Julia is a Berlin-based animator whose raw, visceral work blurs the line between the everyday and the absurd. Fuelled by chaos and early internet culture, her animations explore alienation, belonging, and the dream-adjacent. She also bleach-paints upcycled clothing and has been a KAOS member since 2025, with a workshop in the works.

How did you get into animation, and what drew you to this medium in the first place?

 

In 2009 when I was 12 one of my favorite things to do was to hang out on YouTube. I browsed fan-made music videos and early memes, some of which were animated (my personal favorite was the eerie series Charlie The Unicorn)

The process behind such creations fascinated me and after doing some research I was experimenting with the software on my first computer.

GaiaOnline was also a big place of inspiration for me. It’s a combination of a social media platform, forums and online hangout where you could build your own avatar. Because I didn’t really connect with a lot of people in the small town I grew up in I spent a lot of time on Gaia talking about art and exchanging tips with people who were also into drawing. You could say that this is where I started my career as a digital artist at the age of 13 (earning money in GaiaCash for drawing people’s avatars).

I always liked the comedic value of animation, especially on the bizzare side. Another big source of early inspiration was Terry Gilliam’s cut out animations I saw in the Monty Python films which made me experiment with analog stop motion techniques.

How would you describe your animation style, and how has it evolved over time?

 

The words that first come to mind are raw, rough, dynamic with a solid pinch of goofy.

Someone once described my works as visceral which I really liked.

Over time I see a lot more abstraction or dreamy distortion in my works. Nowadays I quite like connecting the human, every day experience with the dream realm of absurdity and distortion.

Are there certain themes or moods that consistently show up in your animations?

 

There are definitely some themes I see coming up almost every time such as alienation from a group, a yearning for belonging and perhaps a vague longing for nature. Each time I approach a new project whether it’s a short film or a series of drawings those themes come up naturally. It must be a way of me dealing with those themes in my own experience of life.

What does your creative process look like when you start a new animation, from the first idea to the final frame?

It’s all a chaotic mess. That’s how I work best. I tried being tidy and going step by step in a more organized manner but that somehow makes my process derail itself. This shows up for example as me starting the animation process without knowing what the ending will be. It somehow always shows up in the process of making it, as if it makes the decision about what it wants to become.

I go back and forth on all the different stages of production sometimes making radical decisions very close to the end of the process.

It’s important for me to be entertained by the work that I do. If it doesn’t happen its hard for me to continue. Once I catch the groove and I understand the personality of the film I can have a very intense lock-in moment. This is where my process begins to get a lot more organized and harmonious.

Which techniques or tools do you prefer to work with, and why?

 

I would love to work with analog techniques because I adore the visual personality and imperfections of them, but I am travelling around a lot and I need a more mobile setup, so I mostly animate on my graphic tablet inside of Photoshop.

Recently I discovered Toon Squid on the iPad which allows me for even more mobility! I love animating while being on the FlixBus!

Is there an animation project you’re especially proud of or that holds special meaning for you?

 

On my 4th year of studies I made a 17-minute documentary about the underground music scene in Łódź where I lived and studied at the time. It was an excuse to talk to all my favorite musicians and express my love for them and the city. I decided to do it in 3D and I had to learn my way in Blender in a very short time. It was a wild ride fueled by passion and love. There were so many challenges on the way but the energy and determination I had along the way was something I wish to have in more of my projects.

What brought you to KAOS, and how does creating in a community environment influence your work?

 

I got to know the space through an animation Telegram chat I got invited to shortly after moving to Berlin. Toby&Michelle organized a picnic on the terrace in the summer of 2025 and by September I became a member!

I absolutely love it here. The space fills me with inspiration every time I step into it. Somehow it wakes up a new need in me to step away from the computer and start making things with people. For at least another month I will be working on my graduation project, but after that I’m thinking about putting together a kind of workshop… stay tuned.

You also upcycle clothing on the side. Do these two worlds inspire each other in any unexpected ways?

 

Yes! I have always loved thrifting and editing clothes. When I was small my parents had a screenprinting workshop in the basement and were selling tshirts they made at music festivals. I feel like that passion for textile was instilled in me at that time. I found a great way to weave drawing into that by finding out about bleach. Using a paintbrush I apply the bleach onto different natural fabrics and create patterns that are permanently burnt into the surface. I think the dreamy aspect of my works I mentioned earlier really comes out in this technique. It also satisfies the need to work with an imperfect analog technique that always surprises you in new ways. Also it’s functional because people can wear those things and feel warm!

Instagram: @albatro

Website: https://juliamarchowska.com/

Photos ©Julia Marchowska

Linde van der Burgh studied Illustration at the University of the Arts Utrecht in the Netherlands. She is currently based in Berlin, where she runs her own studio. Drawing forms the foundation of her practice and serves as a way to process daily experiences and emotions. Working from presence, she combines drawing, ceramics, and performance to give form to what is often intangible. Nature is a key source of inspiration for her work, as she sees strong parallels between natural processes and her own emotional processes. Through material exploration and embodied actions, her work reflects on vulnerability, transformation, and what it means to be human.

How did you first get into ceramics, and what keeps you drawn to this craft?

