In times of despair, the need for orientation grows: we invoke a cosmic intelligence, seeking answers in the stars. Subjective experience turns toward the reading of signs, of patterns, toward the search for an instance that knows more than we do.
My current artistic research situates itself precisely in this zone: at the intersection of intuition, imagination, and what is commonly referred to as the metaphysical or the occult. It begins with the question: Where does inspiration come from? What is the relationship between cognitive processes, the body, and possible forms of an “outside”?
I am currently undertaking training as a medium, thereby expanding my practice—previously oriented primarily toward the material and the physical—toward an investigation of immaterial and non-visible dimensions.
I understand this training not as the acquisition of a stable system of knowledge, but as an experimental, performative setup in which I explore the possibility of coming into contact with invisible, metaphysical levels, and in which I test practices of receiving, translating, and transmitting.
In this context, I see the figure of the medium as a kind of threshold figure that calls into question both the stability of the autonomous subject and the clarity of authorship. I understand the ambivalence of the esoteric, oscillating between the promise of knowledge and uncertainty, as an artistic field of inquiry, as a dispositif that moves between projection, intuition, and the Other.
My painterly work already operates at this threshold of visibility, withdrawal, and processuality. The use of transparent, large-scale image carriers destabilizes the classical parameters of painting, particularly its closure and its temporal-spatial fixation. Transparency enables the superimposition of form and colour as well as the inversion of front and back.
The painting process itself, shaped by movement, oversized scale, and the fragility of materials, is one of loss of control and bodily engagement: a stroking, pushing, circling, or even bumping.
Starting from this practice and the assumption that the one image of sth does not exist, I have recently begun to ask: How can painting respond to phenomena that lie beyond the immediately visible or materially graspable? And: What do the spirit beings have to say?
You can find my work and more information about my practice on Instagram.
Sarah Loibl studied fine arts at Universität der Künste Berlin (2011–2017) and Tama Art University Tokio (2015)
Awards & Grants
2019
Eberhard-Roters-Stipendium der Stiftung Preussische Seehandlung and Berlinische Galerie, Museum for Modern Art, Berlin
2017
Regina-Pistor-Preis
Anerkennungspreis der Thoma-Stiftung
2015
Ongoing Air Award
Artist in residency, Art Center Ongoing, Tokio
2022
Goldrausch Künstlerinnenprojekt
2021
Neustart Kultur
Seit 2018
Atelierförderung, bbk and Berliner Senat
2013
Artist in residence, Panagia Soumela, Greece
Nominated for Meisterschülerpreis des Präsidenten (2017), Ars-Viva-Preis (2020) and Marianne-Werefkin-Preis (2022)
2025
Lectureship Hände in Kunst und Design, Department for Integrated Design, Hochschule für Künste, Bremen
2022
Curriculum Development for the school subject Kubus—Kunst und Bewegung und Sprache for Walter-Gropius-Schule, Berlin
2018–2021
Guest lecturer Malerei und Zeichnung, UdK Berlin
2017/2023
Lectureship Material in der Bildung und den Künsten, UdK Berlin
2021/2023
Lectureship Bildkulturen in der Schule, UdK, Berlin
2017
Initiation, planning and moderation of the eleven-day-lecture series (with Christopher
Amm) to our friends with Alexander Garcia Düttmann, Cord Riechelmann, Gintersdorfer/Klaßen, Bert Rebhandl, Ute Holl and many others, UdK Berlin, vergiss-es.com
Selected Exhibitions
2026
Krater mit Schnittchen, Pullmann Berlin, Schweizer Hof, Berlin (S)
Labour of Love, roam Projects, Berlin
2025
Like hitting a wall, Ausstellungsraum Klingental, Basel
Tension and Release, Pandora Gallery, Berlin
2024
