KUNST AKTUELL  group show

Kunstverein Rosenheim, Städt. Galerie Rosenheim, Germany

9th June 2024 - 21st July 2024

Thank you, Kunstverein Rosenheim, for inviting me to this year's KUNST AKTUELL, which we celebrated on Saturday, June 8th, 2024, at the Städtische Galerie Rosenheim.

I am more than happy to present my large-format work, Fox (2023), in the rooms of the Städtische Galerie, which you can see until July 21st. The Kunst Aktuell exhibition is one of the most comprehensive and essential overviews of contemporary art, which the Kunstverein Rosenheim curates yearly.

The exhibition includes both regional and national artists—established artistic positions as well as young, qualified new discoveries.

KUNST AKTUELL  annual exhibition

Kunstverein Rosenheim

at Städtische Galerie Rosenheim

Max-Bram-Platz 2


Tue  -  Sun  13 - 17 Uhr



Galerie Wolfgang Jahn, Landshut, Germany

10th April 2024 - 17th May 2024

Exhibition view Drifting Textures at Galerie Wolfgang Jahn in Landshut; Photos by Galerie Wolfgang Jahn; 

Constanza Camila Kramer Garfia‘s new series of works ‚Drift‘ is a deep dive into the captivating world of automobile culture and drifting in collaboration with the German drift race team Swabian Driftfoxes from Ravensburg. ‚Drift‘ focuses on the precise movements and the harmony between man and machine in drifting while it explores the dynamic and exhilarating world of automobile racing. This series, a testament to Kramer Garfia‘s innovative and captivating approach to textile art, seamlessly weaves together themes of movement, speed, and the ethereal beauty of drifting. Drifting, in which cars glide sideways through curves with precision and control, serves as a metaphorical canvas for Kramer Garfias to explore notions
of fluidity, spontaneity, and the connection between man and machine.

Through her intricate textile compositions, Kramer Garfias not only captures the essence of the adrenaline-charged sport of drifting but also offers the viewer a personal connection to its dynamic and exhilarating world.

The artist uses yarns and threads like painting or sculpting material. In Kramer Garfia‘s „Drift“ series of works, a flat-woven sculpture depicts a motor block whose force makes the fabric vibra- te even though it hangs motionless in the stret- cher frame. Two drifting cars perform a ballet on an extended 4.2-meter-wide Jacquard weaving (lead/chase), the speed of which is captivating even when the work material is stationary. These works impressively demonstrate what the artist‘s woven works can achieve: They challenge how we see and feel. One of the most striking aspects of Kramer Garfias‘ work is her ability to convey movement and energy through textiles bringing Swabian Drift Foxe‘s cars back to life.

Each artwork is meticulously crafted, with lay- ers of texture and color that mimic the swirling patterns of smoke and tire tracks left by drifting cars, bringing the dynamism and energy of the sport to life.

Text by Mon Muellerschoen



PERG Gallery, Ludwigsburg, Germany

23rd November 2023 - 21st January 2024

Exhibition view EAT. SLEEP. DRIFT. REPEAT. at PERG Gallery in Ludwigsburg; Photos by Chiara Bellamoli; 

Exhibition view EAT. SLEEP. DRIFT. REPEAT. at PERG Gallery in Ludwigsburg; Photos by Chiara Bellamoli; 

Constanza Camila Kramer Garfias is an accomplished textile artist whose 2023 Autodrift series includes some of her most daring and dynamic works to date. This series merges notions of traditional textiles with cutting-edge drift-style car racing, handcraft with industrial production. Eat, Sleep, Drift, and Repeat is her first solo exhibition, now on view at Gallery PERG in Ludwigsburg, Germany. 

