mariafallada

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	<title>mariafallada</title>
	<link>https://mariafallada.com</link>
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	<pubDate>Sat, 12 Sep 2026 16:02:45 +0000</pubDate>
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		<title>First Page (mfl)</title>
				
		<link>https://mariafallada.com/First-Page-mfl</link>

		<pubDate>Wed, 17 Jul 2024 10:20:30 +0000</pubDate>

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		<title>On Practicing Failure</title>
				
		<link>https://mariafallada.com/On-Practicing-Failure</link>

		<pubDate>Sat, 12 Sep 2026 16:02:45 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

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		<description>
	On Practicing Failure
	2026
	(Ongoing) mini essay on navigating artistic insecurity, embracing failure as a creative force, and finding the quiet courage to keep creating on precarious ground. Shared on social media and born from my stay at the Pier-2 residency program in Kaohsiung, Taiwan.


Sometimes I hesitate to share personal stuff here [social media]. Bet you agree, perhaps not, that, unavoidably, it often comes out as rather superficial, even dystopian. In the end, it’s shared at an utter distance, through a stupid screen, which still feels like the opposite of intimate to me. But then, I quite enjoy contradicting myself and being skeptical of the absolute. And there are so many, well, rather some, people I would like to share this with. This is one way (and rightfully not the only one). 


Early this year, I came to Taiwan for a three-month art residency with a broken heart and a lot of insecurity. It’s hard to be a creator in the world we live in. It’s almost like being a seed in infertile soil, one without worms. How to grow? How to even dream of blooming? As well, it is hard to be naturally insecure and have to work alongside someone you think is one of the best artists and beings you happen to know. The bar is rather high, in a way that feels unreachable. It’s extremely challenging and tough to constantly feel like a clumsy impostor and not good enough, while simultaneously trying to be on the same level as, and not let down, someone like Yun. But it’s also one of the best things in the world. Because she’s my greatest teacher. With her hands, her mind and her heart. 我愛你 mi talpi. 


During this dreamy adventure, I was asked for the second time in two years if I am ever considering giving up being an artist and doing something else instead. Of course, being someone as insecure as I am, the first way of embracing this question is, first of all, with insecurity itself, then followed by shame and deep sadness, meaning, oh, this person must be asking me why I am pushing myself to do this job if I suck and struggle so much at it. Probably, this or the other person who asked me that very unsettling question (both of them artists) didn’t mean that at all, and it was mainly my insecure and cruel inner voice speaking to me. Probably they were merely curious about my answer because they ask this same question themselves. Probably. 


At moments I thought that I should give up because I do think, most of the time, I am not good enough. That must certainly be a valid reason to give up, mustn’t it? But then I realised, damn, even being not good at it, it seems I always come back to it. Always. The mere idea of completely abandoning creation makes me literally sick. So I told myself, for the first time in my life, what if it does not even matter if I am a good artist or not? If I am successful or not. If I have a reputation or not. Whatever all this nonsense means. What if, I just do art, involve myself in it, fight for it, because at the end, it is precisely this that makes the most sense for me to believe in this world. It is the way that makes the most sense for me to be in it. In other words, it is my way to cope with its madness. To create my own worlds in a world I would rather not live in as it is. It’s my call. My mission. No matter how much others, or even myself, believe I suck at it. I am condemned. And I am blessed. 


And yet, yes: I do consider giving up being an artist all the time. Because contrary to what many people think (often people not working in the arts nor cultural fields, surely with exceptions), being an artist and believing in the power of the arts, for itself, is insanely fucking hard. And it isn’t a given privilege by itself. It is working in one of the most precarious and misunderstood fields that has ever existed. And yet, it is one of the most freeing and needed to keep ourselves human (and, with it, alive, yes). So I am afraid I can’t give up. Many things may and will go wrong following our dreams and doing what makes the most sense for us. But I dare to say they will never go as wrong or be as great as if we don’t.


So after these dramatic paragraphs, I want to say this was also meant to be a cheesy message of gratitude and appreciation to a very special group of people: the kindest team of Pier-2 with the coolest and most encouraging main contact during our residency, Jaron. And the genuine, talented and inspiring artists in residency we shared space and time with. Always supportive. Always fun to be around with. Yun and me could not have dreamt of sweeter companions. I hope you don’t mind I share those karaoke videos (lol). You’re the best. And what could we have done without our project head assistant, Jack? 我也愛你 Yin Ting. And to our bebés: thank you for being there and taking care of us too, Stevie, Agnes, Chichi, Natálie. 


Perhaps now, more than ever, we should be sure to be surrounded by the right people and communities (aka the people who we feel and know are right for us). And perhaps now, more than ever, we shall keep doing whatever makes the most sense for us to do in this mad, intriguingly surprising, ever-changing world. 
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		<title>Preserve 貯藏: A Living Archive of Taste and Memory</title>
				
		<link>https://mariafallada.com/Preserve-A-Living-Archive-of-Taste-and-Memory</link>

		<pubDate>Tue, 19 May 2026 19:25:00 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

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	Preserve 貯藏: A Living Archive of Taste and Memory
	Kaohsiung, Taiwan
	2026
	Together as TOPO Studio, multidisciplinary artist Yun-Chu Liang and I have imagined ourselves as humans from 100 years in the future, returning to the present year of 2026. Our mission: to investigate how people preserve memory and cultural identity through food and flavor. During our residency at the Pier-2 Art Center, we navigated the streets of Kaohsiung and its markets—such as the Yancheng “First Public Retail Market” and the “Grand Stage Theater Traditional Market”—in our futuristic “space rover” to conduct field research.

Amidst the hustle and bustle of the markets and the Yancheng District, simple greetings blossomed into deep conversations. In response to the question, “What flavors or ingredients would you like us to preserve and pass on to people a century from now?”, we received a wealth of answers. Our database grew with every story, layering ancient cooking techniques and food preservation methods to form a rich tapestry of cross-generational cultural memory.

