{"id":4478,"date":"2021-05-04T14:51:32","date_gmt":"2021-05-04T12:51:32","guid":{"rendered":"https:\/\/www.reclaim-award.org\/gewinnerinnen-2021\/"},"modified":"2022-05-17T12:01:24","modified_gmt":"2022-05-17T10:01:24","slug":"gewinnerinnen-2021","status":"publish","type":"page","link":"https:\/\/www.reclaim-award.org\/en\/gewinnerinnen-2021\/","title":{"rendered":"Gewinner:innen 2021"},"content":{"rendered":"\t\t
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These are the winners of the\nReclaim Awards 2021:<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Alina <\/span>Rybacka-Gruszczyn\u0301ska<\/span><\/a><\/span><\/h1>

stay in touch<\/em><\/h1>

In Alina Rybacka-Gruszczy\u0144skas work stay in touch, the hand becomes the epicentre of the universe. As a symbol of closeness and touching, in the co-ordinates of her personal reference system everything revolves around …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Andrea Abbatangelo<\/a><\/span><\/h1>

Project RadioLondon _ Harare<\/em><\/h1>

Andrea Abbatangelo\u2019s Project Radio London\u00ad_Harare consists of a series of sound sculptures and site-specific installations in Zimbabwe. The project was made as part of CT4(R): Simbabwe, a residency programme …\u00a0<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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CargoCult<\/span><\/a><\/span><\/h1>

centerfold<\/em><\/h1>

CargoCult formed as an artists\u2019 collective in Berlin in 2012, in response to an employment market policy measure which aimed at integrating the unemployed and chiefly included women with a migration background …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Andres de Varona<\/a><\/span><\/h1>

To See Myself Alive<\/em><\/h1>

The photographic work To See Myself Alive by Andres de Varona depicts Marcia Reifman, who was ill with cancer and freed herself from the shadow cast on the light of life by this disease …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Bonnita Postma<\/span><\/a><\/span><\/h1>

DIMITRI, from the series ‘me myself and I’<\/em><\/h1>

In her collages, Bonnita Postma uses found photographs of people she does not know. The impersonality of this found footage gives her the freedom to detach herself from the object. To combine it freely …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Boon Lee<\/span><\/a><\/h1>\n

How to cut a cube into sevenths<\/em><\/h1>\n

In recent years, among other things, Boon Lee\u2019s works have been focused, under environmental aspects, on recyclable materials and found objects. In his work How to cut a cube into sevenths, Boon Lee combines …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Chai Mi<\/span><\/a><\/span><\/h1>

A\u2019s Fables<\/em><\/h1>

Since early 2015, taking photographs of and observing the city plus the life forms that inhabit it has become a compulsive habit for Chai Mi. In a self-created database comprising videos and images she has taken at zoos …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Christian Hiadzi<\/span><\/a><\/h1>

All and beyond<\/em><\/h1>

Christian Hiadzi\u2019s boldly coloured painting is inspired by the human experiences we go through: happiness, pain, fear, death. As sensitive beings we are obliged to cope with all these experiences …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Corinne Fhima<\/span><\/a><\/span><\/h1>

EVE LOVES SPORT<\/em><\/h1>

Eve is everywhere. Corinne Fhima creates a surreal world around the female body. She inscribes herself into the most diverse array of contexts with her alter ego Eve. She collages, performs, infiltrates the public space …<\/h4>
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Costanza Brandizzi<\/a><\/span><\/h1>

Grilled octopus, tsitsiravla, sea bass fish, fried melanzani and potatoes<\/em><\/h1>

The photographic Grilled octopus, tsitsiravla, sea bass fish, fried melanzani and potatoes by Costanza Brandizzi was created one evening in August 2020 in Greece, Pilion. On view are two people and the remnants of …<\/h4>
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Dane Palmieri<\/span><\/a><\/span><\/h1>

your wounds are showing<\/em><\/h1>

Your wounds are showing is part of an ongoing project on the meaning of objects and their preservation. Palmieri\u2019s digital collage consists of nine detailed views of a reproduction plaster Virgin and Child from the 20th century …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Eleonora Arnold\u00a0& Wiebke Meischner<\/a><\/span><\/h1>

links: KSV (Karaoke Stock Video) _ Believerechts: KSV (Karaoke Stock Video) _ Believe II<\/em><\/h1>

In their work, Wiebe Meischner & Eleonora Arnold react consciously to the classic advertising aesthetic in the public space. It is no accident that their choice of motifs from karaoke video stills falls to a frequent advertising …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Elizabeth Withstandley<\/span><\/a><\/span><\/h1>

