Deborah Schamoni

Opening Saturday 16.05., 2–6 pm


How glass distorts, how glass warps, how glass obscures, how glass is used to construct in the service of modernity.

The edition is named after the comedy/drama Playtime (1967) by Jacques Tati.

Playtime is a movie about glass.

Even though it is made in 1967 it predicts a future which seems very familiar 59 years after it was made.

A life through glass.Silicon is the defining material of our current age, but no one can argue that its currentmanifestation in glass is far more defining than its manifestation in computer chips.

You are not only reading this text through glass.

Nearly all of our existence, social life, work life, and private life is mediated through glass. And because you are reading this text via a glass surface, you’re alreadyexperiencing several layers of abstractions.

You are watching this through a glass screen, possibly even through another piece of glass that is used as a screen protector. 

PlayTime is a limited edition of ten vases, conceived in close collaboration with Deborah Schamoni. This presentation takes shape within the convivial and collective framework of Various Others, a format grounded in hospitality and dialogue. 

Katharina Ruhm (Berlin, 1991) works at the intersection of everyday object and sculpture. Central to her work is an understanding of material and shape as permeable, fragile and in constant transformation.Rooted in material research and experimental set-ups, Ruhm develops modular negative forms that structure processes without imposing fixed outcomes. Within these open frameworks, materials with amorphous chemical compositions unfold their own agency: glass solidifies with delay, porcelain bears fractures and traces of memory, wax melts, flows and gives way. Material behaviour is not disciplined, but allowed to emerge. This practice negotiates questions of control and responsibility.
By relinquishing assertion, design becomes an attitude of responding rather than mastering. The works move between functional suggestion and sculptural autonomy, pointing to fragile bodies as a social reality. Design thus becomes a gentle, authentic force — one that does not control, but enables.