{"id":34634,"date":"2025-11-24T22:24:17","date_gmt":"2025-11-24T21:24:17","guid":{"rendered":"https:\/\/gg3.eu\/?page_id=34634"},"modified":"2026-02-21T08:45:58","modified_gmt":"2026-02-21T07:45:58","slug":"online-gallery-of-the-exhibition-the-art-of-climate-communication","status":"publish","type":"page","link":"https:\/\/gg3.eu\/en\/online-gallery-of-the-exhibition-the-art-of-climate-communication\/","title":{"rendered":"Online gallery of the exhibition \u201cThe Art of Climate Communication\u201d"},"content":{"rendered":"

Online gallery The Art of Climate Communication<\/strong><\/p>\n

October 10 – November 21, 2025<\/h2>\n

Artists
\nTom Albrecht<\/a>, Joachim Czepa, Ute Diez<\/a>, Stephan Gross<\/a>, Karin Heinrich<\/a>, Kaki<\/a>, Helge + Saxana <\/a>, Jens Isensee<\/a>, ANUnaran Jargalsaikhan<\/a>, Maria Korporal<\/a>, Stephan Kurr<\/a>, Vera Leisibach<\/a>, John Maibohm<\/a>, Thomas M\u00f6ller (TM)<\/a>, Keri Rosebraugh<\/a>, Mar\u00eda Huerta<\/a>, rosa schmidt with katharina resch, artist duo verstoffwechselt<\/a>, Julien Stiegler<\/a>, Andrea Streit<\/a>, Lioba von den Driesch<\/a>, Petra Weifenbach<\/a><\/h4>\n

Link to text and program of the exhibition<\/a><\/h2>\n

 <\/p>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nTom Albrecht<\/a>
\nFossil Party<\/strong> (2024)<\/p>\n

Object box, mirror ball, motor, LEDs, photo \u201cCreature playing with the two globes,\u201d electronics, power supply, motion detector<\/p>\n

Before the game of doom with the two worlds in the background, a brightly rotating mirror ball under a rocket creates a party atmosphere. Viewers activate the object through their movement and thus become part of the party.
\nThe motion detector and light reflections communicate with the viewers. The raucous party with the rocket takes place against the backdrop of the game with the two worlds. We continue to celebrate the fossil fuel frenzy as if we had a second world.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nJochen Czepa
\nGeneration +1,5 Degree Celcius<\/strong> (2024)<\/p>\n

Acrylic on canvas<\/p>\n

The work connects the annual climate warming with my life years. My generation is experiencing the beginning of unstoppable global warming, often without consciously perceiving or wanting to accept it. It fails to reach many people. The linking of climate data with personal life milestones touches emotionally much more strongly than the communication of scientific facts by climate researchers.<\/p>\n

The climate stripes in 0.5-degree increments are based on the annual average climate data from the University of Berkeley from the years 1955 to 2024 for my hometown of Berlin.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nUte Diez – Institut f\u00fcr Klimasch\u00f6nheit<\/a>
\nClimateMeeting<\/strong> (2024\/2025)<\/p>\n

Printed toilet paper<\/p>\n

Studying in the Restroom
\nThe artist is part of a collective of marine and climate scientists and other creatives. The group is looking for interventions that can give people a humorous stimulus to engage with scientific topics and the results of current research. Surveys show that people spend up to three years of their lives on the toilet. It has become a place for small, individual breaks from everyday life. The work takes advantage of this fact and entertains people with condensed information on marine research and climate.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nStephan Gro\u00df<\/a>
\nSHOWTIME CLIMATE<\/strong> (2025)<\/p>\n

Typographics, digital print on paper<\/p>\n

The graphic shows the title lettering \u201cShowtime Climate\u201d in a dot matrix font, alluding to the contexts of the media stage, spectacle, and live show. It is mirrored again on the right-hand side to suggest a competing perspective on the topic.
\nThe mirroring of the slogan can refer to a reflection, a reversal, or even a distortion of reality. The climate discourse in the media is often polarizing: What is real, what is staged? What is effective? Is it possible to bring the topic of climate change into the spotlight in a constructive and productive way?<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nStephan Gro\u00df<\/a>
\nMessage in a bottle<\/strong> (2025)<\/p>\n

returnable bottle, digital print on paper<\/p>\n

It is a combined object consisting of an empty water bottle found on the street and an A4 printout of Goal 13 of the United Nations Sustainable Development Goals (SDGs). This refers to climate protection measures and calls for urgent action to combat climate change.<\/p>\n

The deposit bottle is advertised with the imprint \u201c100% recycled plastic*\/*excluding cap and label…more information at: rewe.de\/umweltbewusst.\u201d Is this a win-win situation for climate communication that lives up to the ostentatiously placed UN manifesto?<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nKarin Heinrich<\/a>
\nMaking Water<\/strong> (2025)<\/p>\n

