The exhibition Third Eye Butterfly brings together a range of artistic voices working at the intersection of language, music and film. Accompanied by American filmmaker Storm de Hirsch (1912–2000), contemporary works by Nat Marcus, Luzie Meyer, Sofia Restorp and P Staff are shown. Storm de Hirsch is considered one of the key figures of the 1960s New York avant-garde scene, she began her artistic career as a poet and thereby developed a film-based practice with language at its center. Her works are strongly influenced by an interest in mysticism and occult practices, which is reflected in an exploration of analogue effects. Characteristic of de Hirsch's work is also the rhythmic interplay between image and sound.

The film Third Eye Butterfly(1968), which has given the exhibition its title, is the result of several visual experiments inspired by butterfly wing variations of colorful and abstract patterns. Kaleidoscopic sequences and overlays come and go in the image, in unison with the soundtrack's repetitive notes, as if it were an attempt to translate the colorful effects of butterfly wings into an extended cinematic experience. The film is intended to be projected on a double screen and with the help of two synchronized projectors create the illusion of two butterfly wings animated by the flickering of the projected images. An eye, "the big eye", appears several times in the middle of an endless spiral framed by the words "Third Eye Butterfly". The American film theorist Casey Chanress describes it as "the 70mm-like effect in Third Eye Butterflyencourages the mind to act as a third eye by fusing the same two juxtaposed screens into a third meaning, just as Eisenstein made the meaning of two juxtaposed images result in a third implied meaning”.

By using a rhythmic visual language where colors, stenciled shapes and sounds are part of an audio-visual unbroken sequence, de Hirsch evokes an experience based on an interplay between different sensory modalities. In consonance with de Hirsch's interest in multidimensional perceptions of the world and the mutual connection between language, music and film, a group of young international artists has been invited to participate in the exhibition: Nat Marcus (lives and works in Berlin), Luzie Meyer (1990, lives and works in Berlin), Sofia Restorp (1986, lives and works in Berlin) and P Staff (1987, lives and works in Los Angeles and London). In their respective works, the idea of ​​being transported into other states of reality is emphasized, this is also reflected in the design of Mint's showroom and through the work of lighting designer Ines Bartl. Third Eye Butterfly color spectrum.

In the exhibition, in addition to light, language is also used as a medium to mark transitions and transformative processes: the sound work Period Piece (2021) by Luzie Meyer playfully explores the multifaceted meaning of the word "period" used to describe how bodies, language and time is regulated. Nat Marcus has produced two new textile works: The Velvet Sound (I) and The Velvet Sound (II)(2022), where graphics, color and text are superimposed on the surface of the fabric. P. Staff participates through poems displayed on hologram fans, she uses the multiple and fluid meanings of words to talk about bodies that are in a state of transformation. Sofia Restorp's newly produced drawings take us to a visual world, here poetry takes shape through ambiguous surrealist interiors. Instead of dwelling on the surface, the works are characterized by a movement towards introspective reflection.

Third Eye Butterfly can be seen as an attempt to reflect on Storm de Hirsch's legacy today and how her psychedelic view of the world challenged the premises of reality, a premise if possible even more relevant for artists today.