For more than a decade Kramer Garfias has been weaving jacquard, a technique that can be traced back to fifteenth-century Italy. Building upon traditional handweaving and luxury textile production, she has honed and developed her methods and incorporated a multitude of materials. The artist visualizes her textiles—an artform typically associated with traditional historical themes—to treat modern subjects such as car races and automobiles. Kramer Garfias has previously broken the norms of her medium with the Autobahn series, in which metallic yarns and hand-deconstruction were used to encapsulate the speed of racing, geometricized checkered flags, and the sheen of the cars. She has reached a new level with the Autodrift series, which delves deeply into drift driving, which was pioneered in 1970s Japan and popularized in the West through, for example, the Fast and Furious film series. The complexity of contemporary drift races moves far beyond these sources.

Kramer Garfias is drawn to drift’s artistry, contigent materials, egalitarian structure, and mix of professional and amateur, familial relationships. She worked with an internationally successful racing team from Ravensburg, the Swabian Drift Foxes. They introduced the artist to modern drift events such as lead-chase races, during which two drivers must maneuver in unison, performing choreography while their cars remain in close physical contact.

The automobiles glide and pirouette with grace across wet surfaces, creating, as Kramer Garfias puts it, “a magical moment when an everyday object transforms into a performance.” Their shapes, replete with visible scars and damage from previous races, blur and distort from turning so quickly. This image is hard to follow with the eye, but its compelling dynamism enthralled her so much that she wanted to capture it in her art. 

The Autodrift textiles are complex and changeable depending on the vantage point of the viewer. Kramer Garfias uses a special technique on jacquard, which is normally made in a standard square format based on its loom, to create more organic forms. The artist drafts and designs her textiles, collaborating with the high-end producers Tessitura Taborelli to bring them to fruition. Once she receives the fabric, Kramer Garfias deconstructs its surface, creating wavy edges and freehanging fringe and adding metallic accents. The result are objects of astonishing beauty, scale, and vitality, the remains of an ephemeral moment.

Born in Chile, Kramer Garfias now lives and works in Munich. She holds a Master of Arts in Conceptual Textiles from the University of Arts and Design Burg Giebichenstein in Saale, Germany. Eat, Sleep, Drift, and Repeat showcases her recent creations from the Autodrift series and runs from November 23 through January 9, 2023, at Gallery PERG, located at Asperger Str. 12, 71634, Ludwigsburg, Germany.

Text by Amelia Kutschbach



Galerie der KünstlerInnen / BBK München & Obb., Munich

5th September - 1st October 2023

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 

Since 1982, the BBK (Berufsverband Bildender Künstlerinnen München und Oberbayern e.V.) has been promoting young artistic talents from Bavaria with its annual exhibition series Debütant*innen. The exhibition is intended to offer to three selected artists the possibility to celebrate their public debut in an exhibition space for contemporary art in the center of Munich and to introduce their works to a broader public. At the same time, the promotion of young artists also includes three accompanying monographs – co-financed by the Free State of Bavaria and the LfA Förderbank Bayern – intended not only to provide the artists with another medium as a means of artistic expression but also to give them trans-regional visibility.

This year, the Galerie der Künstler*innen presents the works of Lukas Hoffmann, Constanza Camila Kramer Garfias and An Laphan as part of a thematically multi-layered and artistically superb group exhibition.

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 

Constanza Camila Kramer Garfias’ artistic practice disintegrates the traditional notions and motifs of textile art. The Chilean-German artist’s large-scale serial works open up new thematic references and explorations within a medium that is steeped in tradition, demonstrating how multi-layered textiles can be as a genre in their own right in the context of visual arts. Her large-scale wall works and spacious installations are playful explorations and reinterpretations of materials and materiality, combining the techniques of textile art with an interest in Digital Cultures.

In Galerie der Künstler*innen Kramer Garfias shows a new series of Jacquard works, which reference the fleet of cars of a Ravensburg racing team and take up the aesthetic language and materiality of motorsport, in particular that of drift racing. Through a playful experimentation with forms and material combinations, Kramer Garfias transfers the changing corpora of the vehicles – due to the choreographed movements of drifting and the high driving speed – into the fabric.

