Gretta Louw, In this organism, singular and plural, digital embroidery, digital print on linen and wax, 61 x 61 cm, 2021
Gretta Louw, In this organism, singular and plural, 6 variations, digital embroidery, digital print on linen and wax, 61 x 61 cm, 2021


The art of Gretta Louw deals with the global impacts of advancing technologies, focusing particularly on environmental issues on the one hand and a feminist perspective on the other.

The special edition presented by DAM Projects developed out of the “The Medusa Banners” series. These pieces are large-format embroideries on digital prints on linen: they draw from underwater marine wildlife—particularly jellyfish, one of the oldest life forms on Earth—and machine learning, consciously blurring the line between the recognisable ’natural’ and the uncanny. The works entice the viewer into a different chronological lens, one that ripples between the hyperspeed of digitalisation and the inescapable pull of evolutionary time that precludes, encapsulates, and outlasts us all.

One of her larger banners is titled: “I have more in commons with Medusa than I’d care to admit”, which might stand exemplary for the whole. You can find the series here:

As a first introduction we are happy to offer you a small series of 6 slightly different artworks from this year.

In this organism, singular and plural, 2021

Edition of 6 | digital embroidery, digital print, linen, wax | 61 x 61 cm each

The fist three pieces each 600 €, the rest of the edition each 800 €.

Please choose your favourite one and contact us directly at DAM

Gretta Louw lives and works in Germany and Australia.

BACHELOR OF ARTS HONOURS, 2002, University of Western Australia, Perth, Australia

Try Softer, Kunzt 66, Munich, Germany
Hope on the Edge, Yvonne Hohner Contemporary, curated by Anabel Roque Rodriguez, Karlsruhe, Germany
The Commons, public art commission, Munich, Germany
Einen Riesigen Schwarm, Digital Art Space, curated by Karin Wimmer, Munich, Germany
SWARM, Incinerator Gallery, Melbourne, Australia
In Bed With the Artist (with Igor Štromajer), commissioned performance, Stadtgalerie Mannheim, Mannheim, Germany
Me Vs Internet, Stadtgalerie Mannheim, curated by Benedikt Stegmayer, Mannheim, Germany
Representation and Reality, AVU Gallery, curated by Benedikt Stegmayer, Prague, Czech Republic
Weiss auf Weiss, TEN Gallery, curated by Deborah Musso, Mannheim, Germany
Controlling_Connectivity, Art Laboratory Berlin, curated by Regine Rapp and Christian de Lutz, Berlin, Germany

