Mz. Baltazars Laboratory

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Mz. Baltazars Laboratory

Open Lab for Women*, Trans and Non-Binary Folks. Join us for Tinkering, Hacking, Talking, Thinking, Connecting, Creating Art.

Open Lab for Tinkering, Hacking, Talking, Thinking, Soldering, Processing
Open Source, Feminism, Open Access! Women, Transgender, Non-Binary

Find us:
Wallensteinstraße 38-40/8, 1200, Vienna, Austria
http://www.mzbaltazarslaboratory.org

E-mail: [email protected]
Instagram:

10/07/2026

From yesterday’s book presentation “Hardware and Eco-Feminist Art: Hacking and Artistic Practices Towards Ethical Technology” by and

About the Book:
It is an open secret that the hardware in our smart devices apart from plastics also contains raw materials mined in conflict regions. Can we move beyond this oppressive system of extraction to find ethical alternatives? Feminist hackers Patrícia J. Reis and Stefanie Wuschitz discuss developing technology through eco-feminist artistic tools, rooted in care economies, local knowledges and collective survival. Through an intensive knowledge-sharing process and collaboration with peers, they unpack eco-feminist theory and practices to propose resistance strategies grounded in ethical hardware and de-growth economies – contributing significantly to the new field of arts-based research.

Cover and design layout: Eva Balayan
Proof-editing: Amanda George
Printed by Druckhaus Bechstein GmbH, Wetzlar
Printed version: ISBN: 978-3-8376-7862-8
Open access version:ISBN: 978-3-8394-1932-8
This book was published by transcript Verlag with the publishing and open access funding provided by the Austrian Science Fund (FWF) 10.55776/PUB1218 and can be downloaded for free under the Creative Commons Licence by 4.0.

You can download a free copy here:
www.transcript-verlag.de/978-3-8376-7862-8/hardware-and-eco-feminist-art/

Thank you for coming!
🤍

10/07/2026

Vernissage Tuesday July 14th, 18:00-22:00

Is there still room for dialogue between people who are different, or have we become used to gathering similarities and leaving behind the possibilities that emerge from unexpected encounters?
What if the search for a single narrative makes us overlook the possibilities that emerge when different perspectives simply meet?
We are similar, yet very different. Through our artistic practices and different ways of seeing, we invite ourselves and you to share this experience.
This exhibition does not have a name yet.
Instead, it invites you to make your own connections and, perhaps, to give it one.
Come, connect, and if a name comes to mind, share it with us.

Cool drinks and a last exhibition to send off the summer holidays.

Tuesday July 14th, 18:00-22:00
Vernissage

July 16 and 18, 20:00-22:00
Performance by Mahdi Bakhshi

Tuesday July 21st, 18:00-21:00
Finissage

Artists: Mahdi Bakhshi, Laura Chalabi, Julius Lugmayr, Barbara Oberhofer, Reza Shirvan, Ymo 09
Exhibition Text: Ymo 09
Organization: Sarah Wilhelmy

22/06/2026

EXHIBITION: Floating Affections

A Group exhibition by students of the course “Technologies/Practices | Digital Communication and Media Worlds”

Exhibiting:
Ana Mikadze & Keita Sugiyama, Ariane Ranegger, Juárez Suarez, Lotta Dallermassl, Paula Peters, Saba Eshghi, storm (Julia Souza)

WHEN
Vernissage:Friday: 26.06.2026, 19:00
Finissage: Friday: 03.07.2026, 14:00
Workshop: The Tinkerer’s Desk – Collective Tinkering Workshop by Ana Mikadze & Keita Sugiyama
26.06.26, 15:00 – 19:00
28.06.26, 13:00 – 17:00
02.07.26, 17:00 – 20:00
Opening hours:
26.06.26, 15:00 – 19:00
27.06.26, 17:00 – 19:00
28.06.26, 13:00 – 17:00
29.06.26, 17:00 – 19:00
01.07.26, 17:00 – 19:00
02.07.26, 17:00 – 20:00
03.07.26, 12:00 – 14:00

Floating Affections emerges from distinct geographies converging in Vienna. It brings together artistic practices that explore subjectivity in a world shaped by cultural, migratory and affective currents. The exhibition reflects on how we inhabit space-time when belonging is fluid, proposing affect as a compass to move within the current.
The course “Technologies/Practices | Digital Communication and Media Worlds” of the KKP study program at the University of Applied Arts Vienna is taught collectively by members of Mz* Baltazar’s Lab’: Anna Watzinger, Evamaria Müller, Lale Rodgarkia-Dara, Olivia Jaques and Sarah Wilhelmy. The exhibition is the outcome of this year’s semester topic “Currents and Tendencies” and is taking place at the space of Mz*Baltazar’s Laboratory.

