2021, Berlin / Clausthal-Zellerfeld, Harz. Original essayistic text written in collaboration with the geographer Andreas Döpke, to be published in the book THESE BIRDS OF TEMPTATION, as part of the series intercalations 6, co-published by K. Verlag and the Haus der Kulturen der Welt, Berlin.

The project GOLDEN TONE comes from a research on the historical, cultural landscape of the western Harz Mountain region of Germany, where many of the mining technologies of mineral soil extraction were first developed and then exported to the whole world. The essay reflects on the intersections of past, present and future of this anthropogenic landscape, through the particular history of breeding, training and trading of Canary birds in the region.

"...a queer refrain, populated with both acoustical lines of flight and the sorrows of captivity, wherein the reader-as-exhibition-viewer learns that the minor science of ornithology is as preoccupied with the flirtations and allopreening of avifauna as it is with their taxonomical domination."

THESE BIRDS OF TEMPTATION. With contributions by Ari Bayuaji, Bik Van der Pol, David Bonter, Bertolt Brecht, Lêna Bùi, Mark Dion, Andreas Döpke & Barbara Marcel, Anne Geene & Arjan de Nooy, Sophia Gräfe, Mary Ellen Hannibal, Lisa Hirmer, Nina Katchadourian, Anna-Katharina Laboissiere, Anaïs Nin, Megan Shaw Prelinger, Bruno Schulz, Anna-Sophie Springer, Frank Steinheimer, Anna Tsing, Etienne Turpin, and others.

Click here for more info on the book THESE BIRDS OF TEMPTATION

The essay was further developed into a 4-channel video installation (approx. 120min) named "GOLDEN TONE". In a video assemblage made of hands and machines, silver and serinettes, contaminated heavy metal hills and falling spruce trees, touristic tours and intimate interviews, the iconic landscape of the German Harz gradually reveals its many hybrid layers, giving way to an open field of transformative sonic flights. GOLDEN TONE is about the Harz Roller Canaries, domesticating mines and queering nature.

Click here for more information on the project GOLDEN TONE.

The video installation has recently been part of the exhibition Birds & Buoys at Bärenzwinger Berlin, between April and June 2021.

Click here for more information on the exhibition BIRDS & BUOYS.


Vernissage: 25.05.2019, 7pm

Exhibition dates: 26.05 - 16.06, Thursdays, Fridays, Saturdays or by appointment.

The exhibition brought together works by Marina Camargo, Ana Hupe and Barbara Marcel, Brazilian artists living in Berlin. Their researches reflect on the gravitation of the idea of Centre, departing from Southern Hemisphere: relations of power elucidated in cartographies; extensive monocultures; colonial archives; and religious syncretisms in Brazil today. Manioc as a meeting point between Brazilian and African cultures in Europe is celebrated in a collective work with the participation of Senegambia, a West African food restaurant, located on the same street as Mario Kreuzberg Gallery's. The collaboration is shown in a video that documents an exchange of receipts made with manioc, cooked together in Senegambia's kitchen.

Cartography as a study of narratives of spaces and power relations permeates the works of Marina Camargo. Cartography expanded beyond its original function, being transformed into other visual narratives that question the objective data that forms the maps. The representation of the Southern Hemisphere appears in the erase action of a school map of Brazil that shows the regions of extractive exploitation and also in a sound work constructed from the political borders of South America.

Ana Hupe presented three works on the universe of Santería, Afro-Cuban religion with Yoruba origin. The guiding concept of the works is that of syncretism, which happens when the hidden creeds of two or more regions or religious traditions intermingle.

The port of Santarém (Pará-BR), dominated by the multinational Cargill since 2003, is the theme of the work 'BR 163 Cuiabá-Santarém' by Barbara Marcel. The packaging of products used in the processing of soybeans, upcycled into market bags in the market for manioc flour, are grouped together in one installation.

Mario Kreuzberg Gallery is a project space organized by Manuela Morales (Chile) and Santiago Mac Auliffe (Argentina) since 2015, at Reichenbergerstrasse 48 since July 2018, with focus on Latin-American Art.


2019, Reader with contributions by participants hosted at TIER - The Institute for Endotic Research. Contributors: Linda Zhang, Nelly Y. Pinkrah, Vanessa Gravenor, Bonaventure Soh Bejeng Ndikung, Repec Segroeg, Lorenzo Sandoval, Barbara Marcel, Biko Mandela Gray, John Holten, Louis Henderson, Pia Chakraverti-Wuerthwein, Benjamin Busch, Ayami Awazuhara.

The endotic is a subtle but powerful tool to generate a situated practice of an institution. It is subtle because it looks to the imperceptible of the everyday life, to the visible but hidden details of the space and gestures of bodies around us. It rescues the astonishment from the forgotten obvious, trapped by its naturalization. It is a powerful tool because it leads us to read and listen to our surroundings, always looking from unexplored stances. From this immanent display, the very local traces a priceless threshold from which to approach the complex global. In its well-known methodology, Oulipo—the group to which Georges Perec belonged—was a great pioneer of crossing knowledge fields in order to practice a critical fascination. They developed a system in which constraints were an efficient driving force, merging mathematics, literature and artistic positions. These constraints can be translated from writing to cultural practice to think about spatial design, funding or ways of cooperation, looking for more sustainable practices.

