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ECHOES OF NATURE - A COLOURFUL DIALOGUE
Vicky Anna Lardschneider
Orangerie Munich, Germany, 2024
Talk: Werner Buss
Performance: Stonebite Studios
Photographer: Sibbel Ludwig
In Echoes of Nature – A Colourful Dialogue, Vicky Anna Lardschneider explores art as a resonance space between humans and nature.
The exhibition investigates how natural materials, processes, and energies enter into a sensory dialogue with inner experience.
Through watercolor, ink, and self-collected rock pigments, the works reveal hidden structures and subtle movements within the natural world.
Twelve small-scale paintings function as microcosms, inviting viewers to slow down and shift their perception.
At the center of the exhibition is a large-scale work that embodies a liminal space between matter and spirit, visibility and invisibility.
A circular installation referencing a Celtic stone circle creates a meditative environment that encourages movement, reflection, and connection.
Echoes of Nature invites viewers to experience nature not as something separate, but as an extension of their own being.
Orangerie Munich, Germany, 2024
Talk: Werner Buss
Performance: Stonebite Studios
Photographer: Sibbel Ludwig
In Echoes of Nature – A Colourful Dialogue, Vicky Anna Lardschneider explores art as a resonance space between humans and nature.
The exhibition investigates how natural materials, processes, and energies enter into a sensory dialogue with inner experience.
Through watercolor, ink, and self-collected rock pigments, the works reveal hidden structures and subtle movements within the natural world.
Twelve small-scale paintings function as microcosms, inviting viewers to slow down and shift their perception.
At the center of the exhibition is a large-scale work that embodies a liminal space between matter and spirit, visibility and invisibility.
A circular installation referencing a Celtic stone circle creates a meditative environment that encourages movement, reflection, and connection.
Echoes of Nature invites viewers to experience nature not as something separate, but as an extension of their own being.
MEERESSCHUTZ
Vicky Anna Lardschneider
fors.earth, Munich, 2023
Speaker: Karin Lochte
Curation: Carola Conradt
Vicky Anna Lardschneider presented a solo exhibition at fors.earth dedicated entirely to marine conservation.
The exhibited works addressed ecological fragility through motifs such as melting ice, coral reefs, radioactivity, zinc mining, and oil spills.
The exhibition created a dialogue between art and science, bringing together environmental partners, startups, and marine biology research.
Marine biologist Karin Lochte contributed a scientific lecture, while curator Carola Conradt guided visitors through the artworks.
Following the exhibition tour, three marine-focused startups presented their approaches to ocean protection.
The exhibition framed art as a space for ecological awareness, interdisciplinary exchange, and future-oriented vision.
fors.earth, Munich, 2023
Speaker: Karin Lochte
Curation: Carola Conradt
Vicky Anna Lardschneider presented a solo exhibition at fors.earth dedicated entirely to marine conservation.
The exhibited works addressed ecological fragility through motifs such as melting ice, coral reefs, radioactivity, zinc mining, and oil spills.
The exhibition created a dialogue between art and science, bringing together environmental partners, startups, and marine biology research.
Marine biologist Karin Lochte contributed a scientific lecture, while curator Carola Conradt guided visitors through the artworks.
Following the exhibition tour, three marine-focused startups presented their approaches to ocean protection.
The exhibition framed art as a space for ecological awareness, interdisciplinary exchange, and future-oriented vision.
NATURE
Vicky Anna Lardschneider
Former barracks, Lenggries, 2022
In 2022, Vicky Anna Lardschneider participated in the group exhibition Nature at the former barracks in Lenggries.
Her installation occupied a large, enclosed space dedicated to the tension between natural wonder and human impact.
Four central works depicted elemental forces — the Moon, Salt, Water, and Air — as symbols of nature’s fundamental gifts.
Surrounding these, a series of aerial-view paintings addressed human interference: aluminum production, industrial waste, glyphosate, lithium extraction, animal farming, and oil disasters.
From above, these landscapes appear visually seductive, revealing the disturbing paradox of beauty and destruction.
