'Time for Outrage!' art exhibition echoes uncertain times

The short film "American Reflexxx" depicts a social experiment. In it, a person who cannot be clearly defined as a man or woman walks through the streets of Myrtle Beach, South Carolina, wearing a dress and a reflective mask. The viewer watches the individual as they put up with misogynistic and transphobic slogans and even physical violence.

Norwegian artist Bjarne Melgaard conveys a message as simple as it is direct in his painting: "I am not a piece of sh**, I am a piece of society," in colorful graffiti style. The picture illustrates a goal of linguistic brutalization: to deny individual people the right to equal participation in society.

Breathing masks, smoke in the air, and lots of cops: Julian Röder's photography shows the dynamics of hate, aggression and two sides of a conflict. The image was taking during a 2003 meeting of EU heads of state in Thessaloniki. At the time, Western Balkan countries were promised the possibility of joining the European Union.

Spanish conceptual artist Santiago Sierra is known for letting people perform senseless or difficult tasks for money, such as digging 3000 holes. Sierra thus recreates scenarios of exploitation and economic dependence. In this piece, the viewer assumes the uncomfortable position of a supervisor and is forced to reflect on their position.

Iris Kettner's deceptively realistic looking sculpture "Superheroes 2" sits on a bench as if waiting for something or someone. Wearing second-hand clothes and a superhero mask, none of her individual features are visible. The German artist questions how one can confront strangers in "times of anger" and how society aims to deal with increasing anonymity.

In this photo by Bosnian artist Sejla Kameric we see a woman dressed in white with her left eye wide open, and her right eye swollen shut. In her work, the artist draws attention to the consequences of domestic violence against women. The woman pictured is nameless, and the work is titled simply "Unknown." As such, she represents the countless victims of domestic violence around the world.

In her film "Demolition Flats," Berlin-based artist Peggy Buth explores social imbalances in urban spaces, including a Paris suburb, pictured here. In the 1960s such suburbs represented new beginnings for many migrants moving to France after the end of the colonial period. Buth's film shows one such neighborhood being demolished to make way for expensive real estate.