Our residency culminated in the presentation of our research-work in a week-long interactive exhibition at the Pier-2 Art Center.&#38;nbsp;


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	© Photos by &#38;nbsp;宋相邦 Hsiang-Pang Sung&#38;nbsp;(Pier-2 Art Center, 2026)


Dear humans in 2026,

our world is much like yours, only the seas are higher and quieter, and the days warmer. Many flavors that are ordinary to you now only exist in our archives. We are currently investigating how the people of 2026 preserve their memories and cultural identities through taste.

Coming from 2126, we have been deployed to the street markets of Kaohsiung to carry out a critical mission. We are a mobile entity that acts as a living laboratory, a bridge between two centuries, with the hope of safeguarding the way in which flavor and memory will be preserved over the next hundred years. Through the ritual of preservation, we are translating vanishing sensory data into sensitive and memorable specimens.

We invite you to contribute your sensory data to the Global Taste Database. We believe that what you choose to preserve today will matter more than ever in our time. Every scent, every flavor, and every recipe remembered is a map that leads us back home.

Status: Living and Temporal Archive in ProgressLocation: C6-2 Warehouse, Dayi Area, Pier-2 Art Center Coordinates: 22.6208° N, 120.2831° E

Yours faithfully,TOPO Studio, 2126</description>
		
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		<title>With Those Who Tend the Soil</title>
				
		<link>https://mariafallada.com/With-Those-Who-Tend-the-Soil</link>

		<pubDate>Fri, 27 Feb 2026 04:09:07 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

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	With Those Who Tend the Soil
	2025
	Dedicated to the guerrilla and community Garden Neukölln,&#38;nbsp;With Those Who Tend the Soil: Gardening As Human Practice is a research-driven exploration of the garden as a site of refuge, healing, sociopolitical consciousness and more-than-human encounters. 

The act of tending the soil is understood both literally, as an ancient agricultural practice, and metaphorically, as a sacred process of love, grief and transcendent transformation. Through the practice of community gardening, this research engages with ideas of relationality, multiplicity and care, drawing on contemporary thinkers, gardeners, and authors such as Jamaica Kincaid, Robin Wall Kimmerer and Paul B. Preciado, while also weaving in personal experiences of depression, migration, and reconciliation within an ever-changing world in crisis.


The garden appears here as a rhizomatic space with its own temporality, where human and non-human lives are entangled in fragile relations of reciprocity, responsibility and parasitic coexistence. Alongside the written chapters, a body of six poems, an installation of drawings and a recital form a multi-layered exploration into what it means to be human and tend for — and be tended by — earthworms, weeds, a garden and Mother Earth.

Presented at WerkStadt Kulturverein (November 7 — 11, 2025) in collaboration and performance with: Agnes Helming, Johanna Küng, Ksenia Lapina and Yun-Chu Liang.
Created under the guidance of Professor Pauline Doutreluingne and Lerato Shadi, in the framework of the MA Raumstrategien (Spatial Strategies) at Weißensee Kunsthochschule Berlin. 


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	© Photos by Amaan Hassen (WerkStadt Kulturverein, 2025)
	
	
	Introduction:
The title of this work, With Those Who Tend the Soil bears both literal and metaphorical meanings, embodying the actual practice of this research. Literally, tending the soil refers to one of the most ancient practices in human cultivation: digging, loosening or turning over the top layer of soil. It is an act performed with a tool, such as a shovel or a hoe, or with bare hands. This gesture prepares the ground for sowing and planting: breaking up and aerating compacted earth, making space for water and roots to move through, while incorporating organic matter so that new sprouts may grow and thrive.


This, however, is not always a composed act. To tend the soil often implies to disturb what has been settled. Worms, fungi and countless microorganisms might be displaced or exposed in the process. Dormant seeds may be awakened, weeds and other cultivated plants uprooted. This disturbance creates the conditions for something new to grow, but it also carries risks, inviting erosion, loss, or imbalance if done carelessly. Tending the soil, then, is not only a matter of technique, but also of ethical principles: an act that demands attention to cycles and relations within nature.


Metaphorically, the sentence opens onto other terrains. Through the experience of working in a community garden, I have come to understand the tending of the soil as the tending of an inner self, and furthermore, as a participatory practice of (re)connecting and also grieving with the world, unearthing what has been buried and letting go of what has become rigid over time. It can be a slow and gentle release of those layered spaces, internal or external, physical or metaphysical, where pain or numbness has taken deep root. In this sense, tending the soil is a transformative practice: an emotional, political and ethical labor of caring for life in the midst of collapse, loss and uncertainty. It speaks as much of rupture as it does of healing; of preparing the ground for new relationships, new forms of resistance and new possibilities of life to become.


At its core, this work wishes to talk about and honor a place that brought me solace in a moment of need and personal transformation. Through the practice of guerrilla and community gardening, I found my way back into the world while, as Donna Haraway would say, staying with the trouble (2016). In collectively cultivating shared soil, I challenge the damaged and predatory landscapes we find ourselves in, by learning and imagining ways of being and coexisting otherwise.


The with in the title is therefore as meaningful as the action itself. It signals an inner necessity for companionship, solidarity and the refusal to imagine cultivation and growth as a solitary human endeavour. To tend the soil is always to act alongside others who make this work possible — whether human or beyond. Therefore, those who tend the soil refers not only to human farmers or gardeners, but also worms, fungi, plants, and all the often unnoticed collaborators who take part in the cyclic processes of nourishing our existence. It is also a reminder that the garden — literal or metaphorical — is always a co-creation, an ecology shaped by multiple bodies and their intertwined relations, where we learn to remember to be human again.


	Poems for the Soil:

in our cryptic encounter,
i’ll surrender to the spell of dreams
and swim the tumultuous currents
of our symbiotic metamorphosis.

without apparent notice,
we’ll crack the shell,
learn to affect each other,
soaking up past life tears.


will you fragment me until i disappear?
or instead, strain me to the point
where i am yet able to return,
shedding, glowing under a new skin?

will you attempt to disguise
and impose, in fear, your truth as mine?
or tenderly hold our opacities,
daring to love what you do not see?
for i am not the absolute but a multiplicity


dressed in layers of transparencies,
a parasite that struggles to belong
nowhere and everywhere, arriving here,
a world that once was, and now fades into another.


