26-27 mayo / exposición/ UMWELT: Heather Zehren Albinson, Philipp Huber, Anais Delforge-Mistry

26-27 mayo / exposición/ UMWELT: Heather Zehren Albinson, Philipp Huber, Anais Delforge-Mistry


Heather Zehren Albinson, Philipp Huber, Anais Delforge-Mistry

26 de mayo 18-21h

27 de mayo 18-20h

Umwelt, palabra alemana que significa entorno, se refiere en etología al mundo tal y como lo experimenta un organismo concreto. La forma en que un individuo percibe el mundo se debe a un conjunto de factores absolutamente único, incluyendo la constitución física, la memoria y las influencias culturales, y por tanto ningún ser experimenta el mundo exactamente igual que otro. Todos operamos, esencialmente, en nuestros propios pequeños universos. Esta diferenciación tiene amplias implicaciones en la forma en que nos forjamos puntos de vista políticos y filosóficos, en cómo valoramos el arte y en cómo nos comportamos en las relaciones. Pero ¿cómo experimentan el mundo los seres no humanos – como los pulpos, que no tienen un sistema nervioso centralizado pero son increíblemente “inteligentes”? Si el panpsiquismo es correcto y los objetos inanimados experimentan la conciencia, ¿cómo lo hacen?

Heather Zehren Albinson creció en un rancho de caballos en las Montañas Rocosas de Estados Unidos, rodeada de naturaleza. Su práctica artística se basa en su formación en ciencias medioambientales y conservación y en sus continuas investigaciones sobre los patrones intrínsecos que guían el mundo natural. Su curiosidad por la neurobiología y la astrofísica la ha llevado a explorar cuestiones sobre la naturaleza de la materia y la conciencia, sobre la interdependencia universal y la naturaleza compuesta del mundo, y sobre lo que significa ser una planta.

PhIlipp Huber es un artista nacido en Austria que vive actualmente en Barcelona. Con una formación científica y terapéutica, licenciado en Ciencias de la Salud y con un máster en Fisioterapia, sus ideas parten de temas relacionados con la fisicalidad, las teorías de la mente y la participación humana en el entorno. Para conectar sus campos de práctica y dar forma a su discurso, utiliza diversos medios y técnicas artísticas

Anais Delforge-Mistry. Actualmente afincada en Barcelona, Anais es una artista multidisciplinar de Londres. Utiliza diversos medios para reflexionar sobre sus estados de ánimo pasados y presentes, ya que sus emociones e identidad fluctúan y se transforman constantemente. Así, Anais se esfuerza actualmente por encontrar un patrón entre todos sus escritos. El trabajo actual de Anais cuestiona la importancia del lenguaje y si las palabras tienen la posibilidad de manifestarse en una forma física. La filosofía, la literatura y la historia han influido en su metodologia e investigaciones artísticas.

Proyecto en colaboración con Metáfora, Studio Arts Program, y la tutoria de Marc Larré.


Heather Zehren Albinson, Philipp Huber, Anais Delforge-Mistry

26th May 18-21h

27th May 18-20h

Umwelt”, a German word for environment, refers in ethology to the world as it is experienced by a particular organism. The way an individual perceives the world is due to an absolutely unique set of factors, including physical makeup, memory, and cultural influences, and therefore no one being experiences the world exactly the same as another. We are all operating, essentially, in our own little universes.  This differentiation has extended implications for how we form political and philosophical viewpoints, how we value art, and how we behave in relationships. But how do nonhuman beings experience the world – like octopuses, who have no centralized nervous systems but are incredibly “intelligent”? If panpsychism is accurate, and inanimate objects experience consciousness, how do they do so? 

Heather Zehren Albinson grew up on a horse ranch in America’s Rocky Mountains, surrounded by wilderness. Her artistic practice is informed by her background in environmental science and conservation and by her continued investigations into intrinsic patterns guiding the natural world. Evolving curiosities about neurobiology and astrophysics have led her to explore questions about the nature of matter and consciousness, about universal interdependence and the composite nature of the world – and about what it is like to be a plant. 

