Pegasus Product
Vogelkäfig (Birdcage)

Opening—12 January 2024, 6 to 9 PM

12 January until 17 February 2024

Showroom Galerie Georg Nothelfer

Galerie Georg Nothelfer is pleased to present the second solo exhibition of the artist group Pegasus Product in the showroom. Following the exhibition “Vogelkäfig (Birdcage)”, the gallery is closing its Showroom after almost 15 years. We look forward to your visit to our main space in Corneliusstrasse in Tiergarten, where solo and group exhibitions will be presented as usual. 

Showroom Galerie Georg Nothelfer, Courtesy the artists and Galerie Georg Nothelfer, Photo: Gernot Seeliger

“We dare to do the silliest things.”

(Pegasus Product)

 How humans might soon make wider contact with an alien species 

We all know the lines on globes and maps commonly known as longitude and latitude. But where do those lines originate from? A team of Art and Science researchers have now found clues to this riddle maybe even older than humanity itself. 

“The timeframe is still debatable, but we estimate it to be around the time when the moon formed”, says Dargelos Kersten of Pegasus Product, the group of researchers and artist currently investigating what has been named “Birdcage Theory”. 

Ca 4.51 billion years ago the ancestors of an alien spheroid species had built a megastructure around the young earth resembling a gargantuan birdcage, the researches hypothesize. But this alone wouldn’t have been worth investigating if it weren’t for a drama of cosmic proportions to unfold, involving two opposing factions and an event that lead to our world being as we know it today. 

For reasons yet unknown, the faction of ancient beings called “β-Spheroids” wanted to establish constant climate zones on the planet. With the megastructure hovering above the surface in a fixed orbit, this effectively oriented earth’s rotational axis at a right angle to the celestial reference frame. 

“This sounds quite abstract and foreign to us”, says Gernot Seeliger, one of the researchers, “because what we are used to is very different.” On a cosmic scale this difference may be small, but the results lead to all life on earth as is known today. 

Seeliger is talking about the effect of eccentricity, the wobbling of earth around it’s own rotational axis. This wobbling is caused mainly by earth’s moon and is responsible for the seasons and change of climate round the year. As established in the giant-impact hypothesis, the Moon may have formed through the collision of the planet Theia with earth. 

The team now ties this hypothesis to their own research. “Theia may have been the means of the opposing α-Spheroids to destroy the mega-structure.”, says Anton Peitersen in their 2024 paper. 

This event lead to the dominance of the α-Spheroids and the β-Spheroids fading into the background.

The road of science is long and windy. And it often takes coincidences for new knowledge to emerge. 

Seeliger had been part of a club of bird-enthusiasts called V.O.G.E.L.2 for years alongside his scientific career. During this time he had observed many birds who’s diet consists mainly of rosehips, construct spherical or hemispherical nests. 

Older studies indicate a strong gene altering potential of the rosehip nut. And when grown in low gravity it’s vines form spherical structures similar to the ones hypothesized to have been built around the earth billions of years ago. 

Combining those findings the team came to believe the building plans of the mega structure may be encoded into the rosehip DNA and through heightened absorption, this information may be transferred genetically, potentially taking generations to show effects. 

Peitersen continues: “This might also become a way of establishing a form of contact with the since long absent β-Spheroids”, who seem to have found ways to project their information over billions of years, which we now perceive as a pattern-like iconography. 

Since the lines of longitude and latitude have long been established in some human cultures it is probable that there have been prior attempts of contact. Though the direction is not known. 

In an effort of experimental studies Pegasus Product constructed an environment, enabling humans to experience their surrounding as if they themselves were birds. 

Despite the many great contributions of art to science, this is the first time such an experiment is being conducted, harnessing the open-mindedness of the art audience. 

“In addition to the transfer of information via DNA over generations, we hope to find additional ways of communicating with the β-Speroids by means of this setup.” Says Seeliger. 

The visitors are invited to experience the gene-altering effects of the rose hip in a safe environment and with a bit of luck make their first Spheroid contact. 

Text: Dargelos Kersten 

Pegasus Product is a young, dynamic joint practice of three artists (Dargelos Kersten, Anton Peitersen and Gernot Seeliger) who enviously eye the generic consumer good, and blatantly try to appropriate and further develop seemingly proven products, to make the broken pressboard edge socially acceptable and to experience paving stones as energetically healing. The collective prefers to work in an installative manner, whereby the visitor is always part of the artwork by participating in the process. 

Jan Voss
Was Neues vom Tatort?

Opening—24 Nov 2023, 6 to 9 PM

Winter break—24 Dec 2023 until 3 Jan 2024

Jan Voss, About Crime, 2014, mixed media on canvas, 165 x 235 cm, Photo: Jan Voss. Courtesy Galerie Georg Nothelfer and the artist



“What is difficult in painting is not actually the process of painting, but not getting bored while painting.”

– Jan Voss

It all starts with lines that could be scratched into rock – beasts, human beings – predator, prey. – and playful – no fixed boundaries of space – rather expansions, beyond the edge, – which does not exist at all. In the course of Jan Voss’s work, the austerity of the strokes fades – they become fatter, more impasto – more colorful. Abundance increases, spreads. The sections become cluttered, a kind of jungle, in which who knows what deeds-misdeeds are committed. Men built like tanks grow out of the ground, impossible to ignore. Are they the ones who crack, or are they to be cracked?

Tipping of the moment. At breakneck speed, the habitat is populated. One being wants to dominate the other. Split-second actions. And the ballet master of this souped-up choreography is – a fox. Reineke de Vos – if the family name does not ring a bell! The hunter calls the fox’s gait “schnüren”. One foot placed in front of the other, so that a line results. This can also form loops, snares, in whose trap many fall – but Reineke has often pulled his head out of those. He has not only stolen many a goose … What a JANus-faced rascal! Caught red-handed.

“I felt like juxtaposing different materials in my paintings quite early on. In doing so, you add a different reality, an extra tension, to the relationships between the painted shapes and colours. You also introduce a tactile element with a new dimension. Not to mention the somewhat childlike pleasure of playing with objects, combining them, putting them together, etc.”

The techno world also gradually creeps in, with android stuff and cyber beings. The jungle grows to be more and more impenetrable. Dimensions merge into other dimensions: nested world, sets the space in motion and deflates it at the same time. What else to do but to join this dance. This dizzying change of crime scenes.


The fox senses, scents his chance. /“Cold, delicately as the dark snow / A fox’s nose touches twig, leaf; / Two eyes serve a movement, that now And again now, and now, and now / Sets neat prints into the snow” (From: Ted Hughes, The Thought-Fox.)

Everything overgrows, gradually, beyond the globe. There are no unclaimed plots left, but we can cut pieces out of the crust, glue them on top of each other and let them grow into an adjacent dimension. The fox is taking things to far now. Plasters everything, plagiarizes everything. The deeds step on each other’s paws. 

This is the scene of happening. 

Jan Voss (*1936 in Hamburg) was a participant in the documenta in 1968 and professor at the École nationale supérieure des Beaux-Arts, Paris. He lives and works in Paris and Berlin.