Collection: PIERRE DEL AIRE

baobabwod, Pierre del aire, Berlin Artist, Berlin Art Label, Aleksandar Nesic is a mixed media artist working across performance, music, and visual art. In 2006, he  founded the artist group zenit&nadir, and since 2013, he has been a member of the artist collective Bomb  Gallery. His solo project and electronic live act Poison In Honey has been active since 2015.
baobabwod, Pierre del aire, Berlin Artist, Aleksandar Nesic is a mixed media artist working across performance, music, and visual art. In 2006, he  founded the artist group zenit&nadir, and since 2013, he has been a member of the artist collective Bomb  Gallery. His solo project and electronic live act Poison In Honey has been active since 2015.

painting, mixed media, performance, music, visual art

Berlin, Germany

 

 

Aleksandar Nesic aka Pierre del aire is a mixed media artist working across performance, 
music, and visual art. He studied at the Academy of Fine Arts Stuttgart (2003–2010) with a focus on graphic, performance, and video art. In 2006, he co-founded the visual sound 
performance group zenit&nadir, collaborating closely with fluctuating images gallery and 
presenting works like contain – Leben in 33m³ at Theaterhaus Stuttgart.

Since 2013, he has been part of the artist collective Bomb Gallery. His solo electronic 
music project Poison In Honey began in 2015. Nesic has performed in various contexts, 
including Assassinate Assange (HAU Berlin), with Chicks on Speed (Nationaltheater 
Mannheim), and at NON Berlin with his provocative piece ALEKS RAUS TAG.


 “Sad Ugly Clowns” explores the tragedy of the human condition in a superficial, 
increasingly empty world. The clowns represent failure — their forced smiles act as 
defenses against a meaningless reality. Inspired by Byung-Chul Han’s critique of modern 
society, the work reflects the loss of rituals and symbolic structures that once gave life 
depth and direction. These clowns become symbols of a performative culture obsessed 
with authenticity, yet devoid of true connection. Despite their grotesque sadness, they 
point toward hope: a quiet call to rediscover ritual, form, and meaning in a world lost in 
self-staging.