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

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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

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Finissage Saturday, Sept. 26, 15–18

Aubrey Theobald’s works emerge from repeated gestures attuned to the cemetery environment: collecting discarded flowers that once served as tributes at graves, transforming them into new forms, and working with rubbings from graves, paving stones, and photographic transfers.

Moving between commemoration and disposal, presence and absence, these acts of attention reveal the cemetery’s „ordinary affects“ and phantom traces - fragments through which what has passed continues to linger within the landscape.

@aubstheebs @kristina__popov

curated by Iana Pitenko @according_to_iana

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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

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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

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Congratulations to the Selected Participants for May 2026!

Aubrey Theobald @aubstheebs
Mediha Ceren Yılmaz @holygiggle
Irene Abello @ireneabello

We are delighted to announce the selected participants for this month’s Ask The Curator program! 👏✨

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Aubrey Theobald (b.1996., Ohio) is an interdisciplinary installation artist based between Berlin, Germany and Cleveland, 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 “Locational Empathy,” the mimetic process of learning about the subtleties of place through prolonged attention and awareness. She responds to active sites ranging from city-transit platforms, parking lots, and tense bureaucratic offices by projecting emotional intimacy onto their surfaces and gleaning poetics from their own systems of function.

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 grounded by reminders of soft bureaucracy in daily life.

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🔎 What is Ask The Curator?
This highly selective free monthly program offers artists, curators, researchers, and cultural professionals the opportunity to receive expert curatorial feedback. Each month, up to three applicants are selected for a one-hour review session with Mahzabin Haque, the founder of All About Curating (AAC).

Through this program, participants engage in critical discourse, receive professional guidance, and refine their projects or proposals through constructive dialogue. Whether seeking curatorial insights, career advice, or conceptual development, this program provides a valuable opportunity for professional growth.

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💡 Want to be reviewed in June? Applications are now open! Submit yours today for a chance to gain expert feedback. 📩

#AskTheCurator #AllAboutCurating #CuratorialPractice #ArtisticDevelopment #CuratorsOfInstagram #ArtResearch #ProfessionalGrowth

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The opening of Ayong Son’s solo show UNFINISHED FINISHED was filled with so many unfinished and finished talks, questions and answers about the image and its life in the conditions of the contemporary visual environment and all the challenges that arise from it.

Through a subtle but rigorous gesture, the exhibition questions how we define completion, authorship, and authenticity in an era of endless reproduction. It invites viewers to reconsider what they recognize as a result—and whether such a category can still hold.

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Thank you to everyone who was with us at the opening of SEEPAGE / PRZESĄCZANIE - Paweł Reczek’s wonderful project.

The artist draws deeply from Polish folk culture, where love is understood as eternal, genderless, and placed above social norms. This understanding connects directly to queer love in his work. These traditions, unconsciously cultivated through everyday rituals and intertwined with religion, remain a living presence in collective memory and continue to shape its visual and symbolic language.

The hottest is teenage guilt. It appears through the exoticization of the self, youth, naivety, and romantic suffering. It is strongly connected to place: his village, the forest, and folklore. It is a mythology of a small place that transforms into a surreal world.

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We had a moving presentation by Adam Szymanski, who talked about his newly published book Cinephilia and the Adventure for Existential Health: Recomposing Subjectivity at the Cinema (Northwestern University Press, 2025).

The study explores how art cinema cultivates existential health through the films of Olivier Assayas.
This book draws on the ethos of psychoanalyst Félix Guattari and thinks with films such as Clouds of Sils Maria and Personal Shopper to theorize how the cinema can be invested with therapeutic value.

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Thanks for the wonderful artist talk Aubrey Theobald!

The artist says about her project TOUCH, SPRING / BERÜHRUNG, FRÜHLING:

“Winter reaching for everything that spring offers - linking to small ephemeral materials that could mean something if they were extracted. The work has the effect of an overgrown street corner that longs for warmth. A co-poesis; industrial, ubiquitous materials paired with ephemeral, deteriorating, molding, and broken-off fragments containing hyper-sentimentality and beauty.
Small moments of meditation and focus, coping with objects later discarded—linking them to fragments of the body or memory from upheaval to delicate plucking; longing, waiting, warmth, repetition, softened, rusted…”

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les gens 🪽

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Spring has arrived on one of the coldest winter days with the exhibition TOUCH, SPRING / BERÜHRUNG, FRÜHLING.

Aubrey Theobald’s project is the wonderful conclusion to her residency at Scope BLN.

Thank you to everyone who was part of the opening of her impactful sculptural installation.

🗓️ The exhibition runs until January 27th and can be seen every Friday and Saturday from 2 to 6 p.m.

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Opening up to the new year, events in Berlin are rooted in yearning for springtime and Romanticism this week. Arno Schidlowski’s ‘Jasmund | Der Sonne Mond’ presents his analog and handmade photographs of both the Jasmund coastline and his inner landscape, borrowing the strategies of Romanticism to align human experience with nature. Aubrey Theobald’s large-scale installations presented in the exhibition ‘Touch, Spring’ draw on the uninhibited, raw beauty of springtime, yearning beyond winter in Berlin. Both take nature as a refuge of hope in these darkest days of the year.

See the full list at the link in bio.

Credits:
PELUSIA: ‘Psycho-Buddha’
Arno Schidlowski: ‘Jasmund #8’, 2005-2011, 30,5 x 24 cm, C-Print / © Arno Schidlowski | courtesy JO VAN DE LOO
Dominique Tegho: ‘Studio’ / Joana Lucas
Aubrey Theobald: ‘Touch, Spring’
Dominik Lejman: ‘The Monk’, 2020, Videostill / courtesy Gallery Molski
Arno Schidlowski: ‘Jasmund #10’, 2005-2011, 30,5 x 24 cm, C-Print / © Arno Schidlowski | courtesy JO VAN DE LOO

@_pelusia @sophiensaele @habibiyoudanc @joanalucasphoto @anthonynakhle9 @queenofvirginity @aestiftung @scopebln @aubstheebs @stiftung_st.matthaeus @dominik.m.lejman
#whatson #berlin #berlinevents #berlinart #performance #installation #exhibition #festival #program #gallery #tanztage2026

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