— haustorium

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aren’t we all desolate?
i wonder
is this not what it means to draw breath
in a world of love– and homesickness?


thick weights hanging,
bared chests,
the raucous, lonesome silence
between us all.


perhaps here, today,
i will not excuse my darkness.
today, i watch the gloomy wildflowers,
and how they pity our garden.

avui miro les flors silvestres, musties,
el blau que ja no és blau, 
sinó un color agredolç i assossegat, 
assecant-se fins a desaparèixer.


today, i watch the gloomy wildflowers,
the blue that is no longer blue,
but rather a bittersweet, quiet color,
withering until it disappears.


brain zaps
i might have forgotten yesterday’s pill.
my head
weirdly dizzy.


how different from a seed
pink and red-lined capsule;
it does not sprout
under sunshine,
only takes the pain away.

if my voice broke,
please excuse me,
the ground i trod on
trembled and shattered.


estimat dolor,
rumio feble

les hores eternes;

quan et despertaràs

i em duràs de la mà

on es viuen els dies?


dear pain,

i ruminate feeble

everlasting hours;

when will you awaken

and take me by the hand

where days are lived?


una espurna de vida mussita:

vindr. quan gaireb. no recordis,

quan tornis a visitar la terra humida,

la toquis, descalça, sota la meva nit porpra.


amb cada llàgrima germina la llavor

que va sembrar la teva ferida,

i floreix la flor més dolça del meu jardí.


a spark of life whispers:

i will come when you barely remember,

when you return to visit the damp earth,

touch it, barefoot, under my purple night.


with every tear, germinates the seed

that your wound once sowed,

and blooms the dearest flower of my garden.


— estimat dolor (dear pain)
&#60;img width="4960" height="6894" width_o="4960" height_o="6894" data-src="https://freight.cargo.site/t/original/i/b79eb4e6c3092d91deed7e9ccf45343825401392c7e374a96856248f4c5f1f40/20251030_DRAWING07_300ppp_CMYK.jpg" data-mid="245379851" border="0"  src="https://freight.cargo.site/w/1000/i/b79eb4e6c3092d91deed7e9ccf45343825401392c7e374a96856248f4c5f1f40/20251030_DRAWING07_300ppp_CMYK.jpg" /&#62;


the underdog

you

the uninvited

yet insolently messing

fooling me without shame


what have you come to tell?

of course you must tell

you came here for a reason

in that, i know you cannot lie.


dismissed

when not tormented

yet resilient to stay

and spread untold roots.


our great grandmothers sang

your sacred, secret stories.

in the realm of greed

they’ve been forgotten


your songs were born

from marshy ground

like the spells

the wind carries


falling softly

into your arms

i hear the echoes

still, i do not comprehend

their magic.


blind were the eyes,

shut was the heart

the day you became my enemy;

aren’t we all traveling weeds?


witches knew

long before then,

you came to embrace collapse

and watch all empires fall.


wise and misunderstood,

i used to fear your strength,

tonight

i wish to expand beside you

as if that would be all;

it might truly be.


tonight

flowers whisper

how we found peace,

and i kiss you back

under the dark moon.


— weeds
	

&#60;img width="5203" height="7232" width_o="5203" height_o="7232" data-src="https://freight.cargo.site/t/original/i/bd311643fe2491137c40cf45b49ead4c5d562518e6a01b39bac72494838680ab/20251030_DRAWING05_300ppp_CMYK.jpg" data-mid="245379712" border="0"  src="https://freight.cargo.site/w/1000/i/bd311643fe2491137c40cf45b49ead4c5d562518e6a01b39bac72494838680ab/20251030_DRAWING05_300ppp_CMYK.jpg" /&#62;
have you heard the news?soon, our garden will be gone

no more tender salutesnor soft farewellsfor our hazelnut treeno more libationsfor the mother of herbs

they must once morefeel betrayed

have i failedthe promised word?

i feel we feelthe rising gloomthe garden knowsthe soil’s memorieswill be turnedand coveredwith aloof grassas if none of uswould have ever livedwithin them

to our faithful protectori do not know how to say goodbye
the scent of the yellow chaste weedwill remain as the hidden scarof a laid bare, wishful wound

not even the sunrootcan tell me how to mournthis imminent lossand yet, we knowtheir will to returnwill not depriveour dear untamabledaydreaming beastsfrom growing anew.

— farewell


murmurs of liveswere born deepin the five hearts you carry.dear eartheaters,i think i have met you there,where roots rot and seeds grow.

time dissolvesat the brushing of your muddy skin,hollowing with appetitethe dripping soil —as if soft pink skieshad never known our gaze;as if, again,i would feel a feeling of my own.

with a soothing saluteyou curl into our shared stillness,and uncover the stonesthat seal the ground between us.yet through these fingersfall the grains of moist sandfrom an almost empty desert —a desert that once filled the airwith warmth.

dear eartheaters,I awe at your unveiling;your perseverance in mourningthat we could not cry alone.

— murmurs
&#60;img width="4880" height="6893" width_o="4880" height_o="6893" data-src="https://freight.cargo.site/t/original/i/188c14a4ffd152e1f1441231dd19f5ab148e83903b195e27967fcd6f6f1687b3/20251030_DRAWING08_300ppp_CMYK.jpg" data-mid="245379852" border="0"  src="https://freight.cargo.site/w/1000/i/188c14a4ffd152e1f1441231dd19f5ab148e83903b195e27967fcd6f6f1687b3/20251030_DRAWING08_300ppp_CMYK.jpg" /&#62;
i’ve been rushingthrough a visceral dystopiai’ve been selling timeto the wickedsoulless men’s machine

i can’t tell anymoreperhaps i never couldwhen it consumed our heartsand vomited them in caustic bilecarvingtil darknessthe deepest valley on Earth

a whole worldendlesslyburiedno grievingwhile watchingthrough the screenof the manmade machinetheir child’s bonesbeneath paling flesh

decaying numbnessmeaningless abundancesilent dreams of eartheatersswallowing it all

how absurd to live herehow absurd to be heremumbling words into the screenof this manmade machineafter the sunrise drags me backfrom a gently obstructed sleep

how absurd it has becometo chase the phantom of successto wake each day to earn moneyto keep goingonly to keep goingwhile feeding the manmade machinewhich does not cease to insistto swallow our soulsand starve our siblings to death

i watch us watchnearly defeateddays, months, and yearspass through the screenof this visceral dystopiathat consumesand turns us into poisonous bileand yetnearly defeatedi insist on tendingour gardensowing wordsto keep myself free in dreamingto rememberwhat it meantto be humanagain.