De/Construction, 2-person-exhibition with Stan van Steendam, Galleria Garten, Como
Geister, pars, Berlin
2023
Canvas, Tschechisches Zentrum, Berlin
Blink, Kunstmuseum Stavanger, Stavanger
Like a deer, gr_und, Berlin
2022
Konvolut Möglichkeiten, Berlinische Galerie, Museum for Modern Art, Berlin (S)
Tender Hooks, Goldrausch
Mariann-Werefkin-Preis, Galerie Pankow, Berlin
Paper Pieces, Knust Kunz gallery editions & Collectors Room Hamburg
Point of Resistance, Zionskirche, Berlin
Art Düsseldorf, Thomas Fischer and Daniel Marzona
First, Galerie Daniel Marzona, Berlin (S)
Art Berlin Messe, Flughafen Tempelhof, Berlin (S)
Unstructured, Galerie Axel Obiger, Berlin
Going Places, Acud Galerie Berlin
2021
Die Auflösung der Städte, Bruno-Taut-Siedlung, Berlin
In Between, Alte Feuerwache Friedrichshain, Berlin (C)
as you like it and who you are, Galerie Knust & Kunz, Munich (C)
Sarah Loibl and Sofia Silva, Galerie Rolando Anselmi, Berlin
Art Cologne Online, galerieplattform.de
2020
Institut für unvorhergesehene Zusammenarbeit with Gintersdorfer/Klaßen, Floating University, Berlin
oak island, Zönotheka, Berlin
2019
Pin, Pinakothek der Moderne, Museum für Moderne Kunst, München (C)
Institut für unvorhergesehene Zusammenarbeit with Gintersdorfer/Klaßen, Mexico-City
Institut für unvorhergesehene Zusammenarbeit, Kampnagel, Hamburg
around painting, curated by Ludwig Seyfarth, Salon#2 Kaminsky, Berlin
Meyer-Pavillon with Gintersdorfer/Klaßen, Kunstfest Weimar
Chronicle, Kunsthaus Bethanien, Berlin (C)
2018
Vier Möglichkeiten gegen eine Wand zu rennen, Regina-Pistor-Preis, Universität der Künste Berlin (S, C)
2017
Meisterschülerausstellung, UdK Berlin
2016
Was von den Fichten übrig blieb, Max Planck Institute for Human Development, Berlin
Berlin Stoneprints of the last Decade, Galeria Asp, Danzig
Win Heart, Art Center Ongoing, Tokio (S)
young positions, Galerie Pankow, Berlin
Druckgrafik, Plastik, Kunstraum Heiddorf
the lithograpg studio, Druckgraphisches Museum, Lublin
five red hats, Kaufhof, Alexanderplatz Berlin
2015
win heart, Art Center Ongoing, Tokio (S)
Publikationen
2022
Frau mit Pudel, text about my work by Diethmar Dath
Marianne-Werefkin-Preis, brochure
in between, catalogue
as you like it and who we are, Knust & Kunz editions, Munich
2020
loibl, Daniel Marzona, Berlin
Chronicle, catalogue Künstlerhaus Bethanien
2019
Pin, catalogue, Pinakothek der Moderne, Museum for Modern Art, Munich
2018
Zeichnung—feste Form?, Artikel in: grund_schule der Künste Schriftenreihe Nr. 6, Herausgeber: Athena-Verlag, grundschulekunstbildung.de
2017
Regina-Pistor-Preis, catalogue
Coming Soon …
Person responsible for content according to § 55, Para. 2 of the German Interstate Broadcasting Agreement (RStV)
Sarah Loibl, Sprengelstr.2, 13353 Berlin, Germany, 0049 17681987172
Photos were made by Thomas Bruns, Valerie Schmidt, Paula Winkler, Riccardo Malberti, Alexander Gehring, Sebastian Schobbert, Marcus Schneider, Andrea Fumagalli und Bodo Schlack.
The content and works published on this website are governed by the copyright laws of Germany. Any duplication, processing, distribution or any form of utilisation beyond the scope of copyright law shall require the prior written consent of the author or authors in question. Please contact herefor VG Bild-Kunst.
My site does contain links to external websites, the content of which is beyond our control. Consequently we cannot assume any warranties for such third party content. The respective provider or operator of such websites is always responsible for the content of linked sites.
At the time the links were inserted, the linked sites were reviewed for potential legal infractions. At the time the links were established, no illegal content was evident on these sites. However, it would be unreasonable to expect us to perform constant content checks of linked sites without concrete indications of legal infractions. If we should learn of legal infractions, we shall remove such links immediately.
