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2023 12.12.2023, 07:00pm
Tuesday Workshop XXVIII: Barbara Ehnes
Barbara Ehnes
Events
12.12.2023, 07:00pm

In the last Tuesday Workshop of the year, artist and stage designer Barbara Ehnes will use visual material and video recordings to report on her debut in the dual role of opera director and stage designer at Theater Luzern in 2023.
In her production of George Frideric Handel’s baroque opera, Ehnes creates a kaleidoscope of intertwining world views that are both real and magical.
The virtuoso play with gender roles – as well as the effective use of stage mechanics, which seems to turn the laws of physics upside down – on the one hand draws on baroque operatic traditions and on the other hand questions the present in terms of its utopias.
Science and imagination, technology and deception, interweaving and dissolution are recurring motifs that are reflected in the microcosm and macrocosm.
We look forward to an exciting exchange with Barbara Ehnes about her work at the interface of opera, stage design and visual arts.

 

https://barbaraehnes.com

 

 

Tuesday Workshop

 

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

photo: Ingo Hoehn
2023 08.12.2023, 07:00pm
Coroa des flores

Lena Meinhardt
Events
Studios
08.12.2023, 07:00pm
Curated by:
A project by our studio holder Lena Meinhardt

Concert installation evening

 

08.12.2023
Admission: 19:00
Start: 20:00

studio floor (3rd floor)

 

Find a comfortable position.
Immerse yourself in the music.
Let yourself drift.

 

The series “Coroa des flores” is inspired by flowers. The sound forms in this composition correspond to natural proportions and create an organic structure. Sound grows and develops. 
Everyday noises from machines, birds and voices overlap and intertwine. Dissolve.

 

Rosa beggeriana, Coroa des flores IV, 2018/2019
4 – Channel – Electroacoustic composition

 

Rosa stellata, Coroa des flores V 2019
4 – Channel – Electroacoustic composition

 

Rosa pendula Coroa des flores VI, 2019
2 – channel – electroacoustic composition

 

Rosa (world premiere), 2023
4 – Channel – Electroacoustic composition

2023 04.12.2023, 07:00pm
Viertes Organ zu Gast im Kunstverein Böblingen
Events
04.12.2023, 07:00pm

Das abschließende Treffen der Gesprächsreihe „Kunstverein(e) der Zukunft“ findet am 4. Dezember um 19 Uhr im Böblinger Kunstverein statt. Vor einem Jahr war das Vierte Organ bereits beim Böblinger Kunstverein zu Gast und nun sollen gemeinsam die Entwicklungen und Ereignisse der letzten 12 Monate reflektiert und ein Blick in die Zukunft geworfen werden. Im Fokus wird der deutliche Umbruch stehen, den der Böblinger Kunstverein in dieser Zeit erlebt hat: Welchen Herausforderungen und Überraschungen sah man sich gegenüber, welche positiven wie negativen Erfahrungen wurden gemacht? Und vor allem: Mit welchen Ideen, Prozessen und Maßnahmen wappnet man sich für eine weiterhin erfolgreiche Arbeit als engagierter Kunstverein? Dabei werden auch die Perspektiven der anderen Kunstvereine beleuchtet. Eingeladen sind Oberwelt e.V., Kunstverein Neuhausen, Kunstraum34, Künstlerhaus Stuttgart und anorak.

 

Kunstverein Böblingen
Schloßberg 11, 71032 Böblingen
www.kunstvereinbb.de

2023 17.11.2023
Call for applications Studio grants 2024/2025
News
Studios
17.11.2023

On May 1, 2024, the Künstlerhaus Stuttgart will award up to seven studios for a period of twelve months as part of its studio program. Six of the workspaces are approx. 25 square meters each, one approx. 15 square meters. A large space is accessible for all recipients. Additionally, stipendiaries have free access to all workshops of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.

It is possible to extend the studio grant through ap

plying for another year. This option can be used not more than twice, so a maximum period of three years is possible.

 

Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.

 

Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome. Students are unfortunately not eligible to apply.

 

Application

Please include with your application the following documents:

– CV
– documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
– a written description how you want to use your studio at Künstlerhaus Stuttgart

 

Please send us your application via email, please send one pdf file only, latest by January 31st 2024:
Contact Person: Romy Range
Email: info@kuenstlerhaus.de
Subject line: Studio application

 

The jury, which consists of members of the board, will meet in the beginning of March and all applicants will be informed about the decisions as soon as possible.

 

Please note that these are working studios and that the scholarship is not linked to remuneration or accommodation. International applications are generally accepted, provided that applicants make their own arrangements for a visa and accommodation.

studios, photo: Frank Kleinbach
2023 14.11.2023, 07:00pm
Tuesday Workshop XXVII: Pablo Berman & Aleksej Nutz "One Day"
Pablo Berman & Aleksej Nutz
Events
Screening
14.11.2023, 07:00pm

In the 27th Tuesday Workshop, Pablo Berman and Aleksej Nutz present their new film “One Day” at Künstlerhaus Stuttgart.

Conceived as docu-fiction, the short film shows a day in the life of Miguel, who loses himself in his disordered but passionate thoughts as he wanders through the city of Stuttgart, observing the dynamics of the city, the people in it and his own life.

What seems at first glance to be a gloomy sequence of thoughts is, for many, everyday life. Topics such as migration, integration, depression, relationships, love and retrospectives on one’s own life are summarised here in a monologue that uses the technique of the “stream of consciousness”.

Following the screening, we invite you to a discussion.

 

________

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

2023 04.11.2023, 04:00pm
Fourth Organ
Events
Membership
04.11.2023, 04:00pm

On November 04 the next Fourth Organ will take place, already at 4 pm. We welcome Daniel Neubacher (Board Künstlerhaus Bremen e. V.) and Nadja Quante (Künstlerische Leitung Künstlerhaus Bremen e. V.) to this meeting. They will report about the renaming process to KH Künstler:innenhaus Bremen e. V., which took several years, as well as about the way to get there and the changes that are coming up now.
We are looking forward to an exciting exchange of experiences and to new impulses for our own discussion of a renaming.

 

2023 21.10.–23.10.2023
Kapitel 2: Trilogie der fertigen und unvollendeten Farben
Lambert Mousseka
Exhibition
Studios
21.10.–23.10.2023
Eröffnung:
Sat, 21.10.2023
07:00pm
Un Sapeur doit briller comme Mille Soleils/Ein Sapeur muss wie tausend Sonnen leuchten
Curated by:
Ein Projekt des Atelierstipendiaten Lambert Mousseka

The second chapter of a series of exhibitions by studio fellow Lambert Mousseka.

 

Opening: Saturday October 21, 2023, 7 p.m.
on the 4th floor of the Künstlerhaus Stuttgart.

 

SAPE – Société des Artistes et de personnes Elégantes (Society for Artists* and Elegant Persons).
Sapologie is the philosophy and Sapologue is the practitioner.

 

In the universe there is an infinite variety of colors. Each color represents a vibration, a state of mind. Through painting and ceramics, Lambert Mousseka presents the philosophy of the sapeur, the search for perfection, his attitude and, moreover, the relationship with the body and colors. “Trilogy of finished and unfinished colors” is a strict rule for a sapeur.

An inspiration for artists* is to create harmonious color combinations and try to respect the sapological codes and philosophy. One should dress conspicuously, like a flower adorning itself and the garden.

 

Link to Kapitel 1: 243 – Ohne Maske

 

Lambert Mousseka (born in Katanga, Democratic Republic of the Congo) has been questioning the creation, origin, spirit and state of matter since his youth. These questions led to various studies and researches and still influence his artistic work today

Courtesy of Lambert Mousseka
2023 13.10.–14.10.2023
Art Workers’ Summit
Arts of the Working Class
Conference
Events
13.10.–14.10.2023

In the context of the exhibition »Sieh Dir die Menschen an! Das neusachliche Typenporträt in der Weimarer Zeit« at Kunstmuseum Stuttgart, »Arts of the Working Class« invites art and cultural workers to the “Art Workers’ Summit” online and at the Künstlerhaus Stuttgart on October 13 and 14, 2023.

 

During workshops with keynotes and panels we will discuss the challenges for art and culture workers: Who are the culture and art workers of today, What are they confronted with? What do they represent? How can art and cultural workers imagine spaces of representation that enable interdependent practices? How can institutions support and be part of self-organization in the cultural field?

 

The results of the exchange will become part of the upcoming issue of the Street Newspaper (Issue 29). The newspaper will be available to take away free of charge with the opening of the exhibition »Sieh Dir die Menschen an!« on December 2, 2023 at the Kunstmuseum Stuttgart.

 

To take part in the Art Workers’ Summit, please register at fuehrung@kunstmuseum-stuttgart.de. Participation is free of charge.

 

Fore more information direct here.

 

 

Friday, 13.10.2023, 14:30-18:00

Location: Online via Zoom, access code: Unions

 

14:30

Welcome by the cooperation partners Arts of the Working Class, Kunstmuseum Stuttgart, Kulturamt Stuttgart, Künstlerhaus Stuttgart

 

15:00

Opening (in German and English language)

What remains of the activists’ work, as exemplified by L’Union des Refusés, by the founders of Arts of the Working Class.

 

15:30-16:30

Keynote on the Solidarity Trinity (in English language)

Yin Aiwen will share the concept and theorization of The Solidarity Trinity, a research thread from her gamification-as-research project “The Alchemy of Commons” with educator and community activist Yiren ZHAO. The Solidarity Trinity suggests Labour, Relationship, and Space are integral to the making of solidarity in a collective environment. In the talk, Aiwen will share study examples in the cultural fields where the intended solidarity fails, offering analysis and action points to form resilient, diverse, and inclusive togetherness.

 

16:45 – 17:45

Keynote on the  Organization of Art Workers within Museums (in English language)

Dana Kopel’s keynote is pushing against the common framing of art workers’ labor as not labor at all. The input takes a look at the organizing efforts that have taken place in museums and art institutions in the past years and insists on a critique of the role of art and the art world within racial capitalism.

 

 

Saturday, October 14, 2023, 14:00-19:30
Location: Künstlerhaus Stuttgart (Reuchlinstraße 4b, 70178 Stuttgart)

 

14:00-16:00

Workshop about the role of commissioners in cultural production (in German)

In his contribution, Alexander Koch talks about the New Commissioners [orig. die neuen Auftraggeber], a model that creates new relationships between artists, communities, and audiences. When local citizens’ initiatives – accompanied by mediators – commission artists with works that change something locally, the usual roles of all participants also change. Ecosystems are created for a community-oriented art that can succeed in many ways but also faces great challenges.

 

17:00-18:30

Participatory Conversation (in English)

How can our tears shed over politics lead to actual structural change? What concrete measures need to be taken, and how? The tedious writing of contracts is often swept under the carpet and leads to invisible work. But struggles that are to be impactful in the long term must find a written form. How can this work emerge from obscurity and improve labor conditions in the arts? Two organizations run by cultural workers meet an allied institution. Zoë Claire Miller is an artist and one of the two spokespersons of the Artists Association Berufsverband Bildender künstler*innen Berlin, which has a long and turbulent history. Art Workers Italia, an autonomous and non-partisan association, was established recently and is represented for the occasion by artist Alice Pedroletti. Eric Golo Stone introduces an institutional perspective and the specific situation of the Künstlerhaus Stuttgart. Among other shapes of exchange, the fundamental meaning of contract-making and policy work will take the form of an incantation as guided meditation.

 

19:00

Get together: Drinks and soup

Participative Performance by Dina El Kaisy Friemuth as collective Check-out

With the support of and in collaboration with Kunstmuseum Stuttgart, Künstlerhaus Stuttgart, Stadt Stuttgart, and Staatliche Kunsthalle Baden-Baden.

Rudolf Schlichter, Hausvogteiplatz, 1926. Collection Christina and Volker Huber, Offenbach am Main. © Viola Roehr-v. Alvensleben, München. [The artwork is a painting by Rudolf Schlichter and is titled Hausvogteiplatz. The painting belongs to the New objectivity movement, an artistic current devoted to the depiction of reality as it is, where the modern subject was related to its surroundings. The picture represents a crowd of people in the backdrop of an urban environment. In the foreground there are two people, we assume women, who look at us, they dress in elegant coats and hats, a kid looks at them. In the background, buildings hornated by marquises and advertisement posters and an ominous fork, gives the idea of the new social setting: the city. The colours of the paintings are vibrant and transmit the energy one can feel when moving within a multitude of people.]
2023 19.09.–22.09.2023
OPEN SCHOOL Cannstatt
Lilith Becker & Liv Rahel Schwenk, Valentin Hennig, Yara Richter
Education
Events
19.09.–22.09.2023
As part of the festival CURRENT - KUNST UND URBANER RAUM
Curated by:
Initiated and realised by representatives of the Board of Directors and the General Manager

Living together, producing together, learning from each other – these are not only the cornerstones of the Künstlerhaus, they also form the core of the idea of OPEN SCHOOL Cannstatt.
We have invited the artists Valentin Hennig, Yara Richter, Lilith Becker & Liv Rahel Schwenk to work together in tandem with Bad Cannstatt’s tradespeople, associations, craftspeople, institutions or citizens and to develop a public offer.
This free offer ranges from performative walks to film art workshops. The aim is to enter into an exchange, build relationships, work together and learn from each other.

Künstlerhaus Stuttgart presents OPEN SCHOOL Cannstatt, which takes place as part of the festival CURRENT – KUNST UND URBANER RAUM.

 

The “classroom”, where information about the programme will be provided for the duration of OPEN SCHOOL Cannstatt, is located in the former Schwabenbräu-Passage in Bad Cannstatt.

 

 

Programme

 

Liv Rahel Schwenk and Lilith Becker “Wassergosch – Performing the Fountains”

 

19 September 2023, 10 am to 2:30 pm -Workshop
20 September 2023, 10 am to 2:30 pm – Workshop
Participants: max. 10 persons
Please register at info@kuenstlerhaus.de by 18.09.2023.
Meeting place: Kellerbrunnen, Brunnenstr. 19, 70372 Stuttgart, Germany

 

The workshop “Wassergosch – Performing the Fountains” will lead us along Bad Cannstatt’s drinking fountains which carry water from the area’s mineral springs. We will approach these fountains, their properties, and histories with a performance mindset. This means that over the course of the two days, we will experiment with strategies of “input” and “output”.

Collecting impressions and material in the form of audio recordings, water samples, drawings, words, sounds, and movement will expand our understanding of the fountains. The process of collecting will be complemented by encounters with people who live or work in Bad Cannstatt and share their knowledge with us. A native Bad Cannstatt tour guide will tell us about a myth surrounding one of the old town’s fountains, we will learn about the chemical composition of the water and the maintenance of the fountains, and if we’re lucky, a local Yoga teacher will guide us through a water meditation.
In a second step, we will transform the collected material and impressions into micro-performances which we will perform for each other. The participants will be led in simple structured prompts which will help organize the material and encourage experimentation.

The workshop is a space to safely explore performance whether it’s part of your practice or you’re completely new to it. Everyone is welcome.

Bring pen and paper and any other note taking device you like using, comfortable clothes, a water bottle, and anything else you’d like to bring.

 

Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“

 

Wednesday, 20 September 2023, 5 p.m. – Safer Space, office of the Black Community Foundation in the former Schwabenbräu-Passage, Bad Cannstatt.
Participants: max. 12 persons, prerequisite: Black/African German identity.
Please register at info@kuenstlerhaus.de
Thursday, 21 September 2023, during the day – open editing in the sound studio, Künstlerhaus Stuttgart, public, open to all
Thursday, 21 September 2023, 7:30 p.m. – audio screening followed by a discussion, Schwabenbräu-Passage Bad Cannstatt, public, open to all

 

This Safer Space event is aimed at Black and Afro-German people.
Together with the participants, Yara Richter will discuss and explore with creative methods what being Black in public space has to do with noise and silence. They will first meet in a closed room where the artist Yara Richter will give an interactive input on creative writing and working with sound. Afterwards, the group will walk through Bad Cannstatt together and make a sound recording in the meantime. In conversation, they want to learn from each other how to appropriate public spaces. They ask themselves questions like: How do you find a sense of security in public spaces? Which public spaces do people seek out/avoid and why? How does being black in public space influence the way you do self and community care? The participants themselves decide which texts, sounds, words and moments of noise or silence they want to include in the recording. The sound recording will be available to all participants for further use after the event.

 

The following day, Yara Richter will edit the recording into a podcast, and participants are welcome to join. In the evening, there will be a screening of the podcast with an open discussion, to which the public and all participants are welcome.
(Awareness persons will be present).

 

Valentin Hennig „business as usual”

 

Friday, 22 September 2023, 7 p.m. – Screening, former Schwabenbräu Passage, Bad Cannstatt

 

In his OPEN SCHOOL “business as ususal”, Valentin Hennig will work together with the millinery store H + M Schmid-Rupp, the Asian snack bar Chan’s Kitchen and the Greek hairdressing salon-café Haarstudio Exis, which as meeting points and hubs reflect the social life and cultural diversity of Bad Cannstatt. The aim is to develop and realise a joint film that aims at a different communication than that of goods or services: It is about the location’s own history, social and cultural significance and enabling the clientele of this place to live their own identity publicly.

In the process, Valentin Hennig will learn what it means to run a “business”, to produce and distribute goods and to build a strong bond with the customer. In return, the filmmaker will impart his practical knowledge to his partners to learn about all areas of visual and especially cinematic design and to independently create images and moving pictures.

 

Afterwards, they will invite all partners to a public screening so that a cross-cultural dialogue between the partners can take place in Bad-Cannstatt. The resulting works will also be presented at the respective places of origin.

 

About the artists

 

Lilith Becker makes sculpture, installation, video and performance art. As a musician, she plays solo as well as in various band and theatre projects. After graduating from the Berufskolleg für Design Schmuck und Gerät, Pforzheim in 2009, she studied fine arts at the Staatliche Akademie der Bildenden Künste, Stuttgart. In 2018, she was awarded the master student title of the Weißenhof Programme. Her manual on spontaneous self-ignition is published by Verlag für Handbücher in 2019. The music video “Oh Ewigkeit” (directed by Martina Wegener) with music by Nero Feuerherdt aka Lilith Becker was awarded the Buggles Award in 2023.

 

Valentin Hennig is a visual artist and filmmaker. In addition to his freelance artistic work, he leads workshops at the Staatsgalerie Stuttgart, the Kunstmuseum Stuttgart, the Künstlerhaus Stuttgart and for the LKJ Baden-Württemberg.
Since the winter semester of 2022, he has been a lecturer for video art and experimental film at the State Academy of Fine Arts Stuttgart, where he studied art education with Prof.in Silvia Bächli and Prof.in Corinne Wasmuth from 2007 to 2013. In 2010, he spent a semester as a guest student at the HfbK Dresden with Prof. Hans-Peter Adamski. He then completed the postgraduate course “Intermedial Design” with Prof. Wolfgang Mayer and Prof. Christina Gomez-Barrio (Discoteca Flaming Star) at the Staatliche Akademie der Bildenden Künste Stuttgart in 2014. In 2016, he was awarded the title of master student of the Weißenhof Programme at the ABK Stuttgart. He lives and works in Stuttgart.

 

Yara Richter moves between art, activism, art education and motherhood. From an Afro-German, intersectional ecofeminist perspective, she is currently exploring black noise as a framework to imagine and create decolonised art and cultural practices. In 2023, Yara Richter completed her Master’s degree in “Body, Theory and Poetics of the Performative” at the State Academy of Fine Arts Stuttgart with “black noise”. In the years before, she showed, among others, the collaborative durational performance “seep” (2022 with Toni Böckle, part of the group exhibition Conditions of a Necessity at the Staatliche Kunsthalle Baden-Baden) and “MFA (Master of Filthy Arts)” (2021, part of the TURN AROUND Rundgang group exhibition at the Württembergischer Kunstverein Stuttgart). She lives and works in Stuttgart.

 

Liv Rahel Schwenk is a German-American artist working with performance, video, drawing and choreographic methods. She studied at Bard College Berlin and at the Kunstakademie Düsseldorf, where she graduated with a Meisterschüler-Brief in 2012. In 2014, she went to New York on a DAAD scholarship to deepen her interest in dance and choreography in conjunction with her algorithmic drawings. Most recently she has shown projects at Simultanhalle in Cologne and mhProject and Putty’s Coronation in New York. This year she is working with the collective “Unpleasant Affairs” on a performance as part of the Spielart Festival in Munich. She lives and works in Stuttgart and NYC.

 

Locations:
Former Schwabenbräu-Passage, Bahnhofstraße 14-18, 70372 Stuttgart
Kellerbrunnen, Brunnenstraße 19, 70372 Stuttgart
Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart

In cooperation with the CURRENT – KUNST UND URBANER RAUM festival.

 

Realised thanks to the generous support of the Wüstenrot Foundation.

 

Film workshop by Valentin Hennig "business as usual" with the owners of Chan's Kitchen, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the owner of H + M Schmid-Rupp, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the owners of Chan's Kitchen, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the operator and employee of EXIS, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the operator and employee of EXIS, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the operator and employee of EXIS, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Film workshop by Valentin Hennig "business as usual" with the operator and employee of EXIS, 2023, OPEN SCHOOL Cannstatt, Photo: Oleg Kauz
Liv Rahel Schwenk in her Workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, Photo: Jochen Detscher
participants of the workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Participants of the workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, Photo: Jochen Detscher
Chris Mennel during the workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
participant during the workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Anna Schiefer during her performance, workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Lilith Becker, workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Lilith Becker and Liv Rahel Schwenk during their workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Participant during his performance, Workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Ania Corcilius during her performance, Workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Workshop „Wassergosch – Performing the Fountains”, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“, 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Juliane Gebhardt und Leonie Klöpfer, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Screening by Valentin Hennig "business as usual", 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Screening by Valentin Hennig "business as usual", 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Screening by Valentin Hennig "business as usual", 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
Screening by Valentin Hennig "business as usual", 2023, OPEN SCHOOL Cannstatt, Foto: Jochen Detscher
Screening by Valentin Hennig "business as usual", 2023, OPEN SCHOOL Cannstatt, photo: Jochen Detscher
2023 12.09.2023, 07:00pm
Tuesday-Workshop XXVI: Julia Wirsching
Events
Screening
12.09.2023, 07:00pm

At the 26th Tuesday Workshop, Julia Wirsching presents her new film “Es gibt noch einiges zu tun” at the Künstlerhaus Stuttgart.

 

For over two years, Julia Wirsching accompanied her uncle’s men’s circle in their discussions on the subject of “being a man”. How did they become men? What does it mean to be a man today? What gives them orientation? Some of them critically examined faith and its institutions in their role-finding process. Topics such as just parenthood, the search for the father or turning away from old role patterns towards more self-determination occupy the men between the ages of 40 and 75 in the most diverse ways.
The video captures these processes of reflection as well as the men’s beard care rituals. The seven men provide insights into a sensual examination of their own bodies and tell their personal stories of being a man.

 

Following the screening, we invite you to a conversation with the artist.

 

________

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

Julia Wirsching, Es gibt noch einiges zu tun, 2023 (film still), Courtesy Julia Wirsching
2023 10.09.2023
Guidelines on migration law for cooperation between artists and art associations in Germany
Niloufar Emamifar
News

Produced in the context of Niloufar Emamifar’s exhibition Ex gratia at the Künstlerhaus Stuttgart, the lawyers, Nora Ebeling and Viktor Riad, have drafted a guidelines document to aid artists and art institutions in navigating the complexities of migration law in Germany.

 

When artists facing barriers to cross-border migration are contracted by art institutions it is too often done on an individuated case-by-case basis without providing the artist transparent guidelines, shared policies, or protective standards. This newly released guidelines document aims to be a practicable resource which responds to this pervasive problem field where legal-economic resources are inadequate and inaccessible for visa-applicant, migrant, displaced, asylum-seeking, and refugee-status artists.

 

This bilingual document entitled, Guidelines on migration law for cooperation between artists and art associations in Germany, is now available here as a free and openly distributable PDF.