Ice object, 45cm x 45cm x 10cm
\nDigital video, UHD, 10 min. 11 sec.<\/p>\n

A ring of ice is changing.
\n\u00abMaking Water\u00bb is a German nautical term for water that enters the interior of a boat through a leak.
\nDue to its slow but steady progression, global warming is hardly noticeable as a threat to many people. Global warming is causing glaciers to shrink, permafrost to thaw, Arctic and Antarctic ice to melt, and sea levels to rise, among other things. Living creatures are losing their habitats, having to flee, and are dying out.<\/p>\n

My work shows the slow, barely perceptible change caused by warming and makes this change and vulnerability visible through time-lapse.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nKaki<\/a>
\nUnderneath my fingernails is still glitter<\/strong> (2023)<\/p>\n

Laser-scanned analogue film strips digitilised again<\/p>\n

The video consists of lasered analogue strips that were recorded in L\u00fctzerath. The photos show intimate moments of the activists on site. The burned lettering tells of a cross-generational struggle to preserve our nature.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nHelge & Saxana (K\u00fcnstlername des K\u00fcnstlerpaares)<\/a>
\nDisappeared Home \/ ALL VILLAGES REMAIN<\/strong> (2020)<\/p>\n

Soil 1.5 m\u00b2, roof batten, painting: 32 x 47 cm, oil on canvas, 2020<\/p>\n

The artwork is directly related to the fight for the 2015 Paris climate targets. (Germany and 194 other countries committed to the Paris Agreement.) The artist duo HELGE & SAXANA have been working with art in the hotspots of the int. climate movement in Germany for many years. In 2020, they created these artworks plein air in the resistance against RWE in villages surrounding the Hambach + Garzweiler II opencast mines. They are portraits, contemporary witnesses of buildings threatened with demolition at the time (e.g., in L\u00fctzerath) – L\u00fctzerath was destroyed in January 2023.Countless photos, films, and these commemorative works of painting remain, total 40 paintings.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nJens Isensee<\/a>
\nNovocene – A possible Future<\/strong> (2025)<\/p>\n

Interactive Mixed Reality Installation, Quest 3 MR headset and analog tree sculpture | 4 x 4 m<\/p>\n

Novocene ist ein Mixed-Reality-Erlebnis, das eine interaktive Erz\u00e4hlung von der Entwicklung der Menschheit im Anthropoz\u00e4n entfaltet, jenem vom Menschen dominierten und geformten Zeitalter. So handelt es auch von Ressourcenverbrauch und Umweltzerst\u00f6rung in der Gegenwart und stellt dem eine utopische Zukunftsvision gegen\u00fcber.<\/p>\n

Nach einigen Zeitspr\u00fcngen wird selbst die Klimakrise in letzter Konsequenz erfahrbar, wenn die tats\u00e4chliche Umgebung in einem virtuell ansteigenden Meeresspiegel versinkt. Bis dahin wirft das Geschehen einen ebenso interessierten wie kritischen Blick auf die Rolle von Technik und KI bei der L\u00f6sung des endg\u00fcltigen Menscheitsproblems.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nANUnaran Jargalsaikhan<\/a>
\nA Connection to Mother Earth<\/strong> (2024)<\/p>\n

Beamer<\/p>\n

This work explores my connection to the natural elements through my grandmother\u2019s belt. In Mongolian tradition, the belt is believed to embody strength. The performance also relates to another story: last year, my family found two boxes of stones near our home, resembling those of the Gobi. Since 2009, such stones\u2014which help preserve soil moisture\u2014have become rare, as many were sold abroad, especially to China, accelerating desertification. With 90% of our land turning into desert, this work shows our act of returning the stones and reflects on how we relate to our fragile Earth.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nMaria Korporal<\/a>
\nCall to Climate Action<\/strong> (2025)<\/p>\n

Old telephone, interactive control with Raspberry Pi, connected to screen. Experimental video and animation, JavaScript programming<\/p>\n

An old telephone and a screen invite dialogue. In the video, the same phone vibrates on asphalt, urging viewers to pick up the receiver. Once they speak, the scene changes: I take the receiver in the video and respond. Instead of audible words, speech bubbles appear with slogans from climate communication, transforming into images of ecological solutions. Voices and sounds generate rhythmic colour waves, surrounding the small planet \u2013 at once a reminder of global warming and a vision of hope for change.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nStephan Kurr<\/a>
\ni would if i could<\/strong> (2025)<\/p>\n