I first discovered ceramics during my Illustration studies at the University of the Arts in Utrecht. At some point I became curious about giving body to the images I was drawing. That curiosity led me to an internship with a ceramic artist, where I learned the basic skills of the craft. Clay is a natural, alive material that breathes and moves. It responds to touch, to pressure, to time. It aligns beautifully with what I try to express in my work. Ceramics give me endless possibilities to shape the images that appear in my mind.

How would you describe the style or feeling of your ceramic work?

My ceramics are colourful and rooted in nature. They are deeply connected to personal and emotional experiences. Often I feel like they belong to another world; poetic, dreamy and a bit mystical. My work explores the connection between body, nature, and emotion: the place where the outer and inner world intertwine. Through these pieces I try to give form to moments of unity, reflection and transformation.

What inspires the shapes, textures, or forms you create?

Nature is a big source of inspiration for my work. I love studying leaves, seeds, trees and vegetables. Their shapes, lines, and details form the foundation of my visual language, both literally and symbolically.

Can you walk us through your process, from a lump of clay to a finished piece?

Every piece has its own rhythm and way of becoming. Sometimes a very clear image arrives in my mind, often born from a personal process I’m moving through. I need to sit with the feeling first, understand it, for it to slowly find its shape. When the image is ready, I map out step-by-step how to build it in clay, and I begin. Right now I’m working on a process, where the material is the leader. I start with a loose idea and let the clay guide me, one small decision at a time. Throughout the making, I often step back to look, listen, and feel what the piece is asking for. It’s a conversation rather than a plan.

You also draw, how does drawing fit into your creative routine, and does it influence your ceramic work?

Drawing within my creative practice is where the raw expression appears first. It is like a diary where I talk to myself and my world comes alive. The subjects that come up here are the base for all my work and apply to ceramics as well. Still, drawing and ceramics are two different languages for me. The spatial quality of clay stands on its own, it has its own voice. Therefore it allows me to access something that I could never enter with a drawing.

What materials or techniques are you currently experimenting with in ceramics?

Currently I am experimenting with activating my sculptures by movement. I engage with them physically in space and let their energy guide me. The ceramic sculptures are not just static objects here, they are partners in an ongoing creationship. They gain an additional dimension and consolation in space. The performance emerging out of this experiment will be shown in KAOS on the 26 of February.

Is there a piece you’ve made that feels especially meaningful or represents a turning point for you?

Yes, ‘’The t(h)ree sisters’’, this is the first piece I made after moving into KAOS. The sisters represent my female family tribe, sculpted out of clay with long braided yarn hair. They can stand close together or far apart, look toward or away from one another. The braids create lines, patterns or intertwine. This piece feels especially meaningful to me because it marked a turning point of my work becoming more dynamic and multimedia. Something that I had a longing for and was made possible by my own new studio space. ‘’The t(h)ree sisters’’ marked my beginning at KAOS and form the center piece of the performance that I will be presenting.

What brought you to KAOS, and how does being part of a creative community shape your practice?

I was longing for a place where my drawings, ceramics, and movement practice could exist together instead of being scattered across different locations. In my search for a new studio KAOS crossed my path. It is an absolute blessing. KAOS is a vibrant, dynamic place filled with possibilities. Having all materials and workspaces (wood, metal, ceramics) under one roof makes my practice feel much more fluid and complete. If I have an idea that requires another material, I can simply try it. I’m grateful for all the beautiful people who help, share their knowledge, and make the community a beating heart. Being part of KAOS hasn’t only expanded my creative practice, it has enriched my life.

Instagram: @lindedoingart

Photos © Linde van der Burgh

Michelle begleitet die Kunst seit ihrer Kindheit, vom frühen Zeichnen bis hin zur Entscheidung, sie zu ihrem Beruf zu machen. Während ihres Kunsttherapie-Studiums merkte sie, wie essenziell die eigene Atelierarbeit für sie ist. Heute arbeitet sie zwischen Malerei, Keramik und Skulptur, intuitiv und offen für innere Prozesse. KAOS entdeckte sie zufällig auf einem Spaziergang, ein kreativer Ort, der sofort zu ihr passte.

Wie bist du ursprünglich zur Malerei gekommen?

Irgendwie habe ich mich schon immer mit Kunst beschäftigt, es begleitet mich eigentlich schon von Kind an. Ich habe schon immer gemalt oder gezeichnet, meistens Dinge, die mich umgeben haben oder die ich mochte. Für mich war schon während der Schulzeit klar, dass ich die Kunst irgendwie auch zu meinem Beruf machen möchte. Ich habe mich dann für die Kunsttherapie entschieden- habe aber in meinem Studium der Kunsttherapie schnell gemerkt, dass die Atelierarbeit für mich super wichtig ist.

Wie wählst du deine Farben und Materialien aus?

Bei der Malerei ganz intuitiv. Ich schaue immer spontan, welche Farben und Materialien mich ansprechen. Das lässt mir einen großen Freiraum im Werk, den ich im künstlerischen Prozess sehr schätze. Ich versuche auf der Bildebene Kompositionen entstehen zu lassen, die in Verbindung stehen- und gleichzeitig versuche ich diese Verbindungen wieder zu lösen. Genauso können Bedeutungen im Bild entstehen und wieder verschwinden- es bleibt ein offener Prozess ohne klare Bedeutung. In der Keramik arbeite ich eher konzeptuell.