In the next room, the artist presents a new installation that refers to centuries-old weaving traditions of the Andes region. The pictorial fabric of the work contains Mapuche patterns as well as depictions of weavers working with traditional hand-weaving techniques. Kramer Garfias thus destillates the collective character and communitas of weaving groups: because weaving is a practice based on knowledge and technique sharing, on mutual support and help within the respective group.

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 
Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 
Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 


Lukas Hoffmann

An Laphan

Constanza Camila Kramer Garfias

Exhibition view DEBÜTANTINNEN 2023; Photos by Magdalena Jooss; 


ART BASEL MIAMI group show

Gallery Kendra Jayne Patrick, NY/Bern

29th November - 3rd December 2022

ART BASEL MIAMI BEACH 2022 exhibition view; Photos are courtesy of Kendra Jayne Patrick

ART BASEL MIAMI BEACH 2022 exhibition view; Photos courtesy of Kendra Jayne Patrick

Working in expansive, intricatelystructured material languages, Teresa Baker, Sharona Franklin and Constanza Camila Kramer Garfias amalgamate fantasy, reality, and alternate continuums of space-time at thelocation of their respective socio-political coordinates. At once theartists analyze and ignore their “place” in societies governed by Western civic conventions.

These women share an immersive approach to overcoming the fissure between the to overcoming the fissure between the conceptual object and the material thing. Their works convene elaborate sets of references: AstroTurf, gelatin,medical accoutrement, buffalo hyde, and weaves that seem to be falling apart,all of which tight rope the borderbetween self and society.

The objects we will show at Art Basel Miami Beach are connected by the artists’ most cryptographic habits. Here, making is an act of sorcery, of summoning the familiar for the telling of entirely new stories, of consulting the ancestors for their crisp takes on how we might better assemble the Future.

Constanza Camila Kramer Garfias is a Chilean, Munich-based artist who secritical examination of textiles as amedium and subject reflects hercultural roots and personal resonance with theories of postcolonialism.Stemming from a theoretical,structural, and historical engagement with looms, her approach is characterized by exhausting their algorithms with deconstruction as her point of departure.

Text by Gallery Kendra Jayne Patrick


Constanza Camila Kramer Garfias

Teresa Baker
Sharona Franklin


VIP PREVIEW 29. + 30.11.2022
PUBLIC DAYS 01. - 03.12.2022


MIAMI BEACH Convention Center

Nova Section


HIDDEN FUTURE group show

BMW Foundation Herbert Quandt, Munich

16th February - 16th April 2023

Exhibition view "Hidden Future"; Photos by BMW Foundation Herbert Quandt; 

"Transforming Leadership, Securing our Future" is the theme of the BMW Foundation Responsible Leaders Hub during the Munich Security Conference 2023. In the digital age, this transformation has an unprecedented urgency. Leaders today find themselves confronted with the demand to continually readjust and retool, as our world and with it our possibilities to shape the future are changing at tremendous speed, New technologies, political disruptions, dwindling resources, and other parameters from the fluid framework for a future that everybody would like to have all nicely planned and secured.

For all our efforts to secure the future, it ultimately remains hidden, and there is no such thing as a universal vantage point: Looking to and into the future is highly contingent on where we are looking.

The exhibition Hidden Future wants to present non-linear and surprising ways of visualizing the fundamentally hidden future and rendering it emotionally tangible. Hidden Future on Prater Island showcases works by three artists and an artist duo from different generations and different backgrounds but all working and living in Bavaria.

In her Work "Autobahn Evolution - Generation Overload" (2022), Constanza Camila Kramer Garfias deals with the emergence of a fictive evolution by mixing and enhancing textile objects. The artist says about her work: "Taking the exploration of reproduction and DNA as its framework, the project critically inquiries into genetic engineering, for example in animals and plants. The aesthetic language deliberately draws a line of connection to the automotive industry."