— sowing wor(l)ds&#60;img width="4960" height="6894" width_o="4960" height_o="6894" data-src="https://freight.cargo.site/t/original/i/86749ad08217ef6c50de7086606d96e8a7e6bce85abf3b313f2bc522887e1f17/20251030_DRAWING04_300ppp_CMYK.jpg" data-mid="245379850" border="0"  src="https://freight.cargo.site/w/1000/i/86749ad08217ef6c50de7086606d96e8a7e6bce85abf3b313f2bc522887e1f17/20251030_DRAWING04_300ppp_CMYK.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Caring for Weeds</title>
				
		<link>https://mariafallada.com/Caring-for-Weeds</link>

		<pubDate>Wed, 03 Apr 2024 16:31:50 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

		<guid isPermaLink="true">https://mariafallada.com/Caring-for-Weeds</guid>

		<description>
	Caring for Weeds
	2024
	Caring for Weeds has meant my first collaboration with multidisciplinary artist Ksenia Lapina. This project resulted from a conversation and exploration of the theme ‘Gardens of Resistance’, a theme that we had previously explored independently. Inspired by Jamaica Kincaid’s perception of gardens and nature, we nurtured every facet of our garden, appreciating both the blooms and the unexpected weeds. To manifest our vision of creating and working together, we drafted a text that captures our intentions and aspirations, which we would like to bring with us in our upcoming collaborative projects.Caring for Weeds was presented in Radiant Opacity at Kunsthalle am Hamburger Platz - a group exhibition in the context of Lerato Shadi’s seminar within MA Raumstrategien (Weißensee Kunsthochschule Berlin).


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© Photos by Jeremy Knowles (2024)
	
	We arrived here without knowing each other. The space was vast and fertile. It felt as if it had always been there, dormant, patiently waiting for us to arrive in order to be awakened. We stood and looked around, at a loss, not knowing where to begin. We had come from somewhere, yes, there was another life behind us, but we were on the road looking for another way to be. In our backpacks were all kinds of tools we could use to work the ground. We didn’t know if they would work. This field was new.
Our eyes met and we smiled at each other. We both preferred to share a common ground, a place we could explore together. We said we didn’t want to be here alone. We would cultivate and harvest it hand in hand. We’re going to grow what we sow and nurture what grows. We would take care of the space and of each other. We would share our tools. We would share our sorrows and pains as we worked the land. We knew that one day it would become a garden.
We would help and support each other, especially when the going gets tough. We have agreed on our purpose, we have agreed on our methods. We would always have the work done together, in agreement. We would eat and drink together. We would speak when we felt like it and be silent when we felt like it. We would not compete with each other. Our goal is to do labor together, our goal is to know ourselves, to know the ground we share, to know our tools and to let grow what grows. We would not distinguish between the harmful and the hollow, the necessary and the unnecessary. All that grows has grown by the sweat of our brow, by the blisters on the palms of our hands, and the hunch of our backs.All the seeds that have fallen to the ground have fallen from our bodies, from our dreams, from our fears. They are ours and they have the right to grow and be appreciated. We see ourselves more as weeds than as roses, but roses have also been considered weeds. So since we don’t know what will become of our weeds, we take care of them all. They have the right to be. And they have the right to bloom. Without any hidden agenda on our part. We care for the weeds. We praise them here, in our garden.
It was right there, in front of our eyes, we took shovels and dug thoroughly. We told each other that we would do the work together, and if one of us didn’t have the strength and faith in themselves to finish the work, the other would help. We would wipe each other’s sweat and tears. We would finish the task when the other asks her to. If we don’t know how to go on, the other will know, and if the other doesn’t know, time and the earth will know.So we continued to work. We started our garden and we continued against all odds. The plants and trees grew and they outgrew us right away. They flourished as our work flourished. As our tools were sharpened, as our energy and joy nourished the garden. The birds came. Oh, there were many birds. Sometimes we thought birds outnumbered plants. There were times when we weren’t sure if it was a flower or a beautiful bird sitting on a branch. There were so many birds to bless our garden. Many other magical beings would also appear and transform the garden with their presence. In this way, our garden is always in constant transition, always in the process of becoming and ready to be felt with new senses every moment we would dive into it.
From the very moment we started sharing the ground and creating the garden, this became our shelter; a space where we would at times feel uncomfortable, lost or insecure, but never alienated nor discouraged. It became a space for creation, for discovering ourselves and for caring. It became a space for growth and for failure. The garden brings us hope. Together, we created a place where we feel we belong and, like the weeds we care for, here we have the right to simply exist and be who we are. Sometimes, a single soul willing to navigate by our side is enough to be encouraged in order to resist, break through and overcome our inner demons which feed on the precious seeds.In the garden, we are all entities in symbiosis; breathing, expanding, forming a constellation, a universe. We feed the ground and the ground feeds us. Fragments of ourselves move, evolve and die to be born again within the garden, together. Here we feel safe to embrace everything that is constantly emerging in ourselves.Something happened from the moment we found a common ground. Something very important that we don’t have the words to describe, something that is not yet fully visible, but it is maturing and building the energy to bring it into manifestation. We feel the change, but we don’t quite know what it is. We are afraid, but we are also happy.Can you see that all this is a garden? Come and look. Sit with us on the soft grass. Say hello to the weeds, they hear you and, like every living thing, they want to be acknowledged. Observe with us. Listen to the songs of the birds and the buzzing of the bees. We are glad you are here, for we know there is much more to do, there is much to happen, much more to experience and process. We are growing. The garden is growing, but the work is not over yet.