Gibt es ein Werk, das für dich eine besondere Bedeutung hat?

Ja, das ist die Installation „All my teeth“, die aus 28 Keramikarbeiten besteht, an der ich 2022 bis 2024 gearbeitet habe. Das Werk greift das weit verbreitete Motiv des wiederkehrenden Traums vom Zahnverlust auf. Übergroße, weiß glasierte Keramikzähne, deren Formen sich zwischen vertrauter Anatomie und abstrakter Verzerrung bewegen, liegen auf einer dunklen Stahlplatte, die von einfachen Betonblöcken getragen wird. Das Werk beschäftigt sich mit Themen wie Verlust und körperlicher Transformation. Es schafft einen physischen Ort für eine immaterielle Erfahrung und eröffnet so einen Raum für kollektive Assoziationen und persönliche Projektionen. Diese Arbeit ist sehr persönlich für mich.

Welche Atmosphäre brauchst du zum Arbeiten – Stille, Musik oder eher kreatives Chaos?

Alles drei. Ich bin im kreativen Chaos besonders kreativ, brauche unbedingt Musik beim Arbeiten und genieße es, wenn im Atelier was los ist. Manchmal freue ich mich aber auch, ganz allein im Atelier zu sein

Hat sich dein Stil im Laufe der Zeit verändert? Was hat diesen Wandel beeinflusst?

Auf jeden Fall! Ich schwanke schon immer zwischen Malerei und Skulptur. Es hat sich durch die Arbeit mit Keramik ein weiteres Feld geöffnet, was ich aktuell viel erkunde.

Durch meine Arbeit als Kunsttherapeutin verstehe ich meine Bilder auch immer als Ausdruck meines inneren Erlebens- und sehe darin meistens, wenn auch verzögert, innere Wandlungen und Prozesse.

Wie siehst du die Verbindung zwischen Kunst und Heilung – kann das künstlerische Arbeiten Menschen helfen, sich selbst besser zu verstehen?

Definitiv! Das künstlerische Arbeit schafft Selbstwirksamkeit, fördert die Wahrnehmung und stärkt die Identität. Inneres Erleben, unbewusste Anteile können durch die Gestaltung sichtbar und dadurch bearbeitbar werden. Allerdings braucht es bei der Begleitung von Menschen mit psychischen Erkrankungen unbedingt eine/n gut ausgebildete/n Kunsttherapeut:in!

Was hat dich zu KAOS gebracht?

Das KAOS habe ich auf einem Spaziergang durch Schöneweide entdeckt und es hat mich gleich total angesprochen-ein alternativer, kreativer Ort an der Spree- eine kleine Oase in der Stadt. Zu dem Zeitpunkt habe ich noch nicht in Berlin gewohnt, habe mich dann kurz nach meinem Umzug in Berlin und einer kurzen Zeit in einem kleinen Atelier im KAOS beworben. Mich hat vor allem begeistert, dass immer was los ist, immer jemand gerade kreativ, kulinarisch oder entspannt vor Ort ist. Mich inspiriert ein künstlerisches Umfeld sehr und Austausch über die aktuellen Werke der anderen Künstler:innen im KAOS ist für mich ein wichtiger Input.

Website: https://michelleriemer.com/

Instagram: @miskielle

Photos © Michelle Riemer

Bea Boddin ist Metallbauerin mit Wurzeln im Schmuck- und Tattoodesign. Aus ihrer Leidenschaft fürs Gestalten entwickelte sie eine Arbeit, die Kunst und Handwerk verbindet. Im KAOS schafft sie funktionale Objekte mit Charakter und findet Inspiration im Austausch mit anderen Kreativen.

Wie hat deine Leidenschaft für Metall angefangen?

Angefangen hat alles mit meiner Leidenschaft zum malen nähen basteln.. im Sommer 2018 habe ich große Skulpturen gebaut für Festivals und Veranstaltungen allerdings nicht mit Metall… Es wurde Herbst und Winter und ich habe das Goldschmieden angefangen, mich sogar bei einer der besten Schulen beworben, wurde angenommen und dann ganz kurz bevor ich Berlin verlassen sollte habe ich mich umentschieden – Wollte nicht nur kleine teure Prestige Objekte herstellen für Leute mit viel Geld, Sondern wollte nützlich sein für viele Menschen und auch im nachbarschaftlichen Zwecke wertvoll sein und generell größer und praktischer bauen können. So kam ich zum Metallbau.

Was fasziniert dich an diesem Material am meisten?

Das glühenden Eisen, Hammer und Amboss, sprühende funken beim bearbeiten und die Härte und Zähigkeit des Materials dass ich mit meiner eigenen Kraft und Raffinesse aber auch mit der Kraft von Maschinen in neue Formen bringen kann. Verbindungen schaffen die Sinn ergeben, formschlüssig sind oder das Material miteinander Verschmelzen zu lassen.

Wie entsteht bei dir eine neue Idee – aus dem Kopf, aus dem Material oder einfach beim Machen?