Text by Mon Muellerschoen


Jusha and Sven Müller

Esther Zahel

Constanza Camila Kramer Garfias

Cigdem Aky



Saloon Network Munich & Schwere Reiter Theater, Munich

6th February - 13th March 2023

Based on the title quotation of the mystic Teresa of Ávila, whose thoughts on the role of women have lost none of their topicality even after 400 years, the exhibition offers a multitude of starting points for discussions about being a woman worldwide and at any time: What makes a woman? What are the social expectations? What attributes do we attach to women? What role does the female body play?

These questions in an international and supra-temporal context lead to diverse answers, which the artists negotiate individually and in different media. At the same time, the works open up the possibility to question opinions and role models, deal with social norms, and illuminate completely new aspects of being a woman beyond conventional perspectives. What all the artworks have in common is that they offer the audience low-threshold food for thought and material for subsequent discussions. What a welcome opportunity to talk about definitions of femininity in general and in particular.

The SALOON Network fosters a community within the art world that exchanges ideas and expertise and encourages the creation of collabo- rations and projects. The members are women-identifying and non-binary who are curators, artists, gallerists, and other professionals in the arts.

A group exhibition of SALOON Munich in cooperation with Schwere-Reiter-Theater, supported by SALOON Network, BBK Bayern, and Gogia Fine Art Logistics.

Text by Saloon Network Munich


Constanza Camila Kramer Garfias, Nina Aeberhard, Veronika Dräxler, Mariella Kerscher, Silvia Gardini, Brenda Franco, Sandra Bejarano & Lilian Robl

Saloon Munich Board: Eva Lengler / Curator: Cordula Gielen


Schwere-Reiter-Theater, Munich


ALL SENSES ARE LOST solo exhibition

Dachauer Str. 157, Munich

12th - 22nd May 2022

"All senses are lost" exhibition view; Photos by Constanza Camila Kramer Garfias

"All senses are lost" exhibition view; Photos by Constanza Camila Kramer Garfias

All senses are lost is Constanza Camila Kramer Garfias’ first exhibition in which she explicitly approaches gender debates. Starting point of her artistic contemplation is the discrepancy in the translation between the self-constructed image and the male-dominated representation of female figures. The artist takes up an Instagram meme from 2010 which juxtaposes two photographs of saint Teresa of Avilà (1515-1582) and former Disney star Lindsay Lohan (*1986). Whilst Avilà is sculpted in The Rapture of Saint Teresa (1645-1652) by Gian Lorenzo Bernini in a state of transverberation, paparazzi shots caught Lohan 2007 in a moment of intoxicated ecstasy. Instrumentalized by the male subject, attributes such as passivity, dependence and vulnerability are constructed as guiding principles of female existence. Both, are depleted of their lived experience and senses.

In Transverberation Constanza reanimates autonomously Avilà’s self-determined voice fighting for democratizing the Catholic doctrine. Her woven appearance in the RGB color model is pixelated and made to flicker. In A little more personal Lohan’s face is placed in Avilà’s kerchief making the two figures melt together. By using digital techniques of tumbling, hyperlinking and coding Constanza pushes not only the fabric but also the loom to technical and aesthetic limits.

"All senses are lost" exhibition view; Photos by Constanza Camila Kramer Garfias
"All senses are lost" exhibition view; Photos by Constanza Camila Kramer Garfias

One of the result are floating yarns that create a visual disturbance which resonate the beholders’ confusion about the figure’s identity. In the artist’s first video work Keep a watch on: self-monitoring Constanza deliberately exposes herself to the still male-dominated voyeuristic gaze of the camera. She retains control over what becomes visible and what remains invisible as her body alternately moves into the light beam and disappears into darkness again.In the tension between self-determined objectification and what the camera lens seeks to capture, the artist questions whether feminism as a theme should be evoked, exposed and/or even negated.

Does revisiting feminist thought lead to its incorporation or does it let patriarchal structures stagnate? Can the perpetuum mobile of female objectification ever be brought to a halt? Constanza’s cross-cultural referencing, non-linear historicity, and deconstruction of the weave’s material specificity are queering techniques that make seemingly stable (normative) structures become unstable.