In times of despair, the need for orientation grows: we invoke a cosmic intelligence, seeking answers in the stars. Subjective experience turns toward the reading of signs, of patterns, toward the search for an instance that knows more than we do.
My current artistic research situates itself precisely in this zone: at the intersection of intuition, imagination, and what is commonly referred to as the metaphysical or the occult. It begins with the question: Where does inspiration come from? What is the relationship between cognitive processes, the body, and possible forms of an “outside”?
I am currently undertaking training as a medium, thereby expanding my practice—previously oriented primarily toward the material and the physical—toward an investigation of immaterial and non-visible dimensions.
I understand this training not as the acquisition of a stable system of knowledge, but as an experimental, performative setup in which I explore the possibility of coming into contact with invisible, metaphysical levels, and in which I test practices of receiving, translating, and transmitting.
In this context, I see the figure of the medium as a kind of threshold figure that calls into question both the stability of the autonomous subject and the clarity of authorship. I understand the ambivalence of the esoteric, oscillating between the promise of knowledge and uncertainty, as an artistic field of inquiry, as a dispositif that moves between projection, intuition, and the Other.
My painterly work already operates at this threshold of visibility, withdrawal, and processuality. The use of transparent, large-scale image carriers destabilizes the classical parameters of painting, particularly its closure and its temporal-spatial fixation. Transparency enables the superimposition of form and colour as well as the inversion of front and back.
The painting process itself, shaped by movement, oversized scale, and the fragility of materials, is one of loss of control and bodily engagement: a stroking, pushing, circling, or even bumping.
Starting from this practice and the assumption that the one image of sth does not exist, I have recently begun to ask: How can painting respond to phenomena that lie beyond the immediately visible or materially graspable? And: What do the spirit beings have to say?
You can find my work and more information about my practice on Instagram.
Sarah Loibl studied fine arts at Universität der Künste Berlin (2011–2017) and Tama Art University Tokio (2015)
Awards & Grants
2019
Eberhard-Roters-Stipendium der Stiftung Preussische Seehandlung and Berlinische Galerie, Museum for Modern Art, Berlin
2017
Regina-Pistor-Preis
Anerkennungspreis der Thoma-Stiftung
2015
Ongoing Air Award
Artist in residency, Art Center Ongoing, Tokio
2022
Goldrausch Künstlerinnenprojekt
2021
Neustart Kultur
Seit 2018
Atelierförderung, bbk and Berliner Senat
2013
Artist in residence, Panagia Soumela, Greece
Nominated for Meisterschülerpreis des Präsidenten (2017), Ars-Viva-Preis (2020) and Marianne-Werefkin-Preis (2022)
2025
Lectureship Hände in Kunst und Design, Department for Integrated Design, Hochschule für Künste, Bremen
2022
Curriculum Development for the school subject Kubus—Kunst und Bewegung und Sprache for Walter-Gropius-Schule, Berlin
2018–2021
Guest lecturer Malerei und Zeichnung, UdK Berlin
2017/2023
Lectureship Material in der Bildung und den Künsten, UdK Berlin
2021/2023
Lectureship Bildkulturen in der Schule, UdK, Berlin
2017
Initiation, planning and moderation of the eleven-day-lecture series (with Christopher
Amm) to our friends with Alexander Garcia Düttmann, Cord Riechelmann, Gintersdorfer/Klaßen, Bert Rebhandl, Ute Holl and many others, UdK Berlin, vergiss-es.com
Selected Exhibitions
2026
Krater mit Schnittchen, Pullmann Berlin, Schweizer Hof, Berlin (S)
Labour of Love, roam Projects, Berlin
2025
Like hitting a wall, Ausstellungsraum Klingental, Basel
Tension and Release, Pandora Gallery, Berlin
2024
