#Arteetude 339 Detlef Schlich visits artist Felicitas Gross in her newly opened Gallery Emptiness on William Street in Bantry — a small, intimate gallery space that feels less like a commercial venue and more like an extension of Felicitas herself. The episode closes with a new Los Inorgánicos song: “Emptiness Is Not a Hidden Void”

Without Sophia, his AI Co-Host, Detlef Schlich returns to the physical presence of a real conversation: two people sitting inside a gallery, surrounded by paintings, sculptures, handmade objects, and the quiet energy of a space that has only recently been brought back to life. Felicitas speaks about discovering the empty room by chance, renovating it over nearly a month, and turning it into a living continuation of her artistic path. At the heart of the episode is the meaning of the name Gallery Emptiness . For Felicitas, emptiness is not a void, not absence, not nothingness. It is a space without fixed essence — a field of relation, vibration, energy, and possibility. This becomes the philosophical pulse of the conversation. The episode also opens towards future plans for the gallery: spoken word evenings, poetry, word games, small performances, mini theatre, workshops, clothing upcycling, and creative gatherings where people can explore expression in a personal and playful way. There is also a subtle but strong critique of disposable fashion culture — the tendency to buy, wear once, and discard. Felicitas offers another path: clothing as second skin, as personality, as self-made presence. Gallery Emptiness becomes more than a gallery. It becomes a small cultural chamber in Bantry — a place for art, words, encounter, transformation, and community. The episode closes with a new Los Inorgánicos song: “Emptiness Is Not a Hidden Void” A poetic reflection on Felicitas’ statement, the gallery, and the strange beauty of a space that begins empty only so something alive can enter. Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork. He is recognised for his seminal work, including a scholarly examination of the intersections between shamanism, art, and digital culture, and his acclaimed video installation, Transodin's Tragedy. He primarily works in performance, photography, painting, sound, installations, and film. In his work, he reflects on the human condition and uses the digital shaman's methodology as an alter ego to create artwork. His media archaeology is a conceptual and practical exercise in uncovering the unique aesthetic, cultural, and political aspects of media in culture. WEBSITE LINKS WAW Official YouTube Channel https://www.youtube.com/@WAWBand From the forthcoming WAW album The Stories of Nil Young Two songs from WAW’s developing album project The Stories of Nil Young — a mythopoetic journey along the Nile, where river, memory, loss, cooperation and hope flow into music. AfricaSmile AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm and myth.The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together. The Niles Bittersweet Song The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer. The song follows the Nile as a river of memory, beauty, loss and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and t