Eigene Designs und Ideen entwickeln sich meistens nebenbei, während ich in einem Prozess stecke oder wenn ich ein Material ansehe habe ich meistens dazu eine Idee in welche Form ich es bringen will. Wenn Kunden mit Ideen und Wünschen zu mir kommen entwickeln wir gemeinsam das gesamt Konzept und ich bin meistens inspiriert von den Vorschlägen und Problemstellungen mit denen ich durch das Projekt konfrontiert bin . Es ist unglaublich wie jede situation eine individuelle Lösung braucht und es immer wieder klappt.

Welche Rolle spielen Form und Funktion in deiner Arbeit – überwiegt das Künstlerische oder das Praktische?

Meistens ist die Funktion ein maßgeblicher Punkt. In den seltensten fällen kann ich mich frei der künstlerischen Form hingeben denn das Material erfordert einfach Stabile Umsetzungen aber ich geniesse die Vermischung beider Prinzipien.

Wie hat sich dein Stil im Laufe der Zeit entwickelt und was hat dich auf diesem Weg geprägt?

Da ich ja vom Schmuck- und Tattoodesign komme waren anfänglich das freiformen (Richtung Jugendstil) meine natürliche Orientierungsrichtung aber durch meine sehr praktische Ausbildung zur Schlosserin wurde das vermischt mit simplen geometrischen Formen, Ecken und geraden. Nun habe ich im Prinzip zwei Stile die ich je nach Anforderung von Kundenseite ausspielen kann.

Wie sieht ein typischer Tag in deiner Werkstatt aus?

Jedes Projekt ist anders daher haben wir keine typischen Tage. An manchen Tagen schmeißen wir die esse an und hämmern den ganzen Tag auf glühenden stahl herum, manchmal wird den ganzen Tag gefeilt oder Zuschnitte gemacht. In der Regel ist es laut und dreckig und macht viel Spaß.

Was bedeutet für dich, bei KAOS zu arbeiten? Inspiriert dich die Gemeinschaft oder der Ort selbst?

Ich fühle mich ganz ungemein wohl im Kaos! Ich liebe es dass so viele verschiedene Menschen und Gewerke unter einem Dach sitzen die sich gegenseitig aushelfen und inspirieren. Es ist für mich von unschätzbar grossen Wert diesen Austausch zu haben.

Wenn du neugierig geworden bist, schau gern auf ihrer Website vorbei:

https://eisenherz.nl/

 

Instagram: @beaboddin

 

Photos © Bea Boddin

In this interview, we talk with Viktar and Maria from Kamorka Workshop, the duo behind a beautifully curated collection of vintage furniture from mid-20th-century Eastern Europe. With a deep appreciation for the craftsmanship and timeless aesthetics of the era, they bring new life to pieces from the former Czechoslovakia, Poland, Romania, Hungary, the GDR, and beyond, combining history, design, and passion in every restoration.

What is the project KAMORKA?

KAMORKA is a small family-run business that combines a love for beautiful design with a deep respect for nature – and the desire to share that with as many people as possible.

How did you get into upcycling?

It all started back in 2016, after a long wedding trip. We didn’t want to go back to our office jobs – instead, we wanted to do something new, creative, and ideally meaningful for the environment. Inspired by what we’d seen online, we decided to give a second life to old furniture – pieces that would otherwise most likely end up in the trash. So, in a tiny shed in the countryside (which in Russian we’d call a Kamorka), we began our journey with our first project – transforming old chairs into bright, eye-catching interior pieces.

What’s the story behind your furniture? (Highlighting the origin of materials before upcycling)

In the beginning, we found furniture online or sometimes even on the street – pieces whose shapes or proportions inspired us. We would bring them to our little Kamorka in the countryside and start the transformation.

At first, we mostly upcycled furniture repainig it or altered its structure to give it a new function. But as we dove deeper into the world of furniture, we realized that old furniture wasn’t just “old furniture” with potential – among it were true design gems from the 1960s and 70s. That’s how we discovered Eastern European mid-century modern design and completely fell in love with it, especially with the Czechoslovak style.

How does upcycled furniture change the way we think about waste and design?

Upcycling, in my opinion, is a wonderful way not to throw away furniture that’s been in your home for decades and feels a bit tired – but instead to breathe new life into it. You can repaint it, add patterns, or even change its construction depending on your imagination and needs. Another approach is restoration, wich often revealing the stunning natural beauty of the wood grain and veneer hidden for years under faded varnish. Furniture from the 1960s and 70s, even though mass-produced with the help of new technologies, was made to last. Many of these pieces are true design treasures. So by choosing upcycled or restored furniture, we’re not only caring for the planet by avoiding new mass-produced items (that often don’t survive even one move), but also bringing something truly unique and full of character into our homes.

What emotions do you want people to feel when they bring a piece of upcycled furniture into their home?

I truly believe that furniture, whether upcycled or restored, becomes a centerpiece that catches the eye and brings joy. What I love most is seeing more and more people discovering the charm and uniqueness of Czechoslovak mid-century design. The reactions of those encountering it for the first time always confirm that we’re not alone in our passion.

What are you working on now?

Most of the pieces I’m working with these days are original Czechoslovak design furniture, which I carefully and lovingly restore, giving them another few decades of life. Chairs, armchairs, dining and writing tables, sideboards and cabinets – all beautifully made, functional, and ergonomic pieces.

From time to time, I also do upcycling reimagining certain pieces with my own design ideas, often inspired by that same bold and experimental spirit of the 1960s and 70s, when designers played freely with form and new materials.

