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	<title>mariafallada</title>
	<link>https://mariafallada.com</link>
	<description>mariafallada</description>
	<pubDate>Fri, 27 Feb 2026 04:09:07 +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>

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

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		<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>

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	Conversations within Transitions
	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. This work has bee first presented to the public as part of the solo exhibition Conversations within Transitions and Secret Gardens (from December 8 2023 to February 11 2024) at C*SPACE and with the collaboration of interdisciplinary artist Yun Liang.


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 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.




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	© Photos by Lorena Florio (C*SPACE, 2024)
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	<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>

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		<description>
	Markttage am Maybachufer
	2022
	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,&#38;nbsp;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.&#38;nbsp;




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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>Osterfrühstück</title>
				
		<link>https://mariafallada.com/Osterfruhstuck</link>

		<pubDate>Fri, 05 Apr 2024 18:52:58 +0000</pubDate>

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

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		<description>
	Osterfrühstück
	2020
	Drawings I had fun making for Red Tent Issue 8:&#38;nbsp;Escape from Middle School Bedroom during Easter break and while I was on my period.

Red Tent is a zine/samizdat that will make your head explode. It blends art, poetry, prose, interpretive dance and political manifestos, all created when the artist is menstruating.




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	<item>
		<title>Kiik</title>
				
		<link>https://mariafallada.com/Kiik</link>

		<pubDate>Fri, 25 Jan 2019 14:08:33 +0000</pubDate>

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

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

		<description>
	Kiik
	2018
	Illustrations for Arper in collaboration with studio&#38;nbsp;Clase. Presenting Kiik, the new collection designed by Ichiro Iwasaki, at Salone del Mobile in Milan.&#38;nbsp;&#38;nbsp;



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		<title>La No-Ciutat</title>
				
		<link>https://mariafallada.com/La-No-Ciutat</link>

		<pubDate>Fri, 25 Jan 2019 16:51:15 +0000</pubDate>

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

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	La No-Ciutat

	2016
	
La No-Ciutat (The Non-City) is an artistic research (BA thesis) on the relationship between the individual and the city. Its main objective is to understand what type of social space the city is and how it influences its inhabitants, and vice verse. At the same time, it involves the development of an artistic practice that allows me to conceive and experience the researched city, Barcelona, supposedly familiar, in a different way than the already known. Both processes aim to bring me closer to an awareness of the urban space, in particular transitional public spaces, their visible and hidden codes, and their influence. 
This project was presented and granted with honors at EINA University School of Design and Art of Barcelona. It was supervised by Artur Muñoz and evaluated by the tribunal formed by Enric Font, Artur Muñoz and Lluís Nacenta.&#38;nbsp;











































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	Given that technology has transformed the relationship we establish between space and time and limits the sensory contact with our immediate surroundings, I aim to recover my most instinctive relationship with the space through the practice of drawing. I think that the exercise of drawing is a way to recover the sensory dimension of urban life, because it forces me to establish a close, committed and real contact with the urban space, in my opinion much more than other means linked to technology such as photography or video. I aim to present and defend the practice of drawing as a functional and valuable tool of scientific observation, exploration and documentation. 
Henri Lafebvre conceived the city as a place where we find a complex set of infrastructures and where a considerably large population lives. On the other hand, he claimed that what is urban is not the city, but the practices that never cease to travel through it and fill it with journeys (Delgado, 2007: 11)1. These journeys and unceasing practices will ultimately become the subject on focus throughout this research and, consequently, what I will aim to express through the drawing. 

The social antropologist Manuel Delgado, main reference of my thesis, introduces me to the key concept of the ‘non-place’ and, by extension, of the ‘non-city’, which does not refer to something contrary or hidden from the city itself, but to that same thing that forms it and at the same time dissolves it. The non-city is “a perpetual undoing of what has already been done and an incessant remaking of what we have just seen disintegrate before our eyes. It is constantly pierced by beings –the passers-by– who try to accommodate themselves as best they can to their absence of place. Each of them responds to the figure of the ‘quidam’, someone who passes by and who only exists insofar as he passes by; unknown; no one in general; everyone in particular” (Delgado, 2007: 62-63)1.

Based on Delgado’s definition of the non-city, I assume that the fact of observing and drawing the urban environment implies simultaneously the creation of the non-city itself. That is to say, the action of drawing the space is also one of the possible ways of traversing it, living it and, as Delgado claims, “an experience of placelessness that implies making a journey”. But instead of a physical journey, it is here a mental journey, transmitted and interpreted by the hand that draws.&#38;nbsp;It will be during this thesis project when I associate for the first time clearly, the notions of non-place and non-city with values of possibility and for the creation of the urban experience, an association that already Duvignaud and De Certeau defended (Delgado, 2007: 61)1.
This project consists of research into art, in other words, a case study as research as it is a reflection on the action and there is no distance between the researcher and their artistic practice. However, it is also research into art because it has the intention of extracting valid conclusions about the artistic practice from a theoretical distance, which involves a fundamental separation between the researcher and the object of the research (in this case, the city and specifically the urban space). The common characteristics of this type of research are reflection and interpretation (Borgdorff, 2006)2.
Bibliography:
1. DELGADO, Manuel. 2007. Sociedades Movedizas: Pasos Hacia Una Antropología De Las Calles. Editorial Anagrama. Barcelona.2. BORGDORFF, Henk. 2006. The Debate On Research In The Arts. Bergen National Academy of the Arts. Bergen.
3. BERGER, John. (1973). Ways of Seeing. British&#38;nbsp;Broadcasting Corporation and Penguin Books. London.