 

The guidelines document is co-authored by Nora Ebeling and Viktor Riad, with input from Niloufar Emamifar. The document was translated by Kathleen Parker, and designed by Studio Terhedebrügge.

 

Nora Ebeling works a freelance lawyer with a focus on migration law at the House of Democracy and Human Rights in Berlin. She represents not only internationally active artists but also all other people who need support in their residence matters or in the asylum process.

 

Viktor Riad, is a lawyer based in Berlin who founded a law firm which emphasizes migration law, asserting rights for refugees, and residence law proceedings for internationally active artists.

 

Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. Additionally, this project was supported by Callie’s, Berlin, in the form of a production residency.

Image Credit: Künstlerhaus Stuttgart, 2023. Image description: One can see the words "Guidelines on migration law for cooperation between artists and art associations in Germany” and the names of “Nora Ebeling and Viktor Riad” which are written in black letters on a white background.
2023 01.09.2023
Tamarind Rossetti & Stephen Wright to be Artistic Directors of the Künstlerhaus Stuttgart from 2024
News
01.09.2023

On January 1, 2024, a turnover of Artistic Directors is due. In a three-stage process, a search committee consisting of the Board of Directors, the Advisory Board, and representatives of the Cultural Office and the City of Stuttgart’s Municipal Council out of 57 submissions, decided on the application of Tamarind Rossetti & Stephen Wright, who have presented themselves as a team to lead the exhibition program until the end of 2026.

 

With its decision, the commission acknowledged that Rossetti & Wright have presented a concept that is not based on a conventional curatorial model, but rather develops an experimental, ‘eco-systemic’ form of curating. With their self-understanding as “usership coordinators,” Rossetti & Wright make it clear that their work focuses on the usership of the Künstlerhaus and that they regard workshops and studios as the Künstlerhaus’s key organs.

 

Künstlerhaus Stuttgart Reuchlinstraße e. V. was founded in 1978 by artists for artists. It houses seven studios, which are given to artists of all disciplines for a limited period of time, and ten workshops, which can be used by all members and guest artists.

 

A special characteristic of the Künstlerhaus is the model of the artistic director, who is engaged for three to four years and conveys the latest practices and discourses with experimental approaches to the exhibition, distribution and perception of art at Künstlerhaus. The clear time constraint promotes the diversity of artistic positions and allows each tenure to be approached as a multi-year project. The institution’s evolving history is marked by the critical, interrelational, and infrastructural transformations that each Artistic Direction brings.

 

Tamarind Rossetti, born 1976 in Ojai (California, USA), is a trained artist and teaches at the École supérieure d’art et de design TALM-Angers.
Stephen Wright was born in Vancouver (British Columbia, Canada) in 1963 and has been a permanent resident of France for nearly 30 years, teaching theory and practice at the European School of Visual Arts in France. From 2017 to 2021, he was also co-director of the postgraduate program in artistic research called Document & Contemporary Art.

 

In 2018, Rossetti and Wright founded a 1:1 scale agroecological test site called Ferme au Sauvage for growing organic fruits and vegetables, where they offered farm-to-table meals and farm-to-panel workshops (called “ideaseeding”), ran a farm store in the studio, and documented the project through art. Currently they are operating a permaculture farm and research project in Corrèze, France.

 

The new Artistic Directors see their role as “an opportunity to implement ideas gleaned over the years from usology and permaculture, from art education, publishing and exhibition making, in an ‘extradisciplinary’ environment.”

 

We look forward to welcoming Tamarind and Stephen in the coming year and to viewing the Künstlerhaus with them through the prism of permaculture, making it a fruitful artistic living space.

2023 23.07.2023
Alumni meeting of the studio holders
News
Studios
23.07.2023

On 23 July 2023, the first alumni meeting of all former and current studio holders of the last 25 years took place at Künstlerhaus Stuttgart.

A meeting and reunion, accompanied by artistic contributions and good conversations.

Many thanks to all scholarship holders for the wonderful day.

 

Photos: Jochen Detscher

 

photo: Jochen Detscher
2023 11.07.2023, 07:00pm
Tuesday Workshop XXV: Peter Hauer
Book Release
Events
11.07.2023, 07:00pm

At the 25th Tuesday Workshop, Peter Hauer presents his new publication “Mannerism” at Künstlerhaus Stuttgart. The publication deals with human movement as a medium and what is expressed with it, which Hauer subsequently treats as a cultural product. Freely following the motto “every human being is an artist”, art criticism is practised on unusual examples, and in return it is shown what influence art has on one’s own body.

 

The presentation will be moderated by Florian Model, who, together with Peter Hauer, will give a short introduction to the topic and open a discussion.

____

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

2023 08.07.2023, 07:30pm
The Forced Immigration
Kateryna Surhutanova
Events
Studios
08.07.2023, 07:30pm
Curated by:
Ein Projekt von Kateryna Surhutanova

Opening: Saturday, July 8, 2023, 7:30 p.m.
Sunday, July 9, 2023, 2 – 7:00 pm.

 

In this exhibition, Kateryna Surhutanova will present a series of works that engage with space, exploring the following questions:
Is there a difference between forced and planned emigration? What do the circumstances mean?
Why do people get involved? At what point does one become a transmigrant? What thought
would help, at the height of suffering, to remain grateful? What would it mean to not hurt yourself or those around you?
Immigrants would agree that one must live one’s entire life with a sense of ethnographic loneliness, regardless of age or reason for immigrating. What happens when you don’t belong there, but you don’t belong here either?
But the biggest psychological pressure is that you never really belong.
You’re constantly somewhere in the middle. Will the moment come when you become free of the fear of losing something and the realization sets in that everything you have stays with you no matter where you are?
You no longer “belong” anywhere. You belong everywhere. You are not afraid to be a stranger.

 

Kateryna Surhutanova is a Ukrainian artist who fled the war in her country and whose work critically explores social and cultural issues through the lens of psychology, which she positions by visualizing events on canvas or wall, completely transforming the space.

Surhutanova was a fellow at Künstlerhaus Stuttgart from May 2022 to June 2023.

Kateryna Surhutanova
2023 07.07.2023
4B – Annual publication 2022 now available at the Künstlerhaus
News
Publications
07.07.2023

At the annual general meeting in spring 2022, a motion from the membership was approved to launch a publication of Künstlerhaus Stuttgart that would present the Künstlerhaus in all its facets. An editorial team, consisting of the honorary members Alba Frenzel, Jochen Detscher and Ania Corcilius as well as the staff members Leonie Klöpfer and Romy Range, was then formed to meet the members’ request. The graphic concept and layout were the responsibility of matter of, who had already designed the Künstlerhaus website.

 

4B – the title of the publication, based on the address of the Künstlerhaus at Reuchlinstrasse 4b – is primarily concerned with artistic formats outside the curated exhibition program, since the latter already has a publication series of its own.

 

This issue of 4B Magazine features various activities of the studio fellows*, workshops, and member-initiated events in and beyond the Künstlerhaus. We report on the Tuesday workshops last year, there are interviews with the workshop leader of the audio workshop Niklas Menschik, and with the two Ukrainian fellows Kateryna Surhutanova and Elena Trutieva. In addition, we report on a series of exhibitions initiated by the studio fellows. Fernando Munizaga and Matias Bocchio report on their workshop fellowship, and users of the lithography workshop say a very personal farewell to Michael Wackwitz, who was head of the lithography workshop for many years and is now returning to his native Dresden.

In addition, the topic of mediation is becoming increasingly important at the Künstlerhaus, as it is in this publication. This time we provide an insight into the cooperation with the Hölderlin-Gymnasium. In addition, two of our mediators – Thora Gerstner and Lejla Dendic – introduce themselves.
Finally, we leave the Künstlerhaus once again and show projects by the artists and Künstlerhaus members Helen Weber in the House of the Catholic Church and Michelin Kober in the Ostfildern Municipal Gallery, and we introduce the project spaces of our members Thora Gerstner and Jan Nicola Angermann.

 

The artistic supplement in this issue was designed by graphic designer and artist Florentine Bofinger, whose design was selected by the editorial team from a large number of submissions following an open call in the membership.

 

We would like to express our sincere thanks to all contributing authors, and photographers, to the fantastic graphic designer from matter of for the great collaboration, to Florentine Bofinger for the design of the inlay (a little highlight) and of course to the editorial team, who showed a lot of commitment and even more work to make this issue possible.

It is a joint project for the Künstlerhaus community.

 

Now available for pick-up at Künstlerhaus Stuttgart – members: 3 € / non-members: 8 €.

2023 04.07.2023, 07:00pm
Fourth organ at Oberwelt e.V.
Events
Membership
04.07.2023, 07:00pm

After the kick-off of the discussion series “Kunstverein(e) der Zukunft” at the Künstlerhaus and visits to the Böblinger Kunstverein and Kunstraum34 in Stuttgart, we will be guests at Oberwelt e.V. in Stuttgart on July 4. As on previous occasions, we will again discuss with numerous guests and representatives of various art associations about problems and challenges that some established art associations face. Structures, processes, ideas and themes, which have often developed over years and decades, must be questioned, further developed and possibly reinvented in order to be able to continue to successfully carry out artistically committed association work in the future. The representatives of the various art associations will report on their own concrete experiences, problems and approaches to solutions. On the basis of the different perspectives and contexts, an open, multifaceted and fruitful discussion will take place for all participants.
Also invited to the meeting are Kunstverein Neuhausen, Kunstverein Böblingen, Kunstraum34, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.

 

Oberwelt e.V.
Reinsburgstr. 93, 70197 Stuttgart, Germany

www.oberwelt.de

2023 03.07.2023, 07:00pm
Playing with Food II: Exploring material
Events
03.07.2023, 07:00pm
A cooperation between the restaurant "Im Künstlerhaus" and the Künstlerhaus Stuttgart

On July 3, Künstlerhaus Stuttgart and the restaurant “Im Künstlerhaus” invite you to a joint evening.

 

With the event series “Playing with Food” we dare an experiment. On three evenings this year we will build a bridge between cuisine and art and talk from the first idea to the presentation on the plate. Together with an artist or a collective, we will consider how this process can be translated artistically. How can flavors, aesthetics, color and taste be combined in a culinary and artistic way?

In the first part, artist Lennart Cleemann was our guest. For the second part of the series on the theme of “Exploring Material” we invite the multidisciplinary studio anima ona, consisting of Freia Achenbach and June Fàbregas, who have been fellows of the Künstlerhaus since May 2023.

 

Behind a finished product there is often a long process of experimentation with different materials and tools. Experiments with the material in terms of their malleability, their use and the way they are made and processed take place both in the kitchen of the restaurant ‘Im Künstlerhaus” and in the work of anima ona. The duo’s practice straddles the line between design, research and art, and explores possibilities for reusing material, which they pursue through experimental approaches and an examination of the cultural significance of objects. How they make this practice visible and tangible on this evening remains to be seen.

 

The evening will begin with a 3-course meal (vegan), including all drinks. Afterwards there will be a discussion between Sebastian Werning, Konstantin Kuld and anima ona, before the evening ends in casual conversation with all guests.

 

Food and drinks will be provided by the restaurant at cost price. The participation costs amount to
49,00 EUR for members and
69,00 EUR for non-members.

 

In order to be able to make further planning, a binding registration is necessary until June 30, 2023 at rr@kuenstlerhaus.de.

 

The third part of this series will deal with presentation in October. You will receive more detailed information on this in September 2023.

anima ona, Brot, 2019
2023 30.06.2023, 07:00pm
243 – Ohne Maske
Lambert Mousseka
Events
Studios
30.06.2023, 07:00pm
Curated by:
Ein Projekt des Atelierstipendiaten Lambert Mousseka

Das erste Kapitel einer Ausstellungsreihe des Atelierstipendiaten Lambert Mousseka

 

Eröffnung: Freitag, 30. Juni 2023, 19 Uhr

auf der Atelieretage (3. OG) des Künstlerhaus Stuttgart

 

Lambert Mousseka wird auf der Atelieretage des Künstlerhauses eine Reihe Masken und Formen aus Keramik und Malereien präsentieren. Diese verweisen auf die Haltung und das Befreiungsgefühl der Kunst als einen Raum für Freiheit.
Dabei spielt das Datum der Eröffnung eine symbolische Rolle. Denn am 30. Juni 1960 wurde Lumumbas Unabhängigkeitserklärung für die Demokratische Republik Kongo beschlossen und damit das Ende der Diktatur eingeleitet.
Der Titel der Ausstellung spielt auf die Telefonvorwahl der D. R. Kongos an.

Die Ausstellungsreihe Kinoisserie, Briller et s’Envoler / Leuchten und Abheben fokussiert sich auf den Anfang der Sapologie.
Sapologie ist die Philosophie der SAPE, einer Société des Artistes et de personnes Elégantes (Gesellschaft für Künstler*innen und eleganter Personen).

2023 24.06.–25.06.2023
Public Program with Immigration Lawyers and Legal Café
Education
Events
Guided Tour
Talk
24.06.–25.06.2023

Please join us for two-days of public programming in conjunction with Niloufar Emamifar’s exhibition Ex gratia.

 

When artists facing barriers to cross-border migration are contracted by art institutions it is too often done on an individuated case-by-case basis without providing the artist transparent guidelines, shared policies, or protective standards. These public programs at the Künstlerhaus Stuttgart respond to this pervasive problem field where legal-economic resources are inadequate and inaccessible for visa-applicant, migrant, displaced, asylum-seeking, and refugee-status artists.

 

All programs take place on the fourth floor of the Künstlerhaus Stuttgart.

 

 

Saturday, June 24, 2023 (3 – 5pm)

 

Immigration lawyers, Nora Ebeling and Viktor Riad, have drafted a set of practicable guidances for the Künstlerhaus Stuttgart to contract visa-applicant, migrant, displaced, asylum-seeking, and refugee-status artists for project work. Legal counsel will present these specific practicable guidances followed by open discussion. Please note that presentation of the guidances will be conducted in German language while open discussion will be in both German and English.

 

Nora Ebeling is a lawyer with a focus on migration law at the House of Democracy and Human Rights in Berlin.

 

Viktor Riad, is a lawyer based in Berlin who founded a law firm which emphasizes migration law, asserting rights for refugees, and residence law proceedings for internationally active artists.

 

Sunday, June 25, 2023 (1 – 3pm)

 

Information session and workshop with representatives from Legal Café.

 

Legal Café Stuttgart is a self-organized project that regularly provides a space where people can drink coffee or chai and at the same time offers free counseling to individuals and groups seeking advice in face of racial profiling, asylum procedures, and/or discrimination broadly. The majority of counselors at Legal Café are from communities with a history of flight and migration. Emphasis is placed on empowering and the power sharing of communities. With different groups/persons involved in the organization who bring distinct perspectives, consultants at Legal Café are trained through workshops/seminars by legal and psychological professionals and experts from the fields of social work and discrimination-critical work.

 

Sunday, June 25, 2023 (3 – 4pm)

 

Eric Golo Stone, artistic director, and Juliane Gebhardt, curatorial assistant, provide a public tour in both English and German language of the exhibition Niloufar Emamifar: Ex gratia.

 

Saturday, June 24, 2023 (3 – 5pm) and Sunday, June 25, 2023 (1 – 4pm)

 

Künstlerhaus Stuttgart Educators, Thora Gerstner and Ludgi Porto, engage with contributors and audiences in the context of these public programs.

 

 

Further information may be found in the pamphlet.

 

Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. Additionally, this project was supported by Callie’s, Berlin, in the form of a production residency.

Niloufar Emamifar, 2023. Photo: Frank Kleinbach. Image description: One can see the frontal view of a large green stage that is positioned at a forty-five-degree angle facing downward. The stage rests on two long black metal tracks positioned along opposing white columns within a large exhibition gallery. Behind the stage, natural outdoor light comes through large industrial windows.
2023 13.06.2023, 07:00pm
Tuesday Workshop XXIV: Projektraum kunst [ ] klima
Barbara Karsch-Chaïeb, Caro Krebietke
Discussion
Events
13.06.2023, 07:00pm

At the 24th Tuesday Workshop, the project space kunst [ ] klima will introduce itself on behalf of Barbara Karsch-Chaïeb and Caro Krebietke.

The project space was founded in 2021 by Barbara Karsch-Chaïeb and Caro Krebietke has been involved since March 2023.

 

The project space kunst [ ] klima is the first art space in Stuttgart to exclusively show exhibitions on the topic of climate change and sustainability.
The bracket between the terms art and climate is provided with a blank space that opens up a possible space for communication and creates a connection. The blank space preserves openness and flexibility.
Solo exhibitions are shown with works by artists from different fields. The focus is on predominantly scientific themes such as climate, weather, climate change, energy transition, plants, water, earth, earth history, biology, biochemistry, chemistry, artificial intelligence.
The focus of an exhibition is largely on the content level of a work on display and its mediation.
In addition, lecturers are invited to complement the exhibited topics.

At the Tuesday workshop, Barbara Karsch-Chaïeb will report on the development and exhibition projects of kunst [ ] klima since its founding in 2021. She will also give an outlook on future plans and ideas for sustainability and networking with other Stuttgart cultural institutions.

 

____

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

Benjamin Miller, blühen, at Projektraum kunst [ ] klima
2023 09.05.2023, 07:00pm
Tuesday Workshop XXIII: Anna Gohmert: Family business
Anna Gohmert
Discussion
Events
09.05.2023, 07:00pm

Anna Gohmert is interested in finding a formal language for intimacy without theorising the personal and losing the tenderness or rawness of the private.
Her work is about social justice, challenges of a health nature, generational conflicts and dealing with self-efficacy and powerlessness.
She assigns her artistic practice to the genre of autofiction and engages in personal conversations to delve deeper into the subject matter. She brings together these different aspects, by which she means individual spaces of experience as well as scientific findings, with heterogeneous media as a spatial installation.
Despite the various sources, materials and people, the work is held together by an invisible text that she has penned.
Anna Gohmert will present the current works, which were created in the context of the exhibition Gescheite(rte) Familienplanung, as well as give an insight into the upcoming exhibition Das ist (ja) voll mein Ding.
Participation and accessibility play a role in both groups of works.
The focus of this evening will be on accessibility of art and culture. Gohmert will share her experiences of how costly but also rewarding it is to ask one’s own artwork whether it is accessible in a barrier-free way and how it can be translated into a barrier-free format.

 

More informations:

annagohmert.de

IG: @annagohmert

 

____

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

Photo: Dominique Brewing © VG Bildkunst Anna Gohmert 2023
2023 06.05.–10.09.2023
Niloufar Emamifar: Ex gratia
Niloufar Emamifar
Exhibition
06.05.–10.09.2023
Opening Reception:
Sat, 06.05.2023
07:00pm
Workshop with Nora Ebeling, legal counsel:
Sat, 24.06.2023
03:00pm
Workshop with Legal Café:
Sun, 25.06.2023
01:00pm
Public Tour with Eric Golo Stone:
Sun, 25.06.2023
03:00pm
Curated by:
Eric Golo Stone

For the artist’s debut exhibition in Germany, Niloufar Emamifar presents a newly produced body of work across both main gallery floors of the Künstlerhaus Stuttgart. Drawing from her study of architecture and consistent attention to the psychosocial dynamics of built space, Emamifar’s exhibition, EX GRATIA, emphasizes site-specific demands on structural capacity in responding to the needs of lived relations. This emphasis on material conditions—the insistence on operative structures—when considering interpersonal experience is a crucial aspect of Emamifar’s ongoing approach to exhibition-making. Her work carefully examines the causative relationships between site, situation, and subjectivity. For Emamifar, while living beings are not determined, they are extremely porous, thereby susceptible to the constructed systems they presently occupy and embody. The artist’s exhibition at the Künstlerhaus Stuttgart is attuned to this vulnerability—the artist leans into the work of exposure within surrounding circumstances, while also recognizing how individuated experience is not ultimately separate from the oppressive structural realities shouldered by many. The conditions encountered by Emamifar in producing EX GRATIA necessitated efforts by the artist to develop lasting structures that could be applicable for future artists working at the Künstlerhaus Stuttgart and at other art sector institutions in the German context.

 

In contracting Emamifar to produce an exhibition at the Künstlerhaus Stuttgart (KHS), it became apparent that the KHS does not have legal-economic infrastructure in place to be accessible to visa-applicant, migrant, displaced, and refugee status artists/workers. Provisions such as legal counsel support, annual earmarked funds, or staff training devoted to the needs of such contracted workers have not been established at this forty-five-year-old institution. Like many art institutions in the German context and beyond, artists facing barriers to cross-border migration are contracted on a case-by-case basis at the KHS, with no institutional guidelines, protocols, or procedures established in coordination with state laws. In responding to the systemic inadequacies and under-resourced infrastructure at the KHS, Emamifar allocated a portion of her exhibition budget to hiring legal counsel to produce a legal feasibility assessment and draft a set of practicable guidances for the KHS to be capable of working with visa-applicant, migrant, displaced, and refugee status artists.

 

Rather than solely drawing up an individual work contract, Emamifar tasked legal counsel with producing a shared policy document that could be implemented institution-wide for all future instances when the KHS contracts an artist to come work in Stuttgart, Germany on an exhibition, program, or other limited-term work. Legal counsel organized this proposed framework as a set of modules to anticipate distinct cases where artists are contracted by the KHS, with the emphasis on project-based work rather than full-time employment. While recognizing that jurisdictionally-specific law must account for situational-specificities in different cases, advocates for legal rights also recognize the need for standards of regulation and protection. It is well known how certain doctrines often codify, legitimize, and enforce individual rights at the expense of collective struggles to achieve systemic change. Equitable hiring practices increasingly call for transparent standards, rather than approaching a worker’s contract on an individualized case-by-case basis which often reduces efforts against structural oppression to isolated individual grievances and remediations. In working with potential governance arrangements and legal aid infrastructure, Emamifar’s exhibition grapples with the law as a largely inaccessible system, which has also been shaped by ongoing histories of immigration law, poverty law, labor law and other advocates for greater accessibility and the asserting of rights within a legal order that too often merely codifies what dominant economic authority has qualified as justice. And of course, the law is not a neutral framework of conduct. It is defined.

 

While committed to effectively redefining foundational and underlying structures, Emamifar is ambivalent about the role of artists as short-term workers who engage in capacity-building for the long-term prospect of an art institution. There is real danger for artists as project-based laborers when they intervene in governance structures of hosting institutions. Artists are left economically destitute, foreclosed upon, or discarded, when they operate beyond their expected role by attempting to intervene in institutional administration. This danger is precisely why Emamifar has brought in key collaborators—legal counsel—to take on a substantial behind-the-scenes and public-facing role in engaging with the structural conditions of the institution. Emamifar’s exhibition includes a built stage where representative legal counsel, Nora Ebeling, will give a public presentation on the practicable legal-economic guidances for the KHS to utilize when contracting visa-applicant, migrant, displaced, and refugee status artists. Emamifar’s decision to construct a platform for Ebeling’s public presentation of this proposed legal-economic infrastructure underscores vital interrelated questions for the artist: What are the risks of visibility and platforming—of representation— when seeking to actualize lived political realities? What does it mean for Emamifar to assign Ebeling with the public-facing work of exposure and education in confronting audiences with the structural imperatives for visa-applicant, migrant, displaced, and refugee status workers? To what extent will this legal-economic framework serve as both an internal and outward facing policy, offering everyday considerations that are specific to the KHS, as well as reproducible models of institutional conduct that challenge the inequitable, exclusionary, and discriminatory hiring practices so prevalent in the art sector at large?

