gruppenausstellung mit Marlene Mauer @pauermauer Anna Pentzlin @annapentzlin Annika Weertz @annikaweertzNatalie Stanczak @sandsack.fotografieMona Shatry @monashatry

Was bedeutet es, heute MEDEA zu sein? Wo kollidieren radikale Liebe, Mutterschaft und Gewalt mit gesellschaftlichen Regeln– und wie spiegeln sich diese Konflikte in unserem Leben wider? MEDEA – ein Feature erkundet diese Fragen künstlerisch anhand serieller dramaturgischer Prinzipien.

Drei Tage, drei Vernissagen, jeweils von 18:30–23 Uhr:

30. Januar 2026 (Annika Weertz und Malin Victoria Kraus zu romantischer Liebe)
31. Januar 2026 (Marlene Mauer, Natalie Stanczack und Melinka Karrer zu Gewalt)
1.Februar 2026 (Jana Margarete Schuler und Anna Pentzlin zu Mutterschaft)

Kuratiert und konzipiert von Malin Victoria Kraus und Mona Shatry.

Ort: The Cloud Studio c/o Zirka Studio
Dachauer Str. 110 C
80636 München

MEDEA - EIN FEATURE
Gruppenausstellung mit Marlene Mauer @pauermauer Anna Pentzlin @annapentzlin Annika Weertz @annikaweertzNatalie Stanczak @sandsack.fotografieMona Shatry @monashatry

Was bedeutet es, heute MEDEA zu sein? Wo kollidieren radikale Liebe, Mutterschaft und Gewalt mit gesellschaftlichen Regeln– und wie spiegeln sich diese Konflikte in unserem Leben wider? MEDEA – ein Feature erkundet diese Fragen künstlerisch anhand serieller dramaturgischer Prinzipien.

Drei Tage, drei Vernissagen, jeweils von 18:30–23 Uhr:

30. Januar 2026 (Annika Weertz und Malin Victoria Kraus zu romantischer Liebe)
31. Januar 2026 (Marlene Mauer, Natalie Stanczack und Melinka Karrer zu Gewalt)
1.Februar 2026 (Jana Margarete Schuler und Anna Pentzlin zu Mutterschaft)

Kuratiert und konzipiert von Malin Victoria Kraus und Mona Shatry.

Ort: The Cloud Studio c/o Zirka Studio
Dachauer Str. 110 C
80636 München