Eliza Ballesteros

via mail
or DM @eglitza

graphic design by Jannes Becherer

Duo show with JP Langer

15.01. - 18.02. 2022

opening hours
Thu/Fri 1-6PM
Sat noon - 4PM
and by appointment

Nails projectroom
Birkenstraße 61
40233 Düsseldorf

Press Release
The artists Eliza Ballesteros and JP Langer are jointly developing an installation for the glass front of the Nails Projectroom exhibition space, each juxtaposing sculptural objects and the silent movie HAMRY (2022) by JP Langer. Thematically, the works relate to underground and open-pit mining from the two artists' respective regions of departure, the Erzgebirge and the Ruhrpott.
The installation will extend over the spacious display window, which will be clay-lined from inside, leaving out the shape of a mineshaft.
Both artistic positions meet in a process of collaboration in this duo show and develop the image in the form of an installation together in an interdisciplinary approach.
An edition will be published to accompany the exhibition.

supported by Kunst- und Kulturstiftung Stadtsparkasse Düsseldorf

Eliza Ballesteros

editied by Luisa Rittershaus

published by
WIENAND Verlag Cologne
96 pages
28,0 cm x 22,0 cm
german / english

ISBN 978-3-86832-650-5

Essay written by Luisa Rittershaus
Layout design by Michael Gais

click to order online via the WIENAND online shop and read the press release (german via Monopol Magazin).

Made possible with funds from Stiftung Kunst und Kultur e. V. Bonn and NEUSTART KULTUR

Vordemberge-Gildewart Grant 2021
curated by Gertrud Peters and Assistant Curator Nantje Wilke

KIT Kunst im Tunnel
Mannesmannufer 1b
40213 Düsseldorf

Di–So 11AM - 6PM

w/ Paul Czerlitzki, Nicholas Grafia & Mikołaj Sobczak, Frieder Haller, Alesha Klein, Björn Knapp, Harkeerat Mangat, Mira Mann,
Donja Nasseri, Murat Önen, Linda Skellington and Ji Hyung Song


Portrait at KIT by Katja Illner, courtesy of Eliza Ballesteros and Katja Illner 2021


Installationshot SHABRACK

Installation shot of SHABRACK, 2021 Courtesy fiebach, minninger, Eliza Ballesteros | Photo: Martin Plüddemann

leather, fur, upholstery, wax threat, vinyl, skirting board
dimension variable

Eliza Ballesteros

solo show
galerie fiebach, minninger
venloer str. 26
50672 cologne

curated by Luisa Schlotterbeck

24th June - 28th August 2021

see installation shots by Martin Plüddemann on KUBAPARIS

WHIP I +II, 2021

Courtesy fiebach, minninger, Eliza Ballesteros  | Photo: Martin Plüddemann

smoked oak, walnut, platane, wax finish
59 x 84 x 3 cm

WHIP II (9+1 CAT), 2021
smoked oak, walnut, platane, wax finish
59 x 84 x 3 cm


Courtesy Kunsthalle Düsseldorf, Eliza Ballesteros | Photo: Katja Illner

DARE, 2021

Installation in public space
driveway marking paint, glass beads
530 x 230 cm

DARE, 2021

in collaboration with Teresa Schönherr
curated by Katharina Bruns

Kunsthalle Düsseldorf Tiefgarage
Grabbeplatz 4, 40213 Düsseldorf

04th February - 25th April 2021

Review by Julia Meyer-Brehm at Monopol Magazin Online (german)

Installation view All Corners Made To Be Leaned groupshow, Attic Bayenwerft Rhenania Cologne, 2021 | Photos: Philipp Naujoks


group show w/
Anna Budniewski & Michael Dikta , Sarah Doolan, Till Gerhard Hausotte, Anna Hostek, HULFE, Leander Kreißl, knuddi2000,
Arthur Löwen, Katerina Matsagkos, Philipp Naujoks, Phung Tien Phan, Sara Rossi, Anna Reutinger, Katharina Schilling,
Georg Thanner, Lissy Willberg

Invited by Eliza Ballesteros
Text by Jana Dormann

Attic Bayenwerft
Kunsthaus Rhenania
Bayenstr. 28,
50678 Cologne

12.03 - 18.04.2021

see the full documentation on
OFLUXO and Journal.fyi

TAUSEND JAHRE SCHEISSE (Jesters End), 2021 | Photos: Philipp Naujoks, courtesy Eliza Ballesteros
vinyl, latex, wax cord, chrome bells
70 x 50 x 30 cm