See you there! 🩵

18/06/2026

Exhibition views from "What leaves, speaks"

1. Cerro de Las Mitras - Gris García
2. Cerro de la Silla, Había mucha neblina o humo o smog o no se qué - Gris García. A golden agony - Carolina Páez Vélez
3. Cerro de la Silla - Gris García
4-7. A golden agony - Carolina Páez Vélez
8. Cerro de la Silla, Había mucha neblina o humo o smog o no se qué, Cerro del Topochico - Gris García
9. Cerro del Topochico - Gris García
10. Cerro de Las Mitras - Gris García
11-13. A golden agony - Carolina Páez Vélez.
14. A golden agony - Carolina Páez Vélez. Curatorial text - Sarah Wilhelmy
15. Exhibition view of all works
16. Reading materials collected by Gris García, Carolina Páez Vélez & Sarah Wilhelmy
17. Laureano García
18-19. Cerro del Topochico - Gris García
20. Había mucha neblina o humo o smog o no se qué & Cerro de la Silla - Gris García

Photos 1-13, 15-20 by Rajarshi Sarkar
Photo 14 by Sarah Wilhelmy

Artists: Gris García & Carolina Páez Vélez
Lighting & Exhibition Design, Documentation: Rajarshi Sarkar
Curation: Sarah Wilhelmy

Supported by BMWKMS and MA7

photos

15/06/2026

Listening Session & Finissage
Friday June 19th

Listening Session 19h
Finissage 19 - 22h

A collective listening session as part of the public program of the exhibition "What Leaves, Speaks"

Playlist Curada Playlist Curada approaches listening as a way of engaging with territory, memory, and the Earth. This time Gris García will introduce more about the project “The sound of a mountain dying” curated by material ●○ inmaterial

Sound research with works by Sofia Acosta, Carlos Edelmiro, Bárbara Foulkes, Ana Hernández, Concepción Huerta, Erika Loana (Atlas Materia Prima), Lorena Mal, Perla Mata, Anahita Norouzi, Loong Pan, Emilija Skarnulyte y Hanae Utamura.
Concept and sound montage: Lorena Mal
Sound mastering: Carlos Edelmiro

The website of El sonido de una montaña muriendo ("The sound of a mountain dying") and all artist biographies and project information will be linked after the official online premiere by the artists.

material ●○ inmaterial is a research network based in Mexico that connects art practices with conservation organizations and interdisciplinary action.

Playlist Curada is a project started by Gris García in 2022 that invites artists, curators, researchers and writers to share their ideas, interests and references, or to expand their research through playlists.

Finissage with the works of .photo and

Supported by BMWKMS and MA7

07/06/2026

How can we see rocks as kin and cousins? Moving away from taxonomies that separate organic and inorganic life, we'll grow crystals and get to know our favorite rocks on their terms and times.

Free workshop June 13th, 13:00-15:00

By daniela brill estrada

Please register per email at [email protected]

Over 30% of the rocks on this planet are byproducts of life. The remaining 70% are stones, sand, magma, mountains, mud that are necessary for life to exist: the earth as a geological body cannot be divided from life. They are not two entities, they don’t exist as a binary, they are one single, ongoing, self-organized process: volcanism gives rise to mountains that give rise to rivers, forests, creatures, which in turn erode the mountains, carving valleys, shaping soils, becoming roots, bugs, humans. Geology tells the story of the q***rness of matter, especially when read through deep time: no stone is only a stone but a multiplicity of life, time, chemistry, and physical forces. Humanity has insisted on binaries, categories, and taxonomies, this makes them easier to exploit: 17% of the Amazon mined, 64,000 hectares in Colombia exploited for gold, 9,500 in Chile for copper. But life shapes geology and geology shapes life: all matter, mineral, biological, and even technological, is a temporary configuration of matter and energy, a shapeshifting, anarchic, inherently q***r trajectory of matter in constant transformation.

In this workshop we will take a closer look into rocks, minerals, and other geological formations. Starting with a theoretical introduction into the history of geological taxonomies, and into concepts like deep time. In a practical part, we will grow crystals, explore their properties, and write about how they defy and challenge taxonomies and binaries.

Artist:
Host:

This workshop is supported by BMWKMS and MA7

22/05/2026

Workshop by Dunia Sahir: Walking-with to re-orient

WHEN: May 29th, 2026, 15:00-19:00
WHERE: Mz* Baltazar’s Lab, Jägerstraße 52-54, 1200 Wien
Registration: [email protected]

At the end of May, we will meet at Baltazar to think, talk, share and walk together — in and about space.

The concept of space and how we perceive it isn’t neutral and has changed fervently throughout history. A Eurocentric understanding of space is rigid, geometrical, it renders places into landscapes, to be expanded into and extracted from. Such an understanding of space turned into perception, amplified through the technologies we use, until it became almost obsolete, our main source of orientation.

We will try out ways to re-orient, question our perception of space together and craft ways to walk and sense otherwise.

Light has been used to expand and shape colonial narratives over land and bodies. So, technologies of light will guide our storytelling and aid a re-narration.

What to Expect?

In the first part of the workshop, we will think-through and discuss about images, models and narrations, which grounded the way we look and how our technologies of vision developed hand-in-hand with specific ways of representing the world. How do things like cartography, satellite imaging, optics and geometry design and define space today? And how do our bodies move, sense and orient in such a space?