How did you arrive at KAOS?

While searching online for a space for our workshop in Berlin, I came across KAOS, and even from the photos, it was clear this place was something special. I think anyone who’s ever been to KAOS would understand what I mean when I say it was love at first sight – from the very moment I approached the building by the Spree.

And once I stepped inside, I knew right away that our Kamorka had to continue its story here.

Shop refurbished pieces by KAMORKA:

https://kamorkaworkshop.de/

 

Instagram: @kamorkaworkshop.de

 

Photos © KAMORKA

An unsere Unterstützerinnen, Freundinnen und die KAOS-Community

 

Es ist Zeit für ein frisches Update: Bei Projekt 93 hat sich einiges getan und dank eurer stetigen Unterstützung konnten wir viele wichtige Schritte gehen. Hier ein Überblick, wo wir gerade stehen:

 

 

Was wir erreicht haben:

Philanthropische Unterstützung gesichert

Unser langjähriger Unterstützer hat seine Zusage bekräftigt: 2 Millionen Euro sind für Projekt 93 gesichert – auch wenn wir uns für eine alternative Immobilie entscheiden.

 

Investierende Mitglieder – fast 500.000 Euro zugesagt

Wir sind tief dankbar für alle, die bereits investiert haben. Insgesamt sind bereits fast 500.000 Euro von Mitgliedern unserer Genossenschaft eingegangen. Euer Vertrauen und eure Beteiligung geben uns Kraft und Rückenwind.

 

Genossenschaft fast offiziell

Wir sind fast am Ziel. Das Gründungsgutachten wurde vom Genossenschaftsverband erfolgreich abgeschlossen. Als nächstes folgen der Notartermin und die Eintragung ins Genossenschaftsregister. Danach ist die Genossenschaft offiziell gegründet.

 

Mietvertrag verlängert

Um uns mehr Zeit zu verschaffen, haben wir den aktuellen Mietvertrag für unser Gebäude bis Ende 2026 verlängert. Das gibt uns Spielraum, um die nächsten Schritte in Ruhe und mit Sorgfalt anzugehen.

 

 

Aktuelle Herausforderunge:

Wilhelminenhofstraße 93 – wir suchen Mitkäufer*innen

Der Kauf der gesamten Immobilie Wilhelminenhofstraße 93 ist für uns allein finanziell nicht realisierbar. Deshalb führen wir aktuell Gespräche mit Unternehmen und gemeinnützigen Organisationen, die gemeinsam mit uns kaufen und das Gebäude nutzen könnten.

 

Alternative Standorte

Wir haben rund 20 Berliner Immobilienmakler kontaktiert. Bisher kamen darüber einige wenige Angebote zurück, die wir nun prüfen.

 

Was als Nächstes ansteht:

• Notartermin und offizielle Eintragung der Genossenschaft
• Weiterführende Gespräche zu gemeinsamen Kaufmodellen für Wilhelm 93
• Suche nach passenden alternativen Immobilien im Berliner Raum

 

 

An alle, die uns unterstützen, investieren oder einfach an das Projekt glauben: Danke.

 

 

KAOS ist mehr als ein Ort. Es sind Menschen wie ihr, die all das möglich machen. Wir machen weiter und halten euch auf dem Laufenden.

 

 

Euer Projekt 93 Team

Update on Projekt 93 – June 2025

 

To our supporters, friends and the KAOS community

 

 

It’s time for a fresh update. A lot has happened with Projekt 93, and thanks to your ongoing support, we’ve been able to take many important steps forward. Here’s an overview of where we currently stand:

 

 

What we’ve achieved:

Philanthropic support secured

Our long-time supporter has reaffirmed their commitment: €2 million are secured for Projekt 93, even if we move forward with an alternative property.

 

Investing members – nearly €500,000 pledged

We are deeply grateful to everyone who has already invested. So far, nearly €500,000 have been committed by members of our cooperative. Your trust and involvement give us strength and momentum.

 

Cooperative almost official

We are close to the finish line. The founding report has been successfully completed by the cooperative association. The next steps are the notary appointment and official registration in the cooperative register. After that, the cooperative will be officially established.

 

Lease extended

To give ourselves more time, we have extended the lease on our current building until the end of 2026. This gives us room to take the next steps calmly and carefully.

 

 

Current challenges:

Wilhelminenhofstraße 93 – we are looking for co-buyers

Purchasing the entire Wilhelminenhofstraße 93 property is not financially feasible for us alone. We are currently in talks with companies and non-profit organizations that could buy the building together with us and share its use.

 

Alternative locations

We have contacted around 20 real estate agents in Berlin. A few offers have come in, which we are now reviewing.

 

 

What’s next:

• Notary appointment and official registration of the cooperative
• Further discussions on joint ownership models for Wilhelm 93
• Ongoing search for suitable alternative properties in the Berlin area

 

 

To everyone who supports us, invests, or simply believes in the project: thank you.

 

 

KAOS is more than just a place. It’s people like you who make all of this possible. We’ll keep going and keep you updated.

 

 

Your Projekt 93 Team

Henry Baumann is an artist working on a series of objects made out of resin. First, focusing on a stool and now expanding into benches and side tables. He has worked at KAOS for 6 years and is always around working in his studio, playing table tennis or sitting by the water. Baumann has a Bachelor’s degree in Product Design from the Akademie Beeldende Kunsten Maastricht, the Netherlands and won his first Recycling Design Award in 2012.