Woodcut on japanese paper, edition of 5<\/p>\n

In March 2024, an avenue of ash trees was felled just around the corner from my flat, despite years of public protests, petitions and administrative decisions … Under police protection, the trees were cut down in a matter of minutes.
\nBefore the trees were chopped up, I bypassed the police cordon and took the melon slice-like segment from each felled tree, the so-called felling notch, which is sawn out of the tree trunk before felling to determine the direction in which the tree will fall.
\nIn my studio, I milled a letter into each of the collected felling notches and used them as printing blocks for the following text:<\/p>\n

I would
\nif I could
\nrun !
\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nVera Leisibach<\/a>
\nIf We Could Talk<\/strong> (2025)<\/p>\n

Animation with audio<\/p>\n

Insects circle in a seemingly symmetrical composition. What begins as a few squeaky, distorted voices develops into an eerie chant that oscillates between cheerful and melancholic, unsettling\u2014and yet carries something sweet within it.
\nThe insects address humans directly: they ask them to save the climate, moan about heat, floods, fires, storms, and drought, about the loss of their homes, their food, their air. The work uses this contrast between lightness and urgency not to lecture, but to evoke a feeling\u2014one that echoes in the mind and calls for action.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nJohn Maibohm<\/a>
\nMeet me if You (still) can \/ Together, become a climate savior<\/strong> (2025)<\/p>\n

Photocopy collage on paper<\/p>\n

\u201cMeet me if you (still) can \/ Together, become a climate savior\u201d The exhibition asks how climate change can be successfully communicated to the public. My answer is a strategic communication concept: the possibility of placing advertisements as an artistically conveyed strategy on high-reach portals with a sense of responsibility.
\nThe storyboard presents the climate advertising block on a highly frequented online platform before login, during which an unexpected encounter with the topic of climate change becomes possible in the user’s consciousness.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nJohn Maibohm<\/a>
\nchance discovery \/ climate postcard<\/strong> (2025)<\/p>\n

Colour photocopy on cardboard<\/p>\n

Encounter at the equator \/ chance discovery.
\nMy art of climate communication consists of two parts:
\nA: a postcard message (consequences of climate change).
\nB: dissemination strategy through which this message is to be communicated (display in postcard stands).
\nA: The postcard shows a polar bear and a penguin at the equator, symbolizing the (self-)destructive consequences of climate change.
\nB: Communication concept with a surprise effect: Visitors randomly find the stamped cards in frequented locations (museum shops, bookstores) and are invited to send them\u2014and thus to communicate the urgency of behavioral change.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nThomas M\u00f6ller TM<\/a>
\ngive-away<\/strong> (2019)<\/p>\n

liquid-in-glass thermometer, acrylic, metallic pigment on wood<\/p>\n

Outdoor thermometers were once popular promotional items for well-known brands in the food industry. The title of the work, \u201cGive-away,\u201d refers to this tradition. A well-known airline has obviously discovered this traditional promotional item for itself. As proof of its successful business activities, the result can be read directly on the thermometer. The work refers to a distorted self-perception which\u2014in the interests of personal gain\u2014separates causes from effects, thus leading to unreasonable and environmentally harmful behavior.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nKeri Rosebraugh<\/a>
\nRemember Here<\/strong> (2025)<\/p>\n

digital video<\/p>\n

Visual artist Keri Rosebraugh and film director Mike Marshall have collaborated on a video documenting the aftermath of the January 7, 2025 Eaton Fire in Altadena, CA, USA. This piece captures both the physical devastation and emotional journey of over 100,000 affected people. Throughout the creative process, both artists discovered they had been touched by the fire in different ways, reinforcing their message about the importance of community support during crisis. <\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nMar\u00eda Huerta<\/a>
\nDigital garden<\/strong> (2025)<\/p>\n

Mixed Media<\/p>\n

Digital Garden is a poetic video-essay that interlaces internet addiction, utopian and dystopian imaginaries, and Latinx perspectives on climate justice.
\nThe work draws from the personal digital archives of Mar\u00eda Huerta, documenting fragments of daily life and weaving them into a narrative that oscillates between intimacy and collective reflection.
\nThrough a deliberately delusional lens, Mar\u00eda articulates the sense of grief that permeates our society as we stand on the threshold of massive ecosystem extinction.
\nThe piece positions this grief not as a solitary experience but as a shared condition, a wound that demands both recognition and transformation.
\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nrosa schmidt 2025 (concept, text, research, material, performance); katharina resch (performative co \u2013 research, performance)
\n” \/ “<\/strong> (2025)<\/p>\n

performance\/material interaction: canvas, pinewood material, spray flacon<\/p>\n