De/Construction, 2-person-exhibition with Stan van Steendam, Galleria Garten, Como
Geister, pars, Berlin
2023
Canvas, Tschechisches Zentrum, Berlin
Blink, Kunstmuseum Stavanger, Stavanger
Like a deer, gr_und, Berlin
2022
Konvolut Möglichkeiten, Berlinische Galerie, Museum for Modern Art, Berlin (S)
Tender Hooks, Goldrausch
Mariann-Werefkin-Preis, Galerie Pankow, Berlin
Paper Pieces, Knust Kunz gallery editions & Collectors Room Hamburg
Point of Resistance, Zionskirche, Berlin
Art Düsseldorf, Thomas Fischer and Daniel Marzona
First, Galerie Daniel Marzona, Berlin (S)
Art Berlin Messe, Flughafen Tempelhof, Berlin (S)
Unstructured, Galerie Axel Obiger, Berlin
Going Places, Acud Galerie Berlin
2021
Die Auflösung der Städte, Bruno-Taut-Siedlung, Berlin
In Between, Alte Feuerwache Friedrichshain, Berlin (C)
as you like it and who you are, Galerie Knust & Kunz, Munich (C)
Sarah Loibl and Sofia Silva, Galerie Rolando Anselmi, Berlin
Art Cologne Online, galerieplattform.de
2020
Institut für unvorhergesehene Zusammenarbeit with Gintersdorfer/Klaßen, Floating University, Berlin
oak island, Zönotheka, Berlin
2019
Pin, Pinakothek der Moderne, Museum für Moderne Kunst, München (C)
Institut für unvorhergesehene Zusammenarbeit with Gintersdorfer/Klaßen, Mexico-City
Institut für unvorhergesehene Zusammenarbeit, Kampnagel, Hamburg
around painting, curated by Ludwig Seyfarth, Salon#2 Kaminsky, Berlin
Meyer-Pavillon with Gintersdorfer/Klaßen, Kunstfest Weimar
Chronicle, Kunsthaus Bethanien, Berlin (C)
2018
Vier Möglichkeiten gegen eine Wand zu rennen, Regina-Pistor-Preis, Universität der Künste Berlin (S, C)
2017
Meisterschülerausstellung, UdK Berlin
2016
Was von den Fichten übrig blieb, Max Planck Institute for Human Development, Berlin
Berlin Stoneprints of the last Decade, Galeria Asp, Danzig
Win Heart, Art Center Ongoing, Tokio (S)
young positions, Galerie Pankow, Berlin
Druckgrafik, Plastik, Kunstraum Heiddorf
the lithograpg studio, Druckgraphisches Museum, Lublin
five red hats, Kaufhof, Alexanderplatz Berlin
2015
win heart, Art Center Ongoing, Tokio (S)
Publikationen
2022
Frau mit Pudel, text about my work by Diethmar Dath
Marianne-Werefkin-Preis, brochure
in between, catalogue
as you like it and who we are, Knust & Kunz editions, Munich
2020
loibl, Daniel Marzona, Berlin
Chronicle, catalogue Künstlerhaus Bethanien
2019
Pin, catalogue, Pinakothek der Moderne, Museum for Modern Art, Munich
2018
Zeichnung—feste Form?, Artikel in: grund_schule der Künste Schriftenreihe Nr. 6, Herausgeber: Athena-Verlag, grundschulekunstbildung.de
2017
Regina-Pistor-Preis, catalogue
Coming Soon …
Person responsible for content according to § 55, Para. 2 of the German Interstate Broadcasting Agreement (RStV)
Sarah Loibl, Sprengelstr.2, 13353 Berlin, Germany, 0049 17681987172
Photos were made by Thomas Bruns, Valerie Schmidt, Paula Winkler, Riccardo Malberti, Alexander Gehring, Sebastian Schobbert, Marcus Schneider, Andrea Fumagalli und Bodo Schlack.
The content and works published on this website are governed by the copyright laws of Germany. Any duplication, processing, distribution or any form of utilisation beyond the scope of copyright law shall require the prior written consent of the author or authors in question. Please contact herefor VG Bild-Kunst.
My site does contain links to external websites, the content of which is beyond our control. Consequently we cannot assume any warranties for such third party content. The respective provider or operator of such websites is always responsible for the content of linked sites.
At the time the links were inserted, the linked sites were reviewed for potential legal infractions. At the time the links were established, no illegal content was evident on these sites. However, it would be unreasonable to expect us to perform constant content checks of linked sites without concrete indications of legal infractions. If we should learn of legal infractions, we shall remove such links immediately.