THE FAIREST
Teaser 01
March 12-26, 2021

Blake & Vargas
Reichenbergerstrasse 72
10999 Berlin

Teaser 01 can be viewed in person via appointment (E-mail: urwelcome@the-fairest.com or via Blake & Vargas FB) and online

Dropbox & Press
Apparatus 22 is a transdisciplinary art collective founded in January 2011 by current members Erika Olea, Maria Farcas, Dragos Olea together with Ioana Nemes (1979 - 2011) in Bucharest, Romania. Beginning from 2015, they are working between Bucharest, Brussels and SUPRAINFINIT utopian universe.

They see themselves as a collective of daydreamers, citizens of many realms, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society. Starting with 2015 a major topic of research and reflection in the practice of Apparatus 22 is SUPRAINFINIT universe: a world-making attempt to use hope critically in navigating present and future. In their very diverse works - installations, performances, text based-shapes, reality is mixed with fiction and storytelling and all merge with a critical approach drawing knowledge & experience from design, sociology, literature and economics.

The work of Apparatus 22  was presented in exhibitions at La Biennale di Venezia 2013, MUMOK, Vienna (AT), BOZAR – Centre for Fine Arts, Brussels (BE), Museion, Bolzano (IT), Kunsthalle Wien (AT), Académie Royale des Beaux-Arts de Bruxelles (BE), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), Akademie Schloss Solitude, Stuttgart (DE), Contemporary Art Museum (MNAC), Bucharest (RO), KunstMuseum Linz (AT), La Triennale di Milano (IT), TRAFO Gallery, Budapest (HU), Futura, Prague (CZ), Ujazdowski Castle – Centre for Contemporary Art, Warsaw (PL), Salonul de Proiecte, Bucharest (RO),  Onomatopee Eindhoven (NL), TIME MACHINE BIENNIAL OF CONTEMPORARY ART, D-0 ARK UNDERGROUND, Konji (BIH), Osage Foundation (Hong Kong), Progetto Diogene, Turin (IT), Closer Art Centre, Kiev (UA), CIAP, Hasselt (BE), Barriera, Turin (IT), Art Encounters, Timisoara (RO), Suprainfinit Gallery, Bucharest (RO),  GALLLERIAPIÙ, Bologna (IT), Lateral ArtSpace, Cluj (RO), Survival Kit festival, LCCA Riga (LV), Autostrada Bienniale Prizren (XK); performances at MAK, Vienna (AT), Steirischer Herbst, Graz (AT), Stedelijk Museum with De Appel CP Amsterdam, (NL), Kunsthal Gent (BE), Yarat Academy, Baku (AZ), Württembergischer Kunstverein Stuttgart (DE), Drodesera Festival, Dro (IT), Villa Empain, Brussels (BE), SMAK Gent, (BE) etc.

Apparatus 22 also works beyond institutions via performances in public spaces, interventions in private spaces and other hybrid forms.

2. Apparatus 22, V3, 2018 and AMULET (1) / (2) / (3) / (4) FORGING WITH MY EYES CLOSED KNOWING I OWE NOTHING, 2018. Courtesy the artists and GALLLERIAPIU, Bologna. Photo: Stefano Maniero
4. Apparatus 22 portrait – same time same place (Arnhem, 2018)
1. Apparatus 22, Ruins from a world that never was, 2019. Courtesy the artists and SUPRAINFINIT Gallery, Bucharest. Photo: Natalia Diachenko.
3. Apparatus 22, Comprame un misterio, 2020. Courtesy of the artists and GALLLERIAPIU, Bologna. Photo: Renato Ghiazza
Constantin Hartenstein (born in Herzberg, former GDR) is an artist based in Berlin. Working with sculpture, video and performance, he explores how the human body is immersed in and altered by artificial environments and technological inventions. Divulging a vivid encounter with biological science and medical advancements at the core of his research and production, his works question our voluntary dependencies on technology and thus discuss whether humans still use the machine as a tool to create, or whether the opposite is the truth. Here, machine processes and production cycles are embodied by repetitive patterns and hybrid material. Taking on a queer perspective, he aims to ignite a critical debate on new forms of post-digital normativity.

Constantin studied at University of the Arts Berlin and Braunschweig University of Art with Professor Candice Breitz. In 2011, he worked as a film producer for the German Pavilion at the Venice Art Biennale. Since 2019, Constantin is an Artistic Associate at the UdK Film Institute Berlin.

