department of gossip & drama

Last week, I travelled to Berlin to take part in QUEER UNFRAMING — Art Beyond Straight Lines, a group exhibition curated by Julian Daynov during Gallery Weekend Berlin. I arrived excited, curious, and honestly not fully prepared for how intense, emotional, and affirming this experience would become.

At the end of April, I’ll be in Berlin showing five works as part of QUEER UNFRAMING, a group exhibition curated by Julian Daynov in collaboration with BOLD. If you’re around during Gallery Weekend, come by. I’ll be there and happy to show the work in person. The exhibition is built around the idea of shifting how queer work is usually presented. Not as something separate or marginal, but as part of a broader contemporary conversation. I’m showing two series that both deal wi

Imagine walking through a street in Barcelona and suddenly coming across a kiosk entirely dedicated to queer art, magazines, and stories. Open to the city, visible to anyone passing by, and impossible to ignore. That is what makes ODD Kiosk feel so special.

Before becoming an artist, I studied sociology. One of the first things you learn is that we never observe society from a neutral distance. We are part of the world we try to understand — shaped by its norms, language, and conflicts. Another lesson follows quickly: when we look at the past, we rarely do so innocently. We interpret it through the concepts and questions of our own time. I was reminded of this while visiting “The First Homosexuals” at Kunstmuseum Basel.

People often ask what exactly a linocut print is. On the surface the answer is simple: it’s a printmaking technique where an image is carved into linoleum, ink is rolled onto the surface, and the image is pressed onto paper. But that description barely captures what the process actually feels like. Because working with linocut is not just about printing an image. It’s about carving decisions into material in a way that can’t be reversed. Once the blade cuts into the block, th

And this matters to me. Visibility is something queer artists have always had to fight for. Too often, our work is treated as an add-on — something to be included once it feels safe, once it has proven itself commercially, once it no longer unsettles. Until then, it remains peripheral. Queer Art Gallery QUEER ART GALLERY approaches this differently. Queer artists are not positioned at the edge of the program. They are at its centre. The platform is built around queer perspe

I had an vision in my head that I simply couldn’t realise with the way I had been working until now. I’ve worked with color before. I’ve layered prints. But this time I wanted a level of depth and interaction between the colors that required a different approach. I didn’t want separate blocks for each color. I wanted everything to come from one single piece of linoleum. That’s why I decided to use the reduction linocut technique, a printmaking process often referred to as the

On 26 December, I presented three of my works as part of PRIVATE PARTY, a curated group exhibition at Anggrek Agency in Zurich. The exhibition opened with a private viewing for invited guests and is accessible until January 3rd 2026 by appointment. PRIVATE PARTY is a group exhibition with ego andaluz and a show that deliberately blurs the boundary between celebration and exhibition-making. Conceived by Steven Anggrek, the exhibition evolved from a series of intimate gathering

When the Haymo Empl from Cruiser came to visit my studio for an interview, I didn’t know the conversation would eventually become a four-page feature in their print edition. Letting someone into Atelier 147 (my quiet basement sanctuary in Zurich) is personal enough. Letting them ask the real questions is something else entirely. ego andaluz and his artwork The studio is unassuming from the outside. A staircase, a door, a softened silence. Down here, everything slows. The rhyt