 

The title of Emamifar’s exhibition, Ex gratia, refers to the term as used in a legal context for a payment that is made not out of legal obligation but because the circumstances justify it. It is a kind of standard practice recognized by the law that is irregular, a legally recognized consideration that is extra-legal. Ex gratia payments are morally justified but legally unsanctioned—that is, they are a means of recourse potentially more exacting than those mandated by law. Emamifar’s exhibition includes a fully executed agreement between the artist and KHS that governs the storage of materials owned by the artist within a safe deposit box located on the fourth floor of the KHS for as long as KHS rents the building at its current location. A key provision of this agreement is that Emamifar may grant an assignee access to any of the many safe deposit boxes the artist has made available. In the event that the artist grants an assignee access to a safe deposit box, all terms and conditions of the agreement apply to the assignee just as they do to the artist. This signed agreement is included in the exhibition pamphlet.

 

 

Program

 

05/06/2023 (7pm)

Opening reception

 

06/24/2023 (3-5pm)

Nora Ebeling, legal counsel, public presentation and workshop at the Künstlerhaus Stuttgart

 

06/25/2023 (3-4pm)

Information session and workshop with representatives from Legal Café

 

06/25/2023 (3-4pm)

Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public

 

Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. In addition, this project was supported in the form of a production residency by Callie’s, Berlin.

Image credit: Niloufar Emamifar, 2023. Image description: One can see a grainy image of the back of a woman’s head with black wavy hair reaching her shoulder. This woman’s hand with red nail polish on each finger is holding a pen with a red cap and her hand is extended out typing on an adding machine used for counting votes.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Jan Hottmann.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Jan Hottmann.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Foto: Frank Kleinbach.
Niloufar Emamifar, Oh Lovers, I Know Not What I Am, 2023. Single channel video with sound (15 seconds, looped). Photo: Frank Kleinbach.
Niloufar Emamifar, Oh Lovers, I Know Not What I Am, 2023. Single channel video with sound (15 seconds, looped). Video stil.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Patricia Paryz.
Niloufar Emamifar, Retractable Stage, 2023. Mixed media installation. Photo: Patricia Paryz.
Niloufar Emamifar, Driving Lessons, 2023. Single channel video with sound (12 minutes). Photo: Frank Kleinbach.
Niloufar Emamifar, Driving Lessons, 2023. Single channel video with sound (12 minutes). Photo: Frank Kleinbach.
Niloufar Emamifar, Driving Lessons, 2023. Single channel video with sound (12 minutes). Video stil.
Niloufar Emamifar, Safe, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Safe, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Safe, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Safe, 2023. Mixed media installation. Photo: Frank Kleinbach.
Niloufar Emamifar, Ex Gratia, 2023.
2023 04.05.2023, 07:00pm
Fourth Organ
Events
Membership
04.05.2023, 07:00pm

The next meeting of the Fourth Organ will take place on 4 May.

At this meeting there will be no dedicated topic focus, but we will get together for a casual exchange over a few drinks.
The meeting point is in the Künstlerhaus on the 2nd floor at 7 pm.

2023 11.04.2023, 07:00pm
Tuesday Workshop XXII: Chris Mennel
Discussion
Events
11.04.2023, 07:00pm

33 Träume (Dreams)

Book presentation and talk with Chris Mennel

 

In the Tuesday workshop, Chris Mennel talks about events that have taken place around his book “33 Träume” – the project idea, the affection for his own homepage, the remoteness of Instagram and Facebook, the book trade, marketing goals and wilful naivety in book sales.

 

“33 Träume” is an art book that includes texts and poems by the artist as well as photo paintings he has created, and is now cause to go on a promotional tour, because the books cannot be ordered on Amazon, but only from the artist himself.

 

At the beginning of 2022, Chris Mennel discovered a box of darkroom pictures from the last 20 years and presented them on camera. These images can also be found in the book, together with an imaginary 33rd, a black image and texts that were created to accompany the images.
On the one hand, the small print run of the book combines the joy of having an art book printed in a small edition at a fair price; on the other hand, it also goes hand in hand with a distance to museum shops and bookstore chains and thus less attention from the press.

To get around this, social networks are served by Mennel through a chatbot and populated with content and the artist’s name. The chatbot draws on seasonally appropriate photos from recent years and thus repositions what was already posted years ago.
The art book is accompanied by the domain 33träume.de.

 

The Tuesday workshop is moderated by Florian Model, artist, member of the advisory board and head of the video workshop.

Chris Mennel, 2022
2023 04.04.2023, 07:00pm
Fourth organ
Events
04.04.2023, 07:00pm

The topic for the next meeting of the Fourth Organ is the Guideline for Dealing with Discrimination, Harassment and Violence, which a working group consisting of parts of the Board, Advisory Board and staff of the Künstlerhaus have developed over the last two years.

 

On Tuesday, April 04, 2023 at 7 p.m., the Advisory Board will present the guideline to members on the 2nd floor.

 

2023 31.03.–02.04.2023
The Center for Native Arts and Cultures Working Group
Contributors include: Maile Andrade, Natalie Diaz, Healoha Johnston, Tiokasin Ghosthorse, Joy Harjo, Flint Jamison, Brandy Nālani McDougall, New Red Order, and Allison Akootchook Warden. Mit Vertreter*innen des Center for Native Arts and Cultures: Lulani Arquette, Reuben Tomás Roqueñi, und Gabriella Tagliacozzo.
Events
31.03.–02.04.2023
Curated by:
Healoha Johnston und Eric Golo Stone

Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.

 

The program will be held in English. If needed, Juliane Gebhardt, curatorial assistant at Künstlerhaus Stuttgart, will translate into German.

 

All events take place on the second floor of Künstlerhaus Stuttgart.

 

 

Schedule:

 

Friday March 31

7pm – 9pm

Working Group Reader Launch

Food and drink

“Never Settle: The Program” video work by New Red Order on view

Welcome remarks from Eric Golo Stone (Künstlerhaus Stuttgart), Lulani Arquette and Reuben Tomás Roqueñi (The Center for Native Arts and Cultures)

Spoken word performance by Allison Akootchook Warden

 

Saturday April 1

1pm – 2:30pm

Introductory remarks by Eric Golo Stone and Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum (Editor of Working Group Reader and Organizer of Working Group)

Working Group Session 1

2:30 – 2:45pm

Break

2:45 – 4pm

Working Group Session 2

 

Sunday April 2

Fourth Floor Gallery

12 – 12:45pm

Flint Jamison public tour of the artist’s exhibition, “Masterworks on Loan, 2020, 2022″

Second Floor Gallery

1 – 2:30pm

Working Group Session 3

2:30 – 2:45pm

Break

2:45 – 4pm

Working Group Session 4

5pm

Closing performance by Tiokasin Ghosthorse (musical piece and unlearning colonization work)

 

This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg.

2023 25.03.–26.03.2023
Long Night of the Museums at Künstlerhaus
New Red Order, Flint Jamison, Eva Dörr, Florian Glaubitz, Alba Frenzel, Lambert Mousseka, Mona Zeiler, Lennart Cleemann, Janis Eckhardt, Lena Meinhardt, Ekaterina Surgutanova, Elena Trutieva
Events
25.03.–26.03.2023

On Saturday 25 March 2023 from 6 pm – 1 am there will be the opportunity to take part in various events on the four floors of the Künstlerhaus:

 

1st floor and workshops on the ground floor:

6 pm – 1 am Hourly percussion performance by studio scholarship holder Eva Dörr in the sound studio.
6 pm – 1 am Open workshops (ceramics, screen printing, etching, lithography, relief printing)

 

2nd floor:

6 pm – 1 am Hourly video screening Never Settle: The Program by New Red Order in the exhibition Convenings on Land Reclamation by The Center of Native Arts and Cultures (Oregon, USA).

 

3rd floor:

6 pm – 1 am The studio holders Florian Glaubitz, Alba Frenzel, Lambert Mousseka, Mona Zeiler, Lennart Cleemann, Janis Eckhardt, Lena Meinhardt, Ekaterina Surgutanova and Elena Trutieva show artistic works and performances in the studios, the staircase and the common room of the studio floor.

 

4th floor:

8 pm and 10 pm Curatorial tours in German and English through the exhibition Masterworks on Loan, 2020, 2022 by Flint Jamison.

Tickets cost 22 €, concessions (trainees, students, pupils) 16 €, children up to 6 years have free admission.

 

Advance ticket sales for the Long Night of the Museums will take place from 24 February at
www.lange-nacht.de, under the ticket hotline 0711/601717 30 and at all advance booking offices in Stuttgart and the region.

 

Box office tickets are available at all participating houses. Pre-sale tickets will be converted into a ticket band at the box office the first time you visit a house.

 

The Long Night Ticket entitles you to free use of all trams, S-Bahns and buses in the VVS network from 12 noon.

 

More information at www.lange-nacht.de, the information and ticket hotline 0711/601717 30 and at the information stand on Schlossplatz between Landesmuseum/Altes Schloss and Alter Kanzlei (from 25.03., 3 pm).

2023 14.03.2023, 07:00pm
Tuesday-Workshop XXI: Martin Mannweiler
Events
Screening
14.03.2023, 07:00pm

Algorithm-based camera surveillance

 

Film screening and talk
with Martin Mannweiler

 

Documenting a video surveillance project by the Mannheim police – a pilot project introduced in 2017 to monitor public spaces. The monitored areas of Mannheim are considered criminal hotspots. Cameras are intended to defuse the situation by ensuring rapid police intervention when criminal acts are observed. Work is currently underway to enable algorithms to recognize specific movement patterns and signal possible criminal acts.

 

In addition to the analytical presentation of the surveillance project in Mannheim, the following topics will be addressed on a general level: criminal hotspots and threat situations, panoptical surveillance, private generation and public provision of image data, security and fear, global crises and the associated need to control the local. Likewise, other cities that rely on camera surveillance projects are exemplified – including Stuttgart.

 

By looking at the initial stages of camera surveillance projects, can considerations be formulated that will prevent or curb rampant mass surveillance of public spaces in European metropolises such as London or Paris in the future?

 

 

Film: Martin Mannweiler
Graphics: Mark Julien Hahn / Stereo Typefaces
Music: Björn Castillano

 

Film and talk in German language

 

Gefördert von
Stadtlücken, Stuttgart
Mofa – Mannheim´s Ort für Architektur
Kulturamt, Stadt Stuttgart
Ministerium für Wissenschaft, Forschung und Kunst Baden Württemberg

 

Danke für die Freundliche Unterstützung
ato.vision, Württembergischer Kunstverein, Kunsthalle Mannheim, Stadtzimmer der Kunsthalle Mannheim, Rimini Protokoll, Künstlerhaus Stuttgart

Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
Martin Mannweiler, Algorithmenbasierte Kameraüberwachung, Filmstill, 2022
2023 04.03.2023, 07:00pm
Fourth organ as guest at Kunstraum34: Kunstverein(e) of the future
Events
04.03.2023, 07:00pm

Saturday, March 4th 2023, 7pm
Kunstraum Atelierhaus Filderstraße 34 e.V., Filderstraße 34, 70180 Stuttgart

 

The second meeting on the topic “Kunstverein(e) der Zukunft” took place on December 4 at the Kunstverein Böblingen. With numerous guests and representatives of different Kunstvereine, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes, which have often developed over years and decades, must be questioned, further developed and possibly reinvented in order to be able to continue to do successful artistically committed association work in the future. The representatives of the various Kunstvereine reported on their own concrete experiences, problems and approaches to solutions. Based on the different perspectives and contexts, an open, multifaceted and fruitful discussion resulted for all participants. It also became clear that this was not the end of the discussion and that we would like to use this impulse to promote further exchange and networking between the art associations.

 

In doing so, we would like to take the opportunity to visit the various Kunstvereine and get to know them better: the host of our next meeting on March 4 at 7 pm will therefore be Kunstraum34 in Stuttgart. Invited to the meeting are Kunstverein Neuhausen, Kunstverein Böblingen, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.

 

2023 03.03.2023
Job announcement: Artistic Director (m/f/d)
News
03.03.2023

The position of artistic director at Künstlerhaus Stuttgart is to be filled as of January 1st, 2024.

 

Künstlerhaus Stuttgart was founded in 1978 by artists to promote practical working conditions, theoretical engagement with art, and cross-disciplinary exchange among artists. By giving space to social and political demands while addressing the most current artistic practices and discourses, Künstlerhaus Stuttgart is today an institution of local and international significance.

Künstlerhaus Stuttgart houses exhibition spaces, workshops and seven artists’ studios with changing fellows. We are looking for a director who will build on this structure to develop an artistic program that brings local communities and international agents into exchange.
As a Verein, we have a strong interest in alternative models of presenting and communicating art, as well as experimental formats.

 

Within the structure of the Künstlerhaus, the artistic director is responsible for

– the independent development and implementation of an artistic program
– the logistical and budgetary preparation and realization of the developed program, as well as related events
– project financing and the associated acquisition of third-party funding
– the conception of the education program within the framework of the Artistic program for which the artistic director is responsible
– the documentation of the projects, as well as the conception and realization of publications, if applicable
– press and public relations work

 

What the position requires

– very good knowledge of contemporary cultural production
initiative and a high degree of personal responsibility in combination with a strong ability to work in a team
– strong communication and organizational skills
– full professional proficiency in German and/or English
– proven experience in project financing and cultivating third-party funding
– experience in public speaking and excellent verbal communication skills with members, visitors, colleagues, and staff as well as the press and politicians
– willingness to make Stuttgart your main place of residence for the duration of your tenure

 

At Künstlerhaus Stuttgart, the Artistic Director works closely with a dedicated team consisting of a full-time managing director, an accountant, a technical manager, and volunteer members on the board, advisory board, and workshops.
The appointment of the Artistic Director is for three years with the option of a one-year extension. The Artistic Director is offered an assistant to the extent of half a position.
If necessary, Künstlerhaus offers help in finding an accommodation and supports a German language course.

 

Please send us your application (cover letter, curriculum vitae without photo and an overview of your previous work qualifying you for the artistic direction) as well as a forward-looking concept for the artistic direction (max. 1 Din A4 page) as one PDF-file (max. 10 MB) only by Email no later than May 1, 2023 to:

 

Ania Corcilius, Chairwoman of the Board
Künstlerhaus Stuttgart e.V.
Reuchlinstraße 4b, 70178 Stuttgart
Email: bewerbung@kuenstlerhaus.de

 

Applications from teams or groups will also be accepted. All applications will be treated confidentially.

photo: Julian Bauer
2023 26.02.–19.03.2023
Educational Programs in February and March
Lejla Dendic, Thora Gerstner, Ludgi Porto, Yara Richter
Education
26.02.–19.03.2023
Journal Workshop for Teenagers :
Sun, 26.02.2023
03:00pm
Jewelry Workshop for Children:
Thu, 02.03.2023
02:00pm
BPoC Creative Empowerment Workshop:
Sat, 04.03.2023
03:00pm
Weaving with Paper: Rethinking History and Space :
Sun, 05.03.2023
03:00pm
Working with Clay: Rethinking the Collective Self:
Sat, 11.03.2023
02:00pm
Udu Making with Ceramics:
Fri, 17.03.2023
02:00pm
Artist Talk with Ludgi Porto:
Sat, 18.03.2023
03:30pm

Together with Künstlerhaus Stuttgart, the Center for Native Arts and Cultures (Portland, USA) is organizing a two-day open working group to review the land reclamation process that led to its founding. These working groups will be accompanied by a reader, a new video work titled “Never Settle: The Program” by New Red Order, performances by Tiokasin Ghosthorse and Allison Akootchook Warden, a collection of documents, and by a program organized by educators from Künstlerhaus Stuttgart.

 

Detailed information about the project can be found here.

 

Please register for the educational program by sending an e-mail to education@kuenstlerhaus.de.

 

All workshops are free of charge.

 

 

Journal Workshop for Teenagers

with Thora Gerstner

February 26 (3-5 p.m.)

 

Where do we collect memories? In a bookbinding class, we will make our own sketchbooks, calendars, or blanks for journal entries, drawings, collages, or notes to create a gathering place for memories. Historical bookbinding techniques will form the basis for independent production. The cover can be designed with worn-out clothing brought along.

 

 

Jewelry Workshop for Children

with Thora Gerstner

March 2 (2-4 p.m.)

 

Jewelry can hold memories. We will combine found and brought materials and assemble them into a variety of unique jewelry pieces to find new and old, real or made-up memories in our jewelry.

 

 

BPoC Creative Empowerment Workshop

with Yara Richter

March 4 (3-6pm)

 

Developing and providing an ongoing space for the work of the BPoC community will be consistently pursued in this workshop. In the context of an educational, research, and discursive space focused on decolonial practices, cultivating and growing a BPoC community over time is really important and represents a specific approach to what a public education program can do.

 

 

Weaving with Paper: Rethinking History and Space

with Lejla Dendic

March 5 (3-4:30 p.m.)

 

In this workshop we will learn together how to weave with paper. We will gain a better understanding of this world and its interconnectedness with us humans through the physical process of weaving. Using Masao Adachi’s landscape theory fúkeiron, we will try to identify and analyze global and communal structures and spaces together and process them through weaving. Weaving serves to overcome the blockages of seemingly broken connections and to connect people and visions of a world that works for all.

 

 

Working with Clay: Rethinking the Collective Self

with Lejla Dendic

March 11 (2pm-3:30pm)

 

Together we creatively explore the possibilities and symbolism of clay. What does identity, culture and violence mean? Clay symbolically represents ideas of renewal, as it can be endlessly reshaped in its raw state by controlling moisture content. The material thus holds infinite possibilities and the ability to start over again and again. We focus on what it means to create and foster a shared understanding of our impact in this world and what could be.

 

 

Udu Making with Ceramics

with Ludgi Porto

March 17-19 (2pm-6pm each day)

 

As part of the workshop, participants* will be invited to make their own Udu. The Udu is a Nigerian ceramic drum that came to Brazil in the Afro-diaspora. In the Nigerian context, the ceramic drum is traditionally made and played by women, and the voice of the udu is considered the voice of the ancestors. In the Brazilian context, however, the instrument has detached itself from its spiritual origins and found its place in Brazilian popular music. Together we reflect on different questions: What does it mean to produce in the European context an instrument of Nigerian origin that was kidnapped to America in the course of colonization? What am I really doing when I make this instrument? Is this instrument a body? How do I relate to it? Where and how can this body exist? In the decolonial process, what would be the process of restitution? Does this restitution take place on the cultural level? To what extent is restitution possible?

Basic knowledge of ceramics is desirable. The workshop will be held in English language.

 

 

Artist Talk
with Ludgi Porto

March 18 (3:30pm)

 

As part of the workshop program Ludgi Porto will hold an artist talk about her research with the Udu drums. She will briefly talk about the origins of the instrument, including its kidnapping and the kidnapping of its peoples; describe the complex social and racial context involved in her relation with the Udus, while sharing her own discovery as a person of color beyond the South American limits. Along with these topics she will present texts’ excerpts, drawings, paintings and documentations of the developed work throughout the research.

The artist talk will be held in English language.

 

 

 

This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg

Image Credit: Ludgi Porto, 2022
2023 25.02.2023, 06:00pm
Wachsen - sleepover #4
June Fàbregas (Anima Ona), Lennart Cleemann
Events
Studios
25.02.2023, 06:00pm

We invite you to an evening with wax, candles and light
Shallow flames and the thermals of architecture
Fine movements
Flickering
Hissing
Steam and smoke
Soot
Tea
Soup, warm
Wax wanders
Performative objects

 

The event starts at 6 p.m.
on the studio floor (3rd floor) of the Künstlerhaus Stuttgart

 

About the project series Sleep over

In the ongoing project series Sleep over, Lennart Cleemann invites artists*, designers* and architects to explore settling in, playing, exhibiting and sleeping together. Every three months a pop-up event takes place. New ideas and works emerge from the coming together of different artistic positions. What are we interested in? What do we want to explore together? There is no set goal or theme, but the search for an open, fluid process in togetherness is the focus. The studio floor of the Künstlerhaus Stuttgart serves as the location for this. There you will find Cleemann’s studio and a 150 sqm large common room, which will be shared by the fellows.

 

 

2023 17.02.–02.04.2023
The Center for Native Arts and Cultures: Convenings on Land Reclamation
Contributors include: Maile Andrade, Natalie Diaz, Healoha Johnston, Tiokasin Ghosthorse, Joy Harjo, Flint Jamison, Brandy Nālani McDougall, New Red Order, and Allison Akootchook Warden. With representatives from the Center for Native Arts and Cultures: Lulani Arquette, Reuben Tomás Roqueñi, and Gabriella Tagliacozzo.
Exhibition
17.02.–02.04.2023

Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures, and to envision how from this process the Center will advance a commitment to mobilizing networks of Indigenous artists, culture bearers, and Native-led arts organizations. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.

 

The Center for Native Arts and Cultures was founded in 2021 as the headquarters of the non-profit Native Arts and Cultures Foundation after taking up the transfer of ownership of the historically registered Yale Union Laundry Building, a two-story commercial structure and surrounding land parcel, in the city of Portland, Oregon, which was previously owned by an artist-run space called Yale Union. This working group serves as a contribution to a larger series of internal focus groups currently being convened by the Center for Native Arts and Cultures to gather input on its organizational capacity and structural conditions as it situates operations, exhibitions, and educational programs in the newly acquired building. While acknowledging the land that this particular building sits on, working responsibly in various local level contexts to reflect the history of previous Native tribes and peoples who inhabited the land for the purposes of use rather than ownership has always been crucial to the Native Arts and Cultures Foundation. Additionally, efforts around the transfer of Yale Union to the Native Arts and Cultures Foundation reflect a broader movement to address ongoing historical inequities stemming from land ownership and property in the US and beyond.

 

This inter-institutional collaborative project is consistent with the ethos of the Künstlerhaus Stuttgart, which was founded by artists in 1978 as a place where producers from around the world convene to discuss their conditions of artistic production. Its foundational structure situates artistic interests and institutional capacity as closely interrelated. The Künstlerhaus Stuttgart seeks to engage in knowledge sharing with respect to the Center for Native Arts and Cultures’ specific interests in Indigenous approaches to artistic production, organizational capacity, and governance arrangements, as well as decolonial education that includes learning in water rights, reparations, and land use justice. Germany is yet another site from which these discussions must necessarily take place. There is little question that current German land law has been shaped through German colonial empire and its patrician city-state colonial encounters in the global context. Germany has a long complex history of implementing laws to seize property and assert land ownership. This confiscatory history of legal-economic structures ratified by Germany and the broader European colonial venture has fundamentally altered the management of land and related resources globally. And it must be recognized how these fundamental changes extend to the lived social relations, economic conditions, and cultural practices imbricated with Indigenous and existing forms of land use. This project focuses on a specific set of lived questions and material challenges that the Native Arts and Cultures Foundation and its Center for Native Arts and Cultures is confronting, but which are also part of the research, education, and outreach efforts today that emphasize rebuilding, restitution, and reparations efforts of Indigenous peoples worldwide as they seek to strengthen internal governance capacities and realize political, economic, and community development objectives.

 

Contributors include: Maile Andrade, Natalie Diaz, Healoha Johnston, Tiokasin Ghosthorse, Joy Harjo, Flint Jamison, Brandy Nālani McDougall, New Red Order, and Allison Akootchook Warden. With representatives from the Center for Native Arts and Cultures: Lulani Arquette, Reuben Tomás Roqueñi, and Gabriella Tagliacozzo.

 

The working group and accompanying reader are organized and edited by Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum, with Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart.

 

 

Never Settle: The Program by New Red Order, on view:

February 17 – April 2, 2023

 

Document collection on view:

February 17 – April 2, 2023

 

KHS Educators programs:

Thora Gerstner: February 26 (3pm – 5pm) and March 2 (2pm –4pm)
Yara Richter: March 4 (3pm – 6pm)
Lejla Dendic: March 5 (3 – 4:30pm) and March 11 (2pm – 3:30pm)
Ludgi Porto: March 17, 18, and 19 (2pm – 6pm)

 

Detailed information about each of the programs by the Educators may be found on the Künstlerhaus Stuttgart website.

