Tom Albrecht
(2025)

The artist collects fake news when called out by the audience and writes them down for all to see. The audience then rates the strength and quality of the individual fake news items. The best ones are chosen. The collective action is intended to bring light-heartedness and playfulness to the politically explosive topic and to develop and sharpen the concept of fake news in a playful way.

Thomas Behling
– “The alternative for Germany is blue.” (2021)
Poster

“Die Alternative für Deutschland”, or AfD for short, is the name of a racist party in Germany which, among other things, denies that humans are causing climate change. The color of the party is blue. The map shows Germany with a sea level rise of 60 meters or a loss of area of around 30%. If both poles melt completely, the sea level will rise by 67 metres – a realistic scenario, not only if the AfD’s goals are implemented, but unfortunately also with the lax climate policy of most other parties: If the earth’s temperature continues to rise, various tipping points will be exceeded, which will then lead to further self-accelerating global warming – such as the drought-induced burning of forests and peatlands. The result is a process of global warming and melting of the poles that lasts for centuries and can no longer be stopped.

Carsten Borck
“X”, “YouTube”, and “Facebook” from the series “Big Tech” (2025)
risograph print on paper

The works presented here are part of a series that is currently being created, which deals with the negative influence of large tech companies in poster form and thus in a deliberately catchy way. We all use the products of these companies, especially the so-called social media. Well aware that they are a main tool for spreading fake news. The posters cry out against this “knowing ignorance” and call on us to act. We have to deal with the sources of fake news and their distribution channels in order to combat them. And there is another point that we — also knowingly — largely ignore: The infrastructure we use for our news consumption and digital nonsense communication consumes enormous resources and fuels climate change.

Merit Fakler
»It’s not a Perpetuum mobile« (2025)
Video mpeg-4 HD, 1920×1080, Sound AAC, Loop 2’40 min

The video installation »It’s not a Perpetuum mobile« presents an endless swirl of floating plastic cups, lids, and words against a painterly, dynamic background developed by the artist from footage of marching and dancing people. The video and its title make provocative claims about what they are and are not. There is no perpetual motion machine, yet we often treat the environment as if it were one. In this context sharp insight is required, particularly regarding climate protection, fake news, and our approach to these issues. The video installation operates within the tension of contradiction and manipulation, exploring the interplay of images and words, and invites viewers to question their own perception.

Stephan Groß
Dark doldrums (2025)
Computer graphics, digital print

The graphic Dunkelflaute shows a schematic stylisation of a photovoltaic system in front of two faces facing each other. The figures, engaged in a kind of silent dialogue, carry sun and rain respectively in their heads. Only the sunny character becomes effective, as suggested by the arrow cross around him. The work plays with the idea of self-efficacy. It is about debunking the ‘fog candle’ of the dark doldrums in the sense of solar critics who claim that the technology is not reliable enough. This is countered by the mental strength to accept the power of the sun and to be able to harness it.

Stephan Groß
Bright breezer (2025)
Typo transformation of a Blu-ray cover

This is a typographically edited cover of a Blu-ray. Hellraiser – The Hellbound Heart is a horror film by the English author Clive Barker, based on his novella The Hellbound Heart. The title was changed here to Hellbriser: ‘who brings the bright breeze’. The work refers to the populist fighting term Hellbrise, which is directed against solar energy with reference to the danger of overloading the power grid with too much sun. The film’s villain ironically takes on the role of the spoilsport who threatens with a flash of light.

Norbert Hillwig
„FOREST INSTEAD OF TARMEC“ Memorial for the rescue of the Holm Oak Forest (2025)
Installation: Base – various woods, sculptures made of oak and olive wood, concrete sculpture, toy parts, model cars, iron parts, electric motor with button, acrylic paint

The German car manufacturer Porsche wanted to clear a 200-hectare, over 100-year-old holm oak forest in Apulia (Italy) in order to expand its circular high-speed test track. Environmentalists exposed the compensation through reforestation, declared as “Progress for the Region“, as an unrealistic, unecological promise, and thus, in a long battle, prevented the destruction of the forest and the construction of the track. Press the green button and the  pleased “Holm Oak”- head will rotate quietly in slow motion above a circuit modeled on the Porsche test track. The birds are singing, the Holm Oak Forest is saved and the sports car driver becomes a fossil from ancient times.