Searching for the Miraculous (Part 2: The Journey)<\/em><\/h1>

Five screens, five film stills, put together to form one visual experience. Elizabeth Withstandley exhibits film stills from her video installation Searching for the Miraculous (Part 2: The Journey<\/i>). The video installation is part …<\/em><\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Emily Weiskopf<\/a><\/span><\/h1>

Salvage to Salvation (no. 7)<\/em><\/h1>

Emily Weiskopf was involved in a near-fatal car accident in 2014. She suffered permanent physical impairments and now has to undergo lifelong physiotherapy. In coming to terms with this trauma …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Franziska Reinbothe<\/span><\/a><\/span><\/h1>

Unbetitelt<\/em><\/h1>

As a fine artist, Franziska Reinbothe elaborates various pictorial invention strategies for herself within painting. Her opening question is always the same: What happens if…? Along the way, she is interested in …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Freya Hattenberger<\/a><\/span><\/h1>

Stell Dir vor, es ist Lockdown und alle posten Yoga-Videos_Teil 1<\/em><\/h1>

In Freya Hattenberger\u2019s work \u201cImagine it\u2019s Lockdown and everyone is posting yoga-videos\u201d, physical experiences and emotional states during self-isolation are translated into visual language. Hattenberger\u2019s concern …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Gabriel Gauffre<\/span><\/a><\/span><\/h1>

Haval in Akre<\/em><\/h1>

Haval left his village in the country near Slemani in Iraqi Kurdistan when he was 12 years old. Having spent his life as a shepherd, he worked as a cleaner in a hospital. After that, he turned to faith and became an imam …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Galina Bakinova<\/a><\/span><\/h1>

I touch you <\/em><\/h1>

Galina Bakinova\u2019s digital work I touch you is a hyper-tactile allegory of the relocation of our social communication into the digital space. What happens when the actual contacts now only take place as mental concepts …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Harine Suthan<\/span><\/a><\/span><\/h1>

Handzahm I<\/em><\/h1>

Suthan\u2019s works are created using the \u201cApple Pencil\u201d on the iPad Pro. The digital approach is of relevance where it is congruent with the content, becomes a comment on the subject depicted. The helpless chick in the human hand …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Heidi Almosara<\/a><\/span><\/h1>

Salt Flats1<\/em><\/h1>

Heidi Almosara explores public spaces and landscapes in order to make art in them. Trained in the art of ikebana, she transfers these Japanese influences to her botanic sculptures. Her sculpture Salt Flat 1 was created …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ian Caleb Molina Zoller<\/span><\/a><\/span><\/h1>

Specu.nunc I<\/em><\/h1>

Ian Caleb Molina Zoller\u2019s India ink work is dominated by the colour red. The landscape of an Argentinian pasture is virtually submersed in this sea of red. Simultaneously, everything seems to be charged with energy …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Jeff Che Yeh & Yingheng Huang<\/span><\/a><\/span><\/h1>

all i have to do is (Melting The Solid)<\/em><\/h1>

Jeff Che Yeh and Yingheng Huang investigate labour policy by means of perform\u00adance and video installation. The motif exhibited here is a screenshot of their video project bearing the title all i have to do is …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Jenni Toivonen<\/span><\/a><\/span><\/h1>

Are We There #1<\/em><\/h1>

Jenni Toivonen is a Finnish photographer and fine artist whose projects investigate identity, memory and the interconnection of humanity and nature. The image is part of an ongoing series bearing the title Are We There …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Jillian Freyer<\/a><\/span><\/h1>

Healing<\/em><\/h1>

Germain is in pain. People stack their hands on the part of her body that hurts. They connect themselves to her. Touch her. Relieve her pain. Spellbound by this energy, Jillian Freyer becomes not only …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Jody Korbach<\/span><\/a><\/span><\/h1>

I need a man to handle my hate<\/em><\/h1>

My love handles are made of hate. Can you handle my hate? Can I handle my hate without you? What goes around comes around? Are you ready to reap what you sow? Are all men equal? Are all men trash? …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Johanna Berghorn<\/a><\/span><\/h1>

80 and 50 years on earth<\/em><\/h1>

In Johanna Berghorn\u2019s study, her mother and grandmother embrace. They celebrate intimate closeness. A closeness which attains a strong physical presence due to the incongruence of their upper bodies …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Kehan Lai<\/span><\/a><\/span><\/h1>

Undulation#2<\/em><\/h1>

In his photographic work Undulation, Kehan Lai investigates the relationship between three-dimensional space and two-dimensional depiction. To that end, he builds new structural layers out of shredded and cut-up …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Klaus Frahm<\/a><\/span><\/h1>