To look and to see are two quite distinct practices. In the second part of the workshop, we will practice both and compare the outcomes.

There will be reading and writing and drawing. And hopefully sun, but rain won’t stop us either!

What languages?

All languages are welcome in the creative process. We will try to translate between each other.

English as a working language during the WS (reading, basic communicating).

Italian and Slovenian.

What to Bring: Comfortable walking shoes, curiosity, and an open mind. All materials for writing and creating will be provided.

See you there! 🤎

21/05/2026

Exhibition and public program

Opening Friday, June 5th 19-22h

Something is removed, and cannot return. Gris García and Carolina Páez Vélez present site-specific iterations of their works on ecological memory, grief and agency. Painting, stone and fiber art trace the effects of mining on families of mountains around Monterrey, Mexico and the "Baju Cauca" region of the Nechi river in Colombia. Land is seen as family, not territory or resource. And yet, this family is met at moments of violent transformation into resource.

Something is removed, and disappears. This would even so be a violent thing in the nonconsensuality of grief, but it is also an explicit and visceral violence against the lands and people whose lives become 'collateral damage' in various ways. It is an explicit violence of neocolonial capitalism, whose present and unstable future increases the un-presence of beloved systems, places and people.

There is a sharpness and a softness to the vulnerability and endurance put into this exhibition. There is an element of protecting what is gone, protecting its memory- or maybe closer, its reality. This is not just about 'informing' visitors, or trying to create awareness. This is about living with living without.

But the artists (and lands) are not without agency. García and Páez Vélez live and work with the new connections, the questions, the participation that these disappearances bring. These disappearances respond, return, affect the relationship. The work is not a grief projected in static. It is an active relationship with mutation and disappearance and reality, as it is.

Something is removed. It remembers itself.

The full program includes the exhibition of Gris García and Carolina Páez Vélez, a workshop on the properties and familial relations of rocks by daniela brill estrada, and a listening session curated by material inmaterial in the framework of Playlist Curada.

Exhibiting Artists: and .photo
Program Artists: , material inmaterial
Curation:
Lighting & Exhibition Design: .s
Title Poster:

This exhibition is supported by BMWKMS and MA7

27/03/2026

Don’t miss: “Beautiful Dzadza (q***ring the concept of elopement)” by Salina Abaza

22.03, 10-15h
26.03, 9-16h
10.04, 17-19h
… and on demand [email protected]

ABOUT

The story of beautiful Dzadza has been hidden away in a time capsule waiting to be activated in other times and places such as Mz*Baltazar’s Laboratory. The time capsule takes the form of an old box. It contains different elements as “evidence” and “documents” of an elopement that took place in an undefined time in the Caucasus region between Dzadza and her lover, a woman. Among the documents are letters written in Abkhazian and Circassian languages, that were exchanged between the two, providing us today with backdrop information about the elopement and the nature of this relationship. The box also includes a song from Circassian folklore which is named after beautiful Dzadza and tells the story of her elopement.
The time capsule shows the patriarchal tradition of eloping through a q***r lens, drawing questions on the nature of what is real and historically true, considering the factual erasure of q***r history across the world.

About the Open Lab:
During the open lab, which navigates between curation, mediation, and participatory performance, Performatorium (Olivia Jaques/Marlies Surtmann) translates the work of Salina Abaza into the time and space of Mz* Baltazar’s Laboratory. The public is welcome to join this live process. No prior knowledge is required to attend the open lab. You are welcome to simply be present as an observer or to actively participate.

Come by! 🩶

18/03/2026

ABOUT SALINA ABAZA

Salina Abaza (*1986) is an interdisciplinary artist and curator, born in Damascus, Syria and currently based in Abkhazia. Salinas artistic work extracts intersections between the individual and collective experiences; it starts from themes stemming from personal narratives and their connections with larger political and social narratives, exploring the dynamics and tensions in these relationships. Keywords that recur in the projects are related to identity, memory, archives, authority and violence. Salinas’ creative process allows for the concept to dictate the mediums, often integrating the creative process into the work itself, resulting in a diverse range of disciplines – from design, to writing, video, new media art, installation and performance.

ABOUT THE EXHIBITION

The story of beautiful Dzadza has been hidden away in a time capsule waiting to be activated in other times and places such as Mz*Baltazar’s Laboratory. The time capsule takes the form of an old box. It contains different elements as “evidence” and “documents” of an elopement that took place in an undefined time in the Caucasus region between Dzadza and her lover, a woman. Among the documents are letters written in Abkhazian and Circassian languages, that were exchanged between the two, providing us today with backdrop information about the elopement and the nature of this relationship. The box also includes a song from Circassian folklore which is named after beautiful Dzadza and tells the story of her elopement.

1) Photo by Anya Galatonova
2) Photo unknown

Adresse

Jägerstraße 52-54
Wien
1200

Webseite

http://www.mzbaltazarslaboratory.org/

Benachrichtigungen

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