How did you get into design?

I had a love for art from a very young age. I always loved to paint and draw, but when I was young I didn’t know all these creative jobs existed. When I heard about product design I knew I wanted to do it. I studied in Maastricht, it was a very experimental study which was perfect for me and I ended up in a nice place between art and design.

You started working mostly with reused materials, how did you transition to resin?

The project I did for my final degree was a recycling piece made from strawberry crates which I turned into low tables. They were fun to make, received a lot of attention and even won a prize. It’s so interesting that by experimenting you can reach something completely new. It seems to me that with enough time and feedback, you can make something exciting out of any material. The recycling idea wasn’t really about saving the world, the world is not suffering from too many strawberry boxes, but they’re free and already there. My idea was to do the same with glass and use the concept of a stool as a starting point. There is a lot of glass in KAOS so I see it daily, it’s also a valuable material, which is why I was interested in working with it. But along the way a friend and I started experimenting with resin, a material with many possibilities. It took two years of experimenting before the first good prototype arrived last autumn, in the meantime a lot of things changed. In my experience, there are a lot of unexpected things that happen during the process. When something doesn’t work, you try to find a solution or discover cool surprises. I don’t focus on producing a functional object, it’s more about the shape and the production process. For the stool I made, I had a simple framework in mind: something solid that’s at a certain height. I work with different techniques and arrive at a functional object naturally. I was focussing on a stool and ended up with one, but if something else had happened on the way there, I would’ve also been happy.

These stools are made out of individual ‘eggs’, how did you come to the shapes?

I made this huge ‘double croissant’ a while ago (a wooden cable drum cut into a shape that resembles a croissant). There was a party at KAOS so I was trying to find a way to seal it so people wouldn’t sit in it. Someone suggested making half a sphere out of resin to cover up the holes. The resin sphere eventually turned into these oval shapes you see in the stools. It’s funny how conversations with people at KAOS influence shapes. They give me a lot of new ideas. When I get an idea I try it right away, it’s a lot of trial and error.

What are you working on now?

I’m taking the stool design further and making a bench, lamps, and a little shelf. Many of my design friends also start from a stool, it’s an easy shape to scale up to make a bench or table.

How did you arrive at KAOS?

I moved to Berlin 7 years ago and got a commission to make two ‘croissants’ for a hotel so I looked for a coworking space. I saw an advertisement for KAOS on Kleinanzeigen and when I visited I noticed a friend’s end exam hanging in the hall. I immediately thought ‘Oh my friend is here!’ and decided to rent a space in the hall. I got my own room because my work was quite noisy. Over the years this evolved into a bigger studio and I’ve been here ever since.

How has working at KAOS influenced your work? 

I benefit a lot from technical people like Tinka and Marvin, they teach me about 3D printing and electronics. When I have wood or metal-related questions there are plenty of people with expertise here. Vice versa, others also come to my studio to ask me questions about working with resin. I enjoy exchanging knowledge with other people. At certain points in the process, I don’t want to show the work to others, it feels vulnerable because I know it’s not perfect yet. Other times, I like to show it to everyone, everybody has a different view and gives input, and then you just take what you think is good.

You’re here all the time.

I enjoy being here. People tell me all the time ‘Ooh you’re so fleißig (hardworking)’ but it doesn’t feel like it because I enjoy my work. I’m also not working all the time, there are times when the resin is drying and I sit down to think about stuff… After being here for 6 years all my friends are here. When I look back at my life I had bad and good times and now is a good time. But it will also change again, so I just try to enjoy it.

Take a look at Henri’s work over at:

Instagram: @henry_baumann

https://www.henrybaumann.de

 

Photos © Linda Hanses

www.lindahanses.de

Michelle Brand is a German-English freelance animation director, illustrator and sound designer working across a wide range of aesthetics. She’s completely obsessed with geometric shapes, straight lines and perfectly round circles and focuses on visualising abstract ideas in abstract ways.

 

Toby Auberg is a Swedish-American 3D visual artist and animator who’s all about the unusual ways and means of making moving pictures with the computer machine. He’s really into sensory overload, abstract characters and virtual worlds, and sometimes dabbles in political themes.

 

Together they are founders of KINEMUS, an animation studio based in KAOS that combines techniques from 2D and 3D animation to create ethereal moving pictures and vivid virtual worlds.

When did you decide to work together?
Toby: We studied at RCA London together and moved to Germany during the pandemic, where we were working remotely from our flat. During this period we kept helping each other out on projects, and the idea of formally making a studio grew out of that.

 

Michelle: It came very naturally since I work in 2D animation and Toby works in 3D. When working, I would often need something from him or vice versa so we were constantly hiring each other. Our working methods match well, we can exchange ideas and help each other where needed. The work we do as one studio is a more happy, fun version of each of our practices. In some sense, there are now three directors.

 

Toby: By collaborating, we make work that we could never do separately. We are also less precious about everything, the other person forces you to loosen your grip on the work. We talked about creating an animation studio for a long time before launching it at KAOS. We initially worked in separate rooms and eventually took over a space which we transformed into the ‘animation room’ to work on projects together. Now we share the place with game developers and fellow animators. It’s nice being next to people who are in a similar mode. We all understand each other with the Zoom calls, crunch times and deadlines.