West Pico Blvd<\/em><\/h1>

Billboard on billboard. Klaus Frahm\u2019s motif from his series Twentysix Billboards, which he photographed in Los Angeles in 2019, portrays not the billboard as it actually appears to us, but a rear view of it …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Kseniia Antipina<\/span><\/a><\/span><\/h1>

Self-isolation box<\/em><\/h1>

Living in a box. Though Kseniia Antipina\u2019s work formulates boundaries, which can be really experienced as such even in these times of the Covid-19 pandemic, it locates them in an environment full of growth and hope …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Lars Dyrendom<\/a><\/span><\/h1>

Iceberg<\/em><\/h1>

Among other things, Lars Dyrendom\u2019s work, his motifs of a Greenland iceberg positioned on a Danish beach, reflects the relationship between Denmark and Greenland. This relationship has been colonially …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Maximilian Koppernock<\/span><\/a><\/span><\/h1>

Fruits are the sweetest before they rot<\/em><\/h1>

Maximilian Koppernock\u2019s photo from the series Fruits are the sweetest before they rot is part of a collection on the inconspicuous but beautiful. A kind of investigation of the mundane. His associative compositions …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Natalia Ershova<\/a><\/span><\/h1>

Journey to the edge of the room<\/em><\/h1>

Natalia Ershova\u2019s photographic work Journey to the edge of the room depicts people in her native Russia who construct their social identity within their own four walls. Rarely leaving the house, working from home …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Natasha Sharma<\/span><\/a><\/span><\/h1>

1 by one<\/em><\/h1>

1 by one<\/i> by Natasha Sharma is a site-specific installation that attempts to playfully visualize and investigate how navigation and movement is possible in a city like Mumbai, India, where there is less than 1 square metre of …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Nikos Staikoglou<\/a><\/span><\/h1>

metamorphosis<\/em><\/h1>

Nikos Staikoglou\u2019s photograph metamorphosis is part of his series ena pros dio, which deals with the heavily tourism-burdened area of Chalkidhiki in northern Greece. His shots are taken outside the period when the region …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ole-Kristian Heyer<\/span><\/a><\/span><\/h1>

o.T. (M\u00f6biusband)<\/em><\/h1>

One universal human truth is that we structure the space that surrounds us according to certain criteria and record these structures mentally and materially. Forms of material representation correspond to our needs …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Oona Nelson & Anna Noelle Rockwell<\/a><\/span><\/h1>

Eat the Rich<\/em><\/h1>

Ort Project is the collaborative union of artists Oona Nelson and Anna Noelle Rockwell, whose lush installations, photographs and interactive gestures explore and critique aspects of consumption, abundance …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Patricia Paryz<\/span><\/a><\/span><\/h1>

Der Wunsch Vater des Gedankens<\/em><\/h1>

Patricia Paryz is a Hamburg-born artist of German-Polish origin. In her works, Patricia Paryz deals empathically with personal childhood memories, family matters and the difficulties of growing up between two nations …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Ren\u00e9e Hendrix<\/a><\/span><\/h1>

Symbiosis<\/em><\/h1>

Wherever humans leave behind traces, these are permanent. This is not visible at first sight in Hendrix\u2019 intricate photographic composition. The boundaries between nature and culture are practically ephemeral here …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Sabine Hertig<\/span><\/a><\/span><\/h1>

Unbetitelt<\/em><\/h1>

The artistic medium of Sabine Hartig (*1982 in CH) is analogue collage. For 10 years now she has been obsessively collecting images from traditional print media and seeking new visual nexuses. To her, this artistic appropriation …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Samuel Solazzo<\/a><\/span><\/h1>

Future Remnants of What Has Been<\/em><\/h1>

Collective memory is characterized by the way history is documented, archived, collated and presented to us in the Now. By means of photographic staging, the addition of documentary materials …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Sascha Bachmann<\/span><\/a><\/span><\/h1>

Hear what you see<\/em><\/h1>

In his work \u201cHear what you see\u201d, Sascha Bachmann makes sound frequencies visible. These are originated by oscilloscopes, Vectra games consoles or modified cathode ray tubes. With Bachmann, the picture of the sound …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Tomas Bachot<\/a><\/span><\/h1>

Jarablus, Syria, October 2015 \u00a9 I.M. & Tomas Bachot, Map data – Google, Instant Street View<\/em><\/h1>

