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Artist and exhibition founder. Creator of @himmelunterberlin @lostartfestival and @thedarkroomsexhibition

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DEVIATION by @studiosvensauer

The installation spreads out across the room as a carpet of glass fragments.
Woven from shards collected from all over the world.
In our society, broken glass symbolizes something ominous.
Broken windows precede earthquakes. Shards are broken during riots when anger thunders against shop windows. And there is glass that is deliberately broken to stop people. Shards of glass on the tops of walls. Sharp-edged borders.

If we look at our world today, there seem to be shards everywhere.
On closer inspection, we humans don’t usually come off well.
But are we really as dark as we perceive ourselves to be?

Studies and eyewitness accounts from recent decades paint a very different picture of humanity.
The installation is based on texts by historian @rutgerbregman .
The data shows that in times of great hopelessness, people always moved closer together. The willingness to help grew.
Since the negative is louder, this is often taken as a general truth. But in times of need, the exact opposite happens.
The installation addresses the misconception that people fall into barbarism in a state of emergency.

Sven Sauer works with the stories and data from the studies in his installation.
The shards are processed in such a way that from a certain angle, a light is created that is divided a hundredfold.

Artwork „DEVIATION“ BY:
@studiosvensauer

TRAIN MODIFICATION:
@helldorfer_engineering

ELECTRONICS:
LUKAS ESSER

CREATIVE CODING:
@studiomarkusgraf

PRODUCTION:
@nsevvalg
@martinhussain

MUSIC:
theatre_of_delays

TEXT AND STUDIES BY:
@rutgerbregman

CLIPS:
@frank_sauer

Exhibition:
@thedarkroomsexhibition

#new_media_art
#deviation #Installationart #lightartist #lightart #studiosvensauer # by @studiosvensauer

@visualatelier8 presents DEVIATION by @studiosvensauer

The installation stretches across the room like a carpet of glass fragments, woven from shards collected worldwide. Broken glass often feels ominous: shattered windows before earthquakes, shards from riots, or jagged borders meant to keep people out. Today, it can seem as though shards are everywhere, and humanity doesn’t always appear in the best light.

Based on texts by historian @RutgerBregman, DEVIATION reveals another truth: in times of crisis, people tend to move closer together, and acts of kindness grow. Negativity may be louder, but history shows cooperation prevails. From certain angles, the processed shards catch light and divide it a hundredfold, turning fragments of destruction into reflections of hope.

Artwork: @studiosvensauer Train Modification: @helldorfer_engineering Electronics: Lukas Esser Creative Coding: @studiomarkusgraf Production: @nsevvalg martinhussain Music: theatre_of_delays Text & Studies: @RutgerBregman Clips: @frank_sauer Exhibition: @thedarkroomsexhibition by @studiosvensauer

THE GIFT
by KON

There is a story that haunts German families: a child whose father had fallen at the front in the Second World War was given a sled by Hitler as compensation.*

The artist spent a year collecting the sleds in this room, from all over the country, from cellars, barns and estates. According to their owners, all of them date from between 1940 and 1943. What you see here is old wood from another time. That alone is more than enough, as you are about to discover.

Go on, sit down. We’ve saved you a seat on the old sleds. There’s a free cookie.

In the 1980s, the psychologist Paul Rozin investigated a phenomenon: he asked test subjects whether they would wear a sweater in exchange for payment. Shortly before they were to put it on, they were told that it had once belonged to Adolf Hitler. The result: most of them said no.

Rozin discovered that our sense of disgust does not distinguish between physical and moral impurity, and that it works in a deeply irrational way. He called this phenomenon the „contagion heuristic“ or the „law of contagion“. It describes the belief that a person’s „essence“ is transferred to objects through touch. An effect that cannot be neutralized by washing, by time or by reason.

What sounds curious is something we encounter in everyday life more often than we think: footballs used to score World Cup goals. Celebrity auctions of objects a star has touched. Organ transplants. The clothes of the deceased, or houses with a past: would we move into an apartment where someone had once been murdered?