To celebrate TIER’s first year at Donaustrasse 84 in Berlin-Neukölln, we published the first reader on the topic of the endotic, The Endotic Reader N.1. It brings together contributions by some of the participants we hosted over the year, as well as people we look forward to inviting to the space. The contributions explore some of the paths that the Perecquian word offers, as a way of approaching the territory of complexity that we live in and through. The topics explored in the reader range from a meditation on the practice of dis-othering to a reflection on trauma and on to thoughts on the future of reading.

This celebratory reader, available digitally as well as in the physical form of a limited, handmade print edition, is one of the first results of TIER’s collaboration with ON/OFF, whose Risograph machine, part of the Guerrilla Printing Press, we are hosting at the space.

Click here to read more on Barbara Marcel's contribuition: SEVEN CROSSROADS: A Berlin walkshop ramble

—> Download The Endotic Reader N.1


2017-19, Santarém-BR / Berlin-DE. Video, color, audio, aprox. 20 min Full HD format. In addition to the video still in the process of finalization, the project comprises a lecture-performance and published essay.

Original essay, published in the end of 2018, for the book THE WORK OF WIND: LAND. With contributions by Rouzbeh Akhbari & Felix Kalmenson, d’bi.young anitafrika, Amy Balkin, Jesse Birch, D.T. Cochrane, Revital Cohen & Tuur Van Balen, Anna Feigenbaum, Macarena Gómez-Barris, Ilana Halperin, Tom Keefer, Barbara Marcel, Mimi Onuoha, Tomás Saraceno, Christine Shaw, Juliana Spahr, Adrienne Telford, Etienne Turpin, Allen S. Weiss, Tania Willard, and Eva Wilson. Design by Katharina Tauer. Edited by Christine Shaw & Etienne Turpin. Co-published by K. Verlag in partnership with the University of Toronto Mississauga. Funded in part through the Canada Council for the Arts’ New Chapter program.

The essay THE GARDENER, THE RUBBER TAPPER AND THE HERBALIST responds to Force 3–Gentle Breeze with a story that entangles a personal narrative, a history of cinema, and a rubber plantation, connecting the salons of Paris and the rainforests of the Amazon. As a text written in anticipation of a film-to-come, Marcel reveals other decolonial ways of inhabiting the garden through her work with the herbalists at Casa Chico Mendes in the city of Santarém.

Click here for more information about the book THE WORK OF WIND: LAND

The lecture-performance with the same title was presented for the discursive program, entitled “How on Earth?,” of the exhibition Verschwindende Vermächtnisse: Die Welt als Wald [Disappearing Legacies: The World as Forest] at Tieranatomisches Theater at Humboldt University, Berlin, in April 2018.

Filmed between the end of 2017 and the beginning of 2018 during a residency at Casa BICHO in Alter do Chão - Santarém, Pará-Brazil, in collaboration with the herbalists of the Casa de Chico Mendes in the neighborhood of Conquista, periphery of Santarém, the video is now in the final editing phase.


2017, Athens. Publication of 3 A0 Pages.
Size: 290 x 85 mm.
Language: English.
Format: Loose sheets folded down to A3 size.
Offset Print.

THE EVER-GARDEN EFFECT is a project initiated by Barbara Marcel in collaboration with the Greek Artist Collective Campus Novel as part of the OMONOIA Athens Biennial during the summer of 2016. Based on the Biennial´s proposal for the development of synergetic art works, the intention of the project was to reframe the idea of the urban garden through a particular focus on the National Gardens of Athens and its possible differences with other green spaces in the city, such as community gardens and private balconies.

Taking the garden as a historical and botanical open air Archive, a five-day workshop organized by the artists sought first to reflect on the institutional character of the National garden as a typical scenario of the modern European state and its current landmark status for the urbanization history of the city. At a second stage, the field research tried to observe other gardening instances in Athens reflecting on the various uses and functions of contemporary urban gardens. The 12 workshop participants were asked to work on script exercises, texts and performances which resulted in a large processual assemblage in form of a film and Publication.

Participants: Christina Axioti, Alexis Fidetzis, Matthias Fritsch, Nicolas Juge Pampanos, Katerina Kotsala, Maria Papapostolou, Sofia Touboura, Athina Zachou and Érica Zíngano.

The publication, designed by Barbara Marcel and the Campus Novel Collective, contains texts and images about the workshop process including a glossary, interviews, written stories and images by both the artists and participants. The printing was done with the support of the Funding for young artists FRAUENFOND BAUHAUS UNIVERSITY WEIMAR and presented during the collective exhibition at "Platforms Projects 2017" in Athens.

© 2021 Barbara Marcel