</description>
		
	</item>
		
		
	<item>
		<title>Conversations within Transitions</title>
				
		<link>https://mariafallada.com/Conversations-within-Transitions</link>

		<pubDate>Sun, 07 Apr 2024 16:10:12 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

		<guid isPermaLink="true">https://mariafallada.com/Conversations-within-Transitions</guid>

		<description>
	Conversations within Transitions
	Berlin, Germany
	2022-24

	
	Conversations within Transitions is a drawing series created during various public interventions with the KIEZ:MOBIL –a project intending to create temporary urban public spaces in Weißensee, Berlin.
Most of the drawings were made at Caligariplatz, one of the most emblematic squares in Weißensee. This transitional space owes its name to the classic horror film The Cabinet of Dr. Caligari, directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. It was shot in the same district known for its film industry during the 1920s. Other drawings were made during Rundang (Open Door Days) at Weißensee Kunsthochschule Berlin.
Through public interventions of this kind, I try to cultivate the practice of drawing not only as a means of observation and documentation but also as a social bond between a neighborhood, its communities and its visitors. Drawing is a method that allows me to re-imagine and co-create social spaces in the city.This work has bee first presented to the public as part of the solo exhibition Conversations within Transitions and Secret Gardens at C*SPACE (December 8 2023 to February 11 2024) and with the collaboration of interdisciplinary artist Yun-Chu Liang.

	
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&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/21cd26436f08730513015c0297ab37118aba19e85674d24d03ffd51c6dd216c7/DSC06460_b-w.jpg" data-mid="210228501" border="0"  src="https://freight.cargo.site/w/1000/i/21cd26436f08730513015c0297ab37118aba19e85674d24d03ffd51c6dd216c7/DSC06460_b-w.jpg" /&#62;


	© Photos by Lorena Florio (C*SPACE, 2024)
</description>
		
	</item>
		
		
	<item>
		<title>Gebärmutter</title>
				
		<link>https://mariafallada.com/Gebarmutter</link>

		<pubDate>Sun, 25 Nov 2018 22:16:57 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

		<guid isPermaLink="true">https://mariafallada.com/Gebarmutter</guid>

		<description>
	Gebärmutter
	2023-18
	
Gebärmutter (Womb) is an ongoing documentation of a new beginning and its unfolding; of precious and extraordinary ordinary encounters I have experienced since moving to Berlin.&#38;nbsp;


	I left my hometown and moved to Berlin one year ago (2017). I needed to have a deviation in my life, some sort of reset. I yearned for a place where I felt I belonged and where I could grow; a place I could call home.  I thought a change of roots, or rather of background –involving the adaptation to a new language, atmosphere, culture– would help me to reach this objective, and I believe it is working that way.
It is strange how the city has changed through my eyes from the first moment until now. Such a beautiful landscape to observe. The city seems like an organism to me, similar to a human being: it grows, evolves, goes backwards, breathes and rests, it has problems, it is good and bad, it is bright and dark. I like Berlin. It is a rare magical beloved shelter; a foreign womb.


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	Analogue photography.&#38;nbsp;Nikon F60 (35mm SLR).
Not all photographs have been taken in Berlin. However, the people and encounters portrayed are related to this city. Berlin - Leipzig - Schwerin (Brandenburg) - Ahrenshagen (Kuchelmiß) - Größ Köris - Berlin


</description>
		
	</item>
		
		
	<item>
		<title>Markttage am Maybachufer</title>
				
		<link>https://mariafallada.com/Markttage-am-Maybachufer</link>

		<pubDate>Sun, 07 Apr 2024 16:10:08 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

		<guid isPermaLink="true">https://mariafallada.com/Markttage-am-Maybachufer</guid>

		<description>
	Markttage am Maybachufer
	Berlin, Germany
	2022-23
	Markttage Am Maybachufer (Market Days At Maybachufer) is a drawing-documentary project about a story, surely not only mine, but of a community, a big family. It is about and dedicated to Maybachufer market tenders, neighbors, visitors and friends. And about and for their sacred, magical bond. A bond named Café Zart. A place where many of us have been finding, meeting and embracing each other. Indeed, a shelter for human affection and connection, conversation, transformation and collectivity; where individuality has always been, at its turn, very much respected and praised.
The drawing series presents portraits of: Aamir, Ahmed, Ali and his men, Aline, Ben, Boritz, Brigitte, Dana, Constanze, Cüneyt, Daphnée, Gülten, Isabell, Jack, Jenny, John, Joshua, Jorke, Katrin, Farid, Francisco, Lisa, Malte, Melek, Mutali, Nabila, Naji, Nico, Olaf, Osama, Pancho, old Peter, young Peter, Pheng, Reinier, Saman, Sandra, Selale, Shena, Sinan, Sonny, Taban, Taro, Ulvi, Viktoria, Wladimir and Yun. It also includes a portrait of myself, done by Sinan, with my name written in Arabic by Farid. 
This project was exhibited for the first time in Café Zart on October 7 2022, the day of its 5th anniversary. It was later presented on July 21 - 22 2023 during Rundgang (day of open doors) at Weißensee Kunsthochschule Berlin and as part of the collective exhibition Ongoing Strategies by Master Raumstrategien students. 

	
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	The weekly market on Maybachufer next to the Landwehr Canal in Neukölln has existed since the end of the 19th century. It is open every Tuesday and Friday from 11 a.m. to 6:30 p.m. all year long. Although it is commonly referred to as the “Türkenmarkt” (Turkish Market), many nationalities and origins are represented here. Crossing it is traveling through a unique, lively world in the city. A world full of colors, aromas, tastes, crafts, textures, languages, sounds, voices, “Menschen” (people).