On a dance floor-like canvas, a cultural-historical image emerges that stores communicative energies between dancing human bodies and burnt plant terpenes and reactivates impulses for action to preserve the resilience of the surrounding organic nature as well as one’s own.
\nThe energy of a multisensoric \u2013 intercellular dialogue between moving human bodies and the partly burned material of local pinewoods will transform some contemporary consumer bubble binaries – for opening up an organical horizon, which respects, regenerates and celebrates the threatened common sources of resilient nature.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nk\u00fcnstlerduo verstoffwechselt<\/a>
\ntransformation<\/strong> (2024)<\/p>\n

Installation, infusion bottle; infusion stand, wooden box, pencils with seed capsules, plate, clay soil, Wooden scales (gallows), water, String, plexiglass tubes<\/p>\n

The artwork \u201cTransformation\u201d brings the climate crisis to life in an impressive, sensory way. The water slowly dripping from the infusion bottle symbolizes the dwindling value of our resources and illustrates that every single action counts\u2014every passing minute and every drop has an impact on the big picture. The basil plant (\u201croyal medicinal plant\u201d) growing from the seed capsule at the bottom of the upturned pencil shows that even under adverse conditions, hope and change are possible.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nJulien Stiegler<\/a>
\nE=C02 – the polar bear<\/strong> (2023)<\/p>\n

Dieser Film wurde in 7 Monaten von Hand mit Bleistift und farbiger Tinte auf Papier erstellt. Das gesamte Layout und der Rhythmus wurden ohne Computer definiert (\u00e4hnlich der Timing-Technik von Chuck Jones in den 50er Jahren, basierend auf der Musikkomposition). Nur 3 Tage digitale Nachbearbeitet.<\/p>\n

Ein Eisb\u00e4r, der unter der globalen Erw\u00e4rmung leidet, entdeckt einen K\u00fchlschrank auf dem arktischen Eis.
\nWie kann man Energie erzeugen, ohne die Klimaerw\u00e4rmung zu verursachen?
\nIch beabsichtige, diese Arbeit des paradoxen Geschichtenerz\u00e4hlens rund um Energie fortzusetzen.<\/p>\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nAndrea Streit<\/a>
\nMr. Gaebler, do you use sunscreen? (17-piece)<\/strong> (2025)<\/p>\n

Drawing on paper on kapa; audio with recorded notes<\/p>\n

In my 17-part drawing series, I focus on the details of the Gendarmenmarkt and the climate-friendly renovation from 2022 to 2025. With the working title “Mr. Gaebler, do you use sun protection?” I refer to the controversially discussed decision of the Berlin building senator to not add green spaces to the ensemble and instead renovate it in accordance with historical preservation standards. Margin notes convey press images related to the redesign of the square, but also reflect personal observations.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nLioba von den Driesch<\/a>
\ngoing to the beach II \u201clet’s stay\u201d<\/strong> (2025)<\/p>\n

Computer animation, endless loop<\/p>\n

Comprehensive findings on climate change were published 50 years ago – but compared to the wealth of information available, little has happened. One reason for this is the underestimation of the social and financial problems facing democracies.
\nThat is currently changing. More and more international climate activists are joining forces with other organizations to support the #TAX THE SUPER RICH campaign in order to overcome global crises and move closer to global justice.
\nBerlin’s Golden Lizzy has become the goddess of diversity, big party and large demonstrations for climate protection, social justice, peace, and democracy. – A beacon of hope.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nPETRA WEIFENBACH<\/a>
\nHOLLAND IN DISTRESS 25<\/strong> (2025)<\/p>\n

Art installation: Objects made from PHOTO PRINTS<\/p>\n

Tiles in a traditional Delft style with a windmill motif. Photo prints are the building material for these objects. The photo of a tile has been digitally manipulated more and more and illustrates the growing change in the three-dimensional reconstructed versions.
\nA looming intrusion into our orderly world. Yet it doesn’t look horrific; the fake tiles are perceived as well-known, real and familiar. We think we see ordinary, old tiles, and only with difficulty do we perceive the impending doom, the progressive sinking of the windmill. A reflection of the unwillingness to perceive the climate crisis.<\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Online gallery The Art of Climate Communication October 10 – November 21, 2025 Artists Tom Albrecht, Joachim Czepa, Ute Diez, Stephan Gross, Karin Heinrich, Kaki, Helge + Saxana , Jens Isensee, ANUnaran Jargalsaikhan, Maria Korporal, Stephan Kurr, Vera Leisibach, John Maibohm, Thomas M\u00f6ller (TM), Keri Rosebraugh, Mar\u00eda Huerta, rosa schmidt with katharina resch, artist duo […]<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[],"class_list":["post-34634","page","type-page","status-publish","hentry"],"yoast_head":"\nOnline gallery of the exhibition \u201cThe Art of Climate Communication\u201d | Galerie f\u00fcr nachhaltige Kunst in Berlin<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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