He received grants and prizes including German Films, AG Kurzfilm, LOOP Barcelona, IFA Künstlerkontakte, VISIO European Program on Artists' Moving Images, Goethe Institut China, Kraft Prize for New Media, Stichting Stokroos, Kunststiftung NRW and Karl Hofer Gesellschaft grant.  

Constantin has participated in several artist in residency programs such as Triangle Arts Association New York, Calle Mayor 54, Grand Central Art Center Santa Ana, Flux Factory New York and Künstlerdorf Schöppingen. His works are included in public and private collections; and have been exhibited and screened at international institutions.

Recent exhibitions include Kunstverein Dresden, Staatliche Kunsthalle Baden-Baden, Galerie für Zeitgenössische Kunst Leipzig, Kunstraum Kreuzberg Bethanien Berlin, Galerie im Turm Berlin, Neuer Aachener Kunstverein, WRO Media Art Biennale Wroclaw, Berlinische Galerie, Anthology Film Archives New York, Goethe Institute Beijing, Spring/Break Art Fair New York, Museum of the Moving Image New York (USA), Times Museum Guangzhou (CN), Kunstmuseum Bonn, Bundeskunsthalle Bonn, German Consulate New York, Goethe Institute New York and transmediale Berlin.

1. Constantin Hartenstein, Narc (installation view), 2019
2. Constantin Hartenstein, Suspend (performance still), 2020
4. Photo: Neven Allgeier
3. Constantin Hartenstein, Carapace, 2020
Cosima zu Knyphausen is a chilean artist based in Berlin, working mainly with painting and drawing. In her work, she revisits art historical motifs to inhabit them as scenarios for queer imaginary and desire. 

Cosima studied painting at the Academy of Visual Arts (HGB) in Leipzig (DE), and was a participant in the Berlin Program for Artists, 2018. Selected exhibitions include Galerie Wedding (Berlin, DE), Revolver Galería (Lima, PE), Die Ecke Arte Contemporáneo (Santiago, CL), Galerie Conradi (Hamburg, DE) and 50Hertz in collaboration with Hamburger Bahnhof (Berlin, DE). In 2020 she was an artist in residence at Fundación Casa Wabi (Puerto Escondido, MX).

Her work is currently on view at stadium (Berlin, DE) and STUDIO BERLIN, a collaboration between Boros Collection and Berghain. An upcoming solo exhibition at MAC, Museo de Arte Contemporáneo (Santiago, CL) is programmed for 2021.
2. Cosima zu Knyphausen, Homo Bar, 201
4. Photo: Philippa zu Knyphausen
1. Cosima zu Knyphausen, alphabetic edge, 2020
3. Cosima zu Knyphausen, sabiduría siniestra, 2019
"My paintings and drawings are a multitude of things —I think of each as an individual votive shrine- a non religious expression of a promise to myself, a wish or desire. Each seem to take on a life of their own —my animistic offspring. Drawing from my own experiences as a transgender first generation Asian American immigrant and sex worker, each image is a reclamation of my given yet estranged Chinese culture. Through constant research I have gained a significant amount of knowledge regarding cultural symbols and mythos which I love incorporating into my work. Partially because these points of reference help provide me personal insight and feel like a reclamation of self but also because I was purposely not taught Chinese and so I understand the value of pictorial language. I want to represent my experience —something still often
misunderstood- as beautiful as I perceive it to be, in a format that is accessible to others. I want to create works akin to earlier Ming and Qing dynasty erotic art (much of which was largely lost during the cultural revolution) but dealing with 21st century understandings of sexuality and gender. Pornography is the portrayal of sexual content solely with the intent to sexually arouse —what I aspire to portray although sexual however, is predominantly emotional.

In her essay ,Uses of the Erotic' Audre Lorde mentions that the word erotic comes from the Greek word Eros — the personification of love in all it’s aspects. This is another reason I create these images, I believe it is a form of love —to create intimacy with the viewer with the intent to foster understanding."
1. Fashion, Cliche distal perversions, 2021
2. Fashion, Invaluable, 2021
3. Fashion, Peking soap opera, 2021
4. Photo: Courtesy the artist


Instagram
Gabriela Guarnizo is a Colombian artist based in Halle, Germany, who explores identity as the fundamental axis of her work. Gabriela makes abstractions of the memory of her place of origin and her family history, characterized by the crossing of cultures–one colonial, and the other oppressed. 