I have known it for almost five years, since I moved to Berlin and started working in a very special place named Café Zart, right there, on the corner of Hobrechtstrasse. I started working the same week it was being open to the public for the first time. I remember I was a bit more shy at the beginning and my German was too poor to properly have a basic conversation. However, not a long time passed since I started feeling at home in this neighborhood. Market tenders would come every market day very early, even before we were open, crossing the door with a loud and friendly “Guten Morgen ihr Lieben!” or “Grüß dich!”, other times a less friendly and more grumpy “Morgen” or “Kaffee!”. Wladimir, a German papa and good friend more so than a boss, would spiritedly salute them back, make some jokes and chit-chat. We would prepare black coffees for Isabell, Naji, Ali’s men, cappuccini for Usman, Basti and Malte, eight or eleven for Nabil, a cappuccino “in der Tasse ohne Unterteller” (in the cup without under plate) for Burkhard, a double one for Nico and usually ginger tea with Elderberry syrup for Selale and (the young) Peter.
At the beginning, Hannah and Lukas worked here. Afterwards, Jule and Ronja joined. And later Yun, Keumbi, Lena, Cosette, Emma, Millie, Merle, Marie, Joshua, Katja, Mai, Myrte, Jacob, Noumissa, Kira, Shiwa, Fionn, Katrin, Axel, Francisco, Aline, Franzi and Wanda. Some would stay, some would go after some weeks or years, some would visit from time to time. Peter, Jorke, Soon-Hi, Joschka, Hannah, Udo, Lisa, Maria, Melek and Ben, Olaf, Ursula, Stephan and Chris, and many more neighbors, “Stammkunden”, friends, would visit us. A few would even start working or making their own coffees and pouring their own beers and Aperols. A chaotic, seldomly dull place. Briefly expressed, every day in Zart is a new crazy episode of the most hilarious, magical and dramatic reality show.

After making the first round of coffees, having prepared the Banana Bread and the Nocciolino, putting every chair and table outside, we would eat our delicious breakfast together inside. Since the very beginning, (the old) Peter, our lovely neighbor, “Spaßvogel” (a joker) and famous inventor –between other fantastic stuff, he invented chocolate vinyls that could be played and eaten– was part of the Zart team. He would bring “Brezeln” and “Schrippe” (buns) for each of us and prepare boiled eggs in the kitchen. Sometimes he would also bring slices of ham he would have found on discount in Lidl. That moment is one of my favorites ones. Sitting together –always with a lit candle on the table– eating and talking, listening to Bach, “O Ka Wa I Hala” by Tony Conjugacion, Astrud Gilberto, Billie Holiday or Sinatra, making coffees in between, and greeting the market tenders and neighbors passing by, some going to work, others bringing their kids to school or having a morning walk with their dogs.
For me, being at this Market and in Zart feels like being home. A home I´ve never had nor felt before. It also feels similar to being in a very small village. I know people’s faces and names, they know mine. Some of us know a few of each other’s stories, happy and sad, and life experiences. I can not recall many quarrels, but surely there have been some. Usually with visitors, sometimes between us, and others, but rarely with market tenders and neighbors. We can not avoid being humans and having conflicts, after all. What I am sure of is the kindness, respect and familiarity one typically breathes here. We laugh, cry and drink together, listen and support each other. People bring us food, incense, clothes. We bring them a warm place, a shelter, our selves. We are a community of neighbors and workers. We all care. We love.

I think one of the most characteristic, enigmatic and beautiful aspects of Zart is that all sorts of people come and become part of the space while transforming it. I would dare to say, no written, spoken nor codified settled and resolute categorizations are really made nor really matter here. Old, young, hipster, non hipster, poor, wealthy, women, men, non-binary, queer, white, of color, conservatives, liberals, vaccinated, not vaccinated, jobless, people with any imaginable job, people from every part of the Earth... Rather we believe in what I like to call ‘multiplicities’: we are not defined and limited by one version of ourselves, we might take many forms, we might be infinite beings. And this is why I experienced that anyone would be able to feel genuinely embraced here. Everyone is welcomed and encouraged to be and to become. This is why I think almost every person that feels connected with this space once, will most probably come again. I remember our neighbor Melek telling me once, “Zart is a temple”. I enjoyed hearing that expression and how genuinely she said it. Of course, she did not mean it in a religious way, but rather spiritual. I could understand that what she meant was that this space represents a rare social and safe shelter, especially needed and appreciated for many in our current times.

Certainly, we will not get along or agree with everyone’s manners all the time. Conflicts take place probably every day. And they may eventually and naturally escalate. One could state that our boundaries become defined when damage is caused and communication is, for whatever the reason, no longer possible. Yet we do our best to deal with these conflicts, trying to confront and resolve the issue in question, without simply suppressing it. In my view, that is the spirit Wladimir successfully brought to the place from the very beginning: how we can discuss, understand each other, with our wishes and differences; communicating and caring. I guess this is what a real community does.

I had been thinking of drawing and writing about this space and community for a long time. At last, I found my moment to start doing so. I was surprised how much more I can take from this. How much more I can learn. There is always something to get and to give. There is always something to know from each other. I enjoy and embrace this. I feel safe and enriched drawing at the market. I do not merely observe and draw, I listen and talk. I am part of its landscape. It is impossible not to do so. I am not invisible, I am not a stranger.

Isabell gives me homemade baked sweets. I drink the most delicious, softly spicy hot chocolate from Daphnée. I sit next to Peter and Selale and chat for a while. Another day next to Nico. In front, Sandra and Cüneyt are working and let me try one of the tastiest flavor combination: figs with tahini, and olives with rosemary leaves. Afterwards, I sit inside Ulvi and Sinan’s stand, next to the gas heating. Ulvi offers me sage tea and Sinan shares with me what looks like Baklava, which another market tender gave to him a few minuts ago. Osama offers me a foamy oat cappuccino and a blanket. Farid gives me something to warm up my hands and tells me about Alger and the Berber. He writes my name in Arabic and assures me the language would be easy for me to learn. Gülten gives me orange and carrot juice, but just with the promise that I will draw her pretty. I tell her I surely will do so, since she is.

Through the drawing, I experience the market in a new form. I appreciate it differently. It can never be not personal here. I am going to get involved and there will always be some exchange. For the first time after years of knowing and seeing the market tenders work, I observe them now more closely, for hours, in their personal and working comfort zone (usually I can not do that for a long time because I am working at the Café or running somewhere else). And it is definitely exciting to do so. Every stand is a little big house in this colorful and vibrant place. All types of faces and voices appear, disappear. It feels as anything could happen anytime. Even when it is freezing cold, and it is much quieter, there is still much more life and movement than many other outdoor, public places in Berlin. And I think this is one of the reasons why street markets are so meaningful for the social life and interactions of the city. For us, people. Because markets are organisms which turn the city alive. They powerfully encourage, at least in Maybachufer (and I dare to suppose in general), diversity, tolerance, collaboration and coexistence.