4. BERGER, John. (2011). Berger on Drawing. Editorial Gustavo Gili, SL. Barcelona.

5. BRIDGE, Gary; WATSON, Sophie. (2002). A Companion&#38;nbsp;to the City. Blackwell Publishing. Padstow.
6. CARRERA , Judit. (2015). Geografía De Los Sentidos. El País. Catalonien.7. DEBORD, Guy.&#38;nbsp;(2002). Guy Debord and the Situationist Internationale. Traduït i editat per Thomas Y.&#38;nbsp;Levin. MIT Press. Cambridge, Massachusetts and London.
8. DEBORD, Guy. (1955). Introduction to a Critique of Urban Geography. Les Lèvres Nues. #6. Paris.9. DEBORD, Guy. (1958). Theory of the Derive. Internationale Situationniste. #2. Paris.
10. GUAYABERO, Òscar. (2014). TRAÇ, El Dibuix Com Eina De Coneixement. Dossier de premsa. Barcelona.

11. MANTILLA, Gilda; CHAVES, Raimond. (2009). Dibujando&#38;nbsp;América. Artist's book for the 2nd Triennial&#38;nbsp;Poli/Gràfica of San Juan: Latin America and the Caribbean; organized by the Puerto Rican Institute of Culture.

12. PARK, Robert E.; BURGESS, Ernest W.; MCKENZIE,&#38;nbsp;Roderick D. (1925). The City. The University of Chicago&#38;nbsp;Press. Chicago and London.

13. PEREC, Georges. (1992). Tentative d’Épuisement d’Un Lieu Parisien. Beatriz&#38;nbsp;Viterbo Editora. Rosario.

14. PLANT, Sadie. (1992). The Most Radical Gesture: The&#38;nbsp;Situationist International In A Postmodern Age.&#38;nbsp;Routledge. London; New York.
Audiovisual:
15. STEINBERG, Saul. (1967). Talks. Documentary.
Digital Referents: 16. Gran Diccionari de la Llengua Catalana &#38;lt;http://www.enciclopedia.cat&#38;gt; [01/05/2016].

17. Gran Enciclopèdia Catalana, &#38;lt;http://www.enciclopedia.cat&#38;gt; [01/08/2016].

18. MANTILLA, Gilda; CHAVES, Raimond. (2009). Dibujando&#38;nbsp;América. &#38;lt;http://www.dibujandoamerica.net&#38;gt;&#38;nbsp;[10/06/2016].

</description>
		
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	<item>
		<title>Com Sobreviure a un Gat Negre, Mig Cec i Bipolar? </title>
				
		<link>https://mariafallada.com/Com-Sobreviure-a-un-Gat-Negre-Mig-Cec-i-Bipolar</link>

		<pubDate>Mon, 17 Dec 2018 14:08:01 +0000</pubDate>

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

		<guid isPermaLink="true">https://mariafallada.com/Com-Sobreviure-a-un-Gat-Negre-Mig-Cec-i-Bipolar</guid>

		<description>
	Com Sobreviure a un Gat Negre, Mig Cec i Bipolar?
	2016
	
Com Sobreviure a un Gat Negre, Mig Cec i Bipolar? (How to Survive a Half-Blind and Bipolar Black Cat?) is a set of illustrated and silkscreened instructions –in Catalan, Spanish, English, French, Portuguese and Chinese– on how to survive my half-blind and bipolar black cat, Fry.

This work was first presented at PRINTed #2 as part of a&#38;nbsp;Survival Kit (18 manual printing edition) in collaboration with  Miguel Bustos (La Dona del Paraigües), Enric Mas (Morques, Kit de Supervivència a la Pulcritud), Roser Capdevila (Supervivència a la Foscor) and Coralí Espuña (Supervivència a aniversaris inesperats).

























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	<item>
		<title>Breakfast</title>
				
		<link>https://mariafallada.com/Breakfast</link>

		<pubDate>Sun, 25 Nov 2018 22:32:32 +0000</pubDate>

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

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

		<description>
	Breakfast
	
	2015

	Breakfast is&#38;nbsp;a fanzine about one of my favorite extraordinary ordinary moments. It was first presented at&#38;nbsp;PRINT.ed #1, Barcelona.&#38;nbsp;In addition to being considered one of the most important meals of the day, for some people breakfast represents an adored and desired action. The word "breakfast" literally refers to breaking the fast of the prior night. Although, metaphorically, it could also have another meaning: to mend, to recover and start a new period.















































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	<item>
		<title>Ametlles</title>
				
		<link>https://mariafallada.com/Ametlles</link>

		<pubDate>Sun, 25 Nov 2018 09:46:23 +0000</pubDate>

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

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

		<description>
	Ametlles
	
	2015
	Ametlles (Almonds) is an experimental stamping work with two different printing techniques: photolithography (18/18) and monotype system.
The almond tree is the first deciduous tree to bloom, usually in February or even January when the weather is mild. It is particularly associated with the rebirth of nature and everlasting hope. In several cultures and since ancient times, almonds have symbolised awakeness; also sweetness, grace and charm.















	
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	<item>
		<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>

		<guid isPermaLink="true">https://mariafallada.com/With-Those-Who-Tend-the-Soil</guid>

		<description>
	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 (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)
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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
	

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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;



	

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