 

Working Group Reader Launch and Performance by Tiokasin Ghosthorse: March 31, 7pm
Working Group Session 1: April 1, 1pm – 4pm
Working Group Session 2: April 2, 1pm – 4pm
Performance by Allison Akootchook Warden: April 2, 5pm

This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg

New Red Order, Never Settle: The Program (2018 –), single-channel video, color, sound, 50 minutes. (Credit: New Red Order). Image description: The acronym “NRO” in red capitalized letters and the words “never settle” in white letters are located above a website link that reads “newredorder.org” in red and a phone number “1-888-new-red1” in white. This text is seen overlaid against plumes of grey smoke and a black background.
2023 14.02.2023, 07:00pm
Tuesday Workshop XX: ak interspace presents: Hefte zur Haltung - Lecture performance & interchange
ak interspace
Discussion
Events
14.02.2023, 07:00pm

At the 20th Tuesday Workshop, ak interspace will present the booklet series “Hefte zur Haltung” in the form of a lecture performance.

 

The booklet series deals with a critical practice of artistic-social making and asks for an attitude between doing and not doing, between theory and practice, between us and me.
The booklets bundle memes, texts, questions, tasks, images and quotes. Playfully and fragmentarily – without providing answers – they give impulses for working on one’s own conditions, which are often challenging in the context of mediation and beyond. The booklets are not intended to be a best practice example of mediation, instruction or a collection of methods, but rather to facilitate a little playful searching.

 

Afterwards, there will be room for discussion with the visitors about the form and content of the booklets. The booklets will be for sale for a donation.

 

As ak interspace, Miriam Trostorf, Christian Limber and Lara Dade are part of the rampe:aktion group.
The group works together on a mediation practice that transcends disciplines and is located at the intersections of visual art, social work, film, art education, activism and curating.
As part of the one-year Fellowship for Art Mediation 2021/22 of the Städtische Galerie Wolfsburg, the booklet series “Hefte zur Haltung” was created.

 

Website: https://rampecollective.org/
Instagram: rampe_aktion
Contact: mail@rampecollective.org

 

 

2023 05.02.2023, 04:00pm
The Photo Workshop as guest in the Restaurant Im Künstlerhaus
Jochen Detscher, Domenik Gebhardt, Manu HarmsSchlaf, Lis Klein, Boris Schmalenberger, Christiana Teufel, Damaris Wurster
Events
Workshops
05.02.2023, 04:00pm

 

 

Midissage Sunday, 05 February 4 pm
in the Restaurant Im Künstlerhaus

 

In the Restaurant Im Künstlerhaus we show works by seven artists who dedicate themselves to the medium of photography, some of which were created in the darkroom of the Künstlerhaus.

 

The artists present a wide variety of photographic techniques such as cyanotype, digital prints or black and white hand prints, thus demonstrating not only the diversity of photography but also the diversity of artistic positions.

 

For the exhibitions in the restaurant, the workshop directors of the ten Künstlerhaus workshops invite members to present their work together in a group exhibition. In 2022, this series started with an exhibition of the screen printing workshop with workshop director Jochen Detscher.

 

We invite you to sparkling wine and coffee & cake. The artists will be present.

 

 

2023 04.02.2023, 07:00pm
Fourth Organ
Events
Membership
04.02.2023, 07:00pm

In the first Fourth Organ of 2023, we will dedicate ourselves to the call for proposals for the next Artistic Director and its selection process. All members are invited to discuss this on Saturday, February 04, 2023 7pm.

 

 

2022 13.12.2022, 07:00pm
Tuesday Workshop XIX: Andrés Baron: Glass dimes - A selection of films
Andrés Baron
Events
Screening
13.12.2022, 07:00pm

Tuesday Workshop XIX presents: Andrés Baron
December 13 2022, 7pm

 

Two persons watching a sunset, a woman sleeping at night, the ending of a song: Andrés Baron dislocates and transfers actions in short 5 to 10-minute films. Then, he frees the moving images from the duty to narrate and make sense: attending to the tactility of the image, the plays of perception, and the evocative force of sound. Along the way, the viewers are transported into mistaking the object for its representation, or stillness for movement. (Jade Barget)

 

Andrés Baron is born in Bogotá, Colombia and lives and works in Paris. Graduated from l’École nationale supérieure des Arts Décoratifs in Paris, his work has been presented in various places and exhibitions, including the International Film Festival Rotterdam (NL), la Fondation d’enterprise Hermès (FR) the Edinburgh International Film Festival Edinburgh (UK), Anthology Films Archives, New York (USA), LA Film Forum, Los Angeles (USA), Images Festival, Toronto (CA), EMAF, Osnabrück (DE), Le Bal, Paris (FR), La Cité des Arts in Paris (FR), the FRAC Franche-Comté (FR), among others.

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Tuesday Workshop

 

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

 

16mm film transferred to digital file 5 min
2022 09.12.2022
Open Call studio 2023/2024
News
09.12.2022

Künstlerhaus Stuttgart is offering 7 studio residencies for a period of 12 months, starting May 1st 2023. Each individual studio is approx. 25 sqm. A large recreation room is accessible for all recipients. Additionally, stipendiaries have free access to all technical facilities of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.

 

It is possible to extend the studio grant through applying for another year. This option can be used not more than twice, so a maximum period of three years is possible.

 

Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.

 

Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome.

 

Application
Please include with your application the following documents:

  • CV

  • documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.

  • a written description how you want to use your studio at Künstlerhaus Stuttgart (max. 2 pages)

     

Please send us your application via email, please send pdf files only, latest by January 31st 2023:

 

Contact Person: Romy Range
Email: bewerbung@kuenstlerhaus.de
Subject line: Studio application

 

The jury, which consists of members of the artistic board, will meet in February and all applicants will be informed about the decisions as soon as possible.

 

Please note that the studio program does not include accommodation or any kind of financial aid. International applications are welcome provided that applicants see to their accommodation and visa themselves. The residency has to be in Stuttgart within the year.

Lennart Cleemann, squeak, 2021
Marlon Lanziner & Valentino Berndt, studio view, 2020
Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber, CKonvention, 05.09.2021, studio floor, photo: Künstlerhaus Stuttgart
studio Nov 24th 2021, Künstlerhaus Stuttgart, photo: Lennart Cleemann
2022 05.12.2022
DER FAUST for Bernhard Herbordt and Melanie Mohren
News
05.12.2022

Künstlerhaus Stuttgart congratulates Bernhard Herbordt and Melanie Mohren on being awarded the theatre prize DER FAUST in the category Genrespringer.

 

The jury explained their selection: “With their ‘Schaudepot’, Herbordt/Mohren have created a place that points beyond itself and has an impact. On the one hand, it is a small shop with open doors on the outskirts of Stuttgart; lovingly and very elaborately thought out down to the last detail. But above all, it is also a construction kit, a principle, an invitation, a thought that is taken out to the villages and the World Wide Web, that can be applied and, as if in passing, raises the question of the social significance of theatre. It is a very serious – with emphasis and great consistency – research. On-going and in the very best sense: transdisciplinary!”

 

Bernhard Herbordt and Melanie Mohren were studio fellows at Künstlerhaus Stuttgart in 2012. Schaudepot can be found online at https://www.das-schaudepot.org/ and is located at Altenbergstraße 10 in Stuttgart-Süd.

 

DER FAUST has been awarded as a national theatre prize since 2006 and is sponsored by Deutscher Bühnenverein, Kulturstiftung der Länder, Deutsche Akademie der Darstellenden Künste and this year the state of North Rhine-Westphalia (source: Wikipedia).

Courtesy Herbordt/Mohren
Courtesy Herbordt/Mohren
photo: Dominik Odenkirchen
photo: Dominik Odenkirchen
2022 04.12.2022, 07:00pm
Fourth Organ as guest at Kunstverein Böblingen
Events
Membership
04.12.2022, 07:00pm

The event will take place at Kunstverein Böblingen, Schloßberg 11, 71032 Böblingen.

Our first meeting on the topic of “Art Association(s) of the Future” took place on 4 October at the Künstlerhaus Stuttgart. With numerous guests and representatives of various art associations, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes that have often developed over years and decades need to be questioned, further developed and possibly reinvented in order to be able to continue to do successful, artistically committed association work in the future. The representatives of the various art associations reported on their own concrete experiences, problems and approaches to solutions. The different perspectives and contexts resulted in an open, diverse and fruitful discussion for all participants. It also became clear that this was not the end of the story and that we would like to use this initial impulse to promote further exchange and networking between the art associations.
In doing so, we would like to take the opportunity to visit the various art associations and get to know them better: the host of our next meeting on 4 December at 7 pm will therefore be Kunstverein Böblingen. Invited to the meeting are Kunstverein Neuhausen, Kunstraum34, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.

2022 25.11.–26.11.2022
Das Bündnis shows presence - Conference at Künstlerhaus Stuttgart
Conference
Events
25.11.–26.11.2022
„Diversitätsentwicklung“ with Markues Aviv, BBK Berlin:
Fri, 25.11.2022
05:00pm
„Machtmissbrauch und freie Szene in Baden-Württemberg“ with Paula Kohlmann and Frederik Zeugke cooperation with FTTS, PZ and Theater Rampe:
Sat, 26.11.2022
03:00pm
Curated by:
an event by Bündnis für eine gerechte Kunst- und Kulturarbeit, Baden-Württemberg

On Friday 25 and Saturday 26 November, das Bündnis invites you to a two-day event with workshops at Künstlerhaus Stuttgart. After months of online meetings, it is time to meet, encounter and, above all, exchange analogue and in presence.
The two days are meant to be used for a reunion with long-time members as well as for getting to know new members.

 

Friday, 25 November, 5 pm
“Diversity Development” with Markues Aviv from the BBK Berlin

 

On Friday 25.11.2022 at 5 pm Markues Aviv will report on the activities of the BBK Berlin in recent years. Markues Aviv is a board member of the professional association, which pursues the structural promotion of all visual artists. In addition, the BKK is active in cultural policy and advocates for open and permeable art businesses. It is precisely the diversity developments of organisations that Markues Aviv will focus on in his workshop: What are the basic figures and strategies for diversity development in cultural associations? And what transfer can the alliance draw from the experiences of the BKK for their future work? This is to be found out in a joint discussion.
Afterwards, the room will remain open for lingering. Drinks and small snacks invite us to enter into conversation and to continue networking.

 

Saturday, 26 November, 3 pm
“Abuse of power and the independent scene in Baden-Württemberg” with Paula Kohlmann and Frederik Zeugke.
Cooperation with FTTS, PZ and Theater Rampe

 

On Saturday 26.11.2022 at 3 pm we will deal with questions on how to deal with discrimination, assaults or abuse of power with Paula Kohlmann and Frederik Zeugke as a cooperation with FTTS, PZ and Theater Rampe. Even the art scene in Baden-Württemberg is not free of these issues. It is seldom spoken about, and consequences follow even more rarely. This should change! As artists and employees of institutions, we have recently been coming together to gather knowledge, to exchange ideas internally and to talk to the administration and politicians in order to develop strategies and measures. A change in thinking and acting is needed. On an individual, institutional and political level. Abuse of power is not an individual problem, but a structural one. In this workshop, we will gather different perspectives of those involved, discuss current priorities, focus on necessary goals, prepare very concrete next steps for action.
Doors open on Saturday at 2:30 pm, the workshop will start promptly at 3 pm.

For both workshops, please register by email to praesenz@dasbuendnis.net.

2022 15.11.2022, 07:00pm
Artist Talk with Hayahisa Tomiyasu
Hayahisa Tomiyasu
Discussion
Events
Studios
15.11.2022, 07:00pm
Curated by:
An event by Atelierstipendiat:innen des Künstlerhauses

Bridge, football, fox, ping-pong table, handkerchief, numbers, pole, clock, butterfly, LOOK.
These are keywords from the series that have been created over the last 18 years. They are connected in the background one by one. But how and why?
In this event he will present how he developed his artistic approach in Chigasaki, Leipzig, Zurich, Rome, Tokyo and London in the period from 2004 to now.

 

Hayahisa Tomiyasu (1982, Kanagawa, Japan) studied photography at Tokyo Polytechnic University (BA) and at the Hochschule für Grafik und Buchkunst / Academy of Visual Arts Leipzig (Dipl. and MA). He taught at the Zurich University of the Arts (ZHdK) in the Department of Fine Arts in the Bachelor’s program. In 2018, he won the MACK First Book Award with his work TTP. This series is part of the Art Collection Deutsche Börse Photography Foundation.

Photo: Hayahisu Tomiyasu
2022 12.11.2022–02.04.2023
Flint Jamison: Masterworks on Loan, 2020, 2022
Flint Jamison
Exhibition
12.11.2022–02.04.2023
Opening reception:
Sat, 12.11.2022
07:00pm

Flint Jamison’s exhibition at the Künstlerhaus Stuttgart investigates a tax-incentivized art loan program called “Masterworks on Loan,” which was established in 2015 at the Jordan Schnitzer Museum of Art (JSMA), a collecting museum on the campus of the public state University of Oregon, in Eugene, USA. Jamison’s exhibition of newly commissioned work presents a damaging account of this museum loan program during the onset of the COVID-19 pandemic. Ultimately, Jamison reconsiders to what extent the JSMA settles the terms that define the museum’s obligation to serve a public who supports the institution through tax deductions, and for whose benefit it exists as a charitable organization. This reconsideration extends from the seemingly small and localized case of the JSMA, to the broader role art sector institutions have in conceptualizing, legitimizing, and implementing tax laws that facilitate divestment of public interests through extraction and exploitation.

 

Jamison’s exhibition at the Künstlerhaus Stuttgart builds on his previous work exposing the lived politics of tax law, and it draws from a broad spectrum of literature relied upon by journalists investigating tax law and by critical tax theorists. Critical tax theory is a field of groundbreaking legal scholarship that examines the political and discriminatory aspects of tax law. It is an intellectual discipline that seeks to recognize how deeply consequential tax law is in managing property ownership, vast income inequalities, disproportionate exemptions, inherited advantages, disincentives, and indebtedness. Challenging historical claims that tax law is neutral or unbiased, critical tax theory intersects with other fields studying the ongoing impact of tax laws that have been ratified in the service of colonialism, class oppression, and racial-economic subordination. Significantly, critical tax theory has also long insisted that a complete study of the political dynamics of tax law would require an understanding of specific cultural contexts in which the tax laws operate.

 

Tax laws increasingly determine the operative structure of art institutions. The expansion of arts patronage globally is inextricably bound to the preferential tax laws that wealthy individuals, foundations, and corporations aggressively lobby for at the city, regional, and federal level. Consequently, the art sector has become dedicated to inventing and upholding legal-economic structures that reduce tax liability for high-net-worth individuals. This legal-economic bias mobilized through art is evidenced today by artworks as tax-exempt assets, art philanthropy as system of tax avoidance, and art workers as a freelance labor force that shifts the tax burden away from employers and onto the worker. Of course, it must be recognized that tax-avoidance laws are not solely distant legal permissions advocated for by the wealthy—these are laws that the broader art field routinely promotes as beneficial to artists, art institutions, art audiences, and the public at large.

 

 

Künstlerhaus educators engage visitors in conversation about the exhibition: Wed–Sun 12–6pm

 

Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in English): November 20, 2022 (3pm)

 

Juliane Gebhardt, assistant curator of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in German): December 11, 2022 (3pm)

This exhibition has been realized with public funding from the city of Stuttgart and was also supported with a donation by Galerie Max Mayer.

January 3, 2021 Judd, Donald Untitled 1993
October 4, 2020 Schutz, Dana RCA 2008
September 13, 2020 Dylan, Bob Nowhere and Anywhere 2018
May 31, 2020 Sherman, Cindy Untitled 1989
May 31, 2020 Mehretu, Julie Six Bardos: Luminous Appearance 2019
May 10, 2020 Picabia, Francis Intervention d’une femme au moyen d’une machine 1915
May 3, 2020 Haring, Keith Untitled 1990
May 3, 2020 Clark, Ed Untitled 2000
April 19, 2020 Thomas, Alma Dogwood Blossom Along Skyline Drive 1973
2022 08.11.2022, 07:00pm
Tuesday Workshop XVIII: Lis Klein
Lis Klein
Events
08.11.2022, 07:00pm

Tuesday Workshop XVIII presents: Lis Klein

 

November 8th 2022, 7pm

 

The basis for her work is the preoccupation with found material, which either originates from already existing collections or for which her own archival structures and documentary means are developed. Starting from this, she integrates and transfers objects into her own expression to create works.
The current pivot of her work is her engagement with nature, primarily with the world of insects, plants and fungi. Lis Klein gives insights into her collections, working methods and shows works in different stages.
Lis Klein studied fine arts at the State Academy of Fine Arts Stuttgart. She lives and works in Stuttgart.

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Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

photo: Leander Aßmann
2022 28.10.–30.10.2022
The Hunt
Lennart Cleemann, Moritz Berg
Events
Studios
28.10.–30.10.2022
Opening:
Fri, 28.10.2022
06:00pm

A project by studio holder Lennart Cleemann

For the exhibition “The Hunt” Moritz Berg and Lennart Cleemann went stalking in the Kräherwald. An approach of two artists and their practice with nature. Close to earth, approaching the supposedly dead. From spring to autumn. The conduct becomes hunting, thoughtfully, outside the usual sense of time. The ritual constitutes the change. The trophy perpetuates decay and consolidates our time.

Poster of the exhibition "Die Jagd" 2022, Lennart Cleemann, Moritz Berg
2022 11.10.2022, 07:00pm
The view has been hazy for days. 35‘ 14‘‘
Ann-Kathrin Müller, Judith Engel, Katharina Jabs
Events
Screening
11.10.2022, 07:00pm

Tuesday Workshop XVII presents:

 

Judith Engel, Katharina Jabs and Ann-Kathrin Müller: The view has been hazy for days. 35‘ 14‘‘

 

The film circles around the scene of a seismological station and negotiates which traces and cracks can be found in our thinking along the history of earthquakes. Starting from the physical uncertainty principle, the film examines the obsession of sharply viewing the world without distortion, and how that relates to the history of science and culture. The filmic montage of analogue photographs and essayistic text fragments creates a never-ending reel of still images that transports the film along its narrative. In this way, an associative access to reality is formulated that cannot rely on a certain that-has-been but recognises uncertainty and blurriness itself as conditions of experience and thus questions a principle of photographic and cinematic evidence.

 

The film accompanies the book „Das Signal“, published by Edition Taube in 2022.

 

 

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Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

The view has been hazy for days. 35‘ 14‘‘, exhibition view Kunstraum 34, Courtesy Ann-Kathrin Müller, Katharina Jabs, Judith Engel, © VG Bild-Kunst, Bonn 2022
2022 26.09.2022
Ukraine-Grants: Ekaterina Surgutanova and Elena Trutieva
News
Studios
26.09.2022

This year, Künstlerhaus Stuttgart has awarded two working grants to Ukrainian artists who fled the war and are now based in Stuttgart and the surrounding area: Ekaterina Surgutanova and Elena Trutieva.
Both artists will be provided with a workspace on the studio floor until further notice. They also receive a monthly financial allowance to enable their artistic practice.

 

Ekaterina Surgutanova

 

Ekaterina Surgutanova was born in Ukraine in 1995 and lived in Slavutich, Kiev and Lviv. From 2010 to 2012 she studied at the School of Culture and Art in Slavutich at the Faculty of Fine Arts.
2012 to 2018 Surhutanova studied at the National University of Civil Engineering and Architecture in Kiev, specialising in urban planning and architecture and landscape architecture.
She worked as an architect. However, she started painting murals indoors and outdoors. The focus of her work is on detailing objects, emphasising shapes and playing with colours so that the painting becomes one with the environment it is in, using acrylic paint.
In her paintings she explores the transformation of authentic images through colour and varied composition, while retaining the graphic strokes of academic drawing.

 

In her latest series, the artist tries to capture the emotional context of a nation confronted with the problem of the expulsion of people from their country through the prism of their individual feelings and experiences. She uses the example of the Ukrainian nation to which she herself belongs. In doing so, she touches on themes such as self-identity in society, personal and collective memory, experience and reflection.
For her works, the artist uses photographs of real people or her memory of people she met on the street when she and her child had to seek safety.

 

 

Elena Trutieva

 

Elena Trutieva was born in Odessa, Ukraine in 1980.
From 1998 to 2002 she studied at the M. B. Grekov School of Art at the Ukrainian National Technical University in Odessa. She graduated with distinction.
From 2002 to 2008 she studied at the NAOMA National Academy of Fine Arts and Architecture, specialising in graphic design. From 2007 to 2022 she worked as an interior designer, designing private and public interiors.
From 2015 to 2017 she worked in Kalamata, Greece, designing cafés, hotels and restaurants.
In the interiors she always tried to use painting, painting walls and ceilings and finding interesting artistic solutions.
When she moved to Greece in 2015, she started painting on sea stones, which has become a very important artistic work.
She is currently working on a series of works that deal with her memories of the war. She spent 15 days with her family in occupation by Russian troops near Gostomel. On social media, she detailed what they experienced during this time and shared her story with the world. This story quickly spread worldwide and is now on display at the Austrian Historical Museum in Vienna. She started with three paintings – a portrait of her mother, one of her friend and a self-portrait. She now wants to draw all the people who were with her these 15 days and who were involved in her rescue. For her, they are not simple portraits, but shots of events with emotions frozen in people’s faces. In these works, she wants to show what they have endured and survived, and the special role of each person in that terrible time.
Two finished portraits show the women who helped her in Germany when she had just arrived.

The monthly financial support is possible thanks to the generosity of private donors.

photo: Ekaterina Surgutanova
photo: Ekaterina Surgutanova
photo: Elena Trutieva
photo: Elena Trutieva
photo: Elena Trutieva
photo: Elena Trutieva
photo: Elena Trutieva
photo: Ekaterina Surgutanova
photo: Ekaterina Surgutanova
photo: Ekaterina Surgutanova
2022 24.09.–08.10.2022
Education Program September / October
Education
Events
24.09.–08.10.2022
Educated Hope - Shadow theatre Workshop with Lejla Dendic:
Sat, 24.09.2022
02:00pm
Educated Hope - Shadow theatre Workshop with Lejla Dendic:
Wed, 28.09.2022
03:00pm
"How to keep it open? Gender and institution", Workshop with Ludgi Porto:
Fri, 30.09.2022
03:00pm
Creative Empowerment Workshop for BPoC, with Yara Richter:
Sat, 01.10.2022
03:00pm
"How to keep it open? Gender and institution", Workshop with Ludgi Porto:
Sat, 08.10.2022
03:00pm

Education programme September / October

 

Conceived and realized by the educators Lejla Dendic, Ludgi Porto and Yara Richter

 

Educated Hope – Shadow theatre Workshop with Lejla Dendic

 

September 24th, 2022, 2-5pm

September 28th, 2022, 3-6pm

 

Traditionally, the century-old Art of Shadow Puppetry has been used to join communities and engage in collective storytelling about what’s happening socially, politically, and culturally. Shadow Theatre has the potential to open us up to each other in ways not normally accessible and acts as a platform to bring together visual art, vocal and instrumental music, drama, literature, and dance, as well as the art of the puppeteer. The Künstlerhaus Stuttgart would like to provide a space where people could engage variously with the topics of institutional/ social/ structural critique and the immense power language/narratives have and how it affects our society psychologically, politically, and culturally. With this shadow theatre workshop, we would like to break down institutional/social structures metaphorically and imagine what a future could look like if we implement more transparent and intersectional structures.

 

If someone plays instruments (which are portable) they are welcome to bring them along.

 

Registration at info@kuenstlerhaus.de

 

 

“How to keep it open? Gender and institution”, Workshop with Ludgi Porto

 

September 30th, 2022, 3pm

October 8th, 2022, 3pm

 

The workshop “How to keep it open? Gender and institution” is the screening of the documentary “Raised Without Gender” by Milène Larsson, where binary gender identity comes into question in children’s education. The screening will be followed by an open discussion which aims to raise questions about the possibilities and contradictions of seeing gender as a fluid institution.

 

The educator Ludgi Porto is a Brazilian visual artist who has been living in Stuttgart for two years. She is currently investigating possibilities of gender identity in creative writing in relation to performance art.

