DISTURBANCE [group]

The group exhibition DISTURBANCE is on view through October 10, 2026. Thu-Sat, 3-7 pm, or by appointment.

What exactly is “nature” – and what internal and external images arise when we juggle with this term? The exhibition DISTURBANCE is dedicated to this elusive whole: nature as a space of existence that shelters us, yet does not belong to us. As a black box that defies any comprehensive human control or prediction. A (meta-)physical playground within which we navigate between connectedness and alienation.

DISTURBANCE looks beyond idyllic idealizations to explore the essential approaches, inner concepts, and manifold levels of meaning of “nature,” which are brought to light by art in a socially critical, pure, and disturbing manner.

Participating artists: Andrea Gallo, Betty Mü, Hira Khan, Hope Bartley, Jule Behrenswerth, Liza Mercedes, Marie Lynn Speckert, Nae Zerka, Oskar Rahe, Raphael Auer, Susannah Martin

Die Gruppenausstellung DISTURBANCE ist noch bis zum 10. Oktober 2026 zu sehen. Donnerstags bis samstags, 15–19 Uhr sowie nach Vereinbarung.

Was ist eigentlich „Natur“ – und welche inneren und äußeren Bilder entstehen, wenn wir mit diesem Terminus jonglieren? Die Ausstellung DISTURBANCE widmet sich dieser nicht abschließend greifbaren Gesamtheit: Natur als ein Existenzraum, der uns beherbergt, aber doch nicht gehört. Als eine Blackbox, die sich jeglicher vollumfänglichenmenschlichen Kontrolle oder Prognostik entzieht. Eine (meta-)physische Spielwiese, innerhalb derer wir uns zwischen Verbundenheit und Entfremdung bewegen.

DISTURBANCE sucht jenseits von idyllischen Verklärungen nach den essenziellen Zugängen, inneren Konzepten und mannigfaltigen Bedeutungsebenen von „Natur“, die gesellschaftskritisch, pur und størend von der Kunst zum Lichte geführt werden.

: Andrea Gallo Il fatto che tu dica di sentire le rondini non significa essere una di loro, 2025,
oil on canvas, 135 x 135 cm
Price or exposè on request

: Andrea Gallo Paesaggio con figura, 2026, oil on canvas, 60 x 110 cm
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ANDREA GALLO develops his paintings from intuitive impulses that continuously evolve throughout the creative process. Influenced by his engagement with architecture, stage design and visual communication, his works merge human figures and landscape into a shared pictorial space in which nature appears not as a backdrop, but as an active and unsettling force.

In Andrea Gallo’s paintings, the boundaries between the human figure and the natural environment begin to dissolve. Acidic colours and liquefying landscapes evoke a natural world altered by human intervention while simultaneously asserting its own force. The disturbance emerges from a relationship in which humanity and nature can no longer be separate

Andrea Gallo entwickelt seine Malerei aus intuitiven Impulsen, die sich während des Arbeitsprozesses fortwährend verändern. Geprägt von seiner Auseinandersetzung mit Architektur, Bühnenbild und visueller Gestaltung, verschmelzen in seinen Bildern menschliche Figuren und Landschaft zu einem gemeinsamen Bildraum, in dem Natur nicht als Kulisse, sondern als aktive und beunruhigende Kraft erscheint.

In Andrea Gallos Malerei beginnen die Grenzen zwischen menschlicher Figur und natürlicher Umgebung zu zerfließen. Säureartige Farben und sich auflösende Landschaften verweisen auf eine Natur, die durch menschliche Eingriffe verändert wird und zugleich ihre eigene Kraft behauptet. Die Störung liegt in einem Verhältnis, in dem Mensch und Natur längst nicht mehr voneinander zu trennen sind.

: Betty Mü VORTEX / SEA, Artworkfilm, 2026, LCD monitor, 60 cm diameter, Edition of 2, 1/2
Price or exposè on request

Betty Mü

Lentikularbild, 2026

BETTY MÜ works at the intersection of the digital and physical worlds, combining video art, light, glass, and augmented reality to create immersive visual spaces. At the heart of her practice lies perception itself: the moment when perspectives shift, stillness turns into movement, and observation becomes immersion

In VORTEX / SEA, the horizon loses its familiar function as a boundary and point of orientation, closing in on itself to form a circle. Sea and sky remain unchanged, yet our perception of the landscape is thrown off balance. The actual disturbance occurs not in nature, but in the way we perceive it.

