Wäsche En Plein Air

Laundry 'En Plein Air'

Laundry 'En Plein Air'

STREETWARE saved item En Plein Air at the 48 hours Neukölln, forum for artistic projects from all sectors of the Berlin art scene. 
On the 19th and 20th of June 2021 | Installation featuring 48 laundry racks | Körnerpark Berlin-Neukölln
all photos © Paolo Gallo

Over the course of two days during the art festival 48 Stunden Neuköllnthe STREETWARE saved item team transformed itself into true plein air painters.As location and motif for our painting sessions, we chose the magnificent landscapes of the Körnerpark in Neukölln.

Alice Fassina rings in the big wash!

On the early hours of a Saturday, on the 19th of June, we set up our unique easels in front of the Galerie im Körnerpark and began to paint using some very unusual colours: Our ‘saved items’ – clothes saved by our own team – were hanging over 48 laundry racks that were collected from the streets of Berlin or kindly donated by people from the community: The colour palette we could choose from was made up entirely of the wardrobes of Neukölln's inhabitants and came together to form a neo-impressionist tableau. 

The sculptural intervention 'En Plein Air' performed different roles:

A piece of art:
The laundry flowing in the open air created a distinctive contrast to the architectural design of the gallery in the Orangery and the overall look of the park. The domestic activity of laundry-making now took place in a neo—baroque green space, playfully experimenting both with social etiquette and washing instructions.

A participative installation:
Everyone was encouraged to take pieces of clothing home with them, contribute items from their own wardrobes or exchange garments for one another. During the two days, the installation continuously assumed new unexpected and unpredictable colours and shapes.

A cluster of a circular exchange of ideas:
Our community of ragpickers provided an open space to explore questions of identity and sociality, consumerism and modes of fashion production. The participating audience confirmed once again that not only the need for clothing but the joy of dressing up is something that unites us all, regardless of age, gender or language.

An unusual experience:  The most curious participants booked a STREET SHOPPING tour with us and got to experience first-hand how much fun a ragpicker has at work. As we cruised through the neighbourhood, saving discarded clothing, we contemplated the impact of fashion and the global textile industry on our lives and the environment. No tour ever ended without textile trophies on mobile clothes racks and many a garment already found a new owner during our city strolls.

The last STREET SHOPPING tour was led by Cryptida furry fairy-being: an entity without gender, she/he/it went searching for human 'i-thems', exploring them on his/her own body.

On Sunday evening, 20th of June, a concert by the event series 'Sommer im Park' accompanied the dismantling of our installation and we left the baroque park with the Citizen's new clothes, brimming with memories of interesting conversations and moving encounters.

We would like to thank all STREETWARE team members and friends who made 'En Plein Air' possible at a scorching 36 degrees:

 Alice Fassina | Hatim Alyafi | Céline Iffli-Naumann | Jan Markowsky | Stella Cristofolini | Lina Tegtmeyer | Aïcha Abbadi | Andreas Herbst | KDindi | Paolo Gallo | Daniela Sant | Jule Kox | Anneta Pap | Therry Konrath | Marie Lou Honert | Chiara Radina |

And one more thing: The journalist Hanna Komornitzyk  has written in art-in-berlin- about STREETWARE saved item En Plein Air at 48 hours Neukölln

En Plein Air' at the art festival '48 hours Neukölln ' was supported by the Creative Matterz Fund


CMP – colonial matrix of power

CMP – colonial matrix of power

CMP – the colonial matrix of power

Sculpture in progress | second hand dress | made-in labels
2021 | idea & concept: barbara caveng | realisation: Céline Iffli-Naumann
installation: Alice Fassina | Céline Iffli-Naumann | Lina Tegtmeyer
showcase U7 Karl Marx Straße until July 31, 2021
©Alice Fassina



Greetings from Uganda

a letter from barbara caveng

100% silk, a flowing floral summer dress - only 50 cents and it's mine. In converted currency, of course. At Kalerwe market on the outskirts of Kampala, I pay two thousand Ugandan shillings. The trader laughs, then kisses the banknote. This,he euphorically announces to the crowd gathered around a pile of clothes, is the first earning of the day.After all, it is already 2.30 pm. I make my way to the centre of the market and, squeezing through the crowds of people, quickly settle on three T-shirts:

A light green Adidas shirt, a shirt that says 'Straight Outta Kindergarten' and another one, advertising for 'SeCla Gerüstbau' in embroidered lettering, including a German mobile phone number. The construction company's lettering stretches white on black across the entire back of the shirt. The seller insists that the Adidas shirt is worth 8000 shillings, i.e. 2 €, the other two change hands for 1.5 € each.