 

Registration at info@kuenstlerhaus.de

 

 

Creative Empowerment Workshop for BPoC, with Yara Richter

 

1st October, 3-6pm

 

As part of Anike Joyce Sadiq’s exhibition “Mit Glück hat es nichts zu tun”, we warmly invite BPoC (Black and People of Colour) to a creative empowerment workshop. After several gentle relaxation and body exercises, we will delve into the space in and around us through drawing, writing and movement. Together and individually, we will focus on following creative impulses that arise. Without any pressure to produce anything, the workshop provides a moment for recharging and attuning. No prior experience is necessary, just come as you are.

 

Please note that this is a safer space event for BPoC.

 

Registration at info@kuenstlerhaus.de

 

photo: Oleg Kauz
2022 13.09.2022, 07:00pm
Tuesday Workshop XVI
Lennart Cleemann
Events
13.09.2022, 07:00pm

For our 16th Tuesday Workshop we invite Lennart Cleemann.

 

Tuesday, September 13, 2022, 7 p.m.

The event will take place on the third floor, in the studio of the artist.

 

“In einem Raum werde ich reden
mein Atelier
meine Arbeit
in Enge
umgeben von Charakteren
physisch manifestierte Momente
forcierte materielle Intimität
unausweichlicher Terror
existentielle reelle
subjektiv die Brust
ein bisschen Ruhe
ein bisschen Lust”

 

Lennart Cleemann (*1990) studied architecture (Hanover, Aarhus, Basel and Stuttgart). At the ABK Stuttgart he was part of Reto Boller’s art class and thus found his way into artistic practice.

 

At the Künstlerhaus he explores ideas and notions of “home”. He works with space and material. Through the construction and abstraction of rooms, furniture and playground equipment, he explores his environment and attempts to gain an understanding of its processes. In this process, the studio has become a place of necessity. It becomes a physical arena of the interior, absorbing whimsy, dust and sweat. The daily change of this intimate space and its observation serves the exploration of the self.

 

_______

Tuesday Workshop

 

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

 

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

2022 04.09.2022, 02:00pm
Symposium "Kultur braucht Presse"
Events

Eine Veranstaltung des Vierten Organs

Sonntag, 4. September 2022, 14 bis 18 Uhr
im Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart, 4. Stock

 

Seit Jahren verliert die Berichterstattung über Kultur (Feuilleton), sowohl örtlich wie auch darüber hinaus gehend, merkbar an Bedeutung und Qualität in den Lokalblättern Stuttgarts – Stuttgarter Zeitung und Stuttgarter Nachrichten. Nicht zuletzt der massive Personalabbau in den Redaktionen beider Zeitungen hat dies bewirkt.

 

Es zeigt sich, dass der Umfang des täglichen Feuilletons in der Regel zwei Seiten umfasst, deren Beiträge zum größten Teil Agenturmeldungen mit keinem örtlichen Bezug sind. Durch diese Einschränkungen erlangen besonders örtliche, durch Tagesaktualität bestimmte Anliegen in der täglichen Kultur-Berichterstattung in Stuttgart nachrangige bis minimale Bedeutung; dazu gehören Kritiken, Reportagen, Ankündigungen von Ereignissen, Personalien … Das monatlich erscheinende Buch „Kulturreport Stuttgart“ vermag das beschriebene Defizit nur begrenzt aufzufangen. So verbleibt den im Kulturbereich Tätigen keine redaktionell ernstzunehmende, mediale Plattform mehr.

 

Vor diesem Hintergrund lädt die Basisinitiative des Künstlerhauses, das „Vierte Organ“, zu einer öffentlichen Diskussionsveranstaltung ein. Wir fragen:
• Wie kann kritische Kulturberichterstattung im lokalen Kontext aussehen?
• Was sind aktuell die wichtigsten Themen in der lokalen Kunst und Kulturpolitik?
• Wie erreicht man diverse Öffentlichkeiten?
• Was erwarten Künstler*innen, Kritiker*innen, Kulturinstitutionen und -verwaltung von Kulturberichterstattung und -kritik?
• Welche Formate wünschen wir uns?
• Wie lässt sich unabhängige Kulturberichterstattung finanzieren?

 

Lokale Pressevertreter*innen, Kunstkritiker*innen, Künstler*innen und freie Journalist*innen werden ihre Perspektiven darstellen und in einer moderierten Diskussion mit den Besucher*innen des Symposions ins Gespräch kommen.

 

Referent*innen sind:
• Adrienne Braun, freie Journalistin und Autorin, u.a. Stuttgarter Zeitung, Stuttgarter Nachrichten, Süddeutsche Zeitung, Themenschwerpunkt Kunst und Theater;

• Dr. Dietrich Heißenbüttel, Kunsthistoriker, freier Journalist und Autor, Kontext Wochenzeitung, Themen: Kunst, Architektur und Stadtplanung;

• Alexa Dobelmann, Mitbegründerin von Frame[Less], digitales Magazin für Kunst in Theorie und Praxis;

• Judith Engel, freie Kulturjournalistin und Autorin, Dozentin für Kulturtheorie an der Merz-Akademie Hochschule für Gestaltung Kunst und Medien Stuttgart

 

Anschließend möchten wir in Workshops konkrete Maßnahmen erarbeiten, mit denen wir dem diagnostizierten Mangel begegnen können.

 

Das Ziel ist es, eine neue Plattform für Kritik & Kulturjournalismus zu schaffen, wofür wir Mitstreiter*innen und Unterstützer*innen suchen, die durch ihr Wissen und ihre Expertise bei diesem Projekt helfen können. Wir laden Sie deshalb auch ein, um gemeinsam über die Anforderungen und die daraus resultierende Struktur dieses neuen Formates nachzudenken.

 

Für die Teilnahme an dem Symposium bitten wir um Anmeldung unter info@kuenstlerhaus.de

 

2022 02.09.–29.09.2022
Island - Exhibition in Stuttgart City Hall
Michelle Carlos, Lennart Cleemann, Jochen Detscher, Klauss Ensslin, Ute Fischer-Dieter, Hendrik Fleck, Andreas N. Franz, Alba Frenzel, Thora Gerstner, Manu HarmsSchlaf, Jorge Kaiman, Paul Macleod-Andrews, Jihye Park, Gabriele Quandt-Magin, Miriam Saric, Dietmar Schönherr, Christiana Teufel, Anali Vakili, Michael Wackwitz, Julia Wenz-Delaminsky, Marc C. Woehr
Exhibition
02.09.–29.09.2022
Opening:
Thu, 01.09.2022
06:00pm
Curated by:
Arne Schmidt

Exhibition of the members in the city hall Stuttgart, 4th floor

After two years of forced break due to corona, an exhibition will take place again this year in Stuttgart’s city hall. For this, the Künstlerhaus invited its artist members via Open Call to participate and submit works on this year’s theme of the exhibition “Island”.

 

21 artists have been selected and will again provide an insight into their current work in the 6th edition of the city hall exhibition. The artists not only draw on different media, but also approach the theme of the exhibition in different ways in terms of content and concept.

 

The cross-generational group exhibition once again impressively demonstrates the role of Künstlerhaus Stuttgart as a place of exchange as well as artistic production, and it also represents the cross-section of Stuttgart’s artistic diversity.

 

Mit freundlicher Unterstützung der Landeshauptstadt Stuttgart

Jochen Detscher, Blejski Otok i (work in progress), 2022, Serigrafie auf Büttenkarton, Courtesy Jochen Detscher
2022 14.06.2022, 07:00pm
Tuesday Workshop XV
Christian Diaz Orejarena
Discussion
Events
Performance
14.06.2022, 07:00pm

Zu unserer 15. Dienstags-Werkstatt laden wir Christian Diaz Orejarena ein.

 

Dienstag, 14. Juni 2022, 19 Uhr

Die Veranstaltung wird im 3. Stock im Künstlerhaus stattfinden.

 

Ein Comic, der sich mit der deutschen Kolonialgeschichte in Kolumbien beschäftigt. Im Rahmen eines Stipendiums bewegt sich Christian Diaz Orejarena auf den sogenannten »Lengerke Wegen« im Nordosten Kolumbiens, die von einem deutschen Unternehmer im 19. Jahrhundert angelegt wurden. Dort stößt er auf Heldengeschichten über skrupellose Kaufleute, Mythen und Geschichten rund um Ausbeutung und Größenwahn und wirtschaftliche Mechanismen, die sich bis heute fortsetzen. Auf verschlungenen Pfaden, Wegen und Gedanken folgen wir der Familiengeschichte des Autors, treffen auf aufklärerische Karnevalsmasken, den zum Leben erwachten Walking Man aus München und indigene Widerständler:innen.

 

Experimentell, lustig und abgedreht nähert sich Christian Diaz Orejarena in Otras Rayas – Andere Linien einem Thema an, das im deutschsprachigen Raum noch nicht viel Beachtung erfahren hat und das, obwohl es sehr enge Verbindungen nicht nur zwischen Kolumbien und Kaufleuten aus den hiesigen Hansestädten gab.

 

Infos zum Buch OTRAS RAYAS – ANDERE LINIEN https://christiandiaz.net/otraraya/index.html

https://thegoldenpress.org/produkt/otras-rayas%E2%80%89-%E2%80%89andere-linien/

 

Teaser der Performance: https://vimeo.com/662773781?embedded=true&source=vimeo_logo&owner=497281

Christian Diaz Orejarena,

in München geboren und aufgewachsen, studierte in Berlin und Wien Konzept- und Medienkunst. Er arbeitet an recherchebasierten und interdisziplinären Projekten, die oft in kollektivem Zusammenhang entstehen. In seiner künstlerischen Arbeit erzählt er selbstironische und persönliche Geschichten über seine postmigrantische Biografie und konstruiert darüber einen dokufiktiven Blick auf sozio-politische, ökonomische und ästhetische Verbindungen zwischen Kolumbien und Deutschland. Den eigenen Wahnsinn vor Augen, hält er durch seine künstlerische Praxis der Gesellschaft den Spiegel vor die Nase und baut Zeichnungen, Videos und Aktionen ins Leben zurück, die von unangepassten Dingen, widerständigen Menschen und antikolonialen Traumwesen berichten. Seit er mit dem Kollektiv rampe:aktion zusammen arbeitet, motiviert er auch andere sich mittels Zeichnung, Film und Poesie eine undisziplinierte Welt zu erkämpfen.

 

_____

 

Dienstags-Werkstatt

Mit der Dienstags-Werkstatt lädt das Künstlerhaus Künstler:innen oder Kollektive ein, über ihre Arbeitsweisen, Hintergründe und Vorgehensweisen zu sprechen. Wir wollen eine Plattform etablieren, in der sich intensiver zur künstlerischen Praxis ausgetauscht wird und uns so vernetzen, solidarisieren und gegenseitig stärken.

Die Reihe richtet sich an alle Mitglieder des Künstlerhaus Stuttgart, an Künstler:innen aus Stuttgart und Umgebung, oder auf der Durchreise, an alle Kunstvermittler:innen, Kurator:innen, Kulturschaffende usw. und ist offen für alle!

Christian Diaz Orejarena, OTRAS RAYAS - ANDERE LINIEN, Courtesy Christian Diaz Orejarena
Christian Diaz Orejarena, OTRAS RAYAS - ANDERE LINIEN, Courtesy Christian Diaz Orejarena
2022 04.06.2022, 07:00pm
Fourth Organ
Events
04.06.2022, 07:00pm

On Saturday, June 4 at 7 p.m., the next session of the Fourth Organ will be held at the current exhibition “It has nothing to do with happiness” by Anike Joyce Sadiq.

 

It is also possible to participate via Zoom at the following link:

 

https://us02web.zoom.us/j/82690585857?pwd=MHJxUmo2UE5BcUNnYzFRL2VBSFdXZz09

 

Meeting ID: 826 9058 5857
ID code: 236881

 

We want to deal with two topics at this meeting:
– on the one hand with the survey from Anike Joyce Sadiq, which she sent out to all members at the end of last week
– secondly, we want to discuss possible formats & events that can take place during the exhibition

 

2022 22.05.2022, 11:00am
1000 X Leuchtend / TAUSENDSCHÖN
Events
22.05.2022, 11:00am

Die Stuttgarter Künstler:innen Kerstin Schaefer und Christa Munkert – die als FUKS Freie Unabhängige Künstlerinnen Stuttgart seit 2010 kollaborative und partzipative Installationen und Aktionen im öffentlichen Raum durchführen in unterschiedlichsten Konstellationen mit Künstlerkolleg:innen und Publikum – an Kunstorten oder in neuen, aufregenden Spaces…sind am Sonntag, dem 22. Mai 2022 von 11-16:00 Uhr im KÜNSTLERHAUS STUTTGART zu Gast.

 

Im Rahmen des inklusiven Kulturfestivals „FUNKELN inklusive“ realisieren Sie gemeinsam mit dem Stuttgarter Künstler Kurt Grunow und den Gästen Ihre Malerei-Lichtskulptur 1000 X LEUCHTEN/ TAUSENDSCHÖN. Dabei werden auf durchsichtigen Materialien Bilder gemalt, welche zu einer transluzenten Rauminstallation zusammengefügt werden.

Mehr Infos unter www.fuksweb.blogspot.com

 

 

Es entsteht ein kleiner Film ab 14 Uhr.

 

photo: Christa Gipser
photo: Christa Gipser
photo: Christa Gipser
photo: Christa Gipser
Introducing Magischer Realismus (Detail), Kerstin Schaefer aus der Ausstellung "FUKS: Neue Kunst" im Alten Schloss 2020, Landesmuseum Württemberg, Stuttgart
2022 21.05.–09.10.2022
Mit Glück hat es nichts zu tun
Anike Joyce Sadiq
Exhibition
21.05.–09.10.2022
Opening Reception:
Sat, 21.05.2022
07:00pm

The work of Anike Joyce Sadiq consistently reconsiders the extent to which social dynamics, intersectionality, and perspectives of difference are negotiated within institutional structures. Sadiq’s exhibition projects often produce scenographic spaces with installation works that activate a social-situational awareness of the immediate institutional context. The artist creates mechanisms and platforms for attentiveness to one’s social surroundings, including the people, their interactions, and their behaviors. Sadiq is interested in how interactive, divergent, and converging lived relations specifically play out within sites of artistic production and reception. The scenographic spaces that Sadiq produces contend with fundamental challenges to social connectivity, recognizing for instance that disclosure and exchange are pursued within art institutional structures that too frequently undermine these pursuits. Informing the planning, construction, and use of these spaces Sadiq creates within institutions, the artist at times takes an active mediating role in communications with representatives of the hosting institution and invited collaborators. Sadiq works as an interlocutor, seeking out other interlocutors and inviting in allies, in order to examine dependencies, reciprocities, differences, and hierarchies within the institutions where the artist works. Taking on this high-risk role of internal mediation in producing her exhibition projects, Sadiq employs a position of critical ambivalence that recognizes how institutions intended to be places of public-facing accessibility and facilitation almost always operate internally by deferral and obstruction.

 

Anike Joyce Sadiq’s first major monographic exhibition in Stuttgart, Mit Glück hat es nichts zu tun, presents newly produced work that carries forward the artist’s investigations into complex social dynamics through mediated spaces that center perceptions of difference. Sadiq’s exhibition at the Künstlerhaus Stuttgart comprises multiple interrelated pieces situated within a large-scale installation. Sadiq wrote a questionnaire addressed to all association members of the Künstlerhaus Stuttgart.[1] The questionnaire itself and the responses to this multiple-choice survey are presented in the exhibition gallery. Additionally, beyond the artist’s exhibition in Stuttgart, the survey and database of survey results will be maintained indefinitely as an openly accessible online platform, with Sadiq distributing the survey to art institutions globally while updating language and other accessibility features to the website as the platform is more widely distributed. While the survey reflects on the status quo and demographics—the racially- specific, gender-specific, class-specific relations—that currently constitute the Künstlerhaus Stuttgart, Sadiq has created a large-scale installation in the gallery that is devoted to generating critically reflexive discussions about the future potential of the institution. Built from a repurposed scaffolding system, Sadiq’s installation emphasizes contingent relations and conditional infrastructure. Focusing on this critical horizon, Sadiq invited a semi-autonomous organization associated with the Künstlerhaus Stuttgart, named the Fourth Organ, to hold their monthly meetings within the large installation. Sadiq has been actively engaged in the Fourth Organ meetings since the organization’s founding in 2020, at the outset of the pandemic and most recent social justice uprising. The Fourth Organ is intended to offer an open, inclusive, interstitial space within the Künstlerhaus Stuttgart, where individuals and groups can voice their interests for the institution. But the Fourth Organ is not solely a space for voicing open proposals or the politics of protest, the monthly meetings are intended to serve a very specific purpose of developing formal motions to be voted on at the annual membership meeting. For Sadiq, the porousness of the Fourth Organ is consistent with her artistic interests in holding space for contentious social dynamics and dissenting positions within art institutions. Because the Fourth Organ meetings are open to board members, staff members, association members, and non-members alike, safety and discretion are challenged by the authority dynamics present in these gatherings. The final work in Sadiq’s exhibition is an interview text the artist conducted with the writer Andrea Scrima that reflects on their experiences working in art institutions, with specific case-study attention given to recent experiences working within the Villa Romana, a German art institution which oversees a residency program in Florence Italy, and which offers related exhibitions and programming. Sadiq’s and Scrima’s incredibly candid first-person account evidences their experiential research into institutional conduct broadly, while also focusing in on the particularly fraught socio-economic conditions of the Villa Romana.[2]

 

 

 

Schedule of Programs:

 

21/05/2022 (8pm)

Judith Hamann performs a site-specific sound work within the exhibition installation

 

10/06/2022 (6.30pm)

Discussion with Anike Joyce Sadiq, Simone Frangi, Justin Randolph Thompson, Lucrezia Cipitelli, Alessandra Ferrini, and Andrea Scrima at the Villa Romana, in Florence, Italy

 

04/06/22 & 04/07/22 & 04/07/22 (7pm) & 04/09/22 (2-6pm)

Fourth Organ Meetings: Open to all members and anyone who may be considering membership. A space for initiatives, criticisms, and perspectives, while supporting discussions that consider relations between artistic and institutional practices

 

19/06/2022 (3pm)

Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart

 

Wed/Thu/Fri/Sat/Sun (12—6pm)

Künstlerhaus educators lead public discussions of the exhibition

 

 

 

 

 

 

[1] Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany. The Künstlerhaus Stuttgart currently has over 500 members.

 

[2] For each work within the exhibition, Sadiq engages in the complex messy work of analyzing, embodying, and enacting institutional structures. The work of institutional analysis and critique is frequently dismissed as being easily adopted and neutralized by the institution in question, but this dismissive characterization of institutional work does not account for the hard fought behind-the-scenes efforts by artists and their collaborators. It must not be forgotten that there are real limitations to confronting institutional structures through artistic positions, with artists’ projects being canceled and collaborating institutional representa- tives having their jobs terminated.

 

 

 

 

Mit Glück hat es nichts zu tun at the Künstlerhaus Stuttgart has been organized in cooperation with Anike Joyce Sadiq’s concurrent presentation of her works “You never Look at Me from the Place from which I See You” (2015), “Papierstück” (2014) and “Berührung” (2008) at the permanent collection of the Kunstmuseum Stuttgart.

 

Realized with public funding from the city of Stuttgart

 

With the generous support of the Stiftung Kunstfonds

 

In collaboration with the Akademie Schloss Solitude

Photo: Aline Xavier Mineiro, 2022
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Photo: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
Anike Joyce Sadiq, exhibition view, 2022, Foto: Frank Kleinbach
2022 21.05.–09.10.2022
Declined Declinations
Bea Schlingelhoff
Exhibition
21.05.–09.10.2022
Opening Reception:
Sat, 21.05.2022
07:00pm

Over the past decade, Bea Schlingelhoff has become increasingly known for producing site-responsive and situationally-specific exhibition projects that test institutional capacity for exposure work. Schlingelhoff’s exhibitions often initiate or accelerate an internal reflexive process of uncovering, divulging, and repairing historical trauma present within the immediate context of exhibiting institutions that hire the artist. For Schlingelhoff, tasking institutional representatives with this behind-the- scenes work of confrontational exposure and reparative justice is an artistic position-taking—a means by which the artist as a short-term contracted worker attempts to maintain safe distance from the deeply unsafe social conditions inherent to all institutions, and particularly with respect to transitional institutions claiming to be committed to structural change. Anticipating real danger when the freighted memory, identity, and legacy of an institution is unsettled, Schlingelhoff calls on institutional representatives to respond to this induced stress test. In doing so, the artist’s exhibitions consistently gauge institutional responsibility by asking: what capacity to respond do representatives have on behalf of their unsettling institutions?

 

Bea Schlingelhoff’s exhibition, Declined Declinations, proposes a legal institutional name change of the Künstlerhaus Stuttgart. Over the course of a multi-month process that began with an initial site visit in July of 2020, the artist prepared and submitted formal motions to change the gendered institutional name “Künstlerhaus” (“the male artists’ house”), and to change language in the institutional bylaws that reflects this gender-specific bias. The Künstlerhaus Stuttgart was founded by artists in 1978 as a space for artists to produce onsite while also discussing and redefining the onsite production conditions. It is an institutional context that is structurally equipped for reconsiderations of governance and policy-making from the perspective of art producers. This emphasis on the laboring artist who is not external to the art institution is embodied in the name of the “artist’s house,” a widely replicated categorical name of an art institution in the German-speaking context that offers onsite production and residency facilities for artists (i.e., the Künstlerhaus Bremen, the Künstlerhaus Dortmund, the Künstlerhaus Bethanien, etc). Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany, with bylaws that stipulate association members’ voting rights in governing the institution. The vast majority of members at the Künstlerhaus Stuttgart are artists who pay the requisite annual membership fee of twenty-five euros. Other than this annual membership fee, there are no sanctioned conditions for becoming a member. Immediately upon gaining membership, any new member may submit motions to be voted on by the membership. Members of the Künstlerhaus Stuttgart vote at the general assembly. The general assembly is a legally required body. Every association must hold a general or annual general assembly meeting at the intervals specified in the association’s articles of association. Members at the general assembly may elect members of the board, vote on various resolutions, and vote to change the statutes. Consequently, artists occupy a position that closely interrelates institutional governance arrangements and the immediate conditions of artistic production at the Künstlerhaus Stuttgart. Artistic positions and artistic criteria—rather than purely bureaucratic positions or technocratic criteria—are central to the administrative work of structural governance. And by emphasizing artists as primary contributors to governing decisions, the Künstlerhaus Stuttgart potentially challenges the settled expectation that artists’ work should amount to purely content-related outcomes.

 

In 2021, Schlingelhoff became a member of the Künstlerhaus Stuttgart and submitted two formal motions that were voted on at the annual general assembly in November of that year. The first motion stipulated a change of name from Künstlerhaus Stuttgart to Künstlerinnenhaus Stuttgart (“the women artists’ house,” or “the female-identifying artists’ house”). This motion was defeated with 10 yes votes, 15 no votes, and 8 abstentions. The second motion stipulated that any language in the bylaws where the generic masculine is used would be changed to the generic feminine. This second motion was defeated with 7 yes votes, 19 no votes, and 4 abstentions. There were three widely expressed reasons for the down votes, which were communicated to Schlingelhoff by fellow members and institutional representatives. Firstly, the membership and institutional administration at large needed more time to become familiarized, informed, and educated on the political imperatives at stake as well as the practical implications of renaming the institution. Secondly, it was expressed that Schlingelhoff’s motion to change the name of the institution was reductive in that it offered only one single name change option selected by one member artist (this point was sometimes taken further to argue against an artist joining the membership to immediately propose structural changes to the institution, while also then presenting these proposed structural changes as material within an exhibition of their work). Lastly, it was expressed that within the context of gender-politics and broader political realities, changing an institutional name and corresponding language of the bylaws is a relatively trivial matter.

