2026 Open Call Winner and Finalists

2026 Open Call Winner and Finalists

Open Source Gallery is pleased to announce our 2026 selected artist through our annual open call. This year we received nearly 200 applications from artists around the world. Our jurors, Monika Drożyńska and Zé Kielwagen, carefully considered each submission and selected Albrecht Fersch for a solo exhibition in 2026.

Albrecht Fersch

Performance, action, sound and installation artist from Berlin

Albrecht Fersch is a wanderer between disciplines, born in Schweinfurt in 1970. Meanwhile, music and sound play an essential role in his work. During his studies at the Academy of Arts in Munich until 1995, he was mainly concerned with writing systems, linking concepts, experimental drawing and painting as well as with logorealism, which he invented at that time and which still forms a continuous series of works today. From 2005 onwards, further training in essential theatre and involvement with performances and participatory projects. In 2008, his interest expanded to the construction of large-scale installations. He led design workshops such as most recently the sound laboratory Urknall in Greiz, created participatory art events such as the Supertheater or built stage sets for the Mondstaubtheater in Zwickau. Since 2014, invention and construction of sound installations and musical instruments. Sound, theatre, participation and visual art unite, for example, in his installation Raumklavier. Since 2018, Fersch has been a lecturer for mask making and performance at the Ikusa Institute for Art Therapy in Saxony.


Our 2026 Open Call Hot Picks:

Our jurors also selected two finalists: Gabrielle Constantine and Judy Giera.

Gabrielle Constantine

Gabrielle Constantine, Table Room, 2023, 8’x10’x38’, Found carpet, Digital prints on paper of handmade wooden figurines holding family photos of people sitting at tables

Giving fake Tiffany, bought from the trunk of a Cadillac, to Rachel Cohen for her Bat Mitzvah. Microwaving lavash and string cheese for an after-school snack. Tending to a mustache and beard since 5th grade. Going to the AC Tropicana for weekend “getaways”. Watching Cher in Moonstruck every night before bed. Drinking milk from a martini glass. This is Constantine’s DNA. Gabrielle Constantine (1994) was born and raised in Philadelphia, Pennsylvania, where she received her double BFA in Sculpture and Fibers and Material studies at the Tyler School of Art (2017) and holds an MFA at The University of Texas of Austin (2023) . Growing up in an Armenian Community and the restaurant industry has inexplicably informed her material, linguistic, and performative decisions surrounding her sculptures, installations, and gatherings. Constantine’s held different residencies such as RAIR (upcoming 2025), Bemis Center (2024), Skowhegan School of Painting and Sculpture (2024), The Leroy Neiman Fellow at Oxbow school of art (2023), and SOMA summer (2022) Alongside her more sculptural practice, Constantine has shared in cooking dinners and hosting gatherings with communities all over the country and internationally. She is constantly and continually brainstorming ways of merging food and art together.

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Judy Giera

Judy Giera, Solo exhibition, the horror persist but so do the little treats, 2023, Installation, Dimensions variable. Image courtesy of the artist and haul gallery.

Judy Giera works through sculpture, painting, video, and installation around narratives of gender, embodiment, and bodily autonomy. Fragmenting the body into rendered bits and textural expressions, her practice employs transfeminist frameworks to playfully consider the various potentials for bodies beyond the patriarchal expectations for gender expression. The porous malleability required of trans bodies as a measure of alignment and safety is retooled to portray new orientations and arrangements, revealing liberatory possibilities that only transness makes available. Paintings and video works depict the body reordered and reimagined. Sculptural works exist as freestanding objects and wall-based works that serve as a theatrical material index of the phenomenological experiences of gender embodiment and transition. Borrowing visceral aesthetics and a plastic color theory from Lisa Frank, 90s television, surrealism, and pioneering feminist art, Giera’s work envisions the possibility that the determination and autonomy of one’s own body and expression can be playful and buoyant. Ultimately, she aims to reclaim a wonderful weirdness, humor, and joy—concepts easily erased from the lives and experiences of trans women like her.