Made in Bulgaria, made in China, made in Honduras, made in Turkey.

Second-hand clothing gushes like a stream of lava over the city and surrounding countryside. Sellers queue up in front of somewhat inconspicuous looking warehouses, stacked to the top with 45 kg bales of clothing, waiting to receive their goods: 380 pieces each of women's outerwear, vacuum-packed, in a plastic bag.

They guarantee survival.

SecondHand Ware  | Kampala 2021

Imported from the US, Japan and Europe.


Since 2017, the government has been threatening to ban the import of second-hand clothing and has increased import duties. The 'Buy Uganda Build Uganda' campaign is designed to strengthen the local textile economy, the manufacturing sector as well as small and medium-sized enterprises. Its focus is on sustainability. Nevertheless, 95% of cotton continues to be shipped abroad. 'The quality of the second-hand products is better than what we can currently produce', explains the wholesaler in front of his vacuum-packed clothing castle, 'we can't even afford to think about quality'. 'The quality of the second-hand products is better than what we can currently produce', explains the wholesaler in front of his vacuum-packed clothing castle, 'we can't even afford to think about quality'.

This is a statement those that sell and those that buy unanimously agree on.

As of 8 June, Uganda has been in its second lockdown. It's been 42 days. The pandemic poses a twofold threat to people's lives: death from a Corona infection combined with rapidly deteriorating living conditions – where hunger and poverty eventually join forces.

When doing the laundry,a woman tells me that, she worries about how her family is actually going to survive..

Doing the laundry here means washing by hand. Electricity is not always available and certainly never a given. The second-hand clothes have been laid out to dry on the lawn.

The lives of the people in Bangladesh, Vietnam, China or elsewhere on this planet, who are sewing around the clock to guarantee the continuous supply of fast fashion and the lives of those – for example in Uganda – who wear the shed-off clothing of European consumers who conveniently order them in online shops only to get rid of them again, are put at risk – due to global economic interests and thoughtless consumers.

The nation’s tailors are sitting at their pedal-powered sewing machines made by Singer or are working in the dim light of their rooms. The machine is a real beauty: Black with golden lettering and curved ornaments – an inheritance of British colonialism: the colonial past has seamlessly carried over into our postcolonial modern society. The second-hand clothes flooding Uganda and their resulting socioeconomic consequences damage the country and its local textile industry and manufacturers – which, without electricity, will never be able to compete with the international textile industry.

Mpigi and Kampala, Uganda | 06.29.2021

barbara caveng is currently - June 7 until July 18 - in Uganda as a participant in the ifa 'artist contacts' programme. Her work encompasses the trade of second-hand textiles and the practice of textile care, as well as the production of clothing by local tailors and designers.

In Lumpen für die Zukunft

In Lumpen für die Zukunft

In Lumpen für die Zukunft

Die Lumensammler:innen von STREETWARE in guter Gesellschaft der Karnevalist:innen für die Zukunft auf der Tour durch Neukölln. Am Richardplatz laufen Franziska Welp und Jan Markowsky vorne weg.
alle Fotos ©Till Rimmele

Windböen, Regen, Kälte: So hat der Umzug für den “Karneval für die Zukunft”, organisiert von Artistania e.V., am 12. Juni 2021 angefangen.
Beweise für einen Klimawandel? Vielleicht…

Alice Fassina berichtet aus der Sicht der  Lumpensammler:in.

Das Thema Umweltschutz wurde von STREETWARE und vielen anderen Berliner Gruppen und Akteuren auf  kreative Weise verteidigt. Bunt und laut sind wir durch Neukölln marschiert um mit Musik, Performances, in Kostümen und mit Wagen gemeinsam unser Bewusstsein für Umweltfragen zu fördern. Wir haben bewiesen, dass diese Auseinandersetzung nicht immer ernst und anstrengend sein muss, sondern dass es auch Spaß machen kann! Falls ihr dabei wart – konntet ihr unserem ‘clothes horse’/’Kleider-Pferd’ widerstehen? Es brachte Jung und Alt zum Lächeln! Oder habt ihr uns als farbige Wirbel beim Tanzen gesehen? Haben eure Hüften gezuckt und eure Füße gewippt?