How do your animation practices fit together?

Toby: Nowadays, in the animation world the lines between 2D and 3D are being blurred more often. We’re trying lots of different techniques and approaches. In each discipline, there are painful and time-consuming aspects that could be done very easily by handing off part of the project to the other side. For example, doing facial expressions is very time-consuming in 3D, it’s kind of like building puppets. Whereas in 2D you can just draw it frame by frame, there’s no setup of muscles and bones involved. When you mix 3D shapes with 2D faces it makes life easier for everyone. On the other hand, doing camera moves in 2D is really hard. You need an understanding of perspective, keeping object and space consistent… In 3D it’s very straightforward.

 

Michelle: Aside from production techniques, there’s also a look or atmosphere that we can only achieve together. We worked on a music video where only by combining 2D and 3D we managed to create the look that we wanted. In 2D it’s hard to make things look mysterious regarding the technique, whereas in 3D things can feel quite sterile or rigid sometimes. There is a novelty when people see hybrid work where they don’t know exactly what they’re looking at. We like to confuse the viewer on how something’s made and blur the lines between what is real and what is rendered.

 

Toby: Conceptually, we both have a fascination with the abstract. I’m very fascinated with when something goes from being just a ‘thing’ to being perceived as having agency and character. I like playing with our preconceived notions of what an animated character is, and this works very well with Michelle’s interest in the abstract visualisation of time, space and movement.

What are you working on now?

Michelle: We are working for Outreach, a nonprofit organisation focusing on supporting local youth, who also have an office here at KAOS. We’re animating a piece for their website. It’s very nice because if we didn’t work at KAOS we would’ve never known of each other. It’s also refreshing to be able to have physical meetings, often our clients are in other countries so we do a lot of video calls.

What’s your dream project?

Toby: I just want to do short films all the time and not worry about anything else. Short films are great since they don’t need to target mass appeal so you have total creative freedom, you can take risks and be uncompromising.

 

Michelle: I have this idea in my head of an experience in a room or building where you can go on an adventure. There would be animations, projections, sculptures and objects, a moving floor or walls, maybe something in the air… Complete sensory overload! I want the whole experience to be very confusing to the viewer, the perspective is wrong, and they don’t know where they are in the room or what they’re seeing. I would love to collaborate with people so they can incorporate their own ideas and works into this.

 

Toby: Kind of like an animation funhouse experience?

 

Michelle: Exactly! If I had infinite time and money this is what I would make, it’s very ambitious, but this would be my dream project.

How has working at KAOS influenced your practice?

Toby: Since we joined KAOS we have been doing a couple of physical installations.

 

Michelle: Thanks to KAOTIS like Tinka, Phillip, and Charlie, we have been able to make totally new work that we would’ve never made otherwise. I wouldn’t have the experience, energy, or motivation to build something, but people here really motivate you to just do it. We can go to people with expertise in other fields and ask questions. So far we’ve made two installations for the summer parties. The last one we did was a big hanging projection screen decorated with abstract shapes, that Tinka helped us with. When the lighting condition is just right, the attempt is to confuse the viewer on what is real and what is digital. This installation also led me to make a 3D mural in a shop in Berlin.

 

Toby: Another great thing about KAOS is the parties that we host. For these parties, we all get together and build a scenography. You can collaborate with other people and it pushes you to make something new and fun and learn new skills.

 

Michelle: People organically come together and discuss the theme, whoever wants to do something can just do it. You can make something very big because you have all the space and tools available. If you have an idea, you can just do it and get others to help you. This removes a lot of barriers, I’ve made things I didn’t even know I could do.

Who inspires you at KAOS?
Michelle: Philipp Artus, he does animation projections.

 

Toby: They’re more like expanded animation installations, when we first discovered his work, it blew our mind.

 

Michelle: When he found out we were doing experimental animations we talked for hours, this is what happens when you put animators in a room, they can just go on forever about the intricacies of animation. Tinka is also very inspiring, he has so much knowledge and really gives you this energy that you can do anything.

Check out their new animation studio KINEMUS over at: https://kinemus.com/

Instagram: @kinemus.feed

Michelle’s website: https://michellebrandanimation.com/

Toby’s website: https://toberg.tv/

Vonfelt – Je Pars (I’m Leaving)

KINEMUS Projects up to 2023

Raman Djafari ist Illustrator, Animator und Filmemacher. Mit einem Hintergrund in Illustration und Design hat er sich an Animation, Film und Musikvideos herangewagt. In seinen Arbeiten erzählt er surreale und fragmentarische Geschichten, die den Zustand des Menschen erforschen.

Wie bist du auf die Idee gekommen, Animator zu werden?

2016 wurde ich von einer befreundeten Techno-Boyband namens FJAAK gefragt, ob ich ein animiertes Musikvideo für ihr bevorstehendes Release machen möchte. Ich hatte zuvor noch nie animiert, habe aber ja gesagt. Dann musste ich animieren lernen.

Wie kam es zu der Zusammenarbeit an dem Musikvideo von Dua Lipa und Elton John?