In painting, drawing and illustration, Gabriela's narratives are figurative, intuitive and surrealist. She finds her inspiration in contemporary Latin American art and colloquial symbolisms. As a migrant from the south, her work is also based on the experience of border crossing. Migrants carry their culture on their backs, and struggle daily to preserve knowledge, which becomes discriminated against and undervalued in first world countries.
2. Gabriela Guarnizo, La frontera, 2020
4. Photo: Isabel O’Toole
1. Gabriela Guarnizo, Detener el sangrado con cenizas, 2020
3. Gabriela Guarnizo, El cholo es el mejor amante, 2020
Hannah Sophie Dunkelberg’s works play with the intersection of materialities and imagery, while deliberately staging painting and photography in the sculptural field. A desire for drawing reveals itself in moments of struggle, employing its unpredictability in her process. The moment when drawing becomes a model and morphs into physicality, allows for the beauty in potential surface failures of the objects that result. Dunkelberg’s art making constantly transforms what is at play and fuses both peculiar yet familiar items and situations: an empty champagne flute begging to be filled, at the same ornamental, stuck in the transparent setting it resides on; or collaged photos on an oversized forest leaf wet with rain droplets and refracting its surroundings.
2. Hannah Sophie Dunkelberg, Silly Symphonies (Leaf), 2019. Courtesy the artist and Office Impart. Photo: Alexander Meyer
4. Photo: Nils Müller
1. Hannah Sophie Dunkelberg, Silly Symphonies, 2019. Courtesy the artist and Office Impart. Photo: Alexander Meyer
3. Hannah Sophie Dunkelberg, Placeholder 4 (no.3), 2020. Courtesy the artist and Efremidis Collection. Photo: Nick Ash
Irene Fernández Arcas is an interdisciplinary artist. In her work, she explores new conceptions of spirituality and the healing powers of art. She creates installations that contain performative rituals, drawing, painting and text. Her practice embraces experiments and ongoing research into domestic rituals, self-care, and the process of art making itself. They are an invitation into the present moment and the unfolding of Now. She paints through movement, eroticism, intuition, humor and emotion. Her installations unfold as habitable spaces, built from colourful painted textiles, which are often relicts from the artist’s prior ceremonies or projects. Collected over the years, they build connections with her own history and homeland. What materializes are metaphorical inner gardens that give room for activations, to explore magic and community. A dialogue and a laboratory in motion for exchange. Through collective self-care we transform and reshape. 

Irene was born in the South and is based in Berlin and the commons.
2. Irene Fernández Arcas, Burlungis, 2020. Photo: Linus Muellerschoen
4. Irene Fernández Arcas, Altar for self Transformation, 2019. Photo: Linus Muellerschoen
1. Irene Fernández Arcas, Altar for self Transformation, 2019. Photo: Linus Muellerschoe
3. Irene Fernández Arcas, The Inner Temple, 2020. Photo: Ben Bush
Jonas Wendelin (b. Düsseldorf, Germany, 1985) lives and works between Berlin and Los Angeles. His work includes sculpture, installation, performance, and studies in traditional ceramics. Jonas' work also includes the facilitation of cultural spaces, initiating, cultivating, and directing a social vision that queries cultural abetments. His approach to artistic practice is all-encompassing, multi-disciplinary, actively utilitarian, and rooted in the conviviality of collaboration. Converging technological and natural evolution, social organization, and the expansiveness of communication, the aesthetics of Jonas’ work pursue an organic, futurist narrative of idealism.

Jonas is a cofounder and director of FRAGILE, a nonprofit project for contemporary artistic practices located in Berlin, fostering a program of conversation, antagonism, renegotiation, and celebration. He is also a cofounder of NAVEL, a non-profit cultural organization and multipurpose community space with a central location in downtown Los Angeles.

Jonas graduated as Hito Steyerl’s Meisterschüler from the Berlin University of the Arts and was a participant at Olafur Eliasson’s Institut für Raumexperimente (Institute for Spatial Experiments).

His work has been shown at Hamburger Bahnhof—Museum für Gegenwart, Berlin; KW Institute for Contemporary Art, Berlin; MoMA PS1, New York; Neue Nationalgalerie, Berlin; The Storefront for Art and Architecture, New York; and NAVEL, Los Angeles.