In Lentikularbild, Betty Mü translates the shifting metallic colours of the gold wasp Chrysis ignita into an abstract lenticular image. As the viewer moves, the coloured fields continuously change, creating new combinations and perceptions. Colour becomes not a fixed property, but an event that emerges between light, image and viewer

Betty Mü arbeitet an der Schnittstelle zwischen digitaler und physischer Welt und verbindet Videokunst, Licht, Glas und Augmented Reality zu immersiven Bildräumen. Im Zentrum ihrer Arbeit steht die Wahrnehmung selbst: jener Moment, in dem sich Perspektiven verschieben, Stillstand in Bewegung kippt und aus Betrachten ein Eintauchen wird.

In VORTEX / SEA verliert der Horizont seine vertraute Funktion als Grenze und Orientierung und schließt sich zu einem Kreis. Meer und Himmel bleiben unverändert und doch gerät unsere Wahrnehmung der Landschaft aus dem Gleichgewicht. Die eigentliche Störung findet nicht in der Natur statt, sondern in unserem Blick auf sie.

: Hira Khan fuckmarrykill 2, 2026, hand embroidery on plastic rice sacks with drawings, 25 cm x 25 cm
Price or exposè on request

: Hira Khan fuckmarrykill 1, 2026, hand embroidery on plastic rice sacks with drawings, 25 cm x 25 cm
Price or exposè on request

: Hira Khan fuckmarrykill 3, 2026, hand embroidery on plastic rice sacks with drawings, 25 cm x 25 cm
Price or exposè on request

HIRA KHAN is a Pakistani artist from Karachi who has been living and working in Munich since 2021. Her practice centres on experimental, material-based approaches to sculpture, using the different processes as the starting point for her artistic research. Khan’s thematic concerns are informed by feminist discourse, drawing parallels between personal movement and structures of migration and integration.

In this series, Hira Khan explores mating and reproduction in the animal kingdom through the interplay of intimacy, violence and female dominance. The honey bee, praying mantis and anglerfish transform the conversational-party game “Kill, Fuck, Marry” into an unsettling love story in which survival, possession and mating take the place of romantic ideals, and present the female in power: physically, sexually and symbolically.

Hira Khan ist eine pakistanische Künstlerin aus Karachi, die seit 2021 in München lebt und arbeitet. Im Zentrum ihrer Praxis steht eine experimentelle, materialbasierte Auseinandersetzung mit Skulptur, in der sie unterschiedliche Materialien und handwerkliche Prozesse als Ausgangspunkt ihrer künstlerischen Forschung nutzt.

In ihrer Serie untersucht Hira Khan Paarung und Fortpflanzung im Tierreich als Zusammenspiel von Intimität, Gewalt und weiblicher Dominanz. Honigbiene, Gottesanbeterin und Anglerfisch verwandeln das menschliche Spiel „Kill, Fuck, Marry“ in eine verstörende Liebesgeschichte, in der Überleben, Besitz und Fortpflanzung an die Stelle romantischer Vorstellungen treten.

: Hope Bartley Paradeisos I, 2026, oil on canvas, 120 x 160 cm
Price or exposè on request

: Hope Bartley Paradeisos II, 2026, oil on canvas, 120 x 160 cm
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HOPE BARTLEY is a Jamaican-born artist and architect based in Munich whose practice is rooted in the concept of biophilia. Working across painting, installation, and spatial interventions, he explores the relationship between humans and nature, addressing ecological fragility, interconnectedness, and our place within natural systems

Paradeisos explores the human longing for an original connection with nature while questioning our idea of paradise. Nature is presented not as a backdrop or something separate from us, but as an existential space of which humanity itself is an inseparable part.

: Jule Behrenswerth SUMMER IN THE PARK, 2026, oil on canvas, 160 × 170 cm
Price or exposè on request

JULE BEHRENSWERTH WORKS with memories, everyday observations, and the possibilities contained within past moments. Through painting, she explores how perception and memory shape our reality and how we locate ourselves as individuals within a shared experience.

In Jule Behrenswerth’s work, the park appears as a controlled and carefully measured form of nature, a temporary retreat between the street and everyday life. Yet behind this familiar idyll, contradictions begin to emerge: heat, drought, and the limitations of this constructed experience of nature. The park thus becomes both a place of longing and a reflection of our ambivalent relationship with the natural world.