 

To this last point on the relative triviality of language, Schlingelhoff felt the response was obvious. There is of course a necessary correlation between the structures of society and those of language. The biases and exclusions of language are imprinted and internalized every day from a very young age consistently through life. The uncovering of the gendered and racialized nature of many linguistic rules and the unsettling of norms in how the use of language can be analyzed from a feminist viewpoint has proven to be of critical importance. And at this point, the various arguments that have been presented for retaining masculine/generic usage have been thoroughly documented, illustrated, and analyzed. There is a strange contradiction when one so adamantly refutes what one believes to be so trivial.[1] In response to the other expressed points, Schlingelhoff prepared and submitted a new set of motions to be voted on at the annual general assembly in March of 2022. Schlingelhoff submitted nine motions, each offering a different institutional name option. These nine name options were taken directly from widely accessible German language publishing style guidelines on the gender formulation of the phrase “artists’ house.” Schlingelhoff wanted to make sure the maximum number of variations on the gender formulation were represented, while keeping close to the most widely used gender neutral language guidelines and gender diversity teaching manuals (there are no established gender-neutral standard publishing guidelines as of yet in Germany). The only condition Schlingelhoff applied was that a name option could not entirely avoid confronting the gender politics (for instance, with the “Kunsthaus” Stuttgart, “the art house” Stuttgart). The nine name options proposed were as follows: 1.) Künstlerinnenhaus (generic feminine); 2.) Künstler/-innenhaus (forward slash with supplementary dash); 3.) KünstlerInnenhaus (internal capitalized letter “I”); 4.) Künstler:innenhaus (colon); 5.) Künstler*innenhaus (asterisk); 6.) Künstler_innenhaus (underscore); 7.) Künstler•innenhaus (bullet point); 8.) KünstlXhaus (X ending); 9.) Künstlerinnen- und Künstlerhaus (double naming).[2] While there is no conclusively fixed or settled agreement, each of the different typographic conventions used in these name options is recognized within the German publishing context as intended to disrupt the grammatical gender binary that is inherent in the German language.[3]

 

On March 17th of this year, 2022, the nine motions, and corresponding motions to change the language of the bylaws to mirror each of the nine motions, were up for a vote at the general assembly. These motions had been submitted weeks prior to the assembly so that they could be distributed to the entire membership two weeks in advance of the general assembly. There were meetings leading up to the assembly to provide opportunities for members to discuss the institutional renaming and change to the bylaws, and Schlingelhoff held an information session for the membership a day prior to the assembly. On the day of the general assembly, just before the nine name change motions were to be voted on, a member invoked their right to raise a motion without prior notification—a point of order that did not need to be submitted weeks in advance through the procedure to have a motion entered into the general assembly meeting agenda. This member raised the following point of order for a vote: “Shall the motions to amend the bylaws to change the name of the Künstlerhaus Stuttgart be voted on today?” The resulting vote tally on this member’s point of order was 15 yes votes, 26 no votes, and 5 abstentions.[4] As a result of this sudden foreclosure of the vote on the nine motions to change the name of the institution, Schlingelhoff withdrew the corresponding motions to change the language of the bylaws. It should be mentioned that invoking one’s individual right in order to foreclose a planned vote from even taking place is a longstanding tradition within the history of oppression.

 

 

 

Schedule of Programs:

 

19/06/2022 (3pm)

Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart

 

Wed/Thu/Fri/Sat/Sun (12—6pm)

Künstlerhaus educators lead public discussions of the exhibition

 

 

 

 

 

 

[1] There have been centuries of misogyny consciously and unconsciously attacking and mocking against language movements. They have been well covered, as follows: “(1) the ‘cross- cultural’ arguments; (2) the ‘language is a trivial concern’ arguments; (3) the ‘freedom of speech,/ unjustified coercion’ arguments; (4) the ‘sexist language is not sexist’ arguments; (5) the ‘word- etymology’ arguments; (6) the ‘appeal to authority’ arguments; (7) the `change is too difficult, inconvenient, impractical or whatever’ arguments; and (8) the ‘it would destroy historical authenticity and literary works’ arguments.” For being such ‘a trivial concern’ efforts against language bias have received an inexplicable amount of attention in both academia and the media, and an inordinate degree of resistance to change. Maija S. Blaubergs, “An analysis of classic arguments against changing sexist language,” Women’s Studies International Quarterly, Volume 3, Issues 2–3, 1980, Pages 135–147.

 

[2] Schlingelhoff’s exhibition project engages with longstanding and ongoing discussions about how unsettled the German language is with respect to gender politics and identity formation. Identity formations and the language for fully recognizing these identity formations is a critical horizon, a process that is unfixed and developing. With respect to this horizon and transformation, it is important to mention that Schlingelhoff is strongly opposed to any project where female identifying individuals and groups are pitted against gender variant or gender non-conforming individuals and groups. To pit these experiences against each other is to neutralize the politics of difference and ultimately adhere to the patriarchal status quo.

 

[3] There are many available resources for referencing these typographic conventions, gender- neutral language publishing guidelines, and gender diversity teaching manuals in the German context. Please see: Steinhauer, Anja and Diewald, Gabriele, “Richtig gendern: Wie Sie an- gemessen und verständlich schreiben” Berlin: Bibliographisches Institut Duden, (2017). See also: Abbt, Christine und Kammasch, Tim, “Punkt, Punkt, Komma, Strich?: Geste, Gestalt und Bedeutung philosophischer Zeichensetzung,” Edition Moderne Postmoderne, Bielefeld, (2009). For english language readers, please see: Leue, Elisabeth (2000). “Gender and Language In Germany.” Debatte: Journal of Contemporary Central and Eastern Europe. Routledge. 8(2): 163–176. There is also of course comparative research to look at in other language and publishing contexts. For instance, the term “Latinx” has been widely used to disrupt the grammatical gender binary that is inherent in the Spanish language (the gender-neutral 〈-x〉 suffix replaces the 〈-o/-a〉 ending of Latino and Latina that are typical of grammatical gender in Spanish).

 

[4] This point of order and the vote tally (as with all the numerical outcomes of the general assemblies referred to in this text) are taken directly from the official meeting minutes. The reported meeting minutes of any registered kunstverein in Germany must by law be publicly accessible information.

 

 

 

 

Realized with public funding from the city of Stuttgart

 

With the generous support of the Stiftung Kunstfonds NEUSTART KULTUR

Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
Bea Schlingelhoff, exhibition view, 2022, Foto: Frank Kleinbach
2022 10.05.2022, 07:00pm
Tuesday Workshop XIV
Linienscharen
Events
10.05.2022, 07:00pm

For our 14th Tuesday Workshop, we invite Linienscharen to attend.

 

Tuesday, May 10, 2022, 7 pm.

 

The event will take place on the 3rd floor.

 

Linienscharen

was founded in 2012 as a platform for contemporary drawing in Stuttgart and offers a framework for exchange, lectures and presentations. Linienscharen functions as an open forum for artists from Stuttgart and the region who deal with the theme of line in their work.

In the context of the Tuesday Workshop at the Künstlerhaus,  Linienscharen would like to look back on past projects and give those who are not yet familiar with Linienscharen an insight into the platform’s activities. On the other hand, Linienscharen will present their current project “How much can a pigeon carry?” as well as the Ukrainian artist Toma Safarova, who will participate in this planned exhibition series.

Afterwards, it would be nice to get into conversation with each other – about the artistic work, the current art production, the discoveries, recollections, new beginnings …
We ask all visitors to bring 1-2 original works to this evening, a drawing, a sketchbook or an expression in another medium, which deals with the theme of the line.

_____

 

Tuesday Workshop

 

With the Tuesday Workshop, the Künstlerhaus invites artists or collectives to talk about their working methods, backgrounds and approaches. We want to establish a platform for more intensive exchange on artistic practice and thus network, show solidarity and strengthen each other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists from Stuttgart and the surrounding area, or those passing through, all art mediators, curators, cultural workers, etc. and is open to everyone!

 

visualisierter Briefverkehr, Stand. 17.05.2021, Anzahl der verschickten Zeichnungssendungen: 677
2022 06.05.–08.05.2022
How to protect your wedding cake
Lennart Cleemann, Lena Meinhardt, Sophia Sadzakov, Eva Dörr
Exhibition
Studios
06.05.–08.05.2022
Eröfffnung:
Fri, 06.05.2022
06:00pm
A project by the studio holders
Curated by:
Lennart Cleemann, Lena Meinhardt, Sophia Sadzakov, Eva Dörr

Choose cake display position based on the sun. You wouldn’t want to put your cake table on the sunny side of your tent.
Choose a lighter colour for your cake.
Use a glass cover if your cake is able to fit inside one.
Indoors, the venue should definitely have ample air conditioning.
Consider asking your cake designer about inserting some faux tiers.
Talk to your cake designer and/or wedding planner.

 

The three-day exhibition “How to protect your wedding cake” by Lennart Cleemann, Lena Meinhardt, Sophia Sadzakov and Eva Dörr is an invitation to stroll – to haptic, audio-visual dreaming. To detach oneself from the ground, via the wind, the rocking, the lullaby, via utopia to the supposedly light emptiness.

2022 04.05.2022, 07:00pm
Fourth Organ
Events
04.05.2022, 07:00pm

On May 4, 2022 at 7pm we will meet for the next meeting of the Fourth Body. This time the meeting will be held at the upcoming exhibition of Anike Joyce Sadiq. It is also possible to attend via Zoom at the following link:

 

https://us02web.zoom.us/j/82633972299?pwd=QmczZnpPUEkyNVo3Z1ByQ2FXbTkwUT09

 

Meeting ID: 826 3397 2299
identification code: 757374

 

Anike Joyce Sadiq offers in her exhibition to the Fourth Organ a place of meeting and exchange. Therefore, at this meeting we would like to discuss with Anike what is possible and what we would like to work on beyond the regular Fourth Body meetings during the exhibition period.

2022 26.04.2022, 07:00pm
Tuesday Workshop XIII
Matthias Megyeri
Discussion
Events
26.04.2022, 07:00pm

For our 13th Tuesday Workshop we invite Matthias Megyeri.

 

Tuesday, April 26, 2022, 7 p.m.

The event will take place on the 4th floor in the Künstlerhaus.

 

Matthias Megyeri

was a studio fellow from 2010 to 2013 and a member of the advisory board at the Künstlerhaus for 10 years.
Matthias Megyeri is an artist and designer.

His work is based on a conceptual approach that aims to be understood as a contribution to the discussion of socially relevant issues – and to have an impact on them. Since 2003, he has been working continuously on an artistic research project on the subject of security in public spaces. More than 140,000 snapshots are now part of his “Living Archive,” which he uses to think visually on a project-by-project basis in his artistic practice. Using the psychological function of objects is one of the strategies with which he succeeds in placing his works in everyday life. In an art-in-architecture commission for the headquarters of a bank in Manhattan, for example, he was asked to design three hundred street bollards. For this, he used the functional aspect of the bollards to simultaneously refer to the question of the proportionality of security measures and their psychological effect.”

 

Matthias Megyeri has Hungarian roots and was born in Stuttgart in 1973. He has lived and worked mainly in Stuttgart since his fellowship at the Akademie Schloss Solitude in 2008/09.

 

 

www.matthiasmegyeri.net
Instagram: @matthiasmegyeri

 

_____

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

Matthias Megyeri, Natural Habitat, aus dem „Living Archive“, London 2019
2022 04.04.2022, 07:00pm
Fourth Organ
Events
04.04.2022, 07:00pm

On April 4 at 7pm, the next meeting of the Fourth Organ will be held on the studio floor (3rd floor).

It is also possible to attend via Zoom at the following link:

 

https://us02web.zoom.us/j/82521529290?pwd=enl4SDFLMXRyWjkyK2ZLakE4enF4UT09

 

Meeting ID: 825 2152 9290
identification code: 606565

 

Hermann Pflüger will present his project LadeCA View. This is a tool under development to help with the reception and organization of image sets.
Furthermore there will be an exchange about the last general meeting. An essential point here is the name change and how it should be continued from the perspective of the Fourth Organ.
In addition, it is to be concretized what can happen in the context of Anike Joyce Sadiq’s exhibition, which will open in May – also beyond the monthly meetings.

 

 

About the Fourth Organ

 

At the general meeting on March 25, 2021, the members collectively voted to meet regularly as an association from now on.

 

These meetings are intended to establish a space for understanding between the membership and the  Board. A sounding board for initiatives, critiques, and visions, a space for discourse between artistic and institutional practice, and possibly a step towards making the oft-cited hive hum a few decibels louder.

 

These regular meetings are organized by the advisory board of the Künstlerhaus. Questions or suggestions are welcome to be sent in advance to the Advisory Board at beirat@kuenstlerhaus.de.

 

These meetings are open to all members and those who would like to become members.

 

2022 19.03.2022, 03:00pm
Workshop with Nikita Gale
Events
19.03.2022, 03:00pm

 

Please note the change of dates for this workshop. The workshop will be held in-person on the fourth floor gallery at the Künstlerhaus Stuttgart and will be held in English. Please register by email here.

 

 

Artist Nikita Gale will explore themes of polyvocality, performance, recording, exhaustion, and duration in the context of Andrea Fraser’s This meeting is being recorded.

 

Nikita Gale’s work applies the lens of material culture to consider how authority and identity are negotiated within political, social, and economic systems. Currently living and working Los Angeles, USA, Gale holds a BA in Anthropology with an emphasis in Archaeological Studies from Yale University, and received an MFA in New Genres at the University of California Los Angeles.

 

Gale’s work has recently been exhibited at MoMA PS1 (New York); LACE (Los Angeles); Commonwealth and Council (Los Angeles); Matthew Marks Gallery (Los Angeles); The Studio Museum in Harlem (New York); Rodeo Gallery (London); and the Hammer Museum (Los Angeles). Gale will present a major new solo exhibition at Chisenhale Gallery, London in 2022.

Andrea Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).

 

This workshop—co-organized by Rhea Anastas, Andrea Fraser, and Eric Golo Stone—was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART KULTUR Grant.

Image courtesy of Nikita Gale, 2021
2022 12.02.2022, 03:00pm
Workshop with Alex Davidson and Jamie Stevens
Events
12.02.2022, 03:00pm

 

Please note the change of dates for this workshop. The workshop will be held in-person on the fourth floor gallery at the Künstlerhaus Stuttgart and will be held in English. Please register by email here.

 

 

“To me it is more than ever clear that there is some quite surprising contradiction in the situation in which I find myself. I, too, have heard rumors about the value of my contributions to groups; I have done my best to find out just in what respects my contribution was so remarkable, but have failed to elicit any information. I can, therefore, easily sympathize with the group, who feel that they are entitled to expect something different to what, in fact, they are getting.”

 

— WR Bion, Experiences in Groups, 1948

 

A workshop in the form of a process group, in which members will, in various ways, have opportunities for “learning from experience”, as proposed by British psychoanalyst Wilfred Bion (1897-1979) whose writings on group phenomena and intra-group authority dynamics orient both Andrea Fraser’s new video work This meeting is being recorded and this event in Stuttgart. The workshop is co-directed by Alex Davidson and Jamie Stevens.

 

Alex Davidson works in the mental health charity sector in London, where part of her role is to facilitate reflective practice groups for mental health support workers. She has written about art for various publications internationally.

 

Jamie Stevens is an independent curator and writer based in London. He has worked in curatorial roles at Artists Space, New York; CCA Wattis Institute, San Francisco; Cubitt Gallery, London; and Chisenhale Gallery, London.

 

Davidson and Stevens are both psychotherapists-in-training at the Tavistock Clinic in London.

Andrea Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).

 

This workshop—co-organized by Rhea Anastas, Andrea Fraser, and Eric Golo Stone—was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART KULTUR Grant.

2022 08.02.2022, 07:00pm
Tuesday Workshop XII
Alba Frenzel
Events
08.02.2022, 07:00pm

For our 12th Tuesday workshop we invite Alba Frenzel.

 

February 8th 2022, 7 pm

The event will take place in presence at the Künstlerhaus.

 

Alba Frenzel

has been a studio fellow at the Künstlerhaus since 2020.

 

She describes her artistic practice thus:
My project is a large-scale research in which the liverwurst tree is dealt with as if it were art, or with art as if it were a liverwurst tree. The qualities of the tree that can be rethought to the qualities of art are selected. In this way, art grounds itself and we get to know the liverwurst tree.”

 

“I am working on a format between studio and exhibition, in which I am active and present as an artist with photography, sculpture, text, text images, with sung and spoken quotations that I encounter in the course of the research, performative elements, readings and lectures.

 

____

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

photo: Eva Dörr
2022 11.01.2022
Call for applications: studio grants 2022/23 and workshop grants
News
11.01.2022

Studio grants 2022/2023

 

Künstlerhaus Stuttgart is offering six studio grants for a period of 12 months, starting 1st of May 2022. Each individual studio is approx. 25 sqm. A large recreation room is accessible for all recipients. Additionally, stipendiaries have free access to all technical facilities of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.

 

It is possible to extend the studio grant through applying for another year. This option can be used not more than twice, so a maximum period of three years is possible.

 

Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.

Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome. Students are unfortunately not eligible to apply.

 

Please include with your application the following documents:

– CV
– documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
– a written description how you want to use your studio at Künstlerhaus Stuttgart (max. 2 pages)

 

Please send us your application via email, please send one pdf file only, latest by January 31th 2022:

Contact Person: Romy Range
Email: info@kuenstlerhaus.de
Subject line: Studio application

 

The jury, which consists of members of the artistic board, will meet in February and all applicants will be informed about the decisions as soon as possible.

 

Please note that the studio program does not include accommodation or any kind of financial aid. An introduction to all workshops is liable for costs. International applications are generally accepted, provided that the applicants make their own accommodation arrangements. The residency has to be in Stuttgart within the year.

 

_____

 

Workshop grant

 

Künstlerhaus Stuttgart is now awarding regular workshop grants for the following workshops: Audio, Ceramics, Media, Photography, Silkscreen, Etching, Lithography.

Artists and collectives can apply for a project for a specific duration. The occupancy of the workshop will be coordinated with the respective workshop manager.

 

The workshop grant includes:
– the use of the workshop free of charge (use in coordination with the workshop manager)
– an introductory technical course in the respective workshop
– Advice from the workshop manager (not complete project supervision)

 

The following information is required for the application:
– Project description incl. project duration
– CV
– exposé

 

An application for a workshop grant is possible all year round. The jury, consisting of the board of directors and the respective workshop manager, meets regularly to decide on the submitted projects. Applicants can contact the workshop manager before applying to clarify whether the project can be realized in the workshop. Unfortunately, any material costs cannot be covered.

 

Please submit the application documents only digitally as a pdf file by e-mail:

Contact: Romy Range
e-mail: info@kuenstlerhaus.de
Subject: Workshop grant

 

 

Lennart Cleemann, My Dear Friends (One of Them is a Dramaqueen), 2020, Gartenstühle, variable Maße
Marlon Lanziner & Valentino Berndt, studio view, 2020
2021 15.12.2021
Opening hours during the holidays
News
15.12.2021

Opening hours exhibition

 

The exhibition will be closed from 22 December to 06 January. On 07 January 2022 the exhibition will be open again at the regular times for visitors.

 

Wed – Sun 12 to 6pm
Free entrance

 

Opening hours office

 

From 20 December 2021 to 10 January 2022 the office is closed.

 

Mon closed

Tue – Fri 12 to 5pm

 

2G+ rule

For the visit of our exhibitions and events the 2G+ rule is valid. This means that only vaccinated and recovered persons with an additional negative rapid test are admitted. Exceptions: Those who have been boostered or whose full immunization / recovery was not longer than three months ago are exempt from testing at 2G+. It is also mandatory to wear an FFP2 mask. A simple medical mask is no longer sufficient.

 

photo: Manu HarmsSchlaf
2021 09.11.2021, 07:00pm
Tuesday Workshop XI
Julian Bogenfeld
Events
09.11.2021, 07:00pm

„ABOUT:BLANK“

30 min, Documentary HD, German with English subtitles
By Julian Bogenfeld

 

The movie “About:Blank” shows insights of an art happening that took place in the premises of the LAF (Leerstand als Freiraum e.V.) Pforzheim in May 2018: A group of artists lives and works for 3 days in an empty commercial space, an old shop with large windows, opposite the city’s town hall. The luggage is limited to one piece per person, for the artistic work on site. The tight time frame and the clear definition of the place are meant to stimulate artistic exchange. The interdisciplinarity and openness of the format promises unexpected results.  The film shows images from a time before Corona and recalls freedoms of art that were not given in the past months.

Direction and production: Julian Bogenfeld
Duration 30 min, German with English subtitles

 

___

 

Tuesday Workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

 

Next Tuesday Workshop Dec 14th 2021 with Alba Frenzel

 

ABOUT:BLANK, direction and production: Julian Bogenfeld
2021 12.10.2021, 07:00pm
Tuesday workshop X
Dirk Reimes
Events
12.10.2021, 07:00pm

For our tenth Tuesday workshop we invite Dirk Reimes.

 

12.10.2021, 7 pm

The event will take place in presence at the Künstlerhaus.

 

Dirk Reimes

is a visual artist living and working between Brussels and Stuttgart. His practice feeds from a continuous field research on the everyday and the ordinary. The methods and tools of this research, as well as the forms and formats of the results, are wide-ranging and include images, objects, and texts. In the Tuesday workshop, he will present his current book “sous un ciel partagé entre nuages et éclaircies,” which is based on a year of research in Brussels and combines autobiography with fiction, everyday experiences with found contemporary testimonies.

 

____

 

Tuesday workshop

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

2021 25.09.2021–03.04.2022
This meeting is being recorded
Andrea Fraser
Exhibition
25.09.2021–03.04.2022
Opening Reception:
Sat, 25.09.2021
07:00pm

 

Since the 1980s, Andrea Fraser has achieved renown for work that interrogates social and psychological structures with incisive analysis, humor, and pathos. While Fraser’s work often is associated with critical investigations of art institutions, her performances since the mid-2000s have turned toward examining the intersections between sociopolitical and psychological structures as these produce and reproduce individual and group identity as well as social systems. Fraser’s solo exhibition at Künstlerhaus Stuttgart brings this examination into focus with three performance-based video installations: Projection (2008), Men on the Line: Men Committed to Feminism, KPFK, 1972 (2012/2014), and her major new work, This meeting is being recorded (2021), a ninety-eight-minute video exploring the processes and formation of race, gender, and age within an intergenerational group of seven self-identified white women.

 

While they do not comprise a formal trilogy, ProjectionMen on the Line, and This meeting is being recorded are clearly linked by process, method, and formal strategy. All three works build on the multivoice performance practice Fraser has developed since the early 1990s. All three are shot against black backdrops and projected life-size to affect the experience of being in the same room as the performer. All three are performed directly to the camera to include the viewer in the dialogue. All three are based on recordings of forms of dialogue with high emotional stakes that are usually very private but which Fraser brings into the public realm. And all three are informed by Fraser’s understanding of performance as a practice of capturing and framing the processes of internalization and projection, incorporation and enactment through which the social and the psychological intersect in the production and reproduction of social identity, groups, and institutions. Combining rigorous investigation and intimate self-exposure, Fraser explores how artistic, intellectual, and political positions are driven by emotional needs and how psychological forces both shape and are shaped by social and political structures.

 

This meeting is being recorded: Andrea Fraser is organized by curator Rhea Anastas and Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart.

 

Full exhibition text may be read in the pamphlet above.

 

The video works in the exhibition will be shown in English only. However, the performance scripts of Projection and Men on the Line can be viewed in English and German on request in the galleries.

 

Please note that proof of recovery, negative testing or full vaccination is required to visit the exhibition and all related events. We look forward to your visit!

