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aubrey theobald

@aubstheebs

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Artist 🕯️🦪 Berlin, Ohio, etc.,
www.aubreytheobald.com
@phantom__pfortnerhaus Chapter 3, 05.09

POSTS STORIES REELS TAGGED

<< Touch, Spring / Berührung, Frühling >> on view at @scopebln

“Through locational specificity and ritual, Theobald creates an architecture of feeling where infrastructure supports delicate wisps of meaning between the anguish and romance found in a season of waiting. Delicate, Berlin-specific interventions of rule govern our navigation through found (zum Verschenken) materials and deteriorating, hyper-sentimentalized fragments of the artist’s romanticized daily life. Theobald takes on a season of ritual where the immediate environment becomes a mirror to our intrapersonal life.”

The exhibition runs through January 27th.,
Gallery hours are Fri & Sat, 14-16hr. For private appointments, reach out to aubstheebs@me.com

Join us for an exhibition walk through this Friday at 6pm, coupled with @dustofthecitys book launch: Cinephilia and the Adventure for Existential Health: Recomposing Subjectivity at the Cinema (Northwestern University Press, 2025) from 7:30 onward. taken in Berlin, Deutschland by @aubstheebs

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9 months ago

Reintroducing myself with an inappropriately high word count (as always), including some favorite installations that still keep my practice in check today.

I do things like this when change is coming, or something ends, idk. by @aubstheebs

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Revealing my obsessive patterns, art crush fever dreams, and fiddling with my rings while @smithinio & @backhaus_projects teased my brain for their April Feature.

You Left This / Geh Nicht opens this week at Backhaus Projects, Neukölln. Vernissage is this Thursday, 17.4, 19:00-21:00.

Read the full interview here: https://www.backhausprojects.com/spotlight

🕯️🕯️🕯️🕸️🕸️🕸️✨✨✨🕊️🕊️🗡️🗡️🗡️🗡️💌💌💌💌🌀🌀🌀🌀🌀🌀

(Beautiful images via Ash Smith) taken in Backhaus Projects by @aubstheebs

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2 years ago

Cincinnati — Perch (2026) is included in this year’s FotoFocus Biennial, The Long View. The exhibition “Long Exposure” runs from Sep 13-Nov 25th at The Dorothy W. and C. Lawson Reed, Jr. Gallery at the University of Cincinnati’s College of Design, Architecture, Art, and Planning.

🕊️🧄🦜🎀🦢🌀
Reception: THURSDAY, October 22nd 5-7pm

“Long Exposure surveys the breadth and vitality of contemporary lens-based practice by alumni of the University of Cincinnati’s College of Design, Architecture, Art, and Planning.”

Sweet show with some banging alumni of my sweet undergraduate program —

Mark Albain, Anjali Alm-Basu, Gabrielle Barrera, Emmaline Carter, Tyler Chumney, Annie Concannon, Lauren Darpel, Addie Eichbauer, Laura Fisher, Grant Gill, Peiter Griga, Mallory Henman, Robert Hein, Justin Hodges, Ellis Johnson, Luke Kindle, Sarah Knobel, Grant Lawler, Jesse Ly, Alex Macon, Wyatt Niehaus, Frankie Park, Rachel Rampleman, Jacob Riddle, Danielle Schuster, Vidushi Shrivastava, Sheida Soleimani, Fazilat Soukhakian, Aubrey Theobald, Ivo Vretenarov, Casey James Wilson, and Katie Brenner Wolf

Curated by Jane Alden Stevens, Jordan Tate, John-David Richardson, and Kate Bonansinga by @aubstheebs

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6 days ago

Chapter Three at Phantom Pförtnerhaus [@phantom__pfortnerhaus ] / Berlin, Germany

With:
Aubrey Theobald [@aubstheebs] Kristina Popov [@kristina__popov ]

Curated by:
Iana Pitenko [@according_to_iana]

05.09.2026- 26.09.2026

photo credits: Chroma Studio Berlin [@chroma.studioberlin] Aubrey Theobald [@aubstheebs]

#dailylazysubmission
#dailylazy
#aubreytheobald #kristinapopov by @aubstheebs

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Most recent show …

Always a pleasure to see a show through the eyes of @chroma.studioberlin

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A triptych of paving bricks, sourced from the patio of the abandoned gatekeeper’s lodge, holds an image transfer of discarded materials from the cemetery’s Pflanzenabfälle bin (a dedicated vessel to recycle dried grieving flowers). A varied edition of fibreglass-encased grave rubbings depicts objective phrases of sentimentality that are repeated most often throughout the surrounding plots. Three resin spells containing garlic, rosemary, and discarded grieving flowers melt down the wall of an architectural niche.
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Phantom Pförtnerhaus (@phantom__pfortnerhaus )
05.09.2026-26.09.2026
Artists: Aubrey Theobald (@aubstheebs ) & Kristina Popov (@kristina__popov )
Curator: Iana Pitenko (@according_to_iana )
Images: Chroma Studio Berlin (@chroma.studioberlin taken in Berlin, Germany by @aubstheebs

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10 days ago

Last week with the Georgen-Parochial Friedhof II </3

Finissage on 26.09 from 15:00-18:00.

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A varied edition of fiberglass encased grave rubbings on paper depict objective verbs of sentimentality that are most repeated throughout the surrounding graves. The rubbings are installed with rosemary wax encased florals, exclusively sourced from the cemetery’s Pflanzen-Abfälle bin (a dedicated vessel to recycle dried grieving flowers).