The work confronts the quiet violence with which humanity treats what it receives freely from the Earth.
Former barracks, Lenggries, 2022
In 2022, Vicky Anna Lardschneider participated in the group exhibition Nature at the former barracks in Lenggries.
Her installation occupied a large, enclosed space dedicated to the tension between natural wonder and human impact.
Four central works depicted elemental forces — the Moon, Salt, Water, and Air — as symbols of nature’s fundamental gifts.
Surrounding these, a series of aerial-view paintings addressed human interference: aluminum production, industrial waste, glyphosate, lithium extraction, animal farming, and oil disasters.
From above, these landscapes appear visually seductive, revealing the disturbing paradox of beauty and destruction.
The work confronts the quiet violence with which humanity treats what it receives freely from the Earth.
WURZELN SUCHEN WASSER
Vicky Anna Lardschneider
Ubahn Galerie Bezirksausschuss Maxvorstadt, Munich, 2022
In this exhibition, Vicky Anna Lardschneider devoted her artistic focus entirely to the element of water.
While water is often approached in a sober, utilitarian way — measured, controlled, and valued primarily for its usability — the exhibition sought to reveal its deeper emotional, sensory, and existential dimensions.
Through a series of works exclusively centered on water, the artist explored how this element shapes human perception far beyond everyday awareness.
Water appears not only as a natural resource, but as a carrier of mood, memory, and inner resonance.
Its surfaces, movements, depths, and reflections evoke emotional states, awaken associations, and invite introspection.
Lardschneider’s works highlight water’s ability to shift atmosphere and consciousness — from calm and clarity to tension, depth, and transformation.
Rather than depicting water as a static subject, the exhibition approached it as a living presence, constantly in motion and in dialogue with the observer.
The exhibition invited viewers to slow down and look more closely, allowing space for subtle sensations and inner responses to emerge.
In doing so, it questioned how much of our daily experience with water remains unnoticed, despite its constant presence.
This body of work framed water as a threshold element — one that connects outer landscapes with inner states and brings us into contact with our innermost being.
Ubahn Galerie Bezirksausschuss Maxvorstadt, Munich, 2022
In this exhibition, Vicky Anna Lardschneider devoted her artistic focus entirely to the element of water.
While water is often approached in a sober, utilitarian way — measured, controlled, and valued primarily for its usability — the exhibition sought to reveal its deeper emotional, sensory, and existential dimensions.
Through a series of works exclusively centered on water, the artist explored how this element shapes human perception far beyond everyday awareness.
Water appears not only as a natural resource, but as a carrier of mood, memory, and inner resonance.
Its surfaces, movements, depths, and reflections evoke emotional states, awaken associations, and invite introspection.
Lardschneider’s works highlight water’s ability to shift atmosphere and consciousness — from calm and clarity to tension, depth, and transformation.
Rather than depicting water as a static subject, the exhibition approached it as a living presence, constantly in motion and in dialogue with the observer.
The exhibition invited viewers to slow down and look more closely, allowing space for subtle sensations and inner responses to emerge.
In doing so, it questioned how much of our daily experience with water remains unnoticed, despite its constant presence.
This body of work framed water as a threshold element — one that connects outer landscapes with inner states and brings us into contact with our innermost being.
DEIN UNTERDRUCK IN MEINER GRAUZONE
Vicky Anna Lardschneider
Geranienhaus, Schloss Nymphenburg, Munich, 2021
Together with Maria Braune.
Grayzone was a collaborative exhibition by Vicky Anna Lardschneider and Maria Braune, presented at the Geranium House of Nymphenburg Palace.
The exhibition explored transitional spaces between painting, object, and installation, allowing materials and forms to merge and dissolve traditional artistic boundaries.
Through the composition of diverse materials, Grayzone examined zones of ambiguity — spaces where intuition, responsibility, and uncertainty intersect.
The works addressed the tension between increasing environmental pressure and the often indistinct areas of human action and decision-making.
Rather than offering clear narratives or solutions, the exhibition focused on processes of perception and identification.