Photo: Ludwig Kuffer 2021

TRUISMS OF 2020 - a homage
50 m LED Panel
moving text

TRANSIT – vorübergehende Literatur am Ebertplatz

TRUISMS OF 2020 - a homage

previously unpublished text material installed in public space
9th April - 14th May 2021
at Ebertplatz, Cologne

more information and the list of participants:
TRANSIT Ebertplatz Köln (in german)


goat leather, antique brass bells, linen cloth, wood display upholstered with office carpet, artist made aluminium frame, carpet cut
130 x 95 cm

Photo courtesy of ORBIT


Messeturm, 36th floor
Frankfurt am Main
16.10. - 29.11.2020

Invited by
Arthur Löwen & Béla Feldberg

groupshow with:
Aline Bouvy, Leon Eisermann, Neven Allgeier, Inga Danysz, Martin Kozlowski, Yana Tsegay, Deniz Cemil, Jiwon Lee, Immanuel Birkert, Sami Schlichting, Martin Wenzel, Stefan Müller, Koen Delaere, Laura Schawelka, Felix Kultau, Dan Kwon, Rudi Ninov, Sichtbeton (Martin Kähler/Max Huckle), Miriam Schmitz

Read the story behind the show and see some installation shots at
SCHIRNMAG (german)
and the full documentation at
Review by Naomi Rado at PASSE-AVANT (german)


birch wood, pigment, oil
250 x 130 x 40 cm

As part of the solo show DOMESTIC HECK, installation view at Offspace Moltkereiwerkstatt Cologne, 2020

Photo by Hans Diernberger

DOMESTIC_HECK_installation View

Installation View DOMESTIC HECK, 2020

Photo by Hans Diernberger


Detail CLAMPS, 2020
wood, oak stain, oil, iron, shellac
116 x 23 x 7 cm

Photo by Hans Diernberger

Eliza Ballesteros

Offspace Moltkerei Werkstatt Cologne

curated by Alexander Pütz

see the full documentation and text featured on
Daily Lazy


THE JESTER X (2020) Installation view and Detail, Kunstsammlung NRW K21
Photo: Copyright Eliza Ballesteros and AR


Absolvent_innen der Kunstakademie Düsseldorf 2019
07. 02. - 08.03. 2020
Kunstsammlung NRW K21

Installation view FEAT TO BOOT groupshow, Ortloff Leipzig


JP Langer
Sunny Pudert
Valeria Schneider

text contribution by Kea Bolenz

14. - 17. 11. 2019
Ortloff Leipzig

read the review by Julius Pristauz at

see the full documentation featured on

THE JESTER X (fragmented), 2019

I Caught A Glimpse Of You On The Escalator Stairs

w/ Elisaveta Braslavskaja, Martin Maeller , Stephen Suckale, Alexander Tillegreen, Miriam Steinmacher
Invited by: Arthur Löwen & Béla Feldberg
11. - 13. 10. 2019
Basis Frankfurt

see full documentation featured on KubaParis


Graduation Show
Kunstakademie Düsseldorf

In a scattered truth,
in a blinding blur,
the inversion happened.
Something silent that has been heralded;
Who has become the 𝘱𝘰𝘵𝘦𝘯𝘵𝘢𝘵𝘦 ?

THE JESTER X (2019) is a floor installation of 21 diamond shaped vinyl cuts, that form a black harlequin pattern coming out of the studio space spreading into the hallway of the building. There are three baby blue bells, ridiculously upscaled, sitting on three diamond shaped dollies, which corners are protected by a aluminium laser cut cowboy ornament. The bells have semi -glossy orange glazing that slimes down on them. Normally heralding something that will arrive, they remain silent announcing the inversion of the Jester; who became the superior in the post-factic age. They function like a rumor in the corridor, referring to the echo that buzzes in the most public space of the building: the long hallway and its endless symmetric architecture.

Floor installation of 21 diamond shaped vinyl cuts, semi- glazed ceramic bells, dollies with laser cut aluminium corner fittings, dimension variable

please click on the pictures below


permanent installation at the campus area of
Heinrich-Heine Universität, Düsseldorf

as part of the CAMPUS BEAUTIFUL Project 25.04.2019 – 23.05.2019 accompanied by a publication

Young fortune of anger

Freedom is the key concept and the necessary condition for criticism and new ideas. Only those who can move independently - whether real or mental - have the ability to set creative process in motion. Thus, one can freely, in space and time, still fill emptiness with content and not think like others but give expression to one's own. A campus - like a utopia - can in this way be a protected space, free from external, work-determining structures. Students are offered a space in which they can learn, communicate, develop ideas and emancipate themselves. But what happens when this free space becomes smaller and smaller? Then one should be outraged!