With the sweater, we fear that Hitler’s evil „essence“ will pass on to us through contact.

Sit down. The cookie is waiting for you.

*The story of Hitler’s sleds is disputed. Many contemporary witnesses confirm it, just as many historians consider it a myth. For the „law of contagion“, this is irrelevant: whether the contact actually took place or is merely claimed makes no difference to the effect.

Clips by @frank_sauer

#KON #HIMMELUNTERBERLIN

This installation is part of @himmelunterberlin

The exhibition has been extended until November 15, with a closing weekend on November 14 and 15. by @studiosvensauer

1200 Glasscherben. Ein Licht. Eine starke Botschaft. 👀✨

Wie entsteht eigentlich ein Kunstwerk aus 1200 einzelnen Glasscherben? @studiosvensauer nimmt euch mit hinter die Kulissen und zeigt, wie er seine Installation «Deviation» zum Leben erweckt. 💫 Und schon bald steht diese auch bei uns im Zauberpark.

🎫 Jetzt Tickets sichern unter zauberpark.ch

#Zauberpark #LightArt #Lichtkunst #Winterfestival #Festival by @studiosvensauer

END USER
by @studiosvensauer & @schnellebuntebilder

The clock displays in real time how many human jobs around the world are being replaced by AI right now.

Fear is a silent autopilot in all of us. What do fears look like in times like these? Where do they come from, and how do they reshape our everyday lives without us noticing?

A new form of fear took hold in 2023, when AI suddenly became visible. A US Senate report predicts that almost 100 million US jobs could disappear within the next ten years. Nvidia CEO Jensen Huang declared that every profession would be affected. Anthropic CEO Dario Amodei put it this way: AI is not a replacement for individual tasks, but a “general substitute for human labor”.

Dissenting voices barely make it through the noise: Nobel laureate in economics Philippe Aghion and his team paint a far less bleak picture. AI will change the world fundamentally. But there is no solid data showing that hundreds of millions of jobs will disappear. Just as the computer did not destroy millions of jobs.

So who benefits? Suresh Naidu of Columbia University: to justify a stock market valuation in the hundreds of billions, it is enough to create the impression that you own something capable of “devouring all the work on this planet”. Huang adds: “You’re not going to lose your job to AI, but to someone who uses it.” That is not reassurance. It is a threat with a built-in solution.

This is known as “substitution positioning”: AI companies deliberately use our fear of being replaced as a marketing tool.

In May of this year, Sam Altman admitted that he had been wrong. He had expected far more jobs to disappear. So why doesn’t the fear go away?

The companies investing billions in AI also control our communication channels: Instagram, YouTube, X, LinkedIn. Tech companies benefit when the topic stays dramatic.

The figures on the clock are based on calculations by Claude and ChatGPT.

Clips by @frank_sauer

#SCHNELLEBUNTEBILDER #STUDIOSVENSAUER #HIMMELUNTERBERLIN

This installation is part of @himmelunterberlin

The exhibition has been extended until November 15, with a closing weekend on November 14 and 15. by @studiosvensauer

30.000 Löcher. Ein Kleiderschrank. Und ein ziemlich faszinierendes Erlebnis ✨ Ich war gerade bei Himmel unter Berlin Vol. III und bin noch immer begeistert.

Nicht nur von der Kunst, sondern auch von allem drumherum. Schon der Ort ist wieder ein Erlebnis für sich. Wo genau sich die Ausstellung befindet? Bleibt ein Geheimnis. Und ich finde, genau das macht einen Teil des Reizes aus.

Auch diesmal führt der Weg durch einen Kleiderschrank in die eigentliche Ausstellung. Wie in einer anderen Welt. Alles ist mit so viel Liebe zum Detail gestaltet, dass schon der Weg zur Kunst Teil des Erlebnisses wird.

