Urban Witches Not Bitches IV
To inter-be is to recognize that emptiness is material. It listens for frequencies beneath language. It engages repetition, breath, elemental gesture, and cyclical time. Inter-be proposes art as invocation — as something that moves like smoke through air, like sound through bone. Nothing stands alone. Everything leans into everything else. To be is to inter-be.
The works presented engage with processes such as repetition, duration, breath, and cyclical time. These approaches shift attention away from fixed outcomes toward ongoing formation. Rather than producing stable or closed forms, the works remain contingent and responsive to their conditions, including the presence of viewers. At the same time, Interbeing is situated within a charged political present. It opens space for practices that engage with silencing—both imposed and self-induced—as well as with the conditions that produce absence, erasure, and invisibility. In a moment marked by ongoing violence and genocide, the exhibition attends to what remains unspoken, unheard, or deliberately obscured. Rather than representing these conditions directly, the works trace their effects: through gaps, interruptions, withdrawals, and fragile forms of expression.
Interbeing does not propose a single narrative. Instead, it offers a framework for thinking through coexistence—how forms, bodies, and voices emerge through relation, and how meaning is continuously negotiated within unstable, shared conditions.
The artists assembled for Urban Witches Not Bitches IV: Interbeing represent a sprawling, transnational network of practitioners who work across performance, sound, installation, photography, video, sculpture, and social intervention. Their practices are deeply rooted in the specificities of place and displacement — from Nia Ivanova Pushkarova's site-responsive interventions in neglected architectural spaces, to Wer Da's mystical explorations of light and time. Others, like Mad Kate and Lady Gaby, channel activism directly into their work, critiquing border regimes, consumer capitalism, and militarism through queer performance and Dada-inflected poetry. Polanska Laura and Camille Lacadée explore the porous boundaries between body, nature, and imagination, while Sophie Soni transforms discarded coastal detritus into ritual garments that speak to loss, memory, and environmental collapse. Berglind Ágústsdóttir's interdisciplinary practice explores the intersections of sound, sculpture, and performance to create immersive experiences that blur the boundaries between visual art and music. This is not a homogeneous group but a constellation of distinct voices, each orbiting the exhibition's central question: what does it mean to inter-be?
What unites these artists is a shared commitment to art as a living, relational process — one that resists fixed meaning and remains responsive to its conditions. Han Bing inverts quotidian practice and reinvents everyday objects, exploring cultural conflict and apartheid through transsexual practices and social intervention, questioning the possibility of a contemporary spiritual home within the spacetime of the mutant gene. Kimberly Gray Ennis channels grief and ancestral memory through hypnotic film, while ioneewaterhouse treats perception itself as raw material, testing how images disturb reality and reorder memory across generations. Carolin Langner and Stefanie Walk document the raw intimacy of living with illness through collaborative photography, while Nischal Khadka weaves Himalayan sonic heritage and Indigenous ontologies into performances that address labour, migration, and political resistance. Veslemøy Rustad Holseter brings her sculptural work to Germany for the first time, while Andrea Ludovic merges electronic engineering with lush, orchestral soundscapes. Alina Tofan uses the body as a site of memory, resistance, and ecological entanglement, creating immersive performative environments where bodies, landscapes, and more-than-human systems enter into reciprocal relations. GRANDMAS presents a performance grounded in civil disobedience that exposes the obligation to waste resources, transforming advertisement and plastic pollution into a ritualistic mandala-dance that cathartically processes the intertwined socioeconomic relations of the anthropocene. Together, ioneewaterhouse, Viviana Druga, and Yunuen Rhi converge around questions of perception, ritual, and decolonial practice — their distinct approaches suggesting a shared terrain waiting to be explored. Nora Cristea anchors the exhibition in design, translating artistic practices into clear, precise visual identities across print and digital media through her work as a Berlin-based communication designer and co-founder of preggnant agency. Together, these artists trace the effects of silence, erasure, and coexistence through gaps, interruptions, and fragile forms of expression, offering not a single narrative, but a framework for thinking through relation, contingency, and shared conditions in a time of ongoing crisis.