1. Jonas Wendelin, Progress Documentation. Photo: Zoe Chai
4. Photo: Iouri Podladtchikov
3. Jonas Wendelin, Progress Documentation. Photo: Kai Kopitzke
2. Jonas Wendelin, Progress Documentation. Photo: Zoe Chait
Josip Novosel: "Life is complicated–so is the body of work of Josip Novosel. After graduating from Academy of Fine Arts Vienna, he pursued his dream to become a homosexual bartender. Starting in the Bavarian landscape of his hometown Tegernsee, followed by a stay in Croatia–his country of birth, he now lives and works in Berlin. Located in the Schöneberg district at the infamous TV Bar, Josip lives his desires as a gay waiter. This has allowed him to collide his artistic persona with his lived reality. Due to Covid restrictions, his upcoming solo show at TV bar is postponed until further notice.

Josip does not have a degree in psychology nor does he claim an approach to institutional critique. He is just an entity doing his things–making invisible things visible. His practice has included various outputs, eclectically playing with different mediums, with the past years being focused on water color and pictorial flatness."

Selected shows with Josip include: Efremidis Gallery (2020) curated by Tenzing Barshee; Frans Hals Museum (2020) curated by Melanie Bühler; Belvedere21 (2018) curated by Severin Dünser; and KW (2015) curated by Maurin Dietrich and Nina Mende. In 2016, Saxpublisher published a small essay on the artist titled "After Affection".
2. Josip Novosel, Resting bitch place, 2020
4. Photo: Courtesy Josip Novosel
1. Josip Novosel, Arbeitsmoral & prejudice, 2020
3. Josip Novosel, Rucksackriemen & Schweisstropfen, 2020
Julian-Jakob Kneer (* in Basel), lives and works between Berlin and Zurich. In his artistic practice, Julian-Jakob investigates the origin, logic, and contingency of inherited sociocultural symbol and allocation systems. Central to his work is the examination of subconscious dualisms and ‘abnormal’ or ‘pathological’ psychological deviances as judged from a bourgeois-normative perspective.

Recent presentations include 'Situation 1 und andere' at Kunsthalle Basel, 2020; Liste Showtime 2020 (solo); Constellation at Shore Gallery, Vienna 2020; Walking in Ice at Hua International, Berlin 2020; Ever After at Shore Gallery, Vienna 2019 (solo), frottage at Limbo, Berlin 2019 (solo), ornament sublime at Lucas Hirsch gallery, Düsseldorf 2019. Upcoming presentations include a solo exhibition at brunand brunand gallery, Berlin 2021; a solo booth with Shore gallery at artgenève 2021; a solo booth with Shore gallery at Liste Art Fair Basel 2021 and a solo exhibition at Kupper Modern, Zürich 2022.

2. Julian-Jakob Kneer, MARTYR (feast upon me / Alle Uhren bleiben stehen), 2019. Courtesy Julian-Jakob Kneer and shore gallery
4. Photo: Courtesy the artist
1. Julian-Jakob Kneer, MARTYR (feast upon me / Alle Uhren bleiben stehen), Detail, 2019. Courtesy Julian-Jakob Kneer and shore gallery
3. Julian-Jakob Kneer, WHY FIT IN WHEN YOU WERE BORN TO STAND OUT, 2020. Courtesy Julian-Jakob Kneer and shore gallery
Katharina Ruhm’s work exists between critical design and sculpture–she embraces her making processes (and collaborations) for the functional or conceptual to materialize. Each of her projects are firm reflections on mass and serial production. Katharina’s design results from considerate observations of production processes, and how different materials naturally behave. These observations inform her ability to allow for natural behaviours in her own making, and therefore the 'true quality' within the processed materials. It is as if the material itself were an almost autark "formgeber" (shape former). Katharina desires disparities, transformations and even mistakes. It is not a constructed idea or a precise shape that first determines her outcomes–Katharina gives way for the material to take the lead in the process.

2. Katharina Ruhm, Untitled, 2020
4. Photo: Iga Dobrisz
1. Katharina Ruhm, Column, 2018/2019. Photo: Tobias Faisst
3. Katharina Ruhm, Mirrored Vase, 2020
Lukas Stöver is a Berlin-based artist working across sculpture, video and performance art. His work reinterprets the boundaries of art within the realms of the often overlooked objects of the interior.

In his practice, Lukas explores pieces that have been traditionally rejected. By challenging the norms of domestic spaces, he seeks to find new ways to reclaim their functional agencies. Deviously balancing the organic and synthetic, Lukas Stöver is interested in playing on a dimension that transcends the angelic versus demonic.