PhIlipp Huber is an Austrian-born artist currentlyliving in Barcelona. He comes from a scientific andtherapeutic background, has a degree in HealthSciences and a Master in Physiotherapy.His ideas derive from themes related to physicality,theories of the mind and human participation in theenvironment. To connect his fields of practice and shape hisdiscourse, he uses various art media and techniques

Anais Delforge-Mistry. Currently based in Barcelona, Anais is a multidisciplinary artist from London. She uses various mediums to reflect on her past and present states of being, as her emotions and identity constantly fluctuates and transforms. Thus, Anais currently endeavours to find a pattern between all of her writings. Anais’ current work questions the importance of language and whether words have the possibility to manifest into a physical form. Philosophy, literature and history have all influenced Anais’ method of working, as she continues to explore her art work whilst referring to philosophers and authors.

Project in collaboration with Metáfora, Studio Arts Program, mentored by Marc Larré.

Ely Daou, artist in residence during August 2020

Ely Daou, artist in residence during August 2020

We welcome Ely Daou, local artist in residence at Homesession for the month of August 2020.

photo credit ©Roberta Segata

Ely Daou was born in Beirut, Lebanon, in 1986.Ely’s body of work is concerned in questioning and protesting many of the world’s human conflict and human nature, including his own.He works within the political, social and personal art realm in a way where the viewer has space to think through.Since moving to Europe in 2012, his work has been exhibited in different venues, such as Kanal-Centre Pompidou (Brussels), Casa Incendida (Madrid), Buffer Fringe (cyprus), Startptelpa (Riga, Latvia), the CCCA (Sant Boi De Llobregat), SWAB International Art Fair (Barcelona), La Raffinerie (Brussels) and Centrale Fies LiveWorks, (Dro, Italy).

“Full Bloom” by S. Gera and R. Teitelbaum, opening 10/10/2018

“Full Bloom” by S. Gera and R. Teitelbaum, opening 10/10/2018

Photo:frame vídeo “Intimorphosis” de Raechel Teitelbaum

Full Bloom
Sakshi Gera and Raechel Teitelbaum

Exposition in colaboration with Metafora 

Opening: 10/10/2018, 19h

“For the two sexes imply a multiplicity of molecular combinations
bringing into play not only the man in the woman and the woman in the man,
but the relation of each to the animal, the plant, etc.: a thousand tiny sexes”
(Deleuze and Guattari, A Thousand Plateaus, 1980)

This exhibition explores common interests shared in the work of Sakshi Gera and Raechel
Teitelbaum; intimacy, gender, sexuality and nature. The fluid interconnectedness of
relationships between friends, lovers, the self which blossoms from the queerness that is
nature itself, its thousand tiny sexes in constant relation.
Sakshi Gera’s work materialises in drawing, through repetition and movement she works
towards a representation of the human body which transcends sexuality. This repetitive
gesture is an action of persistence, in her process her drawings grow like a chant.
This September, same sex marriages were decriminalized in India, where she was born and
raised. Colonial rule in India has a major impact on the suppression of sexuality, her proposal
wishes to celebrate such achievement, where limits regarding gender, sexuality and multi-
partner relationship are being decolonialized.
Raechel Teitelbaum’s interests lie in the versatility, fluidity and non-gender conformity
embedded in nature and biology, and the way in which different ecofeminist theories look at
queerness within nature. Her proposal uses the potentiality of imagination to shape a four
chapter video piece, a segment of a larger project that focuses on the limitlessness possibilities
that relationships hold, and the inherent fluidity which allows an ebb between the sexual and
the non-sexual, between the friend and the lover, and between the group and the individual.

Sakshi Gera (1992) is a visual artist from India. She works with movement and chant like
repetition in her process to create spaces indicative of renewal, transcendence and altered
consciousness. Her work encompasses drawings, paintings and sculptures that trace attention
to self-awareness, interpersonal and universal connectivity through progression of gestures.
Raechel Teitelbaum is a visual artist from Syracuse, New York who is currently based in
Barcelona, Spain. Her art practice primarily focuses on video, installation, costume design and
performance, using narrative as a basis for the work. Raechel works to create ‘new’ earth
ecologies or alternate, futuristic versions of earth to question what is natural and normal in
terms of behavior and interaction among humans, plants, animals, and technology, specifically
regarding gender, sexuality and magic.



Full Bloom
Sakshi Gera y Raechel Teitelbaum

Exposición in colaboración con Metafora 

Opening: 10/10/2018, 19h

Los dos sexos remiten a múltiples combinaciones moleculares, que ponen en juego no sólo el hombre en la mujer y la mujer en el hombre, sino la relación de cada uno en el otro con el animal, la planta, etc.: mil pequeños sexos.”