Text by Lorena Harauzek

ALL SENSES ARE LOST - solo exhibition 

curated by Lorena Harauzek


Dachauer Str. 157 Munich

13 05 2022 - 22 05 2022


12 05 2022  18 - 21 Uhr


QUIETER THAN SILENCE group exhibition

curated by Venetia Initiatives 

March 3 - April 16 2022

"Vingt-deux et pas mille", 2021, Jacquardweave and metal eyelets, 145 x 370 cm, Photo by Constanza Camila Kramer Garfias

Albert Camus (1913 - 1960) poses a crucial question: Is it possible for humans to act in an ethical and meaningful manner in a silent universe? According to him, the answer is yes. The experience and awareness of the absurd create moral values and also set up the limits of our actions. Camus separates the modern form of rebellion into two modes.

First, there is the metaphysical rebellion, "the movement by which man protests against his condition and the whole of creation." The other mode, the "historical rebellion" is the attempt to materialize the abstract spirit of metaphysical rebellion and change the world. In this attempt, the rebel must balance between the evil of the world and the intrinsic evil, which every revolt carries and not cause any unjustifiable suffering.  (Text by Venetia Initiatives)

"Quieter than Silence" - Part B

March 3 - April 16, 2022

curated by Venetia Kapernekas


Constanza Camila Kramer Garfias

Anna Conway

Shirine Gill

Marius Glauer

Joanna Malinowska

Jenny Min 


Greenwich Street, New York 

"Quieter than Silence" - Part B exhibtion view, Photo by Venetia Initiatives


THE CREATIVE ROOM #2 group exhibition

a.topos & SPARC Venice

3rd - 13th March 2022

"Mega Atobaahn", 2022, Jacquardweave and metal chains, 130 x 110 cm; a.topos exhibition view Photos by Constanza Camila Kramer Garfias

"Mega Atobaahn", 2022, Jacquardweave and metal chains, 130 x 110 cm; a.topos exhibition view

Photos by Constanza Camila Kramer Garfias

a.topos Venice for the second edition of THE CREATIVE ROOM, invited artists to dedicate their art to the theme "The Future of Art and the Art of the Future".  

The artists involved are:  Mário Afonso, Damiano Fasso, Lina Zylla, Sève Favre, Sarah Valente, Doris Schamp, Madalena Corrêa Mendes, Armin Amiriam, Lucrezia Costa, Oona Nelson, Constanza Camila Kramer Garfias, Jia-Rey Chang, Elena Xausa e Lorenzo Fonda, Nero Cosmos, Veronika Dräxler, Adélaïde Feriot, Chiara Tubia, Degann, David Michel Fayek, Ian Callender, Finn Theuws, Anna Maconi, Tanguy de Thuret, Lorenzo Peluffo e Fortuna De Nardo, Bernardo Tirabosco, Fadwa Rouhana, Daniela Di Lullo.  

 For almost two years, the majority of the world’s population was unable to attend any exhibition in a physical space. This new reality was unsurprisingly accompanied by an intense discussion around some of the hottest topics of the period in the art scene - is the virtual realm better than real-world exhibitions? Will digital replace experiencing a show live? Are we witnessing the establishment of a new normal, with the rise of new media hegemony in artistic practice? 
 Many extensive debates, strained relationships, repetitive arguments and, most of all, many, many, many online exhibitions after, we can take a deep breath and admit that - besides its undeniable contribution to the democratization of Art - virtual is definitely better than nothing. Hopefully, we can also foresee an art scene where both, digital and real, can, if not live happily ever after, at least find a way to peacefully (and in a mutually beneficial way) cohabit. After so much time apart, it’s nice to explore the possibility of encounters. Utopia, Dystopia, and Retrotopia  are two of them. 

