Palais Thurn und Taxis



Are you happy to be in Paris?

15.03. — 28.04.2024



Géraldine Honauer
»Trace«, 2024

Diffuser, scent created by algorithmic perfumery on behalf of the artist: Isoamy acetate, Isobutyl acetate, Benzyl acetate, Jasmolactone, Dipropylene Glycol (DPG)

»Harvest«, 2024

QR code sticker, AR/3D object, NFT
Open edition, claim your NFT till 28.04.2024

The predominant banana variety Cavendish has its roots in a greenhouse in England around 1830, when exotic fruits and plants were brought back from travels as a status symbol. This one banana type represents almost all bananas sold today internationally - as genetic clones of this one original plant. The reproduction of real bananas is now continued and elevated to the absurd in this artwork: Multiplication, abstraction, and transformation allow for an oscillation between augmented reality snippets and the olfactory experience, beyond the concrete object itself.

»Harvest« and »Trace« are a trading pair that enter into a dialogue as an echo in the exhibition. In the entrance area of the exhibition, the work »Trace« unfolds the scent of a banana, which is sustainable and discreet, leaving behind a memory. The work »Harvest«, a virtual banana, can be »harvested« digitally during the exhibition as an NFT - a commentary on the speculative art market in times of digital value creation.

The work "Harvest," a virtual banana, can be "harvested" digitally during the exhibition as an NFT - a commentary on the speculative art market in times of digital value creation.

The works manifest themselves as performative ready-mades for the duration of the exhibition and can thus be collected as virtual souvenirs. However, the scent of banana can only be experienced when travelling to Bregenz.

IG Filter: geraldinehonauer/nft/bananasig

Géraldine Honauer (*1986 in Aarau, CH) lives as digital nomad
IG: @geraldinehonauer



»Transient Details«, 2024
Collaborative Work

2er-Postkartenset, Mateusz Dworczyk, 2€ ★ Schlüsselanhänger, Ramona Kortyka, 12€ ★ Elbsand, Malin Dorn, 6€ ★ Insel-Modell, Moritz Piehl, 5€ ★ NFT, Géraldine Honauer, 0.004 ETH ★ Sonnenbrillen, Jennifer Merlyn Scherler, 5€ ★ Seife, Juan Blanco, 5€ ★ Schlafmaske, Julia Dolipski, 8€ ★ Schlüsselbänder, Laura Leppert, 5€ ★ Handy Stern-Sticker, Letizia Aurora Calasso, 50ct ★ Postkarte Garzweiler, Laura Leppert, 2€

The collaborative work entitled »Transient Details« invites viewers to embark on a journey through the universe of cultural tourism. The installation consists of suitcases containing souvenirs. Is it the staging of a treasure trove of souvenirs, a suitcase exhibition, like Duchamp's Museum in a Box, or something else?
On the one hand, the small mementos reflect the general theme of the exhibition: souvenirs make a decisive contribution to the construction of a tourist image and the tourist location. In his text »Semiotics of Tourism«, Jonathan Culler defines souvenirs as markers: »A marker is any kind of information or representation that constitutes a sight as a sight: by giving information about it, representing it, making it recognizable, it marks something, present or absent, as a sight for tourists.« (Culler, Jonathan. Semiotics of Tourism, In: The American Journal of Semiotics, p.4).
However, the numerous objects in this collective installation are not vacation souvenirs like the ones found as mass products on the streets of Paris, London or Tokyo. They are self-made objects in small editions that reference the artists' works. The miniature exhibits carry the individual artistic perspective and come together to form a collection that marks the collective creative process of the group. By choosing the form of the souvenir, the artists turn the exhibition space into a touristic sight, they themselves become travellers and the Künstlerhaus turns into a stopover.
At the same time, however, the art institution of a cultural-touristic city like Bregenz is recognized and named as part of a touristic-economic value chain. The work unobtrusively raises questions about the roles and attitudes of the institution, the artists and the visitors. The work thus encourages us to view tourism not only as a physical journey, but also as an intellectual adventure in which items of remembrance become door openers for multi-layered narratives and interpretations.
The objects made for the installation can be purchased from the Künstlerhaus staff.



Letizia Aurora Calasso
»16:9«, 2024

Installation: 14-part series of images (13.8 x 6.7 cm), video (6:17 min), stereo sound in collaboration with Felipe Yang (06:17 min).

