Art is essential for every society. For the balance of everyday life, for everyday life itself. With its own art section, the VËRYL Festival contributes to the visibility of a young, emerging art scene and current discourses. On the breeding ground of excess and an openness to engage with the new, the Festival conveys exhibition formats with dense content and related debates of a political, social and cultural nature.


For all those who have not been there in the past, here is a selection of artists from the last few years.

left: "Wounds of Berlin" by Veronika Dräxler, right: "Revolving Doors" by Marlene Posch

With "Wounds of Berlin," Veronika Dräxler has been documenting and archiving excerpts since 2018 of Berlin subway seats with the pattern "Urban Jungle" that have been repaired with patches. The series refers to Joseph Beuys' installation "Show me your wound" from 1976 and is a prelude to further dialogical works by the artist, which deal with Beuys' plastic theory and the transitions between "visible and invisible sculpture".

Marlene Posch, born 1994, lives and works in Vienna. The object artist studies with Brigitte Kowanz in the class for Transmedial Art at the University of Applied Arts Vienna. Her work 'Revolving Doors' is part of a series of objects that reflect on points of contact in everyday life, their temporal distortion and anonymity. Industrial forms, whose original function is to control human movement currents in public space, are stripped of their function. The sculptures freeze in the ground like thrown objects. In the darkness, artificial light is reflected when it hits them.

Vesela Stanoeva: All Tomorrows (AT), 2021

Vesela Stanoeva is a Dortmund-based artist and curator. The focus of her artistic work is the encounter with identity problems and their manifestations. The resulting participatory, sensual and immersive artworks manifest in hybrid experiences that address the uncertain future of the post-anthropocene, transforming it both virtually and physically into dreamlike worlds and surreal nightmares. The 3D work was designed in collaboration with Elisabeth Drache. Christian Bröer was responsible for the sound.

Manja Ebert: I´ll be there, 2018

The interactive installation I'll be there reflects a state of constant self-reflection through technology. The viewing person faces her medialized video mirror image, which is augmented by visible face tracking. It symbolizes the gaze of technology back at the viewer. Via a touchpad, which is centrally located in front of the monitor installation, the viewing person triggers audio samples by touching them, which thus become a responding voice of the work.


Ascidiacea is a french digital art collective based in Paris. Crossing the boundaries between audio-visual interactive experiences, in-situ installations, cinetic light sculptures and alien instruments, their creativity borrows as much from science fiction as it does from nature and biological life. Its members come from a wide spectrum of academic and artistic backgrounds, allowing them to propose singular and transversal aesthetical experiences to the public.

Tatiana Pakhmutova: Holy, 2021

In times of crisis, people seek protection in government, religion, and technology. So as uncertainty and speculations took hold in 2020, our belief in masks, sanitisers, lockdowns, social distancing almost became a religion in and of itself. An installation visualises our daily rituals during the pandemic and the almost spiritual importance it takes in our lives. As an unexpected intervention in public spaces, it tries to recontextualise COVID-19 safety measures and religious symbolism.