: Liza Mercedes Die 3-Sekunden-Regel, 2026, mixed media, 50 x 50 cm
Price or exposè on request

: Liza Mercedes Um ein Haar, 2026, mixed media, 50 x 50 cm
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LIZA MERCEDES works across sculpture, installation and conceptual art. She transforms familiar everyday objects to question ideas of value, morality and identity. Her works move between provocation, irony and irritation.

“The 3-Second Rule” Dust, hair, and dirt are natural traces of our existence. It is only our perception that turns them into something undesirable. “The 3-Second Rule” questions how quickly we judge what is clean or dirty, beautiful or ugly, valuable or worthless. This applies to things just as much as it does to people. The disturbance lies not in the object itself, but in the way we look at it.

: Marie Lynn Speckert DYSMORPHIA #2, 2026, polylactide, 76 x 84 x 42 cm
Price or exposè on request

: Marie Lynn Speckert DYSMORPHIA #1, 2026, polylactide, 76 x 84 x 42 cm
Price or exposè on request

MARIE LYNN SPECKERT works at the intersection of scientific research and artistic practice. Drawing on the craft of anatomical preparation, she translates scientific and material processes into installations and performances, exploring the relationships between the body, nature, and cultural meaning

In DYSMORPHIA, Marie Lynn Speckert reflects on the history of anatomical collections and bodies once classified as deviations from the norm. Transforming skeletal and skin structures into putti, traditionally associated with innocence and heaven, she symbolically reverses historical forms of exclusion. The work raises questions of memory, dignity and the ethics of representation.

: Nae Zerka LATENZ, 2026,
mixed media (soft pastel, acrylic, oil) on canvas, 60 x 60 cm
Price or exposè on request

NAE ZERKA combines classical painting with digital visual culture, bringing together oil and pastel techniques with influences from graphic design and electronic media. His work explores the relationship between technology, perception, and the evolving connection between humans and their environment.

Nature is not presented as something separate from us, but as the very condition in which we exist. The doubled figure reflects questions of identity, perception, and a transformation that has already begun long before it becomes visible. The result is a quiet yet profound form of disturbance.

: Oskar Rahe Álfadans, 2026, wood and wood stain, 170 x 100 x 40 cm
Price or exposè on request

: Oskar Rahe Álfadans, 2026, wood and wood stain, 170 x 100 x 40 cm
Price or exposè on request

OSKAR RAHE is a Swedish-German artist who lives, works and studies in Munich. Working primarily with wood, he combines precise craftsmanship with the inherent qualities of the material, exploring the tension between order and chaos, stability and fragility, control and chance.

In Álfadans, movement is frozen within the material while remaining perceptible in space. The sculpture moves between natural order and uncontrollable change, searching for a balance that can never be entirely stable. The “fairy dance” thus becomes an image of nature’s invisible and fragile dynamics.

: Raphael Auer Raphael Auer, ROBICA, 2026, Eichenholz, ca. 280 x 170 cm
Price or exposè on request

: Raphael Auer Raphael Auer, ROBICA, 2026, Eichenholz, ca. 280 x 170 cm
Price or exposè on request

RAPHAEL AUER lives and works in seclusion on a remote farmstead surrounded by forest, which serves as his home, habitat, and studio. Through his direct engagement with wood, transformation, and natural processes of decay, he creates sculptures that reflect on transience and the preciousness of life.

In ROBICA, the red wood ant, formed from split oak, becomes a monument to the quiet power of the collective. Individual fragments, marked by time, decay, and transformation, come together to form a supporting structure, making collective strength the central force of the work.

: Susannah Martin The Dragon Hunt, 2023, oil on canvas, 180 x 220 cm
Price or exposè on request

: Marie Lynn Speckert, Andrea Gallo

SUSANNAH MARTIN combines the precision of classical oil painting with a contemporary visual language that draws on Fantastic and Magical Realism. Her works explore the boundaries between reality and imagination, revealing how the human mind shapes the world we perceive.

What initially appears to be an idyllic landscape gradually reveals itself as a reflection of human projections. The dragon exists only because the protagonist allows it to grow within her imagination. In this way, the true disturbance is found not in nature, but within ourselves.