2. Lukas Stöver, trans devil lamp, 2020 (detail)
4. Photo: Ana Garcia
1. Lukas Stöver, devil lamp no3, 2020
3. Lukas Stöver, Untitled, 2020
Marianna Simnett lives and works in Berlin. Her interdisciplinary practice includes video, installation, performance, sculpture, drawing and watercolour. Marianna uses vivid and visceral means to explore the body as a site of transformation. Working with animals, children, organs, and often performing herself, she imagines radical new worlds filled with untamed thoughts, strange tales and desires.

Marianna was listed by Artnet as one of 12 artists to break out big in 2021. She is part of the major group show 'A Fire in My Belly' at Julia Stoschek Collection, Berlin, and will open her solo exhibition 'CREATURE' at City Gallery Wellington in March. Recent solo exhibitions include those at Kunsthalle Zürich (2019), Frans Hals Museum, Haarlem (2019), Institute of Modern Art, Brisbane (2019), the New Museum, New York (2018) and Museum für Moderne Kunst, Frankfurt (2018). She is a joint winner of the Paul Hamlyn Award 2020, won the Jerwood / FVU Award in 2015 and was shortlisted for the Jarman Award in 2017.

2. Marianna Simnett, The Bird Game (film still), 2019. Courtesy the artist, FVU, the Rothschild Foundation and the Frans Hals Museum
4. Marianna Simnett. Photo: NO_ONE Studio
1.Marianna Simnett, Covering (bloodstock), 2020. Beyond the Pain installation view at Galerie Stadt Sindelfingen 2020, Lenticular Animation, 60 x 119cm. Photo: Henning Krause
3. Marianna Simnett, Faint with Light, 2016. SEIZURE installation view at Copenhagen Contemporary, Copenhagen, 2019. Courtesy the artist. Photo: Anders Sune Berg
Mikołaj Sobczak (b. 1989) is focused on political issues and historical policy in his work. Emphasizing the perspective and life of marginalized subjects, he builds narratives, and tracks down the reasons for current global and social issues. He works in video, painting and ceramics, often also including performative actions. He frequently collaborates with German artist Nicholas Grafia.
Mikołaj graduated from the Academy of Fine Arts Warsaw (PL) in the Studio of Spatial Activities, followed by a scholarship at Universität der Künste Berlin (DE), and studies at Kunstakademie Münster (DE).

His most recent exhibitions include shows at MoMA (Warsaw), Museum Ludwig (Cologne), Capitain Petzel Gallery (Berlin).

2. Mikołaj Sobczak, “Vanguard”, 2020. Photo: Jens Ziehe
4. Photo: Courtesy the artist
1. Mikołaj Sobczak, “New Kingdom”, 2019 (video still)
3. Mikołaj Sobczak, “Cafeteria”, 2020
"In the last few years my practice has increasingly shifted towards one that seeks to combine mainly performance, painting and time based media installation, in order to discuss the creation of psychological, cultural and political memory, as well as processes of social othering, ex- and inclusion.

Looking at the history of my home country, the Philippines, and comparing it to the increasingly neo-liberal, xenophobic and right wing tendencies I have encountered while growing up in Europe, I came to realize new examples for mainly two things: How many national government systems have radically exploitative, alienating and marginalizing agendas and how interconnected national histories and issues in political power dynamics are on a global level.

The use of absurdist aesthetics, as well as a theoretical focus on writings on postcolonial issues, the uncanny, the monstrous and post-humanism, have helped me to find a visual language to contemplate my artistic ideas on those matters. Employing non-linear dialogue styles, theatrical disguise, masks and  ambiguous physical shapes, throughout my multidisciplinary practice, I wish to irritate and subvert established power relations and conventions within my heteronormative western surrounding and positively familiarize it with previously othered subjects.

Furthermore looking at the way my environment produces, replicates and negotiates racial or sexual representations, I started to look at the history of alternative spacessuch as drag queen houses, secret LGBTI+ meeting spots, as well as spaces where POC bodies are exoticized. Investigating into different social,  (sub) cultural, as well as historical directions, I am creating visual narrations that are intended to present the narratives and voices of marginalized subjects to a wider audience.

In my research stages, I am particularly interested in the way secret visual cues and scene codes enable a complex and rich communication between like-minded people, living in precarious situations, knowing that they are exposed to constant vulnerability and threat.

Having previously found myself in that position too, I have always been interested in finding ways to turn somebody’s role of a victim, that is for example suffering from homophobia, racism, political persecution or exclusion, into one that enables an individual to have impactful agency and visibility in contemporary society.