Besides, I believe the practice of drawing is a valuable and exceptional tool of exploration and documentation, which easily supports and nurtures my participatory observation. I consider it is not as intrusive as using a camera or the phone. Which, at its time, would suddenly interrupt the natural and free-flowing behavior of who I am intending to contemplate and portray. With my pen and paper, I can simply stand by, look and draw, without (hopefully in most occasions) being invasive. I then become a new element of the urban landscape and simultaneously participate in the creation of a new lively and collaborative, social space.

To foster and share this experience is for me a way of thanking this extraordinary community. Furthermore, it represents a way of understanding and engaging with life through one of my beloved mother languages: drawing.


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	© Photos by Jeremy Knowles (Rundgang KHB, 2023)
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	<item>
		<title>Figurar</title>
				
		<link>https://mariafallada.com/Figurar</link>

		<pubDate>Sat, 30 Mar 2024 18:53:21 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

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		<description>
	Figurar: A HumanNo
	2022
	Manifesto inspired in the psychogeographical practice of la dérive (Situationist International).&#38;nbsp;It was first presented at MA Raumstraegien (Spatial Strategies) at Weißensee KHB in Elena Agudio’s seminar I Would Prefer Not To. The Taxonomies and Poetics of Refusal. It was also presented at Miss Read Art Book Fair 2023 in Haus der Kulturen der Welt in Berlin.


Abstract: Proposal of a new dérive, el figurar, a kinetic holistic practice of insubordination and praise of impermanence, the unknown and all the possibilities beyond sociopolitical, cultural and historical constructs. Figurar is the drift that accompanies those humans who not necessarily refuse established categorizations, but do not expressly belong to any of them, at least for a brief moment. Instead, they belong to a space and time where one exists and is multiple. Figurar, more than walking, is to enhance movement with and within the body, which is the only material thing we ultimately possess. It is to move from, to and between spaces. Perhaps, it is even closer to the very act of dancing. A source of movement and emancipation that encourages an existing being to be, to become and to live.

-

“Is there no spiritual freedom in regard to behaviour and reaction to any given surroundings? Is that theory true which would have us believe that [being] is no more than a product of many conditional and environmental factors – be they of a biological, psychological or sociological nature? Is [being] but an accidental product of these?”*
Viktor E. Frankla
-
The right and consent of a human no: I find myself in an academic institution. I am not not not an academic, nor nor nor an intellectual, nor nor nor a profession, a title, a thing. I am a dissident being of resolute, unwavering categorizations. Here, in these lines, and maybe just here, probably not, I refuse to classify and reduce myself to a skin color spectrum, a settled nationality, a listed gender, a religion, a language, an interpretation of others’ interpretations, a(n) (un)resourceful label, a position. I am an unclassifiable intricate existing being. A multiplicity of the cosmos confined in a militantly labeled, persistently politicized regime0. You might be one multiplicity as well, probably. Maybe not. You are you. Or not. Here, in the following lines, there is no need to be just right to express a human no. I allow myself to be wrong; to question the implicit thoughts of correctness and properness. What does it mean to ‘properly belong’ to a category, and to ‘properly be’ someone, something, in our societies? I refuse to incontrovertibly follow and fulfill what it is expected as suitable. Yet I allow myself to be naive. Genuine. To trust the inner senses and connections with the impermanent world(s). To listen the inner voice and the screaming void. Em permeto escriure amb una de les meves llengües maternes. I crear sense buscar la raó, la justificació. Em permeto. Camino per sortir a fora. I step to walk, and walk to step outside. Outside simulated permanences. I reflect on this journey and think of the situationist theory of la dérive  b. In the coming lines I propose its reinterpretation as a psychogeographical c practice of autonomy, reflection and refusal. The context in which the notion of la dérive was first originated is different here. I suggest a contextualization in which I designate a new interpretation of la dérive with the word figurar. This denomination is born from a wish and provocation to become more permissive, neutral, in particular towards those who reasonably mistrust the purposes and responsibilities of the original dérive; and as well towards those who establish, defend and incessantly rely on social categorizations. Figurar (Catalan) is a verb derived from the Latin word figurare, attested from the 19th century, and translated into English as to represent, to belong or to figure, to imagine. As a reference of research, I take into consideration the perspective of the New Mexican urban geographer Andrea Gibbons, who describes la dérive as a “technique which consists of wanderings that express not subordination to randomness but complete insubordination to habitual influence” (2015)d. When analyzing the Situationist International (SI), as probably many others, she mistrusts the men behind the avant-garde collective. Especially by pointing out the unfairly neglected contribution of Abdelhafid Khatib of the Algerian section, one of the few people of color who was involved in the SI, Gibbons criticizes their failure to both sufficiently and adequately discuss matters and problematics of race and colonialism, and to a lesser extent of gender and sexism. But despite her seemingly legitimate and critical point (contested by other intellectuals of the topic) she would still believe in the liberal aims of the movement and claim that “psychogeography could offer the potential to broaden our theory and practice and collective reimagining, to see the city through other(s’) eyes, in an empathy that leads to action; to see collectively, past individual blindnesses, to name in full our oppressions, and overcome them. To overthrow capitalism. To create a new world. Because that’s the point, after all” (2015) d. And it is in this potential of the psychogeography where I would like to focus and emphasize. In this sense, figurar addresses those humans who wish to walk as any imaginable form of healing resistance and autonomy in the face of oppressive written, spoken and codified sociopolitical, cultural norms. In the face of colonialism. Of an asphyxiating and biased language. Of untrustworthy wishes and functions of contemporary hyper-capitalism and its inherent heartless hyper-productivity. Similarly to the original dérive, figurar is to drift in order to remain receptive and open to different realities. It is to dream of a space in which to live and create outside the power structures and taxonomies that modernity has invented. The voice here is the voice of a privileged and not privileged. It is both an individual and collective drift that resists sightless classifications, directions and embrace infinite multiplicities. It calls for sensitivity, awareness, hospitality and coexistence. For blindness in order to see; questioning the known and praising the unknown. Because “the eyes can only see what they have been conditioned to notice; recognition involves the re-seeing of what is already known. Some things cannot be viewed directly; sometimes you have to look away” (Emma Cocker, 2013) e. This walk sees beings beyond genealogy and layers of social and pragmatic definitions. It expresses a will and stage of gratitude and care towards the unfamiliar; and celebrates the extraordinary in the mundane. Figurar, more than walking, is to enhance movement with and within the body, which is the only material thing we ultimately possess. It is to move from, to and between spaces. Of course, not merely physically. Souls and minds are as well moved, touched. And like but unlike wandering, figurar is to move with and without a definite purpose or plan. Perhaps, it is even closer to the very act of dancing. A source of movement and emancipation that encourages an existing being to be, to become and to live. In his psychogeographical studies of Les Halles, Khatib said: “the world we live in, and beginning with its material décor, is discovered to be narrower by the day. It stifles us. We yield profoundly to its influence; we react to it according to our instincts instead of according to our aspirations. In a word, this world governs our way of being, and it grinds us down. It is only from its rearrangement, or more precisely its sundering, that any possibility of organizing a superior way of life will emerge” (1958) f. Let’s activate movement and consciousness with and within the body; let’s dance to release a new world that is struggling to be born. In a reality where the sociopolitical, cultural norm unfairly divide and oppress us, we need discourses of differences to (un)learn, (de)construct, in order to coexist and claim the rights of those more vulnerable groups. Yet concurrent and paradoxically, within a space of presumed ‘social progress’, there might have been as well secondary (perhaps even primary) counterproductive effects in which the same, similar or other divisions and the act of differentiating itself have become judgmental, hostile, ferocious and unfair; sometimes merely voguish (more pretending than expressing a genuine concern); inside and outside the same vulnerable groups. In contrast to this approach, the practice of figurar aims to create ephemeral realities where discourses of differences are present and gracefully mutable, flexible, movable and intersectional. Discourses where the power does not fundamentally reside on how precise and loud these differences are termed nor categorized. It resides further beyond and outside these actions. In this regard, figurar is the drift that accompanies those who not necessarily refuse established categorizations, but do not exclusively belong to any of them, either from a brief moment to an eternity. Instead, they belong to a space and time where one exists and is multiple, embracing all the possibilities to be and to become. Here, in these lines, and maybe just here, probably not, I may not be one, but many. Today, tomorrow. Never. Always. And just sometimes.
	