Viewers were invited to navigate the installations intuitively, encountering moments of discomfort, reflection, and recognition.
Within the historic setting of the Geranium House, Grayzone unfolded as a dialogue between fragility and structure, urgency and restraint.
The exhibition framed the gray areas not as places of indecision, but as necessary spaces for awareness, ethical questioning, and transformation.
Geranienhaus, Schloss Nymphenburg, Munich, 2021
Together with Maria Braune.
Grayzone was a collaborative exhibition by Vicky Anna Lardschneider and Maria Braune, presented at the Geranium House of Nymphenburg Palace.
The exhibition explored transitional spaces between painting, object, and installation, allowing materials and forms to merge and dissolve traditional artistic boundaries.
Through the composition of diverse materials, Grayzone examined zones of ambiguity — spaces where intuition, responsibility, and uncertainty intersect.
The works addressed the tension between increasing environmental pressure and the often indistinct areas of human action and decision-making.
Rather than offering clear narratives or solutions, the exhibition focused on processes of perception and identification.
Viewers were invited to navigate the installations intuitively, encountering moments of discomfort, reflection, and recognition.
Within the historic setting of the Geranium House, Grayzone unfolded as a dialogue between fragility and structure, urgency and restraint.
The exhibition framed the gray areas not as places of indecision, but as necessary spaces for awareness, ethical questioning, and transformation.
WAS MENSCHEN BERÜHRT
Vicky Anna Lardschneider
Bavarian State Ministry, Munich, 2021
Curation: Vivien Rathjen
Organizer: Paul-Klinger-Künstlersozialwerk
Performer:
In 2021, Vicky Anna Lardschneider participated in the juried group exhibition Was Menschen berührt, organized by the Paul Klinger Künstlersozialwerk e.V.
The exhibition presented works by 42 artists and was held in the public spaces of the Bavarian State Ministry for Family, Labour and Social Affairs in Munich, under the patronage of then Minister Carolina Trautner.
Lardschneider exhibited three large-scale works in the main foyer, addressing themes of environmental intervention and industrial impact through Glyphosate, Phosphate Fertilization, and Aluminum Production.
The exhibition was curated by Vivien Rathjen and extended through autumn 2021 due to strong public resonance.
The presentation within a governmental institution positioned the works within a broader societal and political context, highlighting the intersection of contemporary art, environmental responsibility, and public discourse.
Bavarian State Ministry, Munich, 2021
Curation: Vivien Rathjen
Organizer: Paul-Klinger-Künstlersozialwerk
Performer:
In 2021, Vicky Anna Lardschneider participated in the juried group exhibition Was Menschen berührt, organized by the Paul Klinger Künstlersozialwerk e.V.
The exhibition presented works by 42 artists and was held in the public spaces of the Bavarian State Ministry for Family, Labour and Social Affairs in Munich, under the patronage of then Minister Carolina Trautner.
Lardschneider exhibited three large-scale works in the main foyer, addressing themes of environmental intervention and industrial impact through Glyphosate, Phosphate Fertilization, and Aluminum Production.
The exhibition was curated by Vivien Rathjen and extended through autumn 2021 due to strong public resonance.
The presentation within a governmental institution positioned the works within a broader societal and political context, highlighting the intersection of contemporary art, environmental responsibility, and public discourse.
SPUREN UND NARBEN
Vicky Anna Lardschneider
Ubahn Galerie Bezirksausschuss Maxvorstadt, Munich, 2021
In 2021, Vicky Anna Lardschneider presented the exhibition Spuren und Narben in the U-Bahn Gallery of the District Committee Maxvorstadt at Universität Munich.
The exhibition examined the visible and invisible traces of human intervention in nature, focusing on landscapes marked by industrial exploitation and environmental violence.
Through large-scale abstract works rendered from a bird’s-eye perspective, Lardschneider depicted sites of deforestation, mining, agricultural chemicals, and resource extraction.
Inspired by aerial imagery, the works reveal a disturbing paradox: scenes of ecological devastation appear visually seductive, their aesthetic beauty drawing viewers closer before confronting them with their underlying reality.
