#klara-buumlhl

#klara-buumlhl

"Sing Your Sorrow is a heartfelt expression of a desire to shoulder the burdens of others, specifically written for my daughter, Lydia."

Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.

Drawing inspiration from Jen Beagin's novel 'Big Swiss,' the song encapsulates the humour, transgressions, and blurred boundaries that emerge when desire takes the reins. The sleepless nights of infatuation sharpen our perceptions of the mundane and often reveal more about ourselves than about the object of our fixation.

Pornceptual challenges mainstream perceptions of pornography, reframing it as inclusive, artistic, intimate, and respectful rather than exploitative or taboo. Its events, from Berlin to international stages, bring a sex-positive, body-inclusive ethos to nightlife. Strict consent practices, no-photo policies, and spaces designed for authentic self-expression create a rare kind of freedom - one that allows visitors to explore identity, desire, and intimacy without judgment.

Inspired by her brother's tragic suicide, the album transforms pain into a powerful musical narrative, breaking the silence surrounding suicide and offering a refuge for remembrance and healing.

Raw Material: The Art and Life of Susan Kleckner, on view at Haverford College's Cantor Fitzgerald Gallery through April 5, 2026, is the first comprehensive retrospective of the pioneering feminist artist, filmmaker, photographer, and performance artist. Bringing together nearly 100 works, many never before publicly exhibited, the exhibition seeks to reposition Kleckner as a foundational figure in feminist, queer, and activist art histories.

As we traverse an era dominated by algorithms and driven by the impulse for efficiency, we increasingly sacrifice our ability to feel. In this "age of emotional poverty," highlighted by philosopher Byung-Chul Han, our emotional landscapes grow flatter, our pains diluted, and genuine intimacy replaced with a sterile digital façade. However, in Gulu's evocative imagery, the body emerges as a resilient space of resistance, pushing back against a world that demands we conform to neat, predictable narratives.

Bendetta's latest single, "Headshot," captures the moment when something shifts: when violent thoughts arise, yet the urge to maintain control prevails. This track navigates themes of anger, boundaries, and the conscious decision to no longer absorb harm without letting it transform you into the one inflicting it. Rather than offering comfort or resolution, "Headshot" demands clarity: it focuses on naming feelings, standing firm within them, and refusing to downplay their significance.

Small, nimble cameras occupy perspectives inaccessible to human perception, creating images that are more visceral and embodied than the purely retinal. In the absence of verbal narration, we witness an interconnected logic of violence: The camerawork lets us see the brutal working conditions, but also the brutality toward other sentient beings and the sea, all unfolding as part of the same process.

Presented by the Luma Foundation in Engadin, Switzerland, as part of Elevation 1049, STRIP TOWER (962) brings Gerhard Richter's long-running investigations into the Alpine landscape, extending his practice beyond the canvas and into three-dimensional space. On view until the spring of 2029, the work draws from the methodology of his Strip Paintings, where a single painted gesture is subjected to successive acts of photographing, scanning, digital slicing, and stretching.

Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.

Across Georgia, a series of stunning frescoes traces the country's fractious history, from its early Christian origins to the Soviet-era socialist utopianism. It was through these murals that Nina Kintsurashvili first encountered art-traveling with her father, Lasha, as he journeyed to remote mountain regions to restore medieval murals and re-learn the art of fresco painting. Here, she discovered the importance of perspective, space and line work through the logic of Byzantine and Georgian iconography, absorbing a semiotic system she has adapted and distorted,

Myriam Jacob-Allard appears through a heavy door and greets us with an easy warmth, scooping us up and welcoming us into her world. We are immediately absorbed by an unexpected color-drenched stairwell. Every surface is saturated in a dense, glowing yellow that reads unmistakably as egg yolk, insulating us from the outside in as we make our ascent. We turn into a long hallway whose fragrant freshly waxed floor catches the light, reflecting it back upward so that the corridor seems to glow beneath our feet.

In a stunning new photobook, La Isla, Argentinian photographer Matu Buiatti invites us into a profound exploration of intimacy, trust, and the human body, framed through the lens of analogue photography. This 18-month project transcends mere image-making; it is a beautifully crafted dialogue about human connection, where the photograph emerges not as a starting point but as the culmination of shared experiences.

Dominique McDougal and Carro Sharkey's three-part performance, 'Did4luv'-a tragicomic dance solo performed by each of the dancers, alternating every night-debuted this month at the dual 30th anniversary of Sophiensaele's inauguration as a theater and its renowned dance festival, Tanztage. This year's Tanztage invites its audience to consider the (im)material conditions of artistic production: the body and self as sources for capitalist exchange, the extractive nature of our systems of work and its resulting consequences for marginalized bodies.

For Gretchen Scherer, centuries-old rooms in grand houses and institutions serve as the foundation for an ongoing series of paintings of luminous interiors. She starts with photos sourced online, from books, and that she snaps herself, in addition to drawing inspiration from artists like Narcissa Niblack Thorne, who commissioned meticulously crafted miniatures of period rooms to house her vast collection of 1:12-scale furniture. Scherer then tries to "open up" the space, as she describes it, toying a bit with perspective.