Suggested, researched, screenshotted, saved, booked, photographed - the smartphone is always in our immediate vicinity, light and ready at hand. It acts as a digital interface, a 16:9 window to the world. As travellers, we like to use the camera to capture all the (un)familiar places that appear in front of us. The visit becomes a fact through the processes of capturing it. We stage an image for ourselves and for others.

But our behaviour and expectations are subtly shifting due to the flood of travel content on social media. Travel photos and videos shape our perception. How much attention do we pay to the meticulous travel documentation of others? And how do we influence future travellers through our posted images? A dialogue is created between attractive Tiktoks, Instagram photo dumps and our actual experiences, which raises the question of how reality can be perceived, interpreted and influenced.

The work is based on a dialogue between travel content in social networks and personal experiences during an eight-month stay in Buenos Aires, Argentina. The material is a combination of publicly accessible and private media, a mixture of images, sounds and films showing tourist sights and their surroundings.

Letizia Aurora Calasso (*2001 Bad Urach, DE) lives and studies in Kiel (DE)
IG: @letiziacalass



Juan Manuel Blanco
»Concordia«, 2023/24

(1) 6-part series »Stranded-Inn«, digital print (30.5 x 22 cm), Edition 1/2;
(2) »Rest to Contemplate«, print on mesh banner (250 x 100 x 100 cm), gorilla tripod, plexiglass smartphone;
(3) »Currency/Currently affordable«, three embroidered towels and towel rail (dimensions variable);
(4) »work to rest to work«, soap, sticker and packaging (5 x 5 cm). br

The installation shows elements of a hotel room in combination with collages of cruise ships and photographs from my own travels. The various components of the installation represent the different levels of tension from consumption and luxury to deceleration and contemplation to tranquillity and catastrophe.

The starting point is Caspar David Friedrich's paintings, references to the Baltic Sea, the AIDA cruise ships and the Costa Concordia and disaster tourism. In it I explore the subjective projections of the traveller and the tourist, examining the romanticism of travel on the one hand and the possible consequences of a harmless trip on the other. After all, the real disaster on vacation is not the sinking ship, but the inequality between those who can rest and those who want to but cannot.

Juan Blanco (*1988, Bogotá) lives and works between Berlin (DE) and Bogotá (COL)
IG: @juanm_blanco



Fernanda Braun Santos
»White Gold / Oro Blanco«, 2023

Video (03:30 min, 4K, Stereo Sound)

The demand for lithium batteries has multiplied a thousandfold with the new European laws on e-mobility. The consequences of lithium extraction and colonial trade are dramatic for the fragile ecosystem and the local inhabitants.
In a place where life as we know it is scarcely possible, where a globally unique ecosystem functions, one of the lightest naturally occurring metals is extracted using millions of litres of water.These white landscapes are rich in stories and objects — of living and dead bodies — that can only be preserved and remembered within this system.
How much of local treasures does our global green future cost on the other side of the world?

Fernanda Braun Santos (*1997, Santiago de Chile, CL) lives and works in Hamburg and Berlin (DE).
IG: @fernandabraunsantos



Moritz Piehl
Temptation Island, 2024

Diptych: images (each 100 cm × 100 cm), UV print on textile banner, light box.

In the work "Temptation Island", found material from social media and stock photo platforms is woven into artificial places of longing that play with the promise of sensation and escapism. The scenery is framed by an interface in the style of a video game, which on the one hand shows the space of possibility, but also the limits of action and the associated predetermination of the protagonist's journey.
An analogy is drawn between generic video games, scripted reality and travel bucket lists, in which individual diversity and needs are often replaced by standardised narratives and values.

The work consists of two scenes that suggest the first and penultimate chapters of a narrative in the format of a reality TV drama. It begins with the discovery of a paradise that beckons with promising summer flirtations and exclusive leisure activities, and ends with the protagonist's expulsion from the island.
However, the dramatic event behind this remains hidden from the viewer and takes place outside the screen. The intervening events can only be hinted at via the interface of the scenery.

The Paradise judges:

Six came here, determined to test their trust
— Hope
And some have overcome barriers that now may be irreparable
— Disappointment
Now the experience is about to come to an end
— Secrets
And they all must face their actions — Truth

Moritz Piehl (*1992) Lives and works in Zurich (CH).
IG: @piehlmoritz



Ramona Kortyka
»The Big Catch«, 2024

3-channel video installation (04:42 min, HD, 6"), flashers, souvenirs, fabric figures, mosquito spirals.