Wir haben die Figur der Lumpensammler:innen neu erfunden: Schicht um Schicht von der Straße geretteter Kleidung trugen wir auf unseren Körpern präsentoerten sie als als fliegende Händler:innen  den Zuschauer:innen . Die feine Grenze zwischen unsere Figuren und einem Menschen, der in der Realität gezwungen ist, zu wandern, von der Straße zu sammeln und auf der Straße zu schlafen, deutete einer unserer sechs fahrbaren Wäscheständer an: Es hingen keine Kleidungsstücke an seinen Leinen, sondern es lag eine Matratze darauf.

Dank an die Lumpensammler:innen:

Alice Fassina | Céline Iffli-Naumann | Jan Markowsky | Franceska Welp | Daniel Sant | Ines Tentscher und  die Schüler:innen der Willkommensklasse von  Sakine Akguel der Otto-Hahn Schule Berlin -Neukölln, die mit uns gelaufen sind.

Weitere Infos zum Karneval für die Zukunft >

Spiel und Ordnung

Play and Order

Aïcha Abbadi

CW 18-20

Play and Order


You told me that you make hats.
Peaked caps.

And how long have you been doing this?
3 years.

Did you once have longer hair?

And since when are they not as long anymore?
Since 3 years. (laughs.)

Aïcha Abbadi in dialogue with Hatim Alyafi

While the caps were not the reason behind Hatim’s separation from his hair, the decision
was certainly facilitated by them. They had over the years become a permanent but
transformative headdress, something to play with to alter outward impressions.
Something that immediately catches the eye, yet unfortunately doesn’t cover the ears in cold weather, the reason why
even Hatim swaps them for knitted hats from time to time.

What is the quality that makes a piece of clothing a cherished plaything
and when is playtime over? As Franceska goes through the pile of clothes selected for loaning
at the Dresserie, she feels an instant attraction to more than one piece.
A yellow dotted dress with a light blue soft knit jacket.
With antcipation, she envisions them as complete looks which she could see herself wearing every day,
combined with hand-made accessories and perhaps some rubber boots?
Playful materiality and a sense of cheerfulness are important,
an elegant functionality and overall positivity.
Even more than the visual impression alone it is the imagination that leads to the play with
clothes, what emanates from individual pieces.
In the storage room as well there are different categories, with some pieces allowed to leave the space with committed STREETWARE
wearers, while other pieces are expected to return. Still others are prepared for further processing.
One of these piles is made up primarily of dark grey, blue and black pieces,
much cotton and polyester, coats, trousers and cut-up thights,
but also a bikini top. There are pieces in many sizes, but apparently they do not qualify
anymore for play.
The processes of STREETWARE are a continuous alternation between play and order,
enthusiast discovery and careful selection and planning. As the laundry racks
the walk through the streets becomes a performance with intrigued public.
Before the big staging however, they remain in orderly rows,
as the clothes themselves, ironed and folded, waiting for
their grand entrance.

Auszüge der begleitenden Forschung: STREETWARE im erweiterten Mode-Kontext

Selections from the embedded research: STREETWARE in the expanded fashion context

Aïcha Abbadi

Selections from the embedded research: STREETWARE in the expanded fashion context

The garments and interactions of STREETWARE contain a wide spectrum of complex connections, personal thoughts, feelings and memories. Aïcha Abbadi  accompanies and documents these processes, exploring multi-layered meanings of textile and fashion experiences, from personal perception to global, historically established structures.What is being overlooked? What do we remember? What do the garments themselves and our interactions with them tell us about commonalities and differences, convictions and contradictions?

Fashionable rags are an exchange between past and future, here and there, ephemerality and timelessness. They are a response and a questioning of the complexity of our collective social fabric, juxtaposing arbitrariness, personal philosophy, structural inevitabilities and moral dilemmas.

For the duration of this project, selections from the research will be presented here: personal impressions of the different participants, observations on the found pieces and interactions, their relevance and position in the wider, expanded fashion context.

Quotation by Jan Markowsky

Some people often want to wear only black. But I was always rather a friend of bright clothes.
[…] Once I got a white, still shrink-wrapped shirt from the donations clothing store - because I always stay clean - not everyone got that.
[...] But then I once accidentally spilled pea soup all over my light-colored clothes.'