5sarunes
Dear Earth (2022, 2025)
Mixed media: soil, photographs

The internet is a wild place, overflowing with information – both verbal and visual. It pulls us in. How can you not believe? It looks and sounds so real. Knowledge empowers us, doesn’t it? So we roam for more. And then… we bounce back. The contradiction?! So, was it all a lie? Or is it this one? And so we find ourselves in a rabbit hole – the more we read and look, the more confusing it becomes. You see, I’m a simple person, so I ask the Earth. Even though it’s pretty clear. The weather has changed since I was a kid, wading through snowdrifts to get to school when it was -21°C, praying to all gods for those few degrees lower so I could skip that day and sleep longer. Now – everyone is just hoping for snow to fall and stay on Christmas Day so they can call it a real Christmas. Well, it’s hard to pick a side. That’s why I say: don’t read the internet – read the Earth.

Tom Lane
Bad Day (2025)
AI Generated Video

“Bad Day” is a looping AI-generated video artwork that satirically explores the intertwined themes of media, politics, and the spectacle of leadership. Framed like a never-ending soap opera, the piece follows an American president as he navigates a series of more or less surreal situations that render him oddly relatable—flawed, human, and persistently absurd. By using humor and repetition, Bad Day mimics the news cycle and highlights how narratives are constructed, distorted, and recycled in contemporary media. In doing so, it sheds light on the mechanisms of fake news, showing how public perception is shaped through emotional storytelling, distraction, and caricature. The absurdity becomes a mirror—amusing yet unsettling—inviting viewers to question the authenticity of what they consume as news.

Vera Leisibach
Perception 2.0 Magic Media Against Fake News (2025)
Glasses, headphones, umbrella, gold paint, gold spray

Three golden everyday objects – an umbrella, a pair of glasses and headphones – are transformed into silent talismans against disinformation. The umbrella stretches out protectively and wards off the flood of manipulative news, like a rain of words. The glasses reveal hidden layers while reading – truth shimmers in blue, lies flicker red. The headphones listen in: When deceptive tones are heard, it rustles softly, a buzzing warning signal in the ear. Gold stands for the value of the ability to distinguish between truth and deliberate deception. In a world where lies masquerade as clarity and agitation as free opinion, we need more than skepticism – we need attitude. These objects remind us that truth is not simply there, but must be felt, deciphered and guarded. They are the silent grammar of a language that we are still learning.

Diana Paun
Everything is True, Nothing is False; Everything is False, Nothing is True (2023- on going)
Modelling Clay and acrylic – “Rabitte Holes” “Conspiracy Symphony” in collaboration with Shiche Lee -MP3 Newspaper – Berliner Format, colour, 3000 copies, designed by Rita Ferreira.

“Everything is true, nothing is false, everything is false, nothing is true.” Es handelt sich um ein Forschungsprojekt, das vom Konzept der linguistischen Expedition ausgeht und die Idee des Sprechens als konstitutives Element der menschlichen Wahrnehmung und Kommunikation untersucht. Ich untersuche die verbal-sprachlichen Handlungen und die Macht der Sprache als Werkzeug im Kontext unserer Gesellschaft. Genauer gesagt konzentriert sich meine Forschung auf Verschwörungstheorien, Propaganda und Fake News und darauf, wie sie die menschliche Wahrnehmung der Realität im heutigen Leben beeinflussen. Ich untersuche die aktuelle Situation der Desinformation sowohl in Rumänien als auch in Deutschland.

Stefanie Raetsch
Art on the Tree – Nature Doesn’t Lie (Cashew) (2024/25)
Photo

The series ‘Art on the Tree – Nature Doesn’t Lie’ is a parody of the descriptions and information on the packaging of finished products. Absurd and sometimes unreadable product information creates a false sense of transparency, while, for example, the country of origin is either not listed or is listed incorrectly. With my work, I question the benefit this flood of information brings to people. Living largely in and with nature in Senegal, I chose the tree as my image carrier. Disguised as information signs, small panels hang there for a limited period of time, which I photographed for this exhibition. While the texts are true, they do not provide the information one might expect and are completely useless. Stefanie Raetsch Kafountine, 25.05.2025