Gleich der erste Raum hat mich als Fotografen besonders fasziniert. Der japanische Künstler Yasuhiro Chida hat dort etwas geschaffen, das mit Licht, Schatten und unserer Wahrnehmung spielt.
Dafür hat er sage und schreibe 30.000 Löcher geschaffen. Das nenne ich mal Einsatz! 😁

Was genau euch dort erwartet, möchte ich gar nicht verraten. Nur einen kleinen Hinweis gebe ich euch: Das Phänomen dahinter nennt sich Brockengespenst. 😉

Für mich war es wieder eine wunderbare Mischung aus Staunen, Entdecken und dem Gefühl, für eine Weile in eine ganz andere Welt einzutauchen.

Ich liebe solche Orte. Und Menschen, die mit ihren Ideen etwas schaffen, das uns die Welt für einen Moment mit anderen Augen sehen lässt.

@himmelunterberlin

@media.tribe
@chidayasuhiro
@andreaslutzz
@guillaume_marmin
@santissimi by @studiosvensauer

$‘Deviation’ by @studiosvensauer Sven Sauer’s official trading card, ‘Deviation’, features in the inaugural @contemporary100 [Trading Cards] release, out now. ‘Deviation’ [2025] is an immersive installation constructed from broken glass collected around the world. Spanning 7 × 8 meters, the work transforms thousands of glass fragments into a luminous landscape, with a model train moving through the installation. As light passes through the processed shards, it is refracted and divided hundreds of times, creating shifting patterns of color and reflection. Inspired by the writings of historian Rutger Bregman, Sauer uses glass, a material associated with destruction and danger, to explore the cooperation, compassion, and resilience that emerge during times of crisis. @studiosvensauer’s trading card is randomly inserted throughout the release, with Foil Parallel variations and the chance to discover a signed 1-of-1. Available in randomized 10-card packs via the link in bio. by @studiosvensauer$

It took three years of searching for a location for Himmel unter Berlin. Now the exhibition returns to the cellar network of an abandoned engine factory.

Tickets went live 24 hours ago. Already half sold out.

Imagine yourself in a red bar. Atmospheric music surrounds you, a drink is handed to you. A person leads you to an old cabinet. Inside: a hidden door.
Behind it begins a journey into the foundation of the city. Deep into the minds of artists who guide you through a dark labyrinth.

Berlin was once a promise that smelled of old industrial buildings, basements, and dark machine halls. Heaven Beneath Berlin brings this back. A web of vaulted cellars. Something between an exhibition and an underground gathering, like Berlin in the ‚90s. Raw, cold, improvised. The charm of imperfection.

Artists:
@codact.ch
@media.tribe
@collectifcoin
@chidayasuhiro
@martin___messier___
@theklongs
@studiosvensauer
@andreaslutzz
@guillaume_marmin
@santissimi
@verena.bachl
@karstenschuhl
@schnellebuntebilder

—————
Tickets in bio
-—————

Music by: Ardie Son - Infinite Circles
Filmed by: @frank_sauer

#himmelunterberlin #berlinunderground #abandonedberlin #lostplacesberlin by @studiosvensauer

The first exploration. Our camera takes you into the darkness.
Flashlight in hand. Narrow passages, tight, winding. The new secret location is a network of cellars connected underground. It feels like a giant maze.
See for yourselves.

Die erste Erkundung. Unsere Kamera nimmt Euch mit in die Dunkelheit.
Taschenlampe in der Hand. Schmale Gänge, eng, verwinkelt. Die neue secret location sind mehrere Keller, die sich unterirdisch miteinander verbinden. Es fühlt sich an wie ein riesiger Irrgarten.
Schaut selbst.

