NINA LINDE LÄUGER

‘NO NEED TO CONFESS’ on the taboo of abortion


Exhibition in march 2025
Installation by Aimée Phillips and Nina Linde Läuger

In an multidisciplinary manner we aim to interweave different perspectives (historical, intimate and socio-political) on abortion and confession. In doing so, we hope to offer a platform for practices that expose the taboo surrounding abortion. We do this by combining (self)fabricated archival material from different eras that have normalized and lived out misogynistic (political, religious as well as social) structures and rework them.

We invite the visitors to enter the layered narratives and complex relationships between image and imagination, lived experiences of people with wombs, repressive language and censorship.

For ‘No Need to Confess’ we are collaborating with Ann Rodriquez, Clara Saito and Bel McLaughnin. They did a performance during the opening on the 6th of March.

Pictures by Max van der Wal

A THOUSAND NAMES OF SOMETHING ELSE (2023)


“Names, not faces, not morphs of the same, something else, a thousand something else, still telling of linked ongoing generative and destructive worlding in this age of earth.”

(Donna Haraway, Staying with the trouble; Tentacular Thinking, 2016)

This two-room installation was created during the 2023 artist residence at Countdown Grabowsee in Germany, accompanied by a soundwork. Both pieces will stay on site.

Myriad tentacles will be needed to tell the story of the Chtulucene. We exit anthropocene (did we ever enter it, though? Because to be fair, who still beliefs that man-made techno-fixes will save us?).

From Gaia, Medusa erupts (messily). The only mortal Gorgon that might save us. Tentacular thinking derives from Latin tentaculum, from tentare: to feel, to try.

BLACK MILK, GOOD MORNING (2022) | 2:13 min

Black milk is an audiovisual room installation, consisting of a video projection, sound and placed oil barrel, built specifically in a stairwell in Halle. The work lingers with the association to oil-companies that play a profound roll in the devestation of the livelihood of many, but also to the dark screens of technology objects surrounding our lives and ‘darkened’ area’s of global, planetary consciousness where consumerist imperialism is dumping its waste. The work is based on a poem, also from 2022, also published in the exhibition catalogue of JUICY THINGS, where it was part of a live sound performance (NINA LYN & Konrad Ruda, https://www.burg-halle.de/hochschule/einrichtungen/fempower/kunstausstellung/juicy-things/).

BLACK MILK, GOOD MORNING (april, 2022)

AND THE QUESTION IS
WHEN OUR GODS HAVE DIED
WHO IS MY GOD?
WHEN WE DANCE
AND FORGET THE HUMANNESS
OF OUR SWEATY BODIES AND SMILE, OR MAYBE WHEN WE GET THE EXACT AMOUNT OF LIKES WE
WANTED, OR WHEN
OUR MOTHER COOKS OUR FAVOURITE FOOD AND

IT TASTES LIKE IT
ALWAYS DID. OR MAYBE IT
IS THIS EXACT MOMENT ONLY
THAT’S WHAT MANY SAY, BUT
I THINK IT’S MORE COMPLEX
THAN THAT BECAUSE

THERE IS
SO MUCH SHIT

IN THIS WORLD

IN THIS EXACT MOMENT

SO IT CANNOT BE
THE SOLUTION
TO ALL – BREATHE

OR WHEN I SEE REFLECTIONS
OF PERSPECTIVES THAT MAKE NO SENSE OR WHEN A DREAM DOES
AND SOMETHING LARGE CHANGES
AND INERTIA IS LOST
WE SHOULDN’T THROW OURSELVES ON AND WE THROW OURSELVES INTO
YOGAPOSES BUT

EUROPE IS
LOST

TO THE HANDS OF CAPITAL AND WE ARE THE ONES WHO NEED TO FIX IT AGAIN SO
FIND YOUR
FUCKING
GOD

AND PRAY, PLEASE HUMAN FUCKING PRAY
OR WE WILL BE
EVEN MORE DRUNK BY THE LAYERS OF DARKNESS AND WITH THE BLACK MILK

THAT DROWNS OUR MIND
EACH MORNING.

GOOD MORNING.

ONE WINTER DAY TOO LONG (Halle, 2021) | 7 min

An audiovisual installation to imagine the underwater world surrounded by shell and sounds. Shell-structured pencil and charcoal drawings on two walls, edited sound recordings of water and metal sink, two-part projection of edited video work on site-specific material of reflections in water. The viewer is invited to sit still and listen, be re-enchanted by the blue of the underworld; re-connect.