In his work Syria 2.0, Tomas Bachot analyses a visual archive which is located beyond western perceptual structures. He is occupied with 360 degree pictures posted on Google Maps by Syrian citizens …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Uschi Groos<\/span><\/a><\/span><\/h1>

Inspirational Frequencies\u00a0<\/em><\/h1>

In her series \u201cInspirational Frequencies\u201d, Uschi Groos follows the traces of unusual persons and the sources of the special. In search of sense, nonsense, rational unburdening and irrational densification …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Xavier Segers<\/a><\/span><\/h1>\n

Good Luck<\/em><\/h1>\n

What would a Covid virus say to us, if it could speak to us. In Xavier Segers\u2019 typographic digital mixed media work \u201cGood Luck\u201d, the best wishes disguise their actual intent. Playfully, in vivid colours, his bacteria cultures …<\/h4><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Alina Rybacka-Gruszczy\u0144ska <\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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stay in touch<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Andrea Abbatangelo<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Project RadioLondon _ Harare<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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CargoCult<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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centerfold<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Andres de Varona<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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To See Myself Alive<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Bonnita Postma<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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DIMITRI, from the series 'me myself and I\u2018<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Boon Lee<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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How to cut a cube into sevenths<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Chai Mi<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A\u2019s Fables\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Christian Hiadzi<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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All and beyond<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Corinne Fhima<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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EVE LOVE SPORT\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Costanza Brandizzi<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Grilled octopus, tsitsiravla, sea bass fish, fried melanzani and potatoes<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dane Palmieri<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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your wounds are showing<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Eleonora Arnold & Wiebke Meischner<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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links: KSV (Karaoke Stock Video) _ Believerechts: KSV (Karaoke Stock Video) _ Believe II<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Elizabeth Withstandley<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Searching for the Miraculous (Part 2: The Journey)<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Emily Weiskopf<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Salvage to Salvation (no. 7)\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Franziska Reinbothe<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Unbetitelt<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Freya Hattenberger<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Stell Dir vor, es ist Lockdown und alle posten Yoga-Videos_Teil 1<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Gabriel Gauffre<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Haval in Akre\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Galina Bakinova<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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I touch you<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Harine Suthan<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Handzahm I<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Heidi Almosara<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Salt Flats1\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ian Caleb Molina Zoller<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Specu.nunc I<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Jeff Che Yeh Yingheng & Huang<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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all i have to do is (Melting The Solid)<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jenni Toivonen<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Are We There #1<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jillian Freyer<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Healing\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jody Korbach<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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I need a man to handle my hate<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Johanna Berghorn<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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80 and 50 years on earth\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Kehan Lai<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Undulation#2<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Klaus Frahm<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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West Pico Blvd\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Kseniia Antipina\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Self-isolation box\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lars Dyrendom\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Iceberg\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Maximilian Koppernock\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fruits are the sweetest before they rot<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Natalia Ershova\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Journey to the edge of the room<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Natasha Sharma<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1 by one<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Nikos Staikoglou\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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metamorphosis\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ole-Kristian Heyer<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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o.T. (M\u00f6biusband)\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Oona Nelson & Anna Noelle Rockwell\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Eat the Rich\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Patricia Paryz\n<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Der Wunsch Vater des Gedankens<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ren\u00e9e Hendrix<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Symbiosis\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sabine Hertig<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Unbetitelt<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Samuel Solazzo<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Future Remnants of What Has Been<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sascha Bachmann<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Hear what you see\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tomas Bachot<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jarablus, Syria, October 2015 \u00a9 I.M. & Tomas Bachot, Map data \u2013 Google, Instant Street View\n<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Uschi Groos<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Inspirational Frequencies <\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Xavier Segers<\/a><\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Good Luck<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

These are the winners of the Reclaim Awards 2021: Alina Rybacka-Gruszczyn\u0301skastay in touchIn Alina Rybacka-Gruszczy\u0144skas work stay in touch, the hand becomes the epicentre of the universe. As a symbol of closeness and touching, in the co-ordinates of her personal reference system everything revolves around …Andrea AbbatangeloProject RadioLondon _ HarareAndrea Abbatangelo\u2019s Project Radio London\u00ad_Harare consists […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nGewinner:innen 2021 — Reclaim Award<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.reclaim-award.org\/en\/gewinnerinnen-2021\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gewinner:innen 2021 — Reclaim Award\" \/>\n<meta property=\"og:description\" content=\"These are the winners of the Reclaim Awards 2021: Alina Rybacka-Gruszczyn\u0301skastay in touchIn Alina Rybacka-Gruszczy\u0144skas work stay in touch, the hand becomes the epicentre of the universe. 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