 

 

Schedule of Programs:

 

09/28/2021 (7 pm):

Andrea Fraser gives a public lecture at ABK-Stuttgart, followed by a discussion with curator Rhea Anastas

(registration by e-mail to veranstaltungen(at)abk-stuttgart.de is necessary due to limited capacities)

 

10/01/2021 (open to students only):

Andrea Fraser conducts a workshop with students from the Body, Theory, and Poetics of the Performative program in the Department of Art at the ABK-Stuttgart Heusteigtheater

 

10/16/2021 (3pm):

Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart

 

02/12/2022 (3pm):

Curator and psychotherapist Jamie Stevens conducts a workshop with Alex Davidson open to the public at the Künstlerhaus Stuttgart

 

03/19/2022 (3pm):

Nikita Gale conducts a workshop open to the public at the Künstlerhaus Stuttgart

 

Fri, Sat, Sun 12–6pm:

Künstlerhaus educators lead public discussions of the exhibition

 

 

Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).

 

In collaboration with the Stuttgart State Academy of Art and Design and with the generous support of:

Andrea Fraser, This meeting is being recorded, 2021. Single-channel HD video installation. Video still. 00:98:00 min. Camera and lighting, Haley Saunders; Sound, Adam Borel and Ivan Rivera. Courtesy the artist.
Installation view of the exhibition, "This meeting is being recorded” by Andrea Fraser at the Künstlerhaus Stuttgart, 2021. Image courtesy the artist and Künstlerhaus Stuttgart. Photograph by Frank Kleinbach.
Installation view of the exhibition, "This meeting is being recorded” by Andrea Fraser at the Künstlerhaus Stuttgart, 2021. Image courtesy the artist and Künstlerhaus Stuttgart. Photograph by Frank Kleinbach.
Installation view of the exhibition, "This meeting is being recorded” by Andrea Fraser at the Künstlerhaus Stuttgart, 2021. Image courtesy the artist and Künstlerhaus Stuttgart. Photograph by Frank Kleinbach.
Installation view of the exhibition, "This meeting is being recorded” by Andrea Fraser at the Künstlerhaus Stuttgart, 2021. Image courtesy the artist and Künstlerhaus Stuttgart. Photograph by Frank Kleinbach.
Installation view of the exhibition, "This meeting is being recorded” by Andrea Fraser at the Künstlerhaus Stuttgart, 2021. Image courtesy the artist and Künstlerhaus Stuttgart. Photograph by Frank Kleinbach.
2021 31.08.–12.09.2021
Permanente Performance - 40 Jahre Konzil
Beria Altinoluk, Joannie Baumgärtner, Begleitbüro SOUP, Ulrich Bernhardt, Bureau Baubotanik, Lennart Cleemann, Armin Chodzinski, Theo Dietz, Eva Dörr, Janis Eckhardt, Alba Frenzel, Peter Hauer, Herbordt/Mohren, Hannelore Kober, Justyna Koeke, Paul Kramer, Otto Kränzler, Caro Krebietke, Maximilian Lehner, Matteo Locci, Matthias Megyeri, Lena Meinhardt, Elmar Mellert, Boris Nieslony, n.n.n. collective, Ursula Scherrer, Fender Schrade, Başak Tuna, Helen Weber, Heidemarie von Wedel, Olav Westphalen, Georg Winter
Discussion
Events
Festival
Performance
31.08.–12.09.2021
Opening:
Mon, 30.08.2021
06:00pm

collectively uncurated

 

with

Beria Altinoluk, Joannie Baumgärtner, Begleitbüro SOUP, Ulrich Bernhardt, Bureau Baubotanik, Lennart Cleemann, Ania Corcilius, Theo Dietz, Eva Dörr, Janis Eckhardt, Alba Frenzel, Peter Hauer, Herbordt/Mohren, Yvette Hoffmann, Hannelore Kober, Justyna Koeke, Paul Kramer, Otto Kränzler, Caro Krebietke, Björn Kühn, Marlon Lanziner & Valentino Berndt, Matteo Locci, Matthias Megyeri, Lena Meinhardt, Elmar Mellert, Boris Nieslony, n.n.n. collective, Romy Range, Yara Richter, Jasmin Schädler, Ursula Scherrer, Anna Schiefer, Fender Schrade, Mira Simon, Michael Stockhausen, Başak Tuna, Helen Weber, Heidemarie von Wedel,Olav Westphalen, Georg Winter et al

 

Daily: round table from 6 pm at the Künstlerhaus – performances in the urban space – exhibition

 

Exactly 40 years ago, from September 01 to 30, 1981, the Künstlerhaus Stuttgart, under the direction of Ulrich Bernhardt, invited 57 local and 19 international artists to the artistic group project KONZIL. Every evening, questions about cooperation, artistic exchange, content-related, political, formal and social aspects of ephemeral and performance art were discussed at a 40-square-meter table. The project was complemented by actions and events in the urban space. Out of the KONZIL, the artist Boris Nieslony developed the world’s first performance art archive in 1981, “Die Schwarze Lade” (Black Kit).

 

40 years later, Künstlerhaus Stuttgart brings KONZIL back to Stuttgart and builds a bridge to current topics, debates and discourses. In the course of a two-week event, the historical KONZIL will be linked in the form of an archival exhibition with a performance program and daily discussion rounds.

 

Nine artists were selected through an open call to present performances in Stuttgart’s urban space. Joannie Baumgärtner, Theo Dietz, Justyna Koeke, Paul Kramer, Caro Krebietke, Matthias Megyeri, Ursula Scherrer and Başak Tuna & Matteo Locci will perform at different locations in Stuttgart such as the observatory, the Rosensteingarten or at the Neckar river. Following the performances, we invite every evening from 6 pm to a discussion with changing guests and a joint meal at the Künstlerhaus.

 

All evening events will take place on the 4th floor of the Künstlerhaus, where the exhibition with historical material from the Black Kit archive of Boris Nieslony can also be seen. Documents, photographs, posters, and video footage, including those of artists who were active at the Künstlerhaus and in Stuttgart in 1981, provide insight into the significance of the archive and place the current performances in a historical context.

 

The exhibition Permanente Performance – 40 Jahre Konzil is open from Aug 31 to Sept 12, 2021, Tuesday through Sunday from 2 to 6 pm.

 

Program

 

Monday, August 30, 2021, 6 pm

Opening

Greeting: Ania Corcilius, 1st Chairwoman, Künstlerhaus Stuttgart
Greeting: Dr. Fabian Mayer, First Mayor, Department of General Administration, Culture and Law
Introduction: Ulrich Bernhardt (Co-Founder and 1st Artistic Director, Künstlerhaus Stuttgart / Organizer Konzil, 1981); Boris Nieslony (Founder Performance Art Archive “Die Schwarze Lade” / Organizer Konzil, 1981)
Introduction: Anna Schiefer, 2nd chairperson, Künstlerhaus Stuttgart

 

 

Tuesday, August 31, 2021
Theo Dietz

How to build fishing rods
Place: Künstlerhaus courtyard
Time: 4 pm

 

A lecture about so called miscast hooks, which can be handy for fishing in garbage containers, and how to build them. Waste separation becomes an artistic action and attitude.

 

In his cross-media projects Theo Dietz deals with places in their social, material and political dimensions and opposes them with his own post-ironic utopian spaces. He has been involved with performances at the 15th Istanbul Biennial and

Manifesta11, among others. In addition to his artistic activities, Dietz works as a garbage collector.

 

Table talk from 6 pm in the Künstlerhaus

Guest: Armin Chodzinski

 

Armin Chodzinski negotiates the network of relationships between art and business in performances, lectures and exhibitions. His practice moves between mediation, self-experimentation and research, which he develops further in theaters and exhibition spaces as well as on radio and television.

 

 

Wednesday, September 1, 2021
Caro Krebietke

MISSING!
Location: Main entrance Rosenstein Castle, Stuttgart Museum of Natural History, Rosenstein 1, 70191 Stuttgart, Germany.
Time: 3 to 5 pm

 

The dramatic decline of insect diversity in southern Germany is the theme of the performance MISSING! Animals that have accompanied us through many centuries are disappearing almost unnoticed, in recent years at an alarming rate.
MISSING! is a cooperation with the Natural History Museum Stuttgart.

 

Caro Krebietke finds the themes of her projects in dialogue with the environment. Traces, stories and connections are the starting points of her performative interventions. Everyday places are thus transformed into scenes of special events. There is almost always a reference to historical or current political facts.
www.carokrebietke.com

 

Table talk from 6 pm in the Künstlerhaus
Guests: Bureau Baubotanik

Bureau Baubotanik stands for the integration of the life processes of our plant environment into architecture. In 2017, the Bureau took over the artistic direction of the “Theatre of the Long Now,” which promises to put on a natural theater performance lasting at least 100 years on a brownfield site in Stuttgart.
http://www.bureau-baubotanik.de

 

 

Thursday, September 2, 2021
Paul Kramer

Song Cycle 150
Live Studio Recording Box Recording
Location: Audiowerkstatt, Künstlerhaus Stuttgart
Time: 3 to 6 pm

 

Paul Kramer follows up with a live recording of Song Cycle No. 150, his archive of self-performed musical fragments recorded in one sitting – without notes, without lyrics. A work on the personal and collective earworms, besides performing all kinds of music and non-music (ringtones, animal sounds, machine sounds), means researching titles and its failure in the form of the “mystery tracks”. In addition to the live recording in the Künstlerhaus studio recording box, the audience will be given the opportunity to listen to the “Mystery Tracks” (i.e., the ones Paul Kramer doesn’t know), and to identify them, both via listening stations and online via Sound Cloud. (https://soundcloud.com/paul-kramer-10)
www.kramerpaul.wordpress.com/

 

Table talk from 6 pm at the Künstlerhaus
Guests: Otto Kränzler, Eva Dörr & Lena Meinhardt

 

Eva Dörr and Lena Meinhardt are currently studio fellows at Künstlerhaus Stuttgart and have been working together as an artist duo since 2019. Their works meet in the field of sound installation.

 

Otto Kränzler, musician and sound engineer, studied at the University and Academy of Music in Stuttgart and worked as a freelancer in the Studio for Electronic Music at WDR Cologne under Karlheinz Stockhausen and Mauricio Kagel. He is co-founder of the Audio-Werkstatt at the Künstlerhaus Stuttgart.

 

 

Friday, September 3, 2021
Joannie Baumgärtner

Bat Shit Crazy
Meeting point: Entrance Leuze, Am Leuzebad 2a, 70190 Stuttgart
Time: 3 pm

 

Bat Shit Crazy is dedicated to a central raw material of early globalization: guano, which was valued as fertilizer by industrialized nations and mined all over the world. The performance combines archival material, diary entries and poems with field recordings and electronic music.

 

Joannie Baumgärtner has been working between visual art, writing and philosophy since 2010. Joannie identifies as non-binary and uses she/her as a pronoun. Her performances interrelate sound art, spoken word, critical theory, and cultural history.
www.jbaumgaertner.com

 

Table Talk starting at 6 p.m. at the Künstlerhaus
Guest: Fender Schrade

 

Fender Schrade engages musically, performatively, in installations, technical inventions, and live sound engineering with transgender identities and embodiments in the context of larger narratives of cultural history. With the artist collective NAF he* performs on theater stages as well as in public space.

 

 

Saturday, September 4, 2021
Peter Hauer

The chair without qualities
Performance Workshop
Location: Künstlerhaus Stuttgart and in the urban space
Time: 16:30
No special previous knowledge or skills are necessary. Registration by e-mail at info@kuenstlerhaus.de

 

The workshop is about the problem of domain dependency in relation to the body, movement and environment. The problem of domain dependence describes the phenomenon that we perceive things exclusively based on certain assumptions about their properties or contexts, and thus become blind to a variety of other possibilities. These things can be objects, place or time, but also actions themselves, or a social context. We will look at how one can embody different strategies to deal with this problem.

 

In his work, Peter Hauer deals with movement in the broadest sense. From the body as a tool and workshop of perception, expression and function, to movement as a medium of culture and knowledge production. With his interdisciplinary approach he develops new perspectives and connects what supposedly does not fit together.

 

Table talk from 6 pm in the Künstlerhaus
Guest: Olav Westphalen

 

Olav Westphalen is a German-American artist in whose work the expressive forms of play, entertainment and cartoons play a central role. His activities aim to highlight cultural blind spots and hypocrisies in his immediate social and cultural environments.

 

 

Sonntag, 5. September 2021
Von und mit: Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber

CKonvention

Ort: Atelieretage, 3. Stock, Künstlerhaus Stuttgart
Zeit: Zwischen Kirche und Tatort

 

 

11:00 am Breakfast pint (n.n.n. collective)

12:00 pm Brunch (Eva Dörr & Lena Meinhardt)

2:00 pm Trip (Janis Eckhardt, Helen Weber)

3:30 pm coffee & cake (Lennart Cleemann)

5:00 pm Stadt, Land, Fluss (Alba Frenzel)

 

 

Wednesday, September 8, 2021
Justyna Koeke

City beautification measures
Meeting place: Schiffmann fountain drinking fountain, Badstraße 31D, 70372 Stuttgart, Germany
Time: 3:00 pm
Registration by e-mail at info@kuenstlerhaus.de

 

Justyna Koeke seeks out supposedly inhospitable places in Stuttgart, with found and collected plastic waste she builds vases with the participants and fills them with water and flowers from the surrounding area. This intervention of “sprucing up” is meant to remind us of the complexity of dealing with progress and the preservation of nature.

 

As an artist, Justyna Koeke seeks above all the contact between art and reality. For this reason, she often shifts her performative works to public spaces, but this also means leaving the comfort zone of the trained and tamed art audience to create immediate and intimate moments. Many of her self-initiated projects are at the interface with political activism – it is in this area in particular that art becomes approachable, and here the confrontation with various actors is essential.
In terms of content, her work deals with feminist and socio-political issues: women’s rights, citizen participation, sustainability, self-determination and urbanity play a crucial role in many of my works.
www.justynakoeke.com

 

Table talk from 6 pm at the Künstlerhaus
Guests: Beria Altinoluk, Elmar Mellert

 

Beria Altinoluk and Elmar Mellert turn Stuttgart bulky waste finds into spontaneous interventions in urban space.
Beria Altinoluk studied media philosophy and art science at the University of Design Karlsruhe. Elmar Mellert is a member of the electronic music group Rework in addition to his work as a DJ.

 

Thursday, September 9, 2021
Matthias Megyeri

Inner Peace, Blowball, 77/2021
Location: Königstraße 5 (height Marstallstr.), “Pusteblume-Brunnen” (B. Woodward, G. Behnisch, 1977), 70173 Stuttgart
Time: 2 to 5 pm (duration 180 minutes)

 

Six Security Service Members (SDM’s) hired by the artist will position themselves for 180 minutes, equidistant from each other, with their backs to the fountain. No more than 3 of the 6 SDM’s sit on the ring of shell limestone at any one time during the period.

 

Conceptual artist Matthias Megyeri’s practice explores the cultural, social and psychological aspects of the visual appearance of protection and safety. The works in his Sweet Dreams Security® series, for example, combine our need for security with our simultaneous desire for harmony and beauty. Thus, boundaries such as fences, metal grates, padlocks, barbed wire, and chains become endearing objects. Megyeri has been realizing site-specific art on buildings as well as in public spaces internationally for 20 years. His installations always relate to the site-specific context in which they operate.
www.matthiasmegyeri.net / Instagram: @matthiasmegyeri

 

Table talk from 6 pm at the Künstlerhaus
Guests: Begleitbüro SOUP

 

Harry Walter and Ulrich Bernhardt talk about the art project BRASILIEN and its participatory prehistory.

 

Begleitbüro SOUP is an artistic formation founded in 2009 by the artists Ulrich Bernhardt, Steffen Bremer, Michael Gompf, Kurt Grunow, Andreas Mayer-Brennenstuhl, Karin Rehm and Harry Walter, which subjects urban processes to long-term observation and makes them accessible to the public in the form of exhibitions, interventions, publications and performative walks.
www.begleitbuero.de

 

 

Friday, September 10, 2021
Ursula Scherrer

Can you see me
Meeting place: Schillerplatz, Am Fruchtkasten 3, 70173 Stuttgart, Germany
Time: 3 pm
Meeting point: Landtag, Konrad-Adenauer-Straße 3, 70173 Stuttgart
Time: 4:30 pm

 

We try to be seen by making ourselves heard.
We try to make ourselves heard by being seen.
What at first seems like a game becomes a desperate attempt to be heard, to be seen.

 

The poetic quality of Ursula Scherrer’s work draws the viewer into being and lets them sink into their own stories. Ursula Scherrer’s path began with dance and choreography and led on to photography, video, text, mixed media, performance art. She was born in Switzerland in 1966 and lived in New York from 1988 to 2019.
www.ursulascherrer.com

 

Table talk from 6 pm at the Künstlerhaus
Guests: Ulrich Bernhardt, Heidemarie von Wedel

 

Ulrich Bernhardt, artist and former director of Künstlerhaus Stuttgart, has been working with film and video, video and spatial installations, and space-time phenomena in photography since 1973. His works include panoramas, photo sequences and film friezes, light kinetic objects and sculptures.

 

Heidemarie von Wedel, artist and publisher, sneaks her photographs into everyday life. She produces a constantly growing archive of images whose goal is never the single image, the presence of an iconic panel, but rather an associative noise in the flow of individual moments of what is seen, experienced, hashed.

 

Heidemarie von Wedel and Ulrich Bernhardt talk about open work situations and collaborations.

 

 

Saturday, September 11, 2021
Başak Tuna & Matteo Locci & Maximilian Lehner

Downtown daydreaming-Upward public walk.
Meeting point: Ecke Marienstraße/Paulinenstraße, 70178 Stuttgart
Time: 4 pm (duration approx. 90 minutes)
Registration by e-mail at info@kuenstlerhaus.de

 

A walk through the city with your head in the clouds, equipped with 90-degree-angle mirror glasses. Cloud watching is not looking for symbols or spiritual divination. For now, we enjoy not making a decision, letting the clouds drift over our view like disillusioned aeromancers.

 

Tuna-Locci is an artist duo exploring the visible and invisible forms of relationship art. Başak Tuna is a critical spatial artist from Turkey whose work speculates on the ontology of networks and power relations.
Matteo Locci is a multimedia artist with an architectural background. He conducts most of his research with and thanks to the Roman interdisciplinary collective ATI suffix.
www.matteolocci.com, Instagram: @basak.tuna / @ma_l3h

Table talk from 6 pm at the Künstlerhaus
Guest: Georg Winter

 

Georg Winter lives in Saarbrücken, Stuttgart and Budapest. Characteristic of Georg Winter’s artistic practice are temporary laboratories, urban situations, self-organizing performances, research projects in an interdisciplinary field of work.

 

from 9 pm
musical evening with DJ

 

Sunday, September 12, 2021
Herbordt/Mohren

Place: Künstlerhaus Stuttgart
Time: from 12 pm

 

Melanie Mohren and Bernhard Herbordt (The Institution) are graduates of Applied Theater Studies in Giessen. Since 2000 they have been working on interdisciplinary projects in the border area of the performing arts. They work on an expanded concept of theater and since 2012 on institutions and their actualization in different formats and media.

In their work Herbordt / Mohren take up the idea of the performance archive. A collection of documents, and videos on recent performance history can be viewed at Schaudepot in Stuttgart.
www.die-institution.org

 

The jury that selected the nine artists was composed of: Ulrich Bernhardt (co-founder and first artistic director of Künstlerhaus Stuttgart/organizer of the 1981 Konzil); Ania Corcilius (board of directors), Yvette Hoffmann (advisory board), Björn Kühn (advisory board), Jasmin Schädler (advisory board), Anna Schiefer (board of directors).

 

With the kind support of

Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
Permanente Performance - 40 Jahre Konzil, photo: Frank Kleinbach
opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Ania Corcilius, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Dr. Fabian Mayer, Erster Bürgermeister, Bürgermeister Referat Allgemeine Verwaltung, Kultur und Recht, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Heidemarie von Wedel in conversation with Boris Nieslony, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Boris Nieslony, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Anna Schiefer, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Tarika Johar, Michael Stockhausen. Ulrich Bernhardt and Boris Nieslony, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Dr. Fabian Mayer, Marc Gegenfurtner and Ulrich Bernhardt, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Ulrich Bernhardt, opening Permanente Performance - 40 Jahre Konzil, photo: Jochen Detscher
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, How to build fishing rods, Workshop Werstoffhof Asperg, photo: Patricia Paryz
Theo Dietz, poto: Manu HarmsSchlaf
Theo Dietz, How to build fishing rods, Lecture Performance, 31.08.2021, photo: Manu HarmsSchlaf
Theo Dietz, How to build fishing rods, Lecture Performance, 31.08.2021, Foto: Manu HarmsSchlaf
Armin Chodzinski in conversation with Theo Dietz, 31.08.2021, photo: Manu HarmsSchlaf
Armin Chodzinski in conversation with Theo Dietz, 31.08.2021, photo: Manu HarmsSchlaf
Armin Chodzinski in conversation with Theo Dietz, 31.08.2021, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Caro Krebietke, MISSING!, Performance am 01.09.2021, Rosenstein, photo: Manu HarmsSchlaf
Paul Kramer, Song Cycle #150, Aufnahme im Tonstudio am 02.09.2021, Foto: Manua HarmsSchlaf
Paul Kramer, Song Cycle #150, Aufnahme im Tonstudio am 02.09.2021, photo: Manua HarmsSchlaf
Paul Kramer, Song Cycle #150, Aufnahme im Tonstudio am 02.09.2021, photo: Manua HarmsSchlaf
Paul Kramer, Song Cycle #150, Aufnahme im Tonstudio am 02.09.2021, photo: Manua HarmsSchlaf
Paul Kramer, Song Cycle #150, Aufnahme im Tonstudio am 02.09.2021, photo: Manua HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Joannie Baumgärtner, Bat Shit Crazy, Performance am Neckar, 03.09.2021, photo: Manu HarmsSchlaf
Olav Westphalen, photo: Jochen Detscher
Olav Westphalen, photo: Jochen Detscher
Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, Foto: Jochen Detscher
Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, photo: Jochen Detscher
Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, photo: Jochen Detscher
Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, photo: Jochen Detscher
Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, photo: Jochen Detscher
workshop participants, Peter Hauer, Der Stuhl ohne Eigenschaften Performance Workshop, 04.09.2021, photo: Jochen Detscher
Peter Hauer, poto: Jochen Detscher
Olav Westphalen im Gespräch mit Peter Hauer, Foto: Jochen Detscher
Peter Hauer im Gespräch mit Olav Westphalen, photo: Jochen Detscher
Peter Hauer im Gespräch mit Olav Westphalen, photo: Jochen Detscher
Olav Westphalen, poto: Jochen Detscher
Olav Westphalen im Gespräch mit Peter Hauer, photo: Jochen Detscher
Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber, CKonvention, 05.09.2021, studio floor, photo: Künstlerhaus Stuttgart
Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber, CKonvention, 05.09.2021, studio floor, photo: Künstlerhaus Stuttgart
Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber, CKonvention, 05.09.2021, studio floor, photo: Künstlerhaus Stuttgart
Eva Dörr, 05.09.2021, studio floor, Foto: Künstlerhaus Stuttgart
Lena Meinhardt, 05.09.2021, studio floor, photo: Künstlerhaus Stuttgart
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, phto: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Justyna Koeke, Stadtaufhübschungsmaßnahmen, Performance Workshop, 08.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Matthias Megyeri Innerer Frieden, Pusteblume, 77/2021, Performance Workshop, 09.09.2021, photo: Manu HarmsSchlaf
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner Downtown daydreaming–Upward public walk, Performance 11.09.2021, photo: Jochen Detscher
Başak Tuna & Matteo Locci & Maximilian Lehner, talk, 11.09.2021, Foto: Jochen Detscher
2021 30.07.–01.08.2021
ralentir
Eva Dörr & Lena Meinhardt
Events
Studios
30.07.–01.08.2021
Opening:
Fri, 30.07.2021
07:00pm

Upon admission, contact information will be collected either in writing or via LUCA App. Masks are compulsory in the Künstlerhaus.

je ralentis ralentissais ralentirai –

 

Lena Meinhardt and Eva Dörr show current works in the studio floor of the Künstlerhaus Stuttgart. There will be different stands of work from the fields of sound and video, experimenting with patterns of time and the sense of time.