Three videos play in the intimate interior of the fishing tent, offering insights into fishing - from tranquil moments of peaceful observation to successful catches. During a trip to the popular vacation destination Thailand, I had several opportunities to feed fish. Where there are signs in Germany saying "Feeding fish prohibited", there are small signs advertising fish food in Thailand. Here, contemplative activity, tourist bustle, and the achievement-oriented pursuit of fishing converge on a fishing holiday.
Three stuffed toy fishes watch over the tent, surrounded by insect repellant spirals. These tame companions contrast with the exciting sport of fishing in the tent.
Based on a personal travelling experience, the work contrasts the different motivations that drive our journeys into nature. A constantly changing dynamic of human-nature interaction is revealed: on the one hand the playful and affectionate, on the other the pursuit for control and mastery..

Ramona Kortyka (*1991, Aachen, DE) lives and works in Kiel (DE)



Jennifer Merlyn Scherler
»The Moon Would Fix Me«, 2024

Digital print on textile, 133 x 158 cm

Time off, summer retreats or holidays are privileges: Travelling and being able to afford leisure time buys you a special status compared to others. Space tourism exacerbates this phenomenon - it is reserved only for the super-rich. "The Moon Would Fix Me" shows social difference in tourist behaviour using the status symbol of people worth billions who flaunt their wealth through the new holiday destination: space.

The work is based on internet memes (1) and various femme internet sub-communities that humorously take up the idea of nature as a romantic refuge and the expectation of travelling as a healing process. The collage combines romanticised images of outer space with text fragments and stages interstellar travel as a means of inner healing. In this scenario, "space bros" like Elon Musk and Jeff Bezos become "sad girls" in search of a new form of emotionality through space tourism.

Jennifer Merlyn Scherler (*1996 in Oberdiessbach, CH) lives and works in Basel (CH)
IG: @jennifermerlyn,

(1) »don’t mean to sound like a sickly victorian woman riddled with consumption but i do feel like a little trip to the seaside would fix me«



Mateusz Dworczyk
2024, inter_places

10-part series (35 x 28 cm), pigment print on fine art photo paper, UV-printed acrylic glass.

Significant parts of our society are almost permanently exposed to the omnipresence of digital devices. As a result, travelling is now also accompanied by various apps: Push notifications, traffic information, emails, boarding passes, news widgets, reception status or battery status. These app interfaces are inscribed into the memory of smartphones as screenshots. They are a snapshot of our navigation, a trace of our mobility and a fragment of our perception of the world. Too unimportant to be deleted, screenshots are archived in the camera roll on an equal footing with photographs. Passively inscribed and yet part of our memory.
Over the course of two years, the material for the ten-part picture series was collected during various business and leisure trips. On display are classic photographs: unagitated descriptions of places as a traveller's personal commentary. Places that are sometimes intertwined, but do not depict a linear sequence. In the foreground there are digital collages from private screenshot collections. An interface taken ad absurdum, overlaying the common representation of the image. Or is it the anticipated future perception of the world, as large technology companies are already trying to foresee with mixed reality products like Apple Vision Pro glasses?

Mateusz Dworczyk (*1994, Zabrze, PL). Lives and works in Kiel (DE) and Salzburg (AT).
IG: @mateuszdworczyk



Julia Dolipski
»Mental Trip Trigger Machine«, 2024

Audio installation: massage chair, rug, headphones, stereo audio (09:35 min)

In times of Google Street View, travel blogs and a general oversaturation with travel content all over social media, it has become more and more easy to make oneself familiar with a place without actually having to go there. After all, aren’t there more sustainable and even cheaper ways to achieve the self-developmental, character building experience travelling promises - through meditation practices for example? In fact, our brains provide a wide range of archival material when it comes to imagining places we haven’t been to yet. Reaching from actual memories over pop-cultural references and advertisements to postcards and family albums, our latent spaces are filled with potential travel destinations. Using sound, we can utilise our brain's ability to automatically come up with mental images connected to what we hear and therefore let ourselves be taken on an unforgettable journey through our very own imaginative landscapes - travel is out, mental trips are in!

