Fall 2019

October 5th: Bellies at Das Gift

October 8th: Magda & the Aliens live stream from Pirate Studios Berlin

October 16th: featured spoken word artist at How Long Is Forever by Kunstler Kunstlerinnen, from 9pm, Poropati, Berlin

November 8th - 17th: Peculiarities of the National Hunt exhibition at Prehlidka Pokoje, an annual showcase of young Czech artists, at Desfours Palace in Prague

Nov 11th: guided tour with director Kristyna Pecova and curator MJH, 4pm

Nov 15th: Pokoje: How to Hack the Art World workshop with MJH (in Czech), 5-6:30pm, free entrance

Body x(n) performance premier

On September 22nd. premiered a new version of the Body x(n) piece at the Cross Attic performance space in Prague as part of the Certain Kind of Darkness event.

The performance took form of partially improvised chorus for six voice - performed by Darina Alster, Frieda Gawenda, Lydie Hartelova, Vanda Michalska, Rosa Pogosia, and Magdalena J. Hartelova - with synthetizer music by John S. Broback, and a video projection (including Czech translation).

See more at Body x(n)

Thank you to Cross Attic for the invitation and to all the participating performers!



Summer 2019

July 19th: Magda & the Aliens concert at Loophole, Berlin (event here)

July 24th: poetry reading at How Long Is Forever at Künstler, Künstlerin, Berlin (event here)

mid August: There Is a Place in My Body cassette and zine come out at Anchorage Museum

beginning of September: Accessibility Note Catalog comes out at Academy of Fine Arts in Prague

May and June 2019

Ongoing and upcoming:

For the month of May I’m artist-in-residence at the SEED Lab at the Anchorage Museum in Alaska. I have been working with local femme-identifying artists/activists/creatives on an audio recording circling around agency over one’s body, creating language for change, making of narratives and more.

May 4th, Mother Tongue Space: “Show Me Your (Mother) Tongue” embroidery workshop + “A Song My Mother Used to Sing” song sharing circle as part of the NorthxNorth Festival at the Anchorage Museum

May 15th: Live video mixing as collaboration with Techno Milkshake’s live techno set at Bivy, Anchorage

May 29th: pre-release party for residency project, A Chorus cassette and zine

June 15th: performance as Magda &the Aliens + live video mixing with Techno Milkshake set at Love Temple, Seattle

Spring 2019

Upcoming projects I’m involved in:

February 26th: Accessibility Note no4 exhibition opening at the Academy of Fine Arts in Prague

March 15th: Home Away From Home party at Planet Flow, Berlin including a group exhibition (as Bellies booking crew)

March 26th: Umisťovat v prostoru lecture (in Czech) on my curatorial practice, curatorial activism and ideologies of gallery spaces at Academy of Fine Arts in Prague

March 28th: Coven Berlin Meme Workshop at the Academy of Fine Arts in Prague

April 2nd: Accessibility Note no5 -Coven Berlin exhibition opening at the Academy of Fine Arts in Prague

April 22nd: Body x(n). A Choir performance of my new piece at Cross Attic in Prague

April 26th: Accessibility Note Symposium with key note lecture by White Pube at the Academy of Fine Arts in Prague

May 1st-28th: artistic residency at the Anchorage Museum in Alaska

May 4th: Mother Tongue Project’s two events at the North x North Festival at the Anchorage Museum

Aline Schwibbe_Fearless Flowers (I Move Through Chicago Like Honey)

In a week, August 9th, 2018 at 6pm, a solo exhibition of Aline Schwibbe's work, titled Fearless Flowers (I Move Through Chicago Like Honey), curated by yours truly, will open at the White Pearl Gallery in Prague!

Find a press release attached here.



Fearless Flowers (I Move Through Chicago Like Honey) at White Pearl Gallery is the first solo exhibition of Berlin-based artist Aline Schwibbe in Prague. Through artworks ranging from painting to sculpture to video, the artist discusses topics such as presentation of female body, whitewashing and kinship. The exhibition will present work created during the artist’s two months summer residency in New York alongside drawings she made three years ago while studying in Prague for a semester.

In her own words, Aline Schwibbe's work is about “visualizing relationships between different fragments of the self.” Collage is, indeed, a visual thread that intertwines throughout her whole practice. However, the act of picking out and bringing elements together is less about fragmentation or deconstructing - strategies of postmodern collage - but more about tying, interconnecting, and storytelling.