Eliza Ballestero's inscription young and raging covers the brick wall of the Georg Penker area at Heinrich Heine University. Using a high-pressure cleaner, the artist uses the cleaning process to engrave the weather-darkened outdoor area by revealing its original colours once more. Formally – in the sense of simple, handwritten graffiti such as ''sous le pavés, la plage“ of the Situationist International – and content wise – as a call to break out of everyday structures – the exhibition brings back the memory of student revolts and updates current political commitment. On the one hand, through the artistic process of purification, which removes the grass which has grown there over time, symbolically bringing back the political awakening of the late 1960s in Europe into context. On the other hand, the use of simple, quickly hand-written lettering is to be understood as an awakening statement of protest and anger. For some time, until the weather and the environment have regained control of the wall, the lettering can be read. Afterwards someone else will have to speak up again.

Reemergence and disappearance, a cycle that reminds society of the need to renew and update ideas: Time, as an essential part of Eliza Ballesteros's slowly fading work reminds us not to devote ourselves passively to the spectacle but to break out of it actively and critically and to not take constructs of society for granted: "The thought of eternity is the coarsest thing a human being can make of his actions. [...] The situationist challenge to the passing of emotions and time would be the wager to win again and again with change [...]. Young and ragin is likewise as temporary, a reference to how little one can rely on the revolution of those who came before us. More so, it is about utilising the moment of youth and its rage in order to rethink the given anew.

Text by Hannah Rhein
Translation by Simon Pinney

1 Vgl. Biene Baumeister, Zwi Negator: Situationistsiche Revolutionstheorie. Eine Aneignung Stuttgart 2007
2 Vgl. Guy Debord: Die Gesellschaft des Spektakels, Berlin 1996 [La Société du Spectacle, 1967].
3 Guy Debord: Rapport zur Konstruktion von Situationen, Edition Nautilus Flugschrift No. 23, Hamburg, 1980

please click on the pictures below

Photos by Ludwig Kuffer

RECKON, 2018

ung5, Cologne


please click on the pictures below

ceramic objects, hand-forged oxidized steel nails, felt cowboy hat, old Berlin plinth


glauben, meinen, denken, berechnen – von der Idee zum Wissen; aus der Fiktion in die Realität; vom Material zum Objekt: RECKON.
Material hat Eigenschaften, die Formen bestimmen, Objekte definieren; ihnen Struktur und Ausdruck verleihen. Erst durch den Einsatz von Hand und Maschine kann aus dem Ersten etwas Zweites werden, das die Betrachterin als solches zu erkennen weiß.
Doch irritiert die Relation: Groß ist, was doch klein sein sollte; still ist, was ankündigt. Die Fenster ermöglichen nur eine Perspektive auf Zimmer, die betreten werden wollen, aber Vorbeilaufende müssen draußen bleiben und können sich nur in der Fiktion im Kunstraum bewegen und seine Dimension aus anderen Winkeln prüfen. So muss der Gedanke die Schwelle übertreten, die Tür zum nächsten Raum öffnen und so das eine zum anderen bringen. Das Verbindende wird zentral – auch wenn die Kette aus einzelnen Gliedern besteht, ist sie erst in der Zusammenkunft der Einzelteile vollständig und als solche zu definieren. Doch was liegt dazwischen? Was muss so dringlich überwunden werden?
Eliza Ballesteros setzt ihre bildnerischen Objekte ins Bild; sie nutzt die Fenster des ≈5 als Rahmen und macht ihre Arbeiten zueinander erfahrbar. Dieses wundersame Hinterzimmer in der fließenden U-Bahn-Station irritiert und hält auf; doch bloß so kann sich ein Gedanke ins Abseitige der Gewohnheit verlaufen. Wir stoppen unsere Bewegung und ruhen, nutzen die Möglichkeit des Aufgehaltenwordenseins und setzen uns mit dem, was vor uns steht, auseinander. Und was sehen wir? Einen abgelegten Cowboyhut, der in seiner Materialität seinem patriarchalen Träger zu wiedersprechen scheint; Glöckchen, deren Klang verstummt und nicht mehr zu seinem ursprünglichen Besitzer gehören können, zu groß sind sie für den Narren geworden; der Harlekin muss nun ein Anderer sein. Aber wer ist der Übermächtige?

Geht es denn darum, das Ungeklärte zu lösen und das Trennende zu entfernen? So zeigt uns doch erst die Brücke zwischen dem Uneinen, wie eine Distanz negiert werden kann;
denn „jede Trennung ist eine Verbindung“¹. Eliza Ballesteros findet ein Bild für Simone Weils Metapher der durch Wände getrennten und doch über sie kommunizierenden Gefangenen und macht so auf das Dazwischen aufmerksam, indem hier eine Kette in ungewöhnlicher Größe und Stärke inszeniert wird.

Text von Hannah Rhein


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