The house I share with my husband and our daughters stands dismantled in the room. Its façade has been reassembled like billboards, its fences broken and scattered across the exhibition – boundaries that have been dissolved, an ambivalence that cuts both ways: liberation or punishment, depending on which side one stands. Through the windows, a film transports viewers inside, from where they watch me cleaning the panes – the invisible labor that keeps the surface clear. The cleaner the glass, the less one sees the hands that cleaned it. In an era in which everyone films, shares, and documents, the line between "mine" and "ours" – between the private and the public – is no longer a fixed line, but a continuous negotiation.
Exhibition view of My house ( our house) 2026.Inkjet on Kappa boards, Steel, Ceramic, Video on Displays, Palletes.Exhibition view of My house ( our house) 2026.Inkjet on Kappa boards, Steel, Ceramic, Video on Displays, PalletesDetail of My house ( our house) 2026Detail My house ( our house), 2026.Detail of My house ( our house), 2026.Zaun, 2026. Wooden found object.A place I have never been, 2025. Etching.Untitled ( collage with child), 2026.Exhibition view, Won’t you be my neighbor? 2026Exhibition view Won’t you be my neighbor?
For this exhibition, I pulled together three works.
Row, 2026
Exhibition view of Row, 2026, Steel pipe and rocks with two channel video / photo taken by: Victoria Gentsch, material matters.
Row, Row, Row your boat gently down the stream, merrily, merrily,
merrily, life is but a dream is being sung and heard around the room
from the displays that are showing videos of myself in my bath robe, in
my kitchen pretending to paddle on a canoe with my broom in hand
making paddle motions while singing out to the camera- this popular
childrens song. The video on both displays are the same footage, played
at different sequences, thus creating a canon. The scenes are inserted
in the pipe creating references to pipe dreams, when in reality I have to
tend to my responsibilities, living far from the option of going on a boat
ride.
2. Build you up/ tear you down, 2026
Exhibition view of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.Exhibition view of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.Detail of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.
3. Taucherbrille ,2026
Exhibition view of Taucherbrille, 2026. Wooden panel, glazed ceramic, and video on display./ Photo taken by Victoria Gentsch, material matters.
Inside a snorkeling mask, the viewer looks into my
fish tank that I filmed: blurred fish drift across the frame
while, behind them, a sudden clear image shows me cleaning
the glass. My work focuses on acts of cleaning—layered
scenes that ultimately return to a single, persistent
I have shown new works Payment unsuccessful and Handles. M26 in the Kunsthalle Oktogon, University for Visual Arts Dresden, Post Graduate Degree exhibition.
Payment unsuccessful, 2026 is an installation made up of wood, ceramic, brick, mirror
it is about 90cm x 215cm and 100 cm x 250 cm big.
This installation consists of two freestanding walls facing each other in the middle of the room. One side is covered entirely in mirrors, with a sink and exposed pipes that stop abruptly. The other wall has handmade tiles with text that only becomes readable through the mirror.
When you step in front of the mirror, you become part of the work. You’re not just looking at it—you’re inside it.
The work comes from an earlier idea I’ve been thinking about: that responsibility is the ability to respond. For me, that often shows up in very ordinary moments—like standing in front of a mirror in the morning
A lot of my own anxiety is tied to financial insecurity—the fear of not being able to afford things, or keep up
But I don’t think this is just personal. These kinds of worries sit in the background for many people. So when viewers see themselves in the mirror, they’re also confronted with their own version of that.
The text ‘payment unsuccessful’ is written backwards—it only becomes legible through reflection. So the message only appears when you face yourself. In that sense, the work asks: what are we actually able to respond to, and what feels out of our control?
This work is about what happens when you’re forced to face yourself—and the quiet anxieties you carry with you, especially around survival and responsibility.
2022, Towels and metal, five times ca. 350 cm x 50cm
The towers of neatly folded towels, burp cloths and flannels are stacked metres high. The bright colours of the washcloths can in no way conceal the nerve-racking thought of never- ending housework. In her artistic work, Angelina Seibert deals with her personal role as a mother of three children. The challenge of running a household as a mother of three and at the same time, working as an independent artist, opens up a broad spectrum of experiences of adversity, barriers and pol- itics for Angelina Seibert, from which she draws upon artisti- cally. With multimedia works and performances, in which she often works with the motif of repetition, the exercise of main- tenance work or the involvement of her family as actors, she makes the realities of housework, care work and education visible: What does it mean to be a good housewife, mother and at the same time a good artist? What expectations must you live up to? What protocol does one have to follow? Which of our own patterns and traumas accompany us and how are these passed on to the next generation?
inkjet on Kappa plate, dust sweeper, building blocks, Lego 50 x 80 x 30 cm x2
This is the sister piece to overextending myself.
I wanted to make life-size
elements of myself on which where I am frozen in time, while I clean something in the room.
I wonder from which perspective the individual perspective from which the individual parts of me
are working (and distributed).
Overextending myself 2025
inkjet on Kappa plate, dust sweeper, tea towels 120 x 280cm
On entering the gallery space we talked about the disturbance caused by this very large heating element. I wanted to install it in a work immediately. This is where I got frozen in time
overextended myself to fulfill the needs and solve the problem
this white cube nightmare Solving it by being responsible and dusting it off.
