Show me yours

“Show me yours”

A group show on what’s visible, what’s hidden, and what dares to be revealed.

Featuring works by: Felix Ebersbach, 
Louisa Pieper, 
Naomi Pietros & 
Ollie Gandul

What becomes visible here is not only what is already present, but also that which withdraws from sight. The visible is never neutral. It is shaped by cultural and social conventions, by ascriptions of normality and deviation, and by the boundaries of intimacy, vulnerability, and desire. In Show Me Yours, we encounter four artistic positions that each explore this dialectic of visibility and invisibility in their own way, translating it into fragile, provocative, or resistant forms.

Felix Ebersbach examines the body as a projection surface for social order. Central themes in Ebersbach’s painting are desire and transience. Anatomically inspired works do not present the inner structure as scientific truth, but rather as a reflection on impermanence and bodily norms. What lies hidden within is not simply exposed, but revealed as a mirror of cultural inscriptions — inscriptions that themselves appear fragile and ambivalent.

Louisa Pieper’s artistic practice focuses on the perception of auditory stimuli shaped by hearing impairment. In the series Hearing Antagonists, invisible barriers are transformed into vibrant visual worlds. Electromagnetic fields, experienced in daily life as disturbances, are reimagined as aesthetic forces—forces that not only disarm antagonists but also render them accessible to visual perception. This transformation unfolds in a double movement: on the one hand, it makes individual obstacles visible; on the other, it articulates a political demand for accessibility and inclusion.

Naomi Pietros approaches painting as a language that shapes our seeing and stabilizes social imaginaries. Images influence not only how we perceive, but also how we define beauty, identity, and belonging. By making painting itself the subject of the work, Pietros exposes these mechanisms. The practice destabilizes the familiar pictorial surface through fragments, ruptures, and overlays, revealing that images are never neutral, but always carry inscriptions and power relations. At the same time, spaces are opened in which these structures can be questioned. Painting here does not appear as a mere representation, but as both mirror and site of negotiation, where visibility and invisibility are continually redefined.

Ollie Gandul develops, through sculpture, an aesthetic of desire that resists clear definition. Ceramics, textiles, metal, and rubber combine into forms that oscillate between softness and hardness, attraction and resistance. These objects deliberately resist categorization: at times bodily, queer, playful, or even threatening. Their ambivalence makes clear that desire is never singular, but always suspended between pleasure and danger, intimacy and power.