(Deleuze y Guattari, Mil Mesetas, 1980)

Esta exposición explora los intereses compartidos en el trabajo de Sakshi Gera y Raechel
Teitelbaum: intimidad, género, sexualidad y naturaleza. La fluida interconexión de las
relaciones entre amigos, amantes y el yo que florece de la rareza (queerness) que es la
naturaleza misma; sus mil pequeños sexos en constante relación.
La obra de Sakshi Gera se materializa en el dibujo, a través de la repetición y el movimiento
trabaja hacia una representación del cuerpo humano que trasciende la sexualidad. Este gesto
repetitivo es una acción de persistencia, en su proceso sus dibujos crecen como un canto. En
septiembre de este año, los matrimonios entre personas del mismo sexo fueron
despenalizados en la India, donde Gera nació y se crió. El régimen colonial en la India tiene un
gran impacto en la supresión de la sexualidad y su propuesta quiere celebrar este logro, donde
los límites en cuanto a género, sexualidad y relaciones de pareja múltiple se empiezan a
Los intereses de Raechel Teitelbaum residen en la versatilidad, la fluidez y la no conformidad
de género que se encuentra en la naturaleza y la biología, y en la forma en que las diferentes
teorías ecofeministas miran lo queer dentro de la naturaleza. Su propuesta utiliza la
potencialidad de la imaginación para dar forma a una pieza de vídeo de cuatro capítulos, un
segmento de un proyecto más amplio que se centra en las posibilidades ilimitadas que tienen
las relaciones, y la fluidez inherente que permite un vaivén entre lo sexual y lo no sexual, entre
el amigo y el amante, y entre el grupo y el individuo.
Sakshi Gera (1992) es una artista visual de la India. Trabaja con el movimiento y el canto como
repetición durante su proceso para crear espacios indicativos de renovación, trascendencia y
conciencia alterada. Su trabajo abarca dibujos, pinturas y esculturas que ponen atención en la
autoconciencia y la conectividad interpersonal y universal a través de la progresión de los
Raechel Teitelbaum es una artista visual de Syracuse, Nueva York, que reside en Barcelona. Su
práctica artística se centra en el video, la instalación, el diseño de vestuario y el arte de
performance, utilizando la narrativa como base. Raechel trabaja para crear ‘nuevas’ ecologías terrestres o versiones alternativas y futuristas de la tierra para cuestionar lo que es natural y normal en términos de comportamiento e interacción entre humanos, plantas, animales y
tecnología, específicamente con respecto a género, sexualidad y magia.


Exposition “A la cuenta de tres”/ Opening 4 de mayo

Exposition “A la cuenta de tres”/ Opening 4 de mayo


EXPOSITION “A la cuenta de tres”Layal Nakle, Katerina Ashche, Maria José Serrano

Exposition in colaboración with Metafora 


Opening  “A la cuenta de tres””

Viernes 4 de mayo, de 19 a 22 horas


How do we read stories? What kind of stories can objects tell us? What do these stories tell about us, our stories, beliefs, and feelings? What can we build from this? Stories have a core role in our everyday life, in the configuration of society and the building of identity. There are as many ways of reading stories as there are readers and stories, and as many ways to narrate as there are narrators and stories. “a la cuenta de tres” proposes three different narratives that take place at the same time; exploring three ways of reading, from different voices.


“Adrift” by Layal Nakle

“Five short stories” by Katerina Ashche

“Holy no, no” by Maria José Serrano

Sylvie-Layal Nakle ( Ivory Coast, 1992) is a Belgo-Lebanese artist currently based in Barcelona. Using her multiculturalism to explore the wide notion of Identity,  themes such as migration, imperialism or western hegemony are recurrent in her work. Her practice consists in collecting images (moving or fixed), sounds, stories or opinions to construct her own artistic language. In that sense, her work can best be described as an assemblage of re-appropriated materials.

Katerina Ashche (Moscow, 1977) is Russian artist. She grew up in a family of circus performers and had a pet cheetah when she was a kid. Her art is about telling stories. The stories are based on the personal experience of the artist though one never knows where is the edge between the real and imaginary. Katerina works with storytelling using visual media such as installation or performance as well as texts.

María José Serrano (Uruguay 1979) was always curious about how the world works, that coming and going of people and objects. She studied economics with the illusion of getting some clues about these matters.That intuitive, analytical, illustrative background, starts a dialog with the plasticity and possibilities of the different languages she explored. Over time she found that the illusion of understanding the world gives way to the illusion of creating her own worlds. She works in a scale that goes from the very abstract thinking/feeling, to the most concrete/touchable things.