EWA WES

Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes Marla Heid, Art in Public Space, Blühende Öde, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin
Ewa Wes, Blühende Öde, exhibition, Flutgraben eV, Berlin

BLÜHENDE ÖDE – Urban Identities In Transition

Blühende Öde – Urban Identities In Transition was a project developed with Marla Heid within WES+HEID collaboration. Spanning four days and multiple locations in Neukölln, Berlin, the project explored the potential of overlooked and unused urban spaces within the district, highlighted during the pandemic. These sites, all within walking distance of each other, formed an alternative map that emphasized vacancies often invisible in the urban fabric.

Across five locations, the project unfolded through a set of coordinated interventions structured by repetition and duration. Video projections were mapped onto building façades, registering opposing flows of water as continuous, time-based inscriptions marking each site. The projections did not establish narrative links between locations; instead, they functioned as recurring signals, situating each place within a shared temporal structure.

At ground level, suspended constructions released single droplets of water onto containers filled with powdered material. Over the course of the project, this slow and uninterrupted process caused the material to consolidate into concrete forms. The objects did not result from a decisive gesture but from sustained accumulation, registering time through gradual transformation. Each site produced its own set of objects, linked by procedure rather than by form.

The project did not activate the sites through symbolic representation or programmatic reuse. It operated through minimal interventions that redistributed attention toward processes already present: exposure, erosion, persistence. The exhibition at Am Flutgraben 3 presented the objects formed during the interventions alongside documentation and projections, holding together the dispersed actions as a single system of records developed across the city.

* Project supported by DRAUSSENSTADT program

Art in public space

Interventions at 5 locations in Neukölln, Berlin

Projections, series of objects

5 projections, 30 objects, concrete, ⌀ 15cm

Exhibition, installation

Am flutgraben 3, Berlin

2021

BLÜHENDE ÖDE – Urban Identities In Transition

Art in public space

Interventions at 5 locations in Neukölln, Berlin

Projections, series of objects

5 projections, 30 objects, concrete, ⌀ 15cm

Exhibition, installation

Am flutgraben 3,Berlin

2021

Blühende Öde – Urban Identities In Transition was a project developed with Marla Heid within WES+HEID collaboration. Spanning four days and multiple locations in Neukölln, Berlin, the project explored the potential of overlooked and unused urban spaces within the district, highlighted during the pandemic. These sites, all within walking distance of each other, formed an alternative map that emphasized vacancies often invisible in the urban fabric.

Across five locations, the project unfolded through a set of coordinated interventions structured by repetition and duration. Video projections were mapped onto building façades, registering opposing flows of water as continuous, time-based inscriptions marking each site. The projections did not establish narrative links between locations; instead, they functioned as recurring signals, situating each place within a shared temporal structure.
At ground level, suspended constructions released single droplets of water onto containers filled with powdered material. Over the course of the project, this slow and uninterrupted process caused the material to consolidate into concrete forms. The objects did not result from a decisive gesture but from sustained accumulation, registering time through gradual transformation. Each site produced its own set of objects, linked by procedure rather than by form.
The project did not activate the sites through symbolic representation or programmatic reuse. It operated through minimal interventions that redistributed attention toward processes already present: exposure, erosion, persistence. The exhibition at Am Flutgraben 3 presented the objects formed during the interventions alongside documentation and projections, holding together the dispersed actions as a single system of records developed across the city.

* Project supported by DRAUSSENSTADT program