Julia Dolipski (*1994 in Speyer, DE) lives and works in Bielefeld (DE)
IG: @jipski_d



Laura Leppert
»Figure, Ground«, 2023

Video (18:30 min, UHD, 4:3, Stereo Sound)

This tick bite is from a forest near Munich, this bedbug bite from Barcelona, this scar is from a jellyfish I touched near Ibiza, and my foot got infected after touching a hot exhaust pipe in Bangkok.

Figure, Ground is a new weird grand tour around mass tourism, iconoclasm and the climate class divide. The film focuses on places in Europe that were locations of catastrophes in the past - and are tourist magnets today, partly because of these disasters. Here, figure and ground are reversed - the landscape, the classical mute „background“, leaps forward into the centre of the picture. The video asks how we can challenge our assumptions of protagonist and background, closeness and distance, center and periphery – and the movements in between.
Will climate change manifest itself as a series of disasters, viewed through phones, with footage that gets closer and closer until you‘re the one filming it?

With Kim Bode, Karla Krey, Georg Paul, Johanna K Michel, Viktor Petrov, Florian Purschke, Mika Schwarz, I-Chieh Tsai, Asís Ybarra

Laura Leppert (*1993) lives and works in Berlin and Munich.
IG: @laura__leppert



Malin Dorn
»Way down below the ocean, where I wanna be«, 2024

3-Channel-Videoinstallation (15:00 min loop, 4K, 65", 55”, 49”), Wooden brackets

Islands are places of fantasy. Their geographical remoteness makes them ideal settings for theoretical experiments and mysterious tales. They are both places of longing and places of fear. The work is situated in a field of tension between utopia and dystopia.
Images found online form the basis of the animated digital collage: satellite images of real islands are combined to create a fictional map, which is supplemented by further elements. These refer to old nautical charts and children's atlases, which give the places a context through illustration. The work sometimes tells dark stories in humorous narratives and takes visitors on a flight over the island landscapes.
The title "Way down below the ocean, where I wanna be" (Donovan, 1968) is taken from a famous song about the legendary Atlantis, which serves as a stage for the imagination of a perfect society. However, the myth of Atlantis is reversed here and placed in a contemporary context.

Malin Dorn (*1993, Kiel, DE) lives and works in Hamburg (DE)
IG: @dropthedeadcat


Laura González Barrera
»Paris up close. Deine akustische Reisebegleitung«, 2024

The work "Paris up close. Your acoustic travelling companion" offers a unique insight into the different worlds of the exhibiting artists. The short audio recordings are based on interviews conducted in advance and can be heard on the accompanying website.
Playing with the ubiquitous format of audio guides, which have become a staple in both modern tourism and cultural institutions, the project opens the possibility to experience the works acoustically.. Being guided by and listening to "Paris up close. Your acoustic travel companion" becomes an extension of perception, whereby the visitors go ona journey.

Laura Gonzalez (*1991, Madrid, ES), lives and works in Berlin (DE)

About the "class" in memeclassworldwide
- A short product introduction.

At German-speaking art academies, class (dt. Klasse) is the term for a group of students. On the one hand, the class structure is a pragmatic system of organisation within which students are assigned to classes according to teachers or disciplines. Each class is characterised by individual orientations in relation to the concept of art, practice or teaching.

The collective, consisting of Ramona Kortyka, Jennifer Merlyn Scherler, Mateusz Dworczyk and Juan Blanco, uses the term class, with a particular focus on the positive implicit aspects such as community and care. From 2019 to 2022, the artists operate as an autonomous and free class within their art academy in Kiel (DE). When conducting the subversive seminars, they place a special focus on criteria such as joy and excitement, which are not always at the forefront of university teaching.

Since 2023, the class has brought together independent artists and students from various disciplines and universities. In this particular form, as a school without a school and without a location, this project is comparable to a digital and asynchronous postgraduate programme. The structure of the classroom is freed from the divide between a teacher and a learner. The focus is on the collaborative development of a curriculum and the related methods. Since the beginning of the project, the collective's programmatic ambition has been to integrate digital developments and influences into artistic practice and teaching. With changing themes, the Internet is primarily used as a tool and reference space, as well as digital cultural techniques and practical approaches.