For Now, Villa Grisebach, in cooperation with Office Impart, Düsseldorf, Germany
Ethereal Signifiers, Future Gallery, curated by Mike Ruiz, Berlin, Germany
The Now. The New. The Next, FAMTAIN & XCircle, curated by Annette Doms, Munich, Germany
Glimmer Shrine, Tang Contemporary, curated by Charlotte Lin, Hong Kong, Hong Kong
Going Baroque, LA Projects, curated by Jorg Ludwig, Landshut, Germany
Make Us Visible, Monacensia and public space, curated by XR Ensemble, Munich, Germany
The Future is Decentralized, curated by and Marina Bauernfeind, Musee Dezentral and Museum Ulm, Ulm, Germany
True Colour / Real World, Watermans Art Centre, curated by Klio Krajewska, London, UK
Digital Combines, bitforms Gallery, curated by Claudia Hart, San Francisco, USA
Digital Art Im Sony Center, Sony Center, curated by DAM Projects, Berlin, Germany
Digital Combines, Honor Fraser Gallery, curated by Claudia Hart, Los Angeles, USA
Automatic Dreams, curated by Florian Kuhlmann, Galerie Wundersee, Düsseldorf, Germany
Raumgreifen, Werksviertelmitte Kunst, curated by Dr Martina Taubenberger and Angela Stauber, Munich, Germany
Thinking Like an Octopus, or: Tentacular Grasp, curated by Julia Thiemann, Rudolf Scharpf Galerie Wilhelm-Hack-Museum, Ludwigshafen, Germany
ZECHE, New Now – Festival für Digitale Künste, Zollverein, Essen, Germany
REVERSO: Wro Biennale, Wro Art Center, Warclaw, Poland
GoldenNFT, with Peng! Kollektiv, Ludwig Forum, Aachen, Germany
The Archive to Come, Telematic Media Arts, curated by Carla Gannis and Clark Buckner, San Francisco, USA
MUTEK, Festival of Digital Creativity, Presentation curated by Unpainted, Montreal, Canada
Kunst_Stoff, Kunstverein Murnau, curated by Franziska Wolff, Murnau, Germany
Kunst Netz Werk, DG Kunstraum, curated by Anabel Roque Rodriguez, Germany
Children of Prometheus, NeMe Arts Center, curated by Marc Garrett, Limassol, Cyprus
Radical Immersions, Watermans Art Centre, curated by Klio Krajewska, London, UK
Meine Drei Lyrischen Ichs, Kunstverein München, curated by Annalena Roters, Munich, Germany
Screening Artists: Video Art + Digital Media, Adelaide Festival Centre, Adelaide, Australia
Iconicity, Paul W. Zuccaire Gallery, curated by Gretta Louw, Stony Brook, USA
Mirawarri Art Cart, National Portrait Gallery, curated by April Philipps, Canberra, Australia
Window Works, Schau Fenster, curated by Various & Gould, Berlin, Gemany
Mirawarri Art Cart, National Portrait Gallery, curated by April Philipps, Canberra, Australia
Claiming Needles, peer to space, curated by Peggy Schoenegge and Darja Zub, Germany
Networking the Unseen, Villa Merkel, curated by Gretta Louw, Esslingen am Neckar, Germany
Festival Internacional de Videoarte, FIVA, Buenos Aires, Argentina
Group Therapy, UNSW Galleries, curated by Vanessa Bartlett, Sydney, Australia
Bilder der Überwachung, Stadtmuseum München, curated by Rudolf Schuetle, Munich, Germany
re:ciety, ARTMUC, curated by Benjamin Jantzen, Munich, Germany
Sense of Space and Time, ARS Electronica, POSTCITY Campus, Linz, Austria
Selfciety, whiteBOX, curated by Benjamin Jantzen, Munich, Germany, Wrong Biennale, curated by Juha van Ingen and Jarkko Räsänen, online
Monsters of the Machine, LABoral, Gijón, Spainien
Networking the Unseen, Furtherfield Gallery, London, UK
NARGIFSUS, Transfer Gallery, New York City, USA
LAB 3.0, Unpainted Digital Art Fair, München, Deutschland
Maintenance Mode, Public Space One, Iowa, USA
1984, Papierfabrik, Dachau, Deutschland
Homo Faber – ARTour Biennale, Centre de la Gravure et de l’image Imprimée, La Louviere, Belgien
Jiggling Golems, Goethe Institute, Athen, Griechenland
Radiance, FORM Gallery, Perth, Australien
Everybody Lies (On the internet), Pixxelpoint Festival, City Gallery, Nova Gorica, Slovenien
Net Work, PLATFORM Gastatelier, München, Deutschland
Representation Vs Reality, AVU Gallery, Prague, Tschechien
Me Vs Internet (solo exhibition), Stadtgalerie Mannheim, Deustchland
Deltabeben, Kunstverein Ludwigshafen, Deustchland
Bitrates – GIFbites, Dar-ol-Hokoomeh Project at Shiraz Artist House, Shiraz, Iran
Hybrids, Stadtgalerie Mannheim, Deustchland
Weiss auf Weiss (solo exhibition), TEN Gallery, Mannheim, Deutschland
On Off Moments, Grimmuseum, Berlin, Deustchland
Moving the Still, Art Basel Miami Beach, Miami, USA
Video Art For All, Fundação Oriente, Macau
Controlling_Connectivity (solo exhibition), Art Laboratory, Berlin, Deustchland
OK. Video Flesh, Galeri Nasional Indonesia, Jakarta, Indonesien