Ich hatte das Glück 2020 von BlinkInk, einer Londoner Produktionsfirma für Animation, angesprochen zu werden ob ich deren Regisseur*innen Kader beitreten möchte. Seit dem hatte ich immer mal wieder die Möglichkeit auf interessante Projekte zu pitchen, die von BlinkInk an mich herangetragen wurden.

Als sie mich dann gefragt haben, ob ich ein Konzept für Elton John und Dua Lipa schreiben möchte, kam mir das utopisch vor. Ich hatte sogar zuerst zweimal abgelehnt, weil ich im Urlaub war und ich wusste, dass viele andere bedeutend erfahrene Regisseur*innen ebenfalls zu diesem Projekt Konzepte schreiben würden. Dementsprechend hatte ich mir sehr kleine Chancen ausgerechnet. Als ich aus dem Urlaub zurückkam, habe ich dann doch noch ein Konzept geschrieben. Glücklicherweise hat’s den beiden wohl gefallen.

An welche anderen Projekte erinnerst du dich besonders gerne?

Wir hatten im Kindergarten so ein gemeinsames Projekt. Wir alle haben Pokémon gezeichnet und versucht, eine komplette Sammlung von Pokémon Illustrationen zusammenzutragen. Die beste Zeichnung eines jeden Pokémon ist dann in den gemeinsamen Sammelordner in Folien eingeheftet worden. Ich war noch sehr klein, ich glaube von mir hat es aber meine Safcon Zeichnung in den Ordner geschafft. Das war toll.

Hast du irgendwelche Traumprojekte oder Ziele, die du gerne erreichen würdest?

Gerade möchte ich mir gerne einfach etwas Zeit für meinen nächsten Kurzfilm nehmen. Danach mal schauen, hab so vieles, was ich noch machen möchte, aber ich glaube, ich lass das einfach erstmal auf mich zukommen.

Es gibt viele Musiker*innen deren Arbeit ich sehr liebe, mit denen ich total gerne mal arbeiten würde. Aber ehrlich gesagt, habe ich eigentlich immer Lust auf alles Neue. Vielleicht mal ne Oper? Oder eine installative Arbeit? Erstmal aber mein nächster Kurzfilm, hoffentlich, wenn ich mich nicht ablenken lasse…

© Linda Hanses

Was würdest du tun, wenn du nicht Animator wärst?

Ich liebe Malerei sehr, das hätte vielleicht auch ein Weg sein können. Eine Zeit lang dachte ich auch, dass ich vielleicht Physik studieren will. Aber ich mag das schon sehr gerne, so mit und durch kreativer Arbeit zu leben. Ich glaube, das würde ich nicht missen wollen.

Wie bist du auf den KAOS gestoßen?

Die Sweeties Michelle und Toby haben mich dazu geholt, als ich Mitte letzten Jahres nach Berlin gekommen bin. Auch magic irgendwie, wir haben uns in Frankreich auf einem Animationsfilmfestival kennengelernt und dann teilen wir uns ein Jahr später ein Atelier

Was genießt du am meisten daran, dein Studio im KAOS zu haben?

Es fühlt sich sehr wertvoll an, jeden Tag ins Studio zu kommen und sich auf die Stunden dort zu freuen, weil ich die Menschen und den Ort so gerne habe. Ich freue mich jeden Tag auf die Gespräche, auf gemeinsames Kochen und Mittagessen, cute Momente zwischen Tür und Angel. Das ist alles echt toll.

Darüber hinaus bin ich auch weiterhin fasziniert und beeindruckt davon, was diese Community alles auf die Beine stellt. Von den Parties, über Movie Nights und die gegenseitige Unterstützung, die sich alle gegenseitig schenken. Einfach super schön alles, Ich bin richtig dankbar hier sein zu können.

© Linda Hanses

Raman Djafari, Dua Lipa & Elton John “Cold Heart”

Raman Djafari, Ashnikko “Worms“

lnstagram Raman

Individuelle Gestaltung von Metallobjekten und Glas-Stahl Trennwänden

Nach Abschluss seiner Ausbildung zum Industriemechaniker im Sondermaschinenbau in Oberfranken zog es Jan Kuhr 2001 nach Berlin und arbeitete in verschiedenen Metallwerkstätten als Metallgestalter.

 

Neben zahlreichen Stahlarbeiten wie Fenster, Tore, Geländer und Balkone fertigte er auch handgemachte Messer und Klingen und gab Schmiedekurse. Unter anderem lebte er auch in Brighton und arbeitete in einer Schmiede und als Solar Installateur. In seinen zahlreichen Arbeitsjahren konnte Jan Kuhr einen großen Erfahrungsschatz erlernen.

 

Nach seiner Zeit in England zog es ihn wieder nach Berlin als selbstständigen Künstler und Handwerker. Durch einen glücklichen Zufall konnte Jan Kuhr 2020 im KAOS die bestehende Metallwerk übernehmen und nach seinen Bedarfen umgestalten.

 

Im KAOS ist er nun als Metallgestalter tätig. Neben Schlosser- und Schmiedearbeiten hat er sich vor allem auf die Anfertigung von individuellen, perfekt auf den Kunden zugeschnittenen Stahl-Glas-Raumteilern spezialisiert.

 

https://stahlundraum.de

https://stahlundraum.de

info@stahlundraum.de