Especially within my performative works, I have actively taken advantage of the personal histories and cultural experiences of fellow performers and collaborators, by constructing multi-perspective dialogues, in order to extend possibleinterpretations, and to re-negotiate and add to existing queer, POC and immigrant narratives and history.

My artistic practice is therefore generally concerned with a juxtaposition and interweaving of historical events and recent global developments, the familiar and the strange; the personal and the universal."

Nicholas (DE, *1990, Angeles City, Philippines) holds an MFA from the Kunstakademie Düsseldorf (DE). He has previously studied at the Kunstakademie Münster (DE), the School of Arts and Cultures in Newcastle (UK) as well as British, American and Postcolonial Studies at the University of Münster (DE). His paintings, videos and performances, frequently made in collaboration with Polish artist Mikołaj Sobczak, negotiate processes of memory formation, as well as the in- and exclusion of subjects from history writing.

His works were recently exhibited at signs and symbols (New York, US), Capitain Petzel (Berlin, DE), Shoot the Lobster (New York, US), Kunsthal Aarhus (Aarhus, DK), Andersen’s Contemporary (Copenhagen, DK), Museum Ludwig (Cologne, DE), K21 Museum Düsseldorf (Düsseldorf, DE), fffriedrich (Frankfurt am Main, DE), Tramway (Glasgow, UK), Kunstraum (London, UK), Kunstverein für die Rheinlande und Westfalen Düsseldorf (Düsseldorf, DE), Dortmunder Kunstverein (Dortmund, DE), PS120 Berlin (Berlin, DE), Exo Exo at David Giroire (Paris, FR), Museum of Modern Art (Warsaw, PL) and BOZAR (Brussels, BE).

2. Nicholas Grafia, X-Filed (Freak of the Week I & II), 2020; Nicholas Grafia & Mikołaj Sobczak, The Accursed Ones, 2018, HD-Video documentation of performance. Courtesy of Kunstsammlung Nordrhein-Westfalen (Dusseldorf, DE). Photo: Achim Kukulies
4. Photo: Neven Allgeier
1.Nicholas Grafia & Mikołaj Sobczak, Milk Tooth, 2020. Courtesy of Montag Modus at Alte Münze (Berlin, DE). Photo: Barbara Antal
3. Nicholas Grafia, Tunnel Vision (Going Tru Da Motions), 2018
Thyago Sainte (*born in Divinopolis, BR) is living and working in Berlin.
1. Photo: Courtesy the artist
2.Thyago Sainte, Urge, w/ Henry, 2020 (film still)


Instagram
Victor Payares uses layers of various paint languages that combine the haptic physicality of mark making together with archeology, sand, and palimpsest for his artistic practice. Architecture, meteorology, and spatial analysis are reappearing references in his work in which he often materializes recollections of his childhood in Cuba into new arrangements and convictions.

Victor studied at the Art Institute, Miami International University of Art & Design, at the Royal College of Art, London, and is a current participant of the Berlin Program for Artists (BPA).

2. Victor Payares, El Greco Face, 2020. Photo: Stefan Haehnel
4. Photo: Valentin Cafuk
1. Victor Payares, get me to the roof on time, 2019
3. Victor Payares, Chasm Restored, 2019
Apparatus 22
Constantin Hartenstein
Cosima zu Knyphausen
Fashion
Gabriela Guarnizo
Hannah Sophie Dunkelberg
Irene Fernández Arcas
Jonas Wendelin
Josip Novosel
Julian-Jakob Kneer
Katharina Ruhm
Lukas Stöver
Marianna Simnett
Mikołaj Sobczak
Nicholas Grafia
Thyago Sainte
Victor Payares
THE FAIREST
Teaser 01
March 12-26, 2021

Blake & Vargas
Reichenberger Str. 72
10999 Berlin

Teaser 01 can be viewed in person via appointment (E-mail: urwelcome@the-fairest.com or via Blake& Vargas FB) and online

Dropbox & Press
Apparatus 22
Constantin Hartenstein
Cosima zu Knyphausen
Fashion
Gabriela Guarnizo
Hannah Sophie Dunkelberg
Irene Fernández Arcas
Jonas Wendelin
Josip Novosel
Julian-Jakob Kneer
Katharina Ruhm
Lukas Stoever
Marianna Simnett
Mikołaj Sobczak
Nicholas Grafia
Thyago Sainte
Victor Payares
THE FAIREST-TEASER 01
MARCH 12-26, 2021
AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021
AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021
AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021
AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01
MARCH 12-26, 2021 AT BLAKE & VARGAS
THE FAIREST-TEASER 01