"Mega Atobaahn", 2022, Jacquardweave and metal chains, 130 x 110 cm; a.topos exhibition view Photos by Constanza Camila Kramer Garfias

Utopia, Dystopia, Retrotopia

The artworks gathered here are an array of different interpretations about the future, converging into an enlarged horizon of expectation; an immersion in a compelling mixture between optimistic prognosis, cynical readings of the future and a nostalgic dive into a longing - either experienced or idealized - past.

Opening the narrative, the first show harvests works of art offering either utopic sceneries or gateways to a dystopian tomorrow. The audience is presented with an exhibition path that creates visual and sound spaces shifting between an invitation to sail together instead of adrift or attesting the burden of times to come. 

In the second exhibit, a world struck by an appalling pandemic and an art scene flooded with NTFs as backdrop brings past and future to walk sideways in what Zigmund Bauman defined as retrotopia. Either through form, content or both, the displayed artworks depict a strive to (re)establish a mityfied  - even if unfaithful - past. And in case nostalgically revisting a longing time does not chase uncertainty away, art can at least attempt righteous grief.

Exhibition curated by a.topos Venice, THE CREATIVE ROOM #2 has been organized in collaboration with Portrait Eyewear and Demoni Danzanti  creative residency.



3–13 March 2022
17-27 March 2022


SPARC* Spazio Arte Contemporanea
Campo Santo Stefano 2828A

30124 Venezia



Monopol Areal / Berlin

7th - 9th October 2021

Installationview "Misiones - Espero que los condores vengan a comerme", 2021, 130 x 130 x 140 cm, Wood & Jacquardweaves, exhibition pictures by Constanza Camila Kramer Garfias

Installationview "Misiones - Espero que los condores vengan a comerme", 2021, 130 x 130 x 140 cm, Wood & Jacquardweaves, exhibition pictures by Constanza Camila Kramer Garfias

“Chilean Conexión” is an exhibition of Chilean artists living in Berlin that aim to disseminate and increase the visibility of the work being developed by many migrating national artists in the German capital, with hopes to facilitate a meeting and connection between them and also within the local community.

Since the Berlin Wall fell down, many Chilean artists and musicians have been relocating to the German capital, seduced by an effervescent artistic and musical scene, and for social-cultural relations that entice them to this particular city. These migrant artists often go unnoticed due to both their youth and also the large number of artists and musicians who arrive each year in the city, competing for the same workspaces and exhibitions.

Installationview "Misiones - Espero que los condores vengan a comerme", 2021, 130 x 130 x 140 cm, Wood & Jacquardweaves, exhibition pictures by Constanza Camila Kramer Garfias

A group of them was invited for the first time in 2018 to exhibit part of the works they have been developing here, in a small collective exhibition. About 30 artists of different diciplines were presented in a single night, being received with a massive attendance of the Chilean community and also the local public.

In this 4th edition, the objective is to expand and consolidate the exhibition, with more works and categories on display, which will include: the visual arts, video art, installations, acoustic projects and performances, in addition to several workshops, several of them supporting foreign artists. 


AMBACTIA MEMORIA group exhibition

SomoS Arts / Berlin

7th September - 18th September 2021

Ambactia Memoria at Somos Arts Berlin

Exhibition pictures by SOMOS Arts Berlin

Ambactia* Memoria is a group exhibition to be presented at SomoS Art House Berlin between September 7-18th 2021. Ambactia Memoria offers artists, critics, and activists an open framework to articulate non-normative artistic positions and peripheral perspectives regarding tradition, memory, and identities in relation to the Hispanic. By exploring the intersection between feminism, transculturalism and (post) migrant approaches on the representations, practices and diverse forms of identity in contemporary society, works selected deconstruct the idea of Hispanicness and collectively imagine its future transformation. 

"Constanza Camila Kramer Garfias (HYPERISM) intensively examines her roots and the development of textile projects from postcolonialism, with a flag reappropriated by the Mapuche people since their colonization. This reappropriation of derogatory or traditionally questionable symbols (as the term queer by the LGBTIQ+ community was at the time) is installed in the interstices of irony as a political device for social activation, as evidenced by the actions of the Homo Velamine collective." 

