In Lena von Goedeke’s studio, it’s only when we take a second look that we realize: nothing here is what it seems! We discover a life jacket made of concrete, blocks of ice made of glass and feet made of plaster. Sometimes it gets even more confusing, for example, there is an arm made of plaster that Lena has painted with pencil so that it looks like metal. Some of the objects are funny, others a bit scary.

Wie-yi T. Lauw’s studio is located in bustling Neukölln, between playgrounds, bars and workshops – and somehow the city lives on in her studio. Various masks and statues are scattered around the room, for example small Buddhas that Wie-yi bought in a Vietnamese supermarket, and even a real motorcycle stands in the corner!

Stella Geppert welcomes us to the sunny backyard of her studio with a mischievous smile that we will see more of today. As a greeting, she shakes our hands one by one. This feels quite normal and a bit strange at the same time – after all, people have come up with the craziest things in recent years to avoid any touching.

The house where kate-hers RHEE’s studio is located is hidden in the backyard of a very large, new building in Treptow. When everything was extensively renovated here, kate-hers and the other artists* fought for a long time that the studios could stay and not be converted into expensive apartments. Luckily, because there is a lot to discover here – kate-hers is a great collector!

Tomás Saraceno’s studio consists not of a single room, but of many. In fact, it’s a whole house! It needs the space, too, with all the people who work here. There is a kitchen, workshops, storage rooms, offices and even a laboratory where very special “artists” live. To get to know them, however, we have to be patient for a while.

Today is a very special Ephra on the road day, because we are not guests in a studio, but exceptionally in a museum – the New National Gallery. Actually, you don’t have to go inside the imposing building to see the exhibition of the artist Barbara Kruger: Through the huge glass panes, we can already see from outside that the room is almost empty, except for a few screens and thousands of letters that cover the entire floor in red, black and white.

In Jeppe Hein's studio, it already smells deliciously like lunch in the morning. That's because we meet in the large kitchen, where cooking takes place for the many people (currently 15) who help Jeppe turn his often crazy ideas into objects or architecture, exhibit or sell them, and keep track of the many projects.

Nicole Wendel’s studio is on the outskirts of Berlin, in an old brick factory building with high, long windows and an even higher and longer chimney. But there's not much sign of factory work anymore – today it's much quieter here than in the otherwise bustling city. But the real quiet returns only after we have climbed the countless steps to Nicole's studio. The room is bright and quiet, and that's certainly also due to Nicole, who radiates warmly and speaks thoughtfully, so that you can listen to her well.

Ayumi Paul is currently working in a special place: the Gropius Bau, where art is not normally created but rather exhibited. Through the basement of the building, she leads us up a long spiral staircase to the very top of her studio. As we enter the bright room, it is filled with violin music. Ayumi has been playing the violin since she was a child, but her concerts are different from those played in large halls in front of many people.

Michelle Jezierski's studio smells of oil paint and the floor is so colorful that it also looks a bit like a work of art. Michelle's paintings have very different formats, but they are always divided into individual fragments, i.e. smaller, often strip-shaped units. This looks as if she had painted a landscape, then cut it into strips and reassembled it.

When we arrive at Helge Leiberg’s studio, we are greeted by jazz music and dancing bodies on large canvases. He explains to us later that he likes to listen to this music while painting because it helps him get into certain moods. He also likes classical music, but the figures in the many paintings in his studio look more like fast, impulsive and exuberant movements, which goes really well with jazz music.