Text and curation by Viviana Druga
Image: Birds, analog photography by Viviana Druga
Graphic image by: Nora Cristea / pregnant agency
Urban Witches Not Bitches IV
To inter-be is to recognize that emptiness is material. It listens for frequencies beneath language. It engages repetition, breath, elemental gesture, and cyclical time. Inter-be proposes art as invocation — as something that moves like smoke through air, like sound through bone. Nothing stands alone. Everything leans into everything else. To be is to inter-be.
The works presented engage with processes such as repetition, duration, breath, and cyclical time. These approaches shift attention away from fixed outcomes toward ongoing formation. Rather than producing stable or closed forms, the works remain contingent and responsive to their conditions, including the presence of viewers. At the same time, Interbeing is situated within a charged political present. It opens space for practices that engage with silencing—both imposed and self-induced—as well as with the conditions that produce absence, erasure, and invisibility. In a moment marked by ongoing violence and genocide, the exhibition attends to what remains unspoken, unheard, or deliberately obscured. Rather than representing these conditions directly, the works trace their effects: through gaps, interruptions, withdrawals, and fragile forms of expression.
Interbeing does not propose a single narrative. Instead, it offers a framework for thinking through coexistence—how forms, bodies, and voices emerge through relation, and how meaning is continuously negotiated within unstable, shared conditions.
The artists assembled for Urban Witches Not Bitches IV: Interbeing represent a sprawling, transnational network of practitioners who work across performance, sound, installation, photography, video, sculpture, and social intervention. Their practices are deeply rooted in the specificities of place and displacement — from Nia Ivanova Pushkarova's site-responsive interventions in neglected architectural spaces, to Wer Da's mystical explorations of light and time. Others, like Mad Kate and Lady Gaby, channel activism directly into their work, critiquing border regimes, consumer capitalism, and militarism through queer performance and Dada-inflected poetry. Polanska Laura and Camille Lacadée explore the porous boundaries between body, nature, and imagination, while Sophie Soni transforms discarded coastal detritus into ritual garments that speak to loss, memory, and environmental collapse. Berglind Ágústsdóttir's interdisciplinary practice explores the intersections of sound, sculpture, and performance to create immersive experiences that blur the boundaries between visual art and music. This is not a homogeneous group but a constellation of distinct voices, each orbiting the exhibition's central question: what does it mean to inter-be?
What unites these artists is a shared commitment to art as a living, relational process — one that resists fixed meaning and remains responsive to its conditions. Han Bing inverts quotidian practice and reinvents everyday objects, exploring cultural conflict and apartheid through transsexual practices and social intervention, questioning the possibility of a contemporary spiritual home within the spacetime of the mutant gene. Kimberly Gray Ennis channels grief and ancestral memory through hypnotic film, while ioneewaterhouse treats perception itself as raw material, testing how images disturb reality and reorder memory across generations. Carolin Langner and Stefanie Walk document the raw intimacy of living with illness through collaborative photography, while Nischal Khadka weaves Himalayan sonic heritage and Indigenous ontologies into performances that address labour, migration, and political resistance. Veslemøy Rustad Holseter brings her sculptural work to Germany for the first time, while Andrea Ludovic merges electronic engineering with lush, orchestral soundscapes. Alina Tofan uses the body as a site of memory, resistance, and ecological entanglement, creating immersive performative environments where bodies, landscapes, and more-than-human systems enter into reciprocal relations. GRANDMAS presents a performance grounded in civil disobedience that exposes the obligation to waste resources, transforming advertisement and plastic pollution into a ritualistic mandala-dance that cathartically processes the intertwined socioeconomic relations of the anthropocene. Together, ioneewaterhouse, Viviana Druga, and Yunuen Rhi converge around questions of perception, ritual, and decolonial practice — their distinct approaches suggesting a shared terrain waiting to be explored. Nora Cristea anchors the exhibition in design, translating artistic practices into clear, precise visual identities across print and digital media through her work as a Berlin-based communication designer and co-founder of preggnant agency. Together, these artists trace the effects of silence, erasure, and coexistence through gaps, interruptions, and fragile forms of expression, offering not a single narrative, but a framework for thinking through relation, contingency, and shared conditions in a time of ongoing crisis.
Text and curation by Viviana Druga
Image: Birds, analog photography by Viviana Druga
Graphic image by: Nora Cristea / pregnant agency