The separate components brought together in Schwibbe's work are partial because they have been ripped apart/out/into/open/off by violences that are allowed to exist in our society, such as racism or sexist objectification. Their depiction can be read as celebration of their continued existence, survival, tenacity, and joy despite circumstances. Schwibbe’s practice is not an attempt to give them new wholeness or to assimilate them into a different context. Instead the artist holds and allows them to carry their pasts. This approach comes from theories of kinship, sisterhood, and interspecies ethics, such as speculative and intersectional feminism. Indeed, while building on feminist thinkers and artists from the past, one can notice the transformation their thoughts have undergone in the past decade in Schwibbe's work. This turn can be defined by the core proclamation of Donna J. Haraway's newest book Staying With the Trouble: “Make kin not babies!” In the same spirit as Haraway turned her focus from cybernetics to emphasis on the ethics of personal, intimate relationships between people, animals, things, Schwibbe is also more interested in regrowth, reconnection, and repatterning than the big words of either futuristic pessimism or optimism.

In her current work, white has become a predominant color, building on Schwibbe's characteristic urgent yet subtle materiality. In her own words: “It [white color] points to the exclusion of bodies, works and voices from anyone that is not white, straight, cisgendered and male in all the important art institutions. White signifies the dialectics of presence and absence, visibility and invisibility,(...)” In her flower paintings, painted white on white, our attention is brought to the act of erasure and whitewashing, but the work doesn't enact it. The different shades of white are at once a warning but also a hope that, if we choose to see and recognize, we can see shapes of things unforeseen.

The exhibition is curated by guest curator Magdalena Jadwiga Härtelova. Härtelova, alumni of Art History program at Charles University in Prague and Curatorial Practice at California College of the Arts in San Francisco, is curator of the Gallery of Academy of Fine Arts in Prague, she practices curating in Prague, Berlin, and Northern California


Facebook event here.

Contact for White Pearl Gallery here.

Labor of Love: To Curate Is To Care

On July 6th, I had the pleasure to participate in the Why Care? symposium at ICI Berlin, with a panel on care and curating, titled Labor of Love: To Curate Is To Care, together with curator and educator Taraneh Fazeli. We discussed ways a critical, non-normative, dependent, feminist care can manifest in curatorial practice, alongside other lectures, panels, and performances that approached care, its strategies, institutionalization, and modes, from multitude of disciplines, from literature, to philosophy, to social studies. 



Special thanks go to my colleague Taraneh Fazeli, for being incredible, inspiring, and caring throughout the process of long distance, time-difference, putting together of our panel. To the organizers of the symposium, ICI fellows, Birkan Tas and Benjamin Lewis Robinson. And to everybody in the audience for their interest, time, and so many engaged and thought-provoking questions.

Mysl v terénu

A publication I have been honored to translate for is finally available. Mysl v terénu [The mind in Terrain], edited by Václav Jánoščík, Lukáš Likavčan, and Jiří Růžička, presents, for the first time in Czech, a collection of essays on new philosophical realism in the 21st century, including essays by Alan Badiou, Levi R. Bryant, Jane Bennet, Isabelle Stengers, Reza Negarestani, Laboria Cuboniks, and more.


images and impressions from the language project bampfa performance

On Friday 18th, 2018 The Language Project, Shaghayegh Cyrous's and mine initiative, hold a participatory performance at the Berkeley Art Museum and Pacific Film Archive title The Story About My Mother (Tongue).

We made a collective embroidery remembering out mothers while we shared stories about our mother and our mother tongue(s), in 8 different languages.

I could only be present virtually. Seeing everybody, participating, and talking made me think, not for the first time with The Language Project events, about the spaces for witnessing. A lot of time, people only reading about The Language Project's premise, wonder about the possibilities and limits of sharing when participants can't "understand" each other. And although very little actually "gets lost in translation", the main point might not be the moments when somebody answers my questions exactly even though they don't speak Czech, but it is in the moments when everybody witnesses and pays attention to a story being told in one's mother tongue without asking for explanation in English.


The Language Project's Two Future Events

Congratulations to The Language Project's half, artist Shaghayegh Cyrous, who got a residency at the Kala Art Institute for this month. As part of her residency, she will present the newest of LP's projects Mother Revolution. Keep in touch to see what our mother's think about the revolutions they have witnessed, being a working mother, and weaving/harp playing.

To add to our exciting news, we have been asked by the Berkeley Art Museum and Pacific Film Archive to lead a workshop. We hope to see you all, MAY 6th, at BAMPFA!

changing websites...

I'm moving from my old website at magdalenajadwigahartelova.com to here. Thank you for your patience while I upload and update all the content.