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I have been struck by cycles of maintenance at the cemeteries throughout Berlin since relocating here. The Georgen Parochial Friedhof II is heavily frequented by grievers and active funeral services. In preparing this exhibition I spent most days watching these cycles play out and negotiating how to honor them through the work — observed, repeated, encased, made permanent.

🪳🥀🧹

These pressings were made at first from time with my dearest @kaitlin.art.staggs while we walked the cemetery with @jessely.

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Phantom Pförtnerhaus
Chapter III with Aubrey Theobald (@aubstheebs) and Kristina Popov (@kristina__popov)
Curator: Iana Pitenko (@according_to_iana)

Xx. taken in Georgen-Parochial-Friedhof 2 by @aubstheebs

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Draußen at Phantom Pförtnerhaus.,

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Found: pipe fragment, peony., rosemary wax, film photo, zip tie, heat

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The first delicate note made in this site-responsive body of work engaged with a pipe fragment that was missing from the site‘s exterior structure. The peonies from the cemetery’s Pflanzen-Abfälle bin mirrored an existing bundle of insulation and missing fragment. It hangs from an existing hole in the wall.

The paving bricks from outside the gatekeeper’s lodge were used as surfaces for touch, transfer, and encasing.

Curated by Iana Pitenko @according_to_iana

🎀🥀🧄🔪

DM @phantom__pfortnerhaus to view.

Finissage on 26.09.

Till then., taken in Georgen-Parochial-Friedhof 2 by @aubstheebs

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a month ago

New spells just dropped. DM @phantom__pfortnerhaus to view. Finissage on 26.09.

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Three fiberglass lacquered garlic skins hang at the entrance of the Pförtnerhaus, paired with Kristina Popov’s negative of a worn Jesus with bullet holes, taken from a tomb in the cemetery.

Resting on the window sill is a Portland Cement & fiberglass cast of dried flora (encased & resting on) sourced ritualistically from the cemetery’s Pflanzen-Abfälle bin.

🎀🧄🪳 by @aubstheebs

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Thank you to everyone who joined us at the opening of Chapter III at Phantom Pförtnerhaus.

This iteration on Iana Pitenko’s (@according_to_iana ) project space on phantoms featured new works by myself and Kristina Popov (@kristina__popov ) responding to the Georgen-Parochial Friedhof II through our own practices; our engagements falling into affectual garden of maintenance rituals, fleeting material presences (captured and fragmented), and reckonings with the context of the abandoned gatekeeper’s lodge.

My works began with discarded grieving materials, exclusively sourced from the cemetery’s Pflanzen-Abfälle bin, grounded by image transfers on paving bricks from the historic Pförtnerhaus’ patio.

More later xxx.

DM @phantom__pfortnerhaus to view. Finissage on 26.09 taken in Georgen-Parochial-Friedhof 2 by @aubstheebs

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Save the date!
Opening September 5 Saturday 15:00-19:00

Location:
Georgen-Parochial-Friedhof 2
Friedenstrße 80
10249 Berlin-Friedrichshain
‼️Cemetery Entrance:
The corner of Friedenstr./Weidenweg‼️

Introducing artists of Phantom Pförtnerhaus Chapter 3:

Aubrey Theobald is an interdisciplinary installation artist and sculptor based between Berlin and Ohio. Her work engages everyday materials and objects in sensorial installations that map emotional life through site-specific ritual, obsessive process, and the politics of the overlooked.

Theobald’s research is grounded in a longstanding pursuit on «Locational Empathy,» the mimetic process of learning about the subtleties of place through prolonged attention and awareness. Within her sensorial installations, Theobald offers insight into her ongoing investigations of intimacy, banality, and the architecture of feeling in the form of large scale, accumulative sculpture.

@aubstheebs

curated by Iana Pitenko @according_to_iana taken in Georgen-Parochial-Friedhof 2 by @aubstheebs

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September 5 3-7 pm opening of the Chapter 3

This chapter approaches the cemetery as “a garden against time,” echoing the title of Olivia Laing’s book, and as an affective archive: a place where ritual, nature, memory, and everyday gestures accumulate. As Laing writes, a garden can serve as “a time capsule as well as a portal out of time”, where different temporalities coexist through cycles of growth, decay, preservation, and renewal.

Rather than a passive repository of history, the cemetery becomes a record of visceral, intimate lived experience. Floral tributes placed on graves and later discarded carry the passage of time : photographs of loved ones fade, inscriptions weather, and plants grow through untended gravestones. Each grave marks a private garden plot within a larger landscape, where intimate stories and collective histories remain in conversation. Barely visible bullet holes endure as a quiet reminder of WWII, inscribed into the surroundings alongside dried bouquets that once marked acts of commemoration and now carry grief, tension, and remembrance.

Kathleen Stewart describes ordinary affects as “things that happen in impulses, sensations, expectations, daydreams, encounters, and habits of relating.” The chapter turns toward this scattered and seemingly insignificant moments that often escape attention. Within them, phantoms emerge as lingering forms through which what has passed continues to resonate in the present.

Here, Aubrey Theobald and Kristina Popov explore the cemetery environment through their own artistic practices, attuning themselves to its subtle resonances and ordinary affects. Working with found objects, field recordings, experimental photographic processes, and sensory installation, they attend to the site’s affective details and fragments, giving form to ephemeral presences. Bringing these into dialogue with the Pförtnerhaus—itself layered with histories of use, destruction, reconstruction, and change—the exhibition considers the cemetery as a living environment where history persists in the ordinary: in matter, nature, atmosphere, memory, and affect.

@aubstheebs @kristina__popov

Curated by Iana Pitenk taken in Georgen-Parochial-Friedhof 2 by @aubstheebs

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