Music by:
@ArdieSon

#himmelunterberlin #berlinunderground #abandonedberlin #lostplacesberlin by @studiosvensauer

`BLOOM`
BY SVEN SAUER & CEEYS
Shown @thedarkroomsexhibition - Veins

There is a marine phenomenon called Bloom: a sudden, explosive proliferation of jellyfish. Millions of jellyfish appear overnight, washing into bays so densely that no water is visible anymore.
Jellyfish benefit from everything modernity throws into the ocean. Conditions that kill other marine animals promote jellyfish growth. Overfishing eliminated the predators that once regulated their populations. Jellyfish larvae settle on aquaculture facilities in far greater numbers than on natural surfaces. Decades were spent throwing the ocean out of balance, and the result is a creature that existed before the dinosaurs and is now returning in masses.
The Bloom phenomenon carries a certain irony. Jellyfish are extraordinarily adaptable. No consciousness, no agenda. A bloom consists of nothing but the logic of opportunity. The balance breaks, and something ancient that was always there floods into the vacuum.

Crises, too, do not emerge from nothing. They grow in destabilized systems and overheated societies. For decades, the predators were removed: functioning diplomacy, shared security architectures. Into that vacuum flows something primal – violence that was thought to have
been overcome. What is frightening is not the violence itself, but the speed at which the balance tips. An ecosystem that took centuries to stabilize can collapse within a single season.

Four years ago, eight artists joined together to purchase protective helmets for a war region on
the black market. Over several years, the installation undergoes a transformation that mirrors
the turbulent times we are living through.

INSTALLATION: @studiosvensauer
MUSIC: @ceeys_music
CREATIVE CODING: @bruno.ammon
ELECTRONICS: LUKAS ESSNER
JELLYFISH PRODUCTION: @madestgmbh JOE TAYLOR & PETER STOVIN
PRE-VISUALISATION: @smg___art
Photos: @carstenbeier

-----------------------------
Exhibition: July 10–26, 2026
-----------------------------

#thedarkroomsexhibition #Installationart #lostplace #Immersiveexperiences #svensauer by @studiosvensauer

For just three days, the old walls of a 100-year-old industrial site come to life one last time.

Across 14 halls, large-scale light and sound installations, stages for electronic live acts and performances, hidden bars, and pop-up restaurants were created.

In this documentary, Leonie Gerner provides an insight into the creation of the event and interviews with its makers.

Konzept & Interview: @LeonieGerner , GG Productions
Schnitt: @MarekWeinhold
Kamera Interview: @Koone
Kamera Artworks: @FrankSauer
Shown at: @LOSTARTFESTIVAL - vol.3

Installation Artists:
@collectifcoin
@boris.acket
@encor_studio
@studiosvensauer
@chidayasuhiro
@guillaumecousinart
@theklongs
@marcobarotti
@lukastruniger
@dajolife_musik
@ahkosmos
@mariezechiel

Interviews mit:
@JanHäusler @Janoertzen @LisaSieber @ViktorSchulte @clarasauer @studiosvensauer svensauer

#LOSTARTFestival #InstallationArt #ImmersiveExperience by @studiosvensauer

The abandoned Inota coal power plant is a gigantic brutalist building that has dug itself into the Hungarian landscape. There are few places like this left in Europe, still remaining in this rawness. Most have been demolished or converted into lofts.
With its enormous cooling towers, its acoustics, and its unforgiving scale, the building is something singular.

For 4 years now, the @inotafestival New Media Art Festival has taken place at this otherworldly site.

Our installation Deviation will be shown there.
Built in 1950, decommissioned in 1990 – four decades of silence gnawing at the concrete. The chance to exhibit there is finite. Exploring the building is too. Go see it — highly recommended.

CREDITS
Artwork „DEVIATION“ BY: @studiosvensauer
TRAIN MODIFICATION: @helldorfer_engineering
ELECTRONICS: @LUKASESSER
CREATIVE CODING: @bruno.ammon
INSTALLATION MUSIC: theatre_of_delays
CLIPS: @bruno.ammon

Shown @inotafestival by @studiosvensauer