The exhibition »Are you happy to be in Paris?« developed for the ZUR ZEIT series is based on a collaborative exchange of knowledge on the subject of travelling and tourism. The exhibition is preceded by the six-month project »mcww.voyage«, which consists of a seminar-like format and the organisational structure for the exhibition. The curatorial strategy chosen for the project thus takes up two concepts relevant to the collective: artist as curator and networked co-curation.

Are you happy to be in Paris?
- A brief overview of the exhibition

"Are you happy to be in Paris? Oui!" – This is the wording of one of the many viral trend sounds on the video platform TikTok on the subject of tourism (1). Users and content creators use this sound as background music for videos of their stay in Paris, as a humorous commentary on the bedbug epidemic in France, or as a general expression of joy at being at any destination.

Travelling - moving around, leaving a place, but also returning - is without question a significant anthropological constant. The exhibition addresses the interrelationship between the personal experience of travelling and contemporary digital media phenomena: This includes, on the one hand, the visual representation of tourism in different contexts as well as the influence of digital media on travelling activities and the accompanying significance that is only created through these media. Regardless of whether it is a day trip, family visit, world tour or cultural tourism.

On display are thirteen individual positions that use different forms of expression to address individual perceptions of the world and how these are represented in digital media in relation to travel and tourism. The artists take personal travel behaviour as their starting point to reflect on phenomena that are important to society as a whole, such as the climate crisis, mass/over-tourism and virtual tourism. In their chosen artistic strategies, however, the artists avoid the familiar and comfortable cynicism and the unpleasant, unreflected moral superiority. In addition, the group is designing a collaborative work for the premises of the Künstlerhaus in Bregenz, playing on the memetic dissemination of images and the relevance of signs in the economic complex of tourism by referring to souvenirs.

Behind the humour of »Are you happy to be in Paris?« and the many implications that can be derived from the exhibition if we think beyond humour and irony, there is much more: a valid question about the emotional state of a traveller. As the Paris syndrome (2) shows, the happiness of travellers is no guarantee: Are you happy to be in Bregenz?

(1) The sound is an audio-visual fan edit consisting of a French-sounding accordion melody (Traditionnel Musette - Orchestre Maurice Larcange), the unanswered question "Are you Happy to be in Paris?", which was posed to pop singer Beyoncé by a fan in Paris in 2009 and was later integrated by Beyoncé into the song "Partition" (2013). As well as the answer "Oui!" (Fr. Yes!), which, however, comes from the rapper Nicki Minaj and is actually the personal pronoun "We" cut out of a sentence.

(2) The Paris syndrome is a psychological phenomenon that occurs among some tourists who visit Paris. It is caused by intense cultural dissonance and manifests itself in psychosomatic symptoms such as dizziness, hallucinations and confusion. Those affected often develop exaggerated expectations of the city and then experience a kind of "cultural shock", which can lead to emotional and physical stress.

Exhibiting artists

Juan Blanco, Fernanda Braun Santos, Letizia Aurora Calasso, Malin Dorn, Julia Dolipski, Mateusz Dworczyk, Bernhard Garnicnig, Laura González Barrera, Géraldine Honauer, Ramona Kortyka, Laura Leppert, Moritz Piehl, Jennifer Merlyn Scherler.


memeclassworldwide (mcww) encompasses a series of different collaborative projects by the artists Ramona Kortyka, Jennifer Merlyn Scherler, Mateusz Dworczyk and Juan Blanco. The collective's collaboration initially began in the form of an institution-critical meme account (mcww.memes, 2018 - 2022), and from 2019 developed into an autonomous class for internet practice at the Kiel University of the Arts (DE). Starting with the internet as a reference space, the group has since been investigating post-digital phenomena, taking into account the range of their aesthetic, social and political dimensions. The insights gained are incorporated into exhibition and teaching practice and were summarised in the book »memeclassworldwide - Research, Documentation, Index« published in 2021. In addition to the parasitic seminars in Kiel (2019 - 2022), the artist group has so far held numerous lectures and seminars at art academies in the DACH region on invitation. With the online project mcww.service (2022), the artists develop new perspectives in short TikTok videos from their position as graduates of an art academy and at the same time initiate a transformation of the content and structure of their own collective work. The latest project mcww.voyage (2023 - 2024) is thus part of the redefinition of the community project as a format for collective knowledge exchange outside of established educational institutions.

IG: @mcww.club
TikTok: mcww.service

This work was produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union.