Artist in Residence, Kloster Frauenzell, Bavaria, Germany
Preis der Curt Wills Stiftung, KünstlerIn des Jahres
Lumen Prize Shortlist, Moving Image Category
Deutscher Künstlerbund Neustart Kultur Stipendium
Curt Wills Stiftung Project Grant
International Culture Projects Stipendium, Culture Department of Munich, Germany
Artist in Residence, Otra Vox, Los Angeles, USA
Öffentlichkeiten, Culture Department of Munich Grant, Germany
Australia Council for the Arts, Career Development Grant
Visual Arts Stipendium, Culture Department of Munich, Germany
Artist in residence, MozFest; a collaboration between Mozilla Foundation, Tate, and V&A, London
Short-listed for the Lumen Prize Bahnwärter Scholarship for Visual Arts, Esslingen am Neckar, Germany
Artist in Residence, DADAA, Perth, Australia
Long-listed for the John Fries Award 2016
Nominiert für den Transnumeriques Award
PLATFORM München Stipendium und Gastatelier Wohnsitz, München, Deutschland
Heinrich Vetter Preis der Stadt Mannheim
Finalistin der OK.Video Art Preis
Karin Abt-Straubinger Stiftung Projektförderung

“Frankenstein Reanimated: Creation and Technology in the 21st Century”, Marc Garrett and Yiannis Colakides (Ed), Torque Editions, London, ISBN 978-0-9932487-6-4
“Gretta Louw: Networks, embroidery and new narratives”, Tabitha Nagy, RE: Magazine, 18.04.2022
“The Hybrid Art of Claudia Hart”, Katie Peyton Hoftstadter, Right Click Save, 07.02.2022
“OK Computer – Florian Kuhlmann, Gretta Louw, Sebastian Schmieg: AUTOMATIC DREAMS”, Büro für kunstbezogene Rezeptionsästhetik in Düsseldorf,, 15.01.2022
“Denken wie ein Oktopus, oder: Tentakuläres Begreifen”, Julia Katharina Thiemann (Ed), Distanz Verlag, Wilhelm Hack Museum, Ludwigshafen, ISBN: 978-3-95476-442-6
“Scharpf-Galerie ermutigt zum ‘Denken wie ein Oktopus’”, Christel Heybrock, Mannheimer Morgen, 5.10.2021
“Das Kollektiv Peng will in kurzer Zeit viel Geld machen”, Harry Nutt, Berliner Zeitung, 12.10.2021
“Peng-Kollektiv: Mit Kryptokapital Grenzen hacken”, Anna Biselli, Netzpolitik, 8.10.2021
“The Archive to Come”, Charlotte Kent, The Brooklyn Rail, Dec 20 – Jan 21
“Dialog auf Distanz”, DGK Dr Walter Zahner and Benita Meissner, Kunstverlag Josef Fink, ISBN 978-3-95976-321-9
“A Short History of Self- Represenation in Digital Art”, Tina Sauerlaender, International Journal for Digital Art History, 2020-21, Volume 5
“Urban Poetics”, Ruth Catlow, The Urban Activist, 28.09.2020
“The Commons: Plakat-Ausstellung entlang der Isar”, Cora Wucherer, Süddeutsche Zeitung, 20.07.2020 “Ursula Stroebele zu zeitgenoessischer Kunst und kuenstlicher Intelligenz – Gretta Louw”, Ursula Stroebele, ZI Spotlight – Zentralinstitut fuer Kunstgeschichte, 16.09.2020
“Parks Statt Parkplaetze”, Cora Wucherer, Süddeutsche Zeitung, 20.07.2020
“VECTOR Munich”, Vector Artist Journal Issue 9, Birthe Blauth (Guest Ed), Peter Gregorio (Managing Ed), Vector Productions Inc, New York, USA
“Gretta Louw – Einen Riesigen Schwarm”, Aviso: Magazin für Kunst und Wissenschaft in Bayern, March 2019 Edition