Curated by Vanesa Peña Alarcón (ES), the exhibition takes as a starting point an institutional critique of the global stereotypical representation of the Hispanic by international diplomatic organizations and cultural institutes. In Peña’s view, this representation of the Hispanic or the concept of Hispanicness, is a form of patronization of people’s history, collective memory, and subjectivities, a one-sided perspective that doesn’t allow for a genuine inclusion of transculturalism. Curated by Vanesa Peña Alarcón

AMBACTIA MEMORIA SomoS Arts / Berlin 7th September - 18th September 2021



Takaoka, Japan

10th April - 5th May 2021

HYPERISM at Takaoka Art Museum, 2021, Japan

It is a great honor to announce this new exhibition in Japan. For a whole month, the Art Museum in Takaoka City exhibits one HYPERISM artwork as part of the International KOGEI Award from Toyama. The Takaoka Art Museum, which opened in 1951, was moved and rebuilt in September 1994. The Art Museum aims to give a platform to traditional arts and crafts and offers extensive art activities to Takaokas Citizens.

The famous "Fujio F. gallery" in the Museum presents many original Doraemon drawings by renowned Takaoka-born artist-duo Fujiko Fujio.

The exhibition runs from the 10th of April till the 5th of May 2021.

Takaoka Art Museum

Exhibition pictures with the kind support of the Takaoka Art Museum team, 2021, Takaoka, Japan; Photo source: Wikipedia.com



Toyama, Japan

25th February - 4th April 2021

After a long year of postponed exhibitions, it is a great honor to announce that one Jacquard piece from the HYPERISM project has won the Honorable Mentions Award including 300.000 ¥ price money in Toyama, Japan.

All award winners have the privilege to participate in an official exposition, which will be held at the Toyama Prefectural Museum of Art & Design from 25th February to 4th April in Japan.

The International KOGEI Award in Toyama is for craftspeople under 50 years of age, including artists, artisans, and designers. This award encourages craftspersons all over the world in their expressions, techniques, and ideas.

The award aims to draw the future vision of crafts by reconsidering the stereotypical concept of traditional handcrafts. KOGEI Award captures the global trends in handcrafts and creates new opportunities for international networks and collaboration.

It is a great honor to know that Reiko Sudo, one of Japan‘s most famous textile artists and part of the NUNO textile label, is part of the KOGEI Judges who chose the HYPERISM textile piece. The award aims to draw the future vision of crafts by reconsidering the stereotypical concept of traditional handcrafts. KOGEI Award captures the global trends in handcrafts and creates new opportunities for international networks and collaboration.

All pictures by KOGEI Award team in Toyama, 2021, Japan



ARTSY.net, online art platform

5 Standout Shows to See at Small Galleries This Decemer

December, 2023


LES NOUVEAUX RICHES, online art magazine

Press Release on DEBÜTANTINNEN groupshow

September, 2023


ART IN AMERICA, print magazine

20 new talents to watch

May, 2023

Constanza Camila Kramer Garfias 20 new talents to watch at Art in America May 2023
Cover from Art in America May 2023

Thank you so much to ART IN AMERICA and chief-editor Emily Watlington for featuring me as one of 20 international artists in this year's New Talent Issue.

A huge thanks to Emily Mc Dermott for the great interview and fabulous article. I am glad to have been published with so many great artists! Enjoy reading it.


COSMOPOLITAN Germany, print magazine

April, 2023


ARTSY.net  online magazine

December, 2022


H.O.M.E.  magazine

October issue, 2022

H.O.M.E.  magazine October issue, 2022


flair. fashion forward magazine

October issue, 2022

flair. fashion forward magazine October issue, 2022
flair. fashion forward magazine October issue, 2022
flair. fashion forward magazine October issue, 2022


VIVA MONACO magazine

May, 2022


BUNTE magazine issue 51

December, 2022


JULIET contemporary art magazine

March 10, 2022