Stefanie Raetsch
Art on the Tree – Nature Doesn’t Lie (Mango) (2024/25)
Photo

The series ‘Art on the Tree – Nature Doesn’t Lie’ is a parody of the descriptions and information on the packaging of finished products. Absurd and sometimes unreadable product information creates a false sense of transparency, while, for example, the country of origin is either not listed or is listed incorrectly. With my work, I question the benefit this flood of information brings to people. Living largely in and with nature in Senegal, I chose the tree as my image carrier. Disguised as information signs, small panels hang there for a limited period of time, which I photographed for this exhibition. While the texts are true, they do not provide the information one might expect and are completely useless. Stefanie Raetsch Kafountine, 25.05.2025

S Raetsch
Oil Palm (2024/25)
Photo

The series ‘Art on the Tree – Nature Doesn’t Lie’ is a parody of the descriptions and information on the packaging of finished products. Absurd and sometimes unreadable product information creates a false sense of transparency, while, for example, the country of origin is either not listed or is listed incorrectly. With my work, I question the benefit this flood of information brings to people. Living largely in and with nature in Senegal, I chose the tree as my image carrier. Disguised as information signs, small panels hang there for a limited period of time, which I photographed for this exhibition. While the texts are true, they do not provide the information one might expect and are completely useless. Stefanie Raetsch Kafountine, 25.05.2025

aerroscape
Drill Baby Drill (2025)
digital painting on tablet

a parallel between the “drill baby drill” speech of Donald Trump and the Los Angeles fire in the beginning of 2025

Lorina Speder
Nein (2020)
Video on USB Stick

In the Video Performance “Nein” the artist says “no” every time she is getting bombarded by a black object. In times, in which lies are normalized by politicians, a strong voice of “no” is required, offering a counterpart to corruption, propaganda and fake news.

Anna Staffel
FACTS ATTRACTOR – an approach to reality or what Mandelbrot would have thought (2025)
Performance with voice and objects

“FACTS ATTRACTOR – an approach to reality or what Mandelbrot would have thought” – a performance with voice and objects.

Tajda Stiplovšek-Jug
Treida (2024)
Video, installation, display, wood, canvas

By changing environmental conditions snow is becoming a rare natural material. Treida is a part of an artwork series, based on an annual act of appropriating snow and saving it in an artist’s refrigerator. Works are dedicated to analyze the value of snow in the times of global warming. Former Slovenian prime minister addressed global warming as a great economical opportunity. Treida is an artwork depicting a fictional market, where snow is traded as a rare luxurious commodity. Its value is examined through the model of supply and demand, meaning the lesser the resources, the higher the price. In a video following the user of the trading platform, we can observe media a platform’s user consumes and which influence his investing behavior. One of the media a user consumes is an article, in which a journalist fact-checks global warming conspiracies.

Emily Wisniewski
(2019)
1:1 aspect ratio and 4K 3:35 video: installation: pins, thread, typeface on paper

This interactive game explores the intricate cause-and-effect relationships between human development, agriculture, and the natural water cycle. As players navigate through the game, they experience a never-ending feedback loop where effects are intertwined with their causes, leading to multiple outcomes. The game’s tension builds as strings wrap around pins labeled with causes and effects. When the tension becomes too great, the pins pop out, symbolizing the overall destruction of the delicate balance between nature and human culture. This visual representation highlights the fragility of our ecosystems and the impact of human actions. To create this piece, I conducted extensive research using UN documentation on climate change’s impact on the water cycle. I also interviewed a UN climate research expert to gain deeper insights.

Nora Zang
The Future is now (2025)
Acrylic colours on canvas

The painting confronts the viewer with a critical moment: a mythological-looking figure paints over the populist headline “Energy transition destroys our economy!” with powerful color and the message “Future is now”. Behind the façade, a new reality is revealed – children, nature, wind turbines and solar panels symbolize a sustainable future worth living. The figure of the goddess stands for wisdom, strength and change – she actively opposes disinformation and fear propaganda. Combining classic iconography, street art aesthetics and contemporary political content, the work reflects on the fact that the energy transition is not a downfall, but an opportunity. The artist was inspired to create this work by the sustainable approaches of her husband, the artist Johnny Donnaray, with whom she works on many projects as an artistic duo.