“La guida di Motherboard al morphing algoritmico”, Filippo Lorenzin, Motherboard (Italy), https://
“Das Unsichtbare Vernetzen”, Heinz Schütz, KUNSTFORUM International 252, Feb – March 2018 2017
“The Practice of Art and Science”, Gerfried Stocker and Andreas J. Hirsch (Eds), Ars Electronica & European Digital Art and Science Network, Hate Cantz Verlag, Berlin, Germany, ISBN 978-3-7757-4341-9
“No Secrets! Bilder der Überwachung: Reiz und Gefahr digitaler Selbstüberwachung”, Rudolf Scheutle and Dr. Sabine Adler (Eds), Münchner Stadtmuseum and Eres Stiftung, Munich, 2017, ISBN 978-3-00-056058-3
“Selfciety: Selbstdarstellung und Selbstwahrnehmung im digitalen Zeitalter”, exhibition catalogue, Benjamin Jantzen (Ed), whiteBOX Galerie, Munich, Germany
“ARTMUC”, art fair catalogue, Intoxicated Demons GmbH (Ed), Munich, Germany
“Digital Colonialism and the Marginalization of Australia’s Indigenous Peoples”, Christopher Snow Hopkins, Hyperallergic, 8.8.2016
“Networking the unseen at Furtherfield Gallery reviewed”, Barnaby Lewer, AQNB Magazine, 17.8.2016 “Another Future for Aboriginal Digital Art”, Amit S. Rai, Meta Mute Magazine, 28.07.2016
“Mediating Beach. A Comment On “Networking the Unseen” Exhibition”, Filippo Lorenzin, Digicult
“Unnoticed Art”, Festivalkatalog, Frans van Lent and Maria Martens (Eds), Jap Sam Books, Dordrecht, Netherlands, ISBN 978-90-808675-0-5
“More Than 50 GIF Artists Take On Selfie Culture”, Benoit Palop, Vice, 19.03.2016
“The Flaws in Iconic Paintings Get Exposed in ‘Google Art on Canvas’”, DJ Pangburn, Vice, 3.04.2016
“Gefangen im weltweiten Netz”, Bärbel Schäfer, Süddeutsche Zeitung, 23.08.2015
“The Internet as Theater”, Kyle Chayka, LEAP: International Art Magazine of Contemporary China, 2015 July/Aug Edition
“Stadtgalerie Mannheim 2011 – 2015”, Benedikt Stegmayer (Ed), Einraumhaus Verlag, Mannheim, Deutschland, ISBN 978-3-944128-50-4
“Deltabeben – Regionale 2014”, Ausstellungskatalog, Wilhelm-Hack-Museum und Kunstverein Ludwigshafen (Ed.), Verlag für zeitgenössische Kunst und Theorie, Ludwigshafen, Germany, ISBN 978-3-944295-08-4
“Mannheim – Solothurn”, Ausstellungskatalog, Heinrich Gartentor (Ed), Kunstverein Solothurn, Solothurn, Switzerland, ISBN 978-3-9524225-0-2
“Relational Technical Interposition”, Luke Munn, EyeContact, 20.05.2013
“BOOK – ART OBJECT”, Ausstellungskatalog, Nikola Vukanovic (Ed), Narodna Biblioteka Srbije (National Library of Serbia), Belgrade, Serbia
“Trapped to Reveal – On webcam mediate communication and collaboration”, Annie Abrahams, Journal of Artistic Research, Issue 2, 2012, England
“Emergency INDEX 2011”, Ugly Duckling Presse, New York, USA, ISBN 978-1-937027-07-0
“Performance, Public, and Online Presence: Gretta Louw’s Controlling_Connectivity”, Orit Gat, Rhizome, 18.10.2011
“The Glasshouse: In Retrospective”, Lital Dotan and Eyal Perry (Ed), The Glasshouse, Tel Aviv, Israel, ISBN 978-965-91798-0-0
“OK, Computer Performance”, Valentina Tanni, Artribune Magazine #3, Italy

A Software for Feeling, DAM Projects Berlin, June 3 – July 15, 2023