*The original word [man] has been replaced.
0) “I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you.” (Preciado, 2020)&#38;nbsp;j


Glossary: 
B) La dérive is a strategy of experimental behaviour through urban landscapes. It was originally proposed during the 50’s by Guy Debord, founding member of the Situationist International (SI), avant-garde and Marxist collective based in Paris. “The dérive is an unplanned journey in which participants drop their everyday relations and let themselves be drawn by the attractions of the terrain and the encounters they find there. The dérive’s goals include studying the terrain of the city and emotional disorientation, both of which lead to the potential creation of Situations”.&#38;nbsp;h 
C) Psychogeography g h i is the study of the laws and effects of the geographical different and impermanent settings on the emotions and behavior of individuals. It encourages the practice of the dérive as a method of exploration. 


References: 
A) FRANKL, Viktor. (1946; 2008). Man’s Search for Meaning”. Random House. UK.&#38;nbsp;
D) GIBBONS, Andrea. (2015). Salvaging Situationism: Race and Space. Salvage Journal #2 Awaiting the Furies. UK.&#38;nbsp;
E) COCKER, Emma (2013). Tactics For Not Knowing. Preparing for the Unexpected. Black Dog Publishing. London.
F) KHATIB, Abdelhafid. (1958). Attempt at a Psychogeographical Description of Les Halles. Internationale Situationniste #2. Paris.&#38;nbsp;
G) DEBORD, Guy. (1958) Definitions. Internationale Situationniste #1. Paris.&#38;nbsp;
H) DEBORD, Guy. (1958). Theory of the Derive. Internationale Situationniste. #2. Paris 
I) PLANT, Sadie. (1992). The Most radical gesture: the Situationist International in a postmodern age. Routledge. London; New York.&#38;nbsp;
J) PRECIADO, Paul B. (2020). An Apartment on Uranus. Fitzcarraldo Editions. London.&#38;nbsp;
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	<item>
		<title>Spielraum/Playground</title>
				
		<link>https://mariafallada.com/Spielraum-Playground</link>

		<pubDate>Thu, 25 Apr 2024 17:45:46 +0000</pubDate>

		<dc:creator>mariafallada</dc:creator>

		<guid isPermaLink="true">https://mariafallada.com/Spielraum-Playground</guid>

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	Spielraum/Playground
	2022

	Spielraum/Playground: A Discovery Day for Kids in Langhanskiez was a workshop for children between 7 and 12 years old aimed at questioning the idea and use of playgrounds. It was carried out in collaboration with designer and urban storyteller Katya Romanova and social scientist and educator Josef Gehrke. It took place in the Langhans neighborhood in Weißensee, Berlin, as part of the KIEZ:MOBIL project&#38;nbsp;and in cooperation with C*SPACE Berlin and Bezirksamt Pankow.


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	What is actually a playground? And what makes a space become one? On Saturday, 24 September (during World Children's Day week), a group of big young explorers went out on the streets of Weißensee to inspect, discover and, in the process, create playgrounds themselves!
We started the journey getting to know each other while playing games and doing a little warm-up at C*SPACE. Once ready, we made our way to our two discovery destinations: first to Streustraße 44, an industrial wasteland,&#38;nbsp;and second to the neighborhood initiative and community garden HeiJaLa-Land. There we observed, searched for and collected objects that we found most interesting and that we would later play, paint and work with; all in all, we imagined and improvised the most amusing ‘invisible’ playgrounds! At the end of our adventure, we returned to C*SPACE and created our last playground of the day, this time on paper: a large and collective collage made with the objects we had discovered and gathered during our expedition.


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