Color functions as both attraction and disruption, inviting reflection on the mechanisms of perception and denial.
The exhibition deliberately used beauty as a strategy to address destruction, questioning how and why harmful realities are so often overlooked.
Spuren und Narben positioned abstraction as a tool for ecological awareness, bridging emotional response and critical reflection, and framed the urban exhibition space as a site of public discourse.
The exhibition received significant media attention, including coverage by Süddeutsche Zeitung, underscoring its relevance within contemporary environmental and cultural debate.
Ubahn Galerie Bezirksausschuss Maxvorstadt, Munich, 2021
In 2021, Vicky Anna Lardschneider presented the exhibition Spuren und Narben in the U-Bahn Gallery of the District Committee Maxvorstadt at Universität Munich.
The exhibition examined the visible and invisible traces of human intervention in nature, focusing on landscapes marked by industrial exploitation and environmental violence.
Through large-scale abstract works rendered from a bird’s-eye perspective, Lardschneider depicted sites of deforestation, mining, agricultural chemicals, and resource extraction.
Inspired by aerial imagery, the works reveal a disturbing paradox: scenes of ecological devastation appear visually seductive, their aesthetic beauty drawing viewers closer before confronting them with their underlying reality.
Color functions as both attraction and disruption, inviting reflection on the mechanisms of perception and denial.
The exhibition deliberately used beauty as a strategy to address destruction, questioning how and why harmful realities are so often overlooked.
Spuren und Narben positioned abstraction as a tool for ecological awareness, bridging emotional response and critical reflection, and framed the urban exhibition space as a site of public discourse.
The exhibition received significant media attention, including coverage by Süddeutsche Zeitung, underscoring its relevance within contemporary environmental and cultural debate.
LICHT AUF DIMENSIONEN
Vicky Anna Lardschneider
Kunstlabor2, MUCA Foundation, Munich, 2021
Licht auf Dimensionen was an installation developed by Vicky Anna Lardschneider for Kunstlabor2 in Munich, a former municipal health building transformed into an experimental exhibition space by MUCA.
The work investigates fundamental dimensions of existence and their interdependencies, addressing forces that shape both individual lives and humanity as a whole.
The installation is structured around four dimensions: origin as the core of being, development as evolutionary process, infrastructure as the architecture of life, and individuality as human interaction.
Circular elements represent cyclical, sustainable components such as time and universal interconnectedness, while linear structures signify finite processes like resource depletion and the exploitation of nature.
Drawings on suspended plexiglass layers form a spatial body in which material, immaterial, and institutional infrastructures intersect.
An enclosing network of words and connections expands the installation into the surrounding space, visualizing everyday systems that influence human existence.
The fourth dimension emerges through the visitor.
Through movement, perspective, and interaction, the audience activates the work, becoming part of the system it represents.
In this way, Licht auf Dimensionen transforms into a performative experience, framing sustainability as a lived, relational process rather than an abstract concept.
Kunstlabor2, MUCA Foundation, Munich, 2021
Licht auf Dimensionen was an installation developed by Vicky Anna Lardschneider for Kunstlabor2 in Munich, a former municipal health building transformed into an experimental exhibition space by MUCA.
The work investigates fundamental dimensions of existence and their interdependencies, addressing forces that shape both individual lives and humanity as a whole.
The installation is structured around four dimensions: origin as the core of being, development as evolutionary process, infrastructure as the architecture of life, and individuality as human interaction.
Circular elements represent cyclical, sustainable components such as time and universal interconnectedness, while linear structures signify finite processes like resource depletion and the exploitation of nature.
Drawings on suspended plexiglass layers form a spatial body in which material, immaterial, and institutional infrastructures intersect.
An enclosing network of words and connections expands the installation into the surrounding space, visualizing everyday systems that influence human existence.
The fourth dimension emerges through the visitor.
Through movement, perspective, and interaction, the audience activates the work, becoming part of the system it represents.
In this way, Licht auf Dimensionen transforms into a performative experience, framing sustainability as a lived, relational process rather than an abstract concept.
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