 

Opening hours

Fri. 30.07.21 18.00 – 21.00
Sat. 31.07.21 12.00 – 20.00
Sun 01.08.21 12.00 – 20.00

Eva Dörr & Lena Meinhardt
2021 25.07.–26.07.2021
Reconsidering Institutional Conduct (Almost Everything Still Remains to be Done)
Heba Y. Amin, Grayson Earle, Irena Haiduk, Clara Sukyoung Jo, Sandrine Micossé-Aikins, Anike Joyce Sadiq, Anna Schiefer, Bea Schlingelhoff, Ülkü Süngün, Stefan Wäldele
Conference
Events
25.07.–26.07.2021
Curated by:
Eric Golo Stone

Reconsidering Institutional Conduct (Almost Everything Still Remains to be Done) is a two-day program at the Künstlerhaus Stuttgart that convenes a group of artists to conceptualize and draft provisions for a legally enforceable code of conduct. Drawing from different critical perspectives, this group will generate specific considerations and stipulations that will directly inform an internal process currently underway by the Künstlerhaus Stuttgart’s governing bodies to implement the institution’s first ever code of conduct.

 

This program examines how an art institution governs its own immediate social and workplace conditions, directly addressing the Künstlerhaus Stuttgart as a responsive institutional case study, while also supporting experiential research into shared policy and collaborative governance. Additionally, by emphasizing artists as primary contributors to institutional policy-making, this program challenges the settled expectation that artists’ work amounts to purely content-related outcomes. Indeed, this process of generating a code of conduct seeks to recognize the extent to which artists define the actual lived relations and working conditions that produce and distribute their art.

 

Once fully implemented, this code of conduct aims to be both an internal and outward facing policy—offering everyday considerations that are specific to the Künstlerhaus Stuttgart, as well as reproducible models of institutional conduct that challenge the exploitative, discriminatory, and dispossessive practices so prevalent in the art sector at large. It is well known that the Kunstverein system in Germany is particularly conducive to establishing legal structures that regulate artistic production, yet significant work remains to be done in terms of how these legal structures ensure a field of artistic production that is equitable, inclusive, and truly diverse. While referring to existing legal protections for workers and constituents, a code of conduct is intended to go much further, imposing requirements and providing means of recourse that are more exacting than those mandated by law. Collective reconsiderations of what constitutes these exacting principles and effects is precisely what this program offers space for.

 

Reconsidering Institutional Conduct (Almost Everything Still Remains to be Done) brings together an international group of distinct artists and cultural practitioners including Heba Y. Amin, Grayson Earle, Irena Haiduk, Clara Sukyoung Jo, Sandrine Micossé-Aikins, Anike Joyce Sadiq, Anna Schiefer, Bea Schlingelhoff, Ülkü Süngün, and Stefan Wäldele. In order for this group process to generate a practicable code of conduct, the invited practitioners will directly advise and work with representatives of the Künstlerhaus Stuttgart—the majority of whom are practicing artists—including individuals from the Board of Directors, Artist Advisory Council, and Membership Association. This two-day program of directed group work and discussion is open to the general public, offering a culture of transparency around behind-the-scenes work that is typically conducted in closed-door session. Please note however, that capacity will be regulated in keeping with COVID-19 public health requirements. The program will be conducted in English language, with German translation available on request.

 

Schedule:

*All session groups are comprised of the invited artists. Additional contributors are noted in each session description. The general public is invited to attend all sessions, but will be asked to contribute with questions and comments only in the sessions noted as “open discussion.”

 

Sunday July 25

3pm – 3:30pm
Intro Session
Presenting: Eric Golo Stone, Artistic Director Künstlerhaus Stuttgart
– Welcome, introductions, and program structure

 

3:30 – 5pm
Session 1
Presenting: Eric Golo Stone with Anna Schiefer, Artist, Scholar, and KHS Board Member (Open discussion)
– Purpose and objectives of CoC beyond applicable laws
– Recap common provisions found in an organizational CoC and specific provisions found in current draft of KHS CoC

 

5pm – 5:30pm
Break

 

5:30pm – 7pm
Session 2
Presenting: Sandrine Micossé-Aikins, Director, Diversity Arts Culture, Berlin
– Anti-Discrimination, anti-racism, equity, diversity and inclusivity provisions

 

7pm – 7:30pm
Break

 

7:30pm – 8:30pm
Session 2 Follow-up (Open discussion)

 

8:30pm –
Food and Drink

 

Monday July 26

 

10am – 11:30am
Session 3 (Open discussion)
Presenting: Grayson Earle, Founder of Artists for Workers, New York
Facilitating: Anna Schiefer
– Fair labor practices and worker rights
– Working conditions

 

11:30am – Noon
Break

 

Noon – 1pm
Session 4
– Compliance, consultation, ombuds program, and complaint procedure
– Legal/extra-legal enforceability

 

1pm – 2pm
Break for lunch

 

2pm – 3:30pm
Session 5 (Open discussion)
– Additional provisions
– Appendix and annexure

 

3:30pm Conclude program

This program was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART Grant

 

Thank you: Ania Corcilius, Juliane Gebhardt, Yvette Hoffmann, Björn Kühn, Florian Model, Daniel Niccoli, Monika Nuber, Regine Pfisterer, Romy Range, Jasmin Schädler, Anna Schiefer, Damaris Wurster

 

German Translation of Program Text and Schedule: Johanna Schindler

KHS, 2021
2021 10.07.2021, 01:00pm
Satellit Stuttgart: Epilog
Events
10.07.2021, 01:00pm

After 3 eventful, dynamic months with exhibitions, interventions, presentations, collaborations and events, Season 1 of the temporary project “Satellit Stuttgart” in the city center comes to an end.

 

Closing event: Saturday, 10.07.21 between 1-8pm at Königstraße 22.

 

There will be a limited edition of Satellit t-shirts (16€) and bags (4€) at cost price and chilled drinks. As always, it is possible to be indoors and outdoors.

 

We want to say a big thank you to everyone involved!

 

The epilogue with the SPACE HACKERS starts directly after the LINIENSCHAREN from Wednesday 07.07.21, so that satellite is played continuously and until the end of the project on Saturday 10.07.21, 8pm.
The SPACE HACKERS transfer the Satellit concept from virtual to real space.

 

Raumstipendium No. 2: Thomas Weber, photo: Frank Kleinbach
Raumstipendium No. 2: Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 3: Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 3: Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 4: Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 4: Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 5: Fünfte Kraft, exhibition view "Home in an Eggshell", Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 5: Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Raumstipendium No. 6: Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No.6: Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
2021 01.07.2021
Open Call: Permanente Performance – 40 Jahre Konzil
News
01.07.2021
A Project of the Künstlerhaus Stuttgart

The Künstlerhaus Stuttgart is looking for artistic positions in the field of performance art for the project “Permanente Performance – 40 Jahre Konzil”. Artists and artist collectives are invited to submit concepts for performances at locations they define themselves in Stuttgart’s urban space. The choice of locations is up to the artists. However, the Künstlerhaus offers support in finding a suitable location.
The selection of the participating artists for the period from August 30 to September 12 will be made by a jury consisting of members of the board and advisory board of the Künstlerhaus.

 

Project period: August 30 to September 12, 2021
Application deadline: July 18, 2021
Fee: 1.000 EUR
Possible transport, material and travel costs cannot be reimbursed.
Documents to be submitted: application form, project description (max. 2 pages), portfolio and CV.
Please send the application documents in one pdf (max. 10 MB) by e-mail to info@kuenstlerhaus.de. Applications not submitted by the deadline or applications with incomplete documents will unfortunately not be considered.

 

Background

 

Exactly 40 years ago, from September 01 to September 30 1981, the Künstlerhaus Stuttgart, under the direction of Ulrich Bernhardt, invited 57 local and 19 international artists to participate in the artistic group project KONZIL. In this project, questions about cooperation, artistic exchange and thematic aspects of ephemeral and performance art were discussed daily at 6 p.m. at a 40-square-meter table. The project was complemented by actions and events in the urban space. Out of the project, artist Boris Nieslony developed the Black Kit. The Black Kit archives the documentation of organizations, associations, artist-run spaces and some of the most important international projects in the field of performance since 1975. It refers to about 3800 artists, contains photographs, individual performance relics and records.

40 years later, Künstlerhaus Stuttgart will bring KONZIL back to Stuttgart and into the present, building bridges to current issues, debates and discourses. Over a two-week period, the historical council will be linked in the form of an archival exhibition with a performance program.

 

For the historical processing, Boris Nieslony’s Black Kit Archive will provide the Künstlerhaus with documents, photographs, posters and video material of artists who were active in the Künstlerhaus and in Stuttgart in 1981. In parallel, the Künstlerhaus invites artists and artists’ collectives to present performances in Stuttgart’s urban space – from Stuttgart West to Bad Cannstatt, from Zuffenhausen to Wangen – over a period of fourteen days.
Following these performances, several panels will be held at the Künstlerhaus, inviting participants to exchange ideas, engage in discourse, and work together.

 

For further information about the Open Call please click here

 

Das Konzil, 1981, photo: Ellen Bailey
2021 25.06.–06.07.2021
Satellit Stuttgart No. 6: Linienscharen
Events
25.06.–06.07.2021

Funkenflug

ongoing work on the collective drawing

 

daily from 10-18 o’clock
Satellite Stuttgart, Königstraße 22, 70173 Stuttgart

 

In fall 2012 Linienscharen was founded, a platform for contemporary drawing in Stuttgart. Linienscharen aims to keep the discourse on drawing in Stuttgart alive and provide a framework for exchange, lectures and presentations on the subject. Linienscharen functions as an open forum for artists from Stuttgart and the region whose work deals with drawing or the theme of line in another medium.

 

The satellite project Funkenflug is designed as an open-ended process that uses the space in Königstraße as a place for concentrated drawing over a period of twelve days. 47 artists of the Linienscharen will be active in the project space in groups of two, one after the other, and will react to the spatial conditions of the space and the surrounding urban space with drawings throughout the duration of the project and continue a dialogue with the already existing artistic interventions.

 

June 25 – June 30, 2021

Julia Wenz-Delaminsky with Barbara Armbruster // AC Klarmann with Jürgen Klugmann // Elly Weiblen with Vasiliki Konstantinopoulou // Sabine Fessler with Alicia Hernandez Westpfahl // Matthias Kohlmann with Harald Kröner // Kanoko Hashimoto with Margarete Lindau // Michelin Kober with Stanislaus Müller-Härlin // Erwin Holl with Uwe Schäfer // Melanie Grocki with Stef Stagel // U!!i Berg with Alexandra Centmayer // Helga Schuhmacher with Karina Stein // Uta Krauss with Tobias Greiner

 

July 1 until July 6, 2021
Annie Krüger with Anja Klafki // Karl-Heinz Bogner with Josephine Bonnet // Sabina Aurich with Ute Fischer-Dieter // Christian Schiebe with Doris Erbacher // Nina J Bergold with Veronika Kergaßner // Monika Schaber with Rita Schaible- Saurer // Silke Schwab with Simone Eckert // Werner Degreif // Thora Gerstner with Heike Grüß // Frauke Schlitz with Beate Baumgärtner // Maria Grazia Sacchitelli with Barbara Karsch-Chaïeb // Conny Luley with Christiane Haag

 

 

For more information about Satellit Stuttgart:

Instagram: satellit_stuttgart

 

 

Season 1 – In Orbit

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I

Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II

Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III

Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV

Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V

Wed Jun 9th — Wed Jun 23rd

Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.

Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, Foto: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 6: Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Design: Steffi Schwarz
2021 21.06.–27.08.2021
Schaukeln mit Fischen
Lennart Cleemann
Events
Studios
21.06.–27.08.2021
Opening:
Fri, 25.06.2021
07:00pm

Our studio fellow Lennart Cleemann shows his installation Schaukel mit Fischen for the first time in the project space Lagune.

 

Summer exhibition! Lennart Cleemann (*1990) shows in the Lagune for the first time his installation Schaukel mit Fischen, the attempt of an abstract reproduction of his studio atmosphere. Many objects occupy the space, overlapping spatially, visually and refusing their decoupled observation. An important theme of Cleemann’s work is the exploration of the idea of home. Space and object serve as sculptural communicators of interpersonal relationships.

 

Viewing by appointment:

Contact: lennart.cleemann@web.de

2021 09.06.–23.06.2021
Satellit Stuttgart No. 5: Fünfte Kraft
Events
09.06.–23.06.2021
Opening:
Sat, 12.06.2021
11:00am

Home in an Eggshell

 

June 9 until June 23 2021

 

“Home” (eng.), in German: Zuhause, Heim, Heimat, Heimstätte.

In times of the Corona pandemic, the term “home” takes on a completely new and formative meaning worldwide. Due to isolation, all parts of society are thrown back on that personal place that functions as a “life-location” and is closely linked to the identity of the respective people.

 

But is it so simple to define “home” as protective, four walls, or is this concept and its associated meanings far more complex and spongy than can be broken down to a simple formula?

The debate around this term is also changing with people coming to Germany from other countries and living here. It is of central social importance to enter into a new dialogue at this point and to discuss and negotiate deadlocked and described concepts again.

 

Within the framework of art and culture, an impulse can be given for this. We have dedicated our work as a group of artists to this area, since this topic plays its own special role for all of us in the artistic or private sphere.

 

Dates:

Saturday, June 12 2021, 11am–7.30pm – Opening
All artists will be present.

 

Sunday, June 13 2021, 3.30pm–7.30pm

Johanna Mangold will be present.

 

Thursday, June 17 2021, 3.30pm–7.30pm

Paula Pelz will be present.

 

Friday, June 18 2021, 3.30pm–7.30pm

Min Bark will be present.

 

Saturday, June 19 2021, 3.30pm–7.30pm

Min Bark will be present.

 

Sunday, June 20 2021, 13.30pm–7.30pm

Mizi Lee will be present.

 

For more information about Satellit Stuttgart:

Instagram: satellit_stuttgart

 

Season 1 – In Orbit

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I
Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II
Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III
Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV
Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V
Wed Jun 9th — Wed Jun 23rd

Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.

Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Raumstipendium No. 5: Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Design: Steffi Schwarz
Design: Steffi Schwarz
2021 08.06.2021, 07:00pm
Tuesday workshop VIII
Ronald Kolb
Events
08.06.2021, 07:00pm

For our eighth Tuesday workshop, we are swapping roles:
Ronald Kolb will present the workshop, event and exhibition project “Small Projects for Coming Communities”, which took place in Stuttgart in 2018 and serves him as a sketch of an expanded concept of exhibition (“expanded exhibition”).

 

Tuesday, June 8 2021, 7pm

 

https://us02web.zoom.us/j/87291399689?pwd=QkFoNXYzRUZGdlBnbUtXb3hBWjlJZz09

Meeting-ID: 872 9139 9689

Code: 498907

 

___

 

Tuesday Workshop

From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

 

Lecture Performance von Jeanne von Heeswijk, Small Projects for Coming Communities, Symposium im Hospitalhof Stuttgart, 11. Mai 2019
2021 26.05.–08.06.2021
Satellit Stuttgart No. 4: Friedrich Hensen
Events
26.05.–08.06.2021

Max. of 5 people can enter the show at the same time. Masks are mandatory.

 

 

Friedrich Hensen: HUMAN CLOUD

 

The exhibition HUMAN CLOUD poetically explores the question of what it means to be human in the digital age in a spatial installation using sound, moving images, and words. To what extent are we cyborgs, or have we always been?

 

Dates

 

Thursday, 27/05 – ArtsUp-Stammtisch / livestream from Satellit

Please register here: https://us02web.zoom.us/meeting/register/tZEufuivrTIsHtWvv402reJIcWBQZIaC3Knm
Saturday, 29/05 – Vernissage

Tuesday, 01/06 – Lecture Performance: humanCloud
Saturday, 05/06 – Concert with TwoPartout and livestream

 

Where?
Königstraße 22, 70173 Stuttgart

 

 

Friedrich Hensen is an artist, musician and poet from Stuttgart.
He studied at the ABK Stuttgart from 2012-2020 and participated in numerous events of the CAMPUS GEGENWART at the HMDK Stuttgart from 2017, which brought him into contact with New Music.
He describes the starting point of his work as “traversing spheres”.
With this interdisciplinary approach he works mostly multimedia and installative, in which he transforms and resamples different media in others.

 

 

For more information about Satellit Stuttgart:

Instagram: satellit_stuttgart

 

 

Season 1 – In Orbit

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I

Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II

Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III

Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV

Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V

Wed Jun 9th — Wed Jun 23rd

Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI

Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.

Raumstipendium No. 4: Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 4: Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Design: Steffi Schwarz
2021 12.05.–26.05.2021
Satellit Stuttgart No.3: Ann-Josephin Dietz
Events
12.05.–26.05.2021

Ann-Josephin Dietz: CARPE DIEM. Holistic Nail Concepts

 

May 12th – May 26th 2021

 

The nail studio Holistic Nail Concepts is run by Alana Heubeck, who is also the owner and holistic color coach of  CARPE DIEM. After a personal consultation, she will compile an individual nail set for the prospective customer via zoom. This can then be picked up in the nail studio and applied independently with instructions. Through the open consultation hours on site and the Instagram channel @heubeckalana, visitors are given an insight into the working method of Alana Heubeck.

 

Ann-Josephin Dietz studied at the State Academy of Fine Arts in Stuttgart as well as at the University of Edinburgh (degree: Diplom) from 2013-2020. She works with photography, performance, video, intervention and installation. With her artistic projects she has been represented in numerous group exhibitions, including UG Museum Folkwang, Essen; Galerie Parrotta Contemporary Art, Bonn; Schaulager of EIGEN+ART, Leipzig; Heidelberger Kunstverein; Minshar Gallery, Tel Aviv; Projektraum AKKU, Stuttgart and Staatsgalerie Stuttgart.

 

Opening hours

mondays 12-2pm, 3-6pm
tuesday 12-2pm, 3-6pm

 

Live events every Monday 2pm and Tuesday 5pm

 

Personal appointments by appointment: alana-heubeck(at)web.de

 

For more information about Satellit Stuttgart:

Instagram: satellit_stuttgart

 

 

Season 1 – In Orbit

 

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I
Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II
Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III
Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV
Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V
Wed Jun 9th — Wed Jun 23rd

Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.

 

Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 3: Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Design: Steffi Schwarz
Design: Steffi Schwarz
2021 11.05.2021, 07:00pm
Tuesday Workshop VII
Michael Dreyer
Discussion
Events
11.05.2021, 07:00pm
Curated by:
Ronald Kolb

We invite Michael Dreyer to our seventh Tuesday Workshop.

 

Tuesday, May 11th, 2021, 7pm

 

Michael Dreyer

is a German artist and designer. He is professor for visual communication at the Merz Academy, University of Design, Art and Media, Stuttgart, and was involved in its realignment in 1982. In 2006 Dreyer founded the “W.O. Scheibe Museum” project as a temporary exhibition space in Stuttgart, continued in the form of film performances (Atelier, 2012, by Peter Ott and Abwinkl ’83, 2021 ff., Video review by and with Dreyer).

 

___

 

Tuesday Workshop

From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.

Bühnenbild für ABWINKL (under construction)
2021 29.04.–12.05.2021
Satellit Stuttgart No 2: Thomas Weber
Events
29.04.–12.05.2021
Bilder aus der näheren Umgebung

Thomas Weber “Bilder aus der näheren Umgebung”

 

April 29th – May 12th 2021

 

Thomas Weber will be present at the following times from 2 – 6 p.m. each day:

 

Thu. 29.4. //Fri. 30.4. //Sun. 2.5.//Thu. 4.5. //Thu. 6.5. //Fri. 7.5.//Sa. 8.5.//Mo. 10.5 //Thu. 11.5.

 

More about Satellit Stuttgart:

Instagram: satellit_stuttgart

 

 

Season 1 – In Orbit

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I
Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II
Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III
Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV
Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V
Wed Jun 9th — Wed Jun 23rd

Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.

Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 2: Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
Satellit 2021, photo: Frank Kleinbach
design: Stefanie Schwarz
2021 27.04.2021, 07:00pm
Talk with Eva Barto
Events
Talk
27.04.2021, 07:00pm

Please join us for a discussion with the artist Eva Barto. Organized in conjunction with her current exhibitions at the Künstlerhaus Stuttgart and Kunstverein Nürnberg.

 

April 27 2021, 7pm / 19.00

 

Presented online live-streamed https://us02web.zoom.us/j/89943878326

 

Contributing to the discussion will be Milan Ther (Director, Kunstverein Nürnberg), and Eric Golo Stone (Artistic Director, Künstlerhaus Stuttgart).

 

Eva Barto’s exhibition at the Künstlerhaus Stuttgart reconsiders the legal-economic infrastructure by which financial giving is managed in the art sector. Rather than solely reflect on the transactional structures of monetary gifts, financial support, and philanthropy at large, Barto’s exhibition actualizes a specific set of grantor-grantee, donor-donee, and sponsor-sponsee relations. The transactional order for these relations and effects are governed through a system of distinct contractual agreements, which the artist conceptualized and implemented within the material and temporal dimensions of her exhibition. For Barto, to produce disclosures on financial giving and reciprocal compensation in the field of art today is to challenge the idealization of independence by emphasizing the messy, enmeshed, and consequential dependencies that define working relations and conditions.

 

 

Please note: Due to public health requirements, the exhibition galleries at the Künstlerhaus Stuttgart remain closed until further notice.

 

While we eagerly look forward to welcoming you when the exhibition space may safely reopen, the Künstlerhaus Stuttgart as an organization recognizes its responsibility towards visitors and staff in making every effort to contain the spread of COVID-19.

 

Radical care is not solely a declarative position or something to be reflected on thematically—spaces for art must also of course actualize radically empathetic care work at the policy level. We continue to organize behind-the-scenes so that when we can reopen, the Künstlerhaus Stuttgart will implement accessibility policies that are inclusive of immunocompromised and/or high-risk people.

2021 16.04.2021
New Board of Directors at Künstlerhaus Stuttgart
News
16.04.2021

On March 25th, 2021 the Members of Künstlerhaus Stuttgart elected a new advisory committee and board of directors. The general members assembly – originally scheduled for 2020 – was postponed due to the pandemic. Eventually it was decided to hold the meeting online. Nevertheless, the member’s participation was at a record high. The newly elect members of the advisory committee are: Yvette Hoffmann, Björn Kühn, Florian Model, Monika Nuber, Jasmin Schädler and Damaris Wurster. The board of directors consists of: Ania Corcilius (president), Anna Schiefer (vice president) and Daniel Niccoli (treasurer).

 

Ania Corcilius, artist and curator, brings her experience on the boards of the Hamburger Kunstverein, nGbK Berlin, and San Francisco’s Creative Arts Charter School to the Künstlerhaus. In Stuttgart, Ania has been teaching at Merz-Akademie and is engaged in the group “Stadtlücken”, who, up until recently, were residents at the studio program at Künstlerhaus.

 

Anna Schiefer, artist and art educator, is a graduate of ABK Stuttgart, founding member of the collective “Publishing House for Handbooks“, and also a former fellow in the Künstlerhaus‘ studio program. Due to her numerous residencies and research activities at artistic and academic institutions, Anna draws from a broad network, both locally and internationally.

 

Daniel Niccoli, IT-architect und self-employed IT-advisor, came to the Künstlerhaus through his participation in various workshop classes. Besides his entrepreneurial experience, he will bring to the board a strong interest in forms of participation and communication processes. 

 

Together with the advisory committee the board of directors emphasizes the importance of the Künstlerhaus as a Stuttgart art institution, which is among the leading non-profit galleries contributing to the international contemporary art discourse. At the same time the board seeks to encourage a close dialog between the curated exhibition program and local artists as well as the community. The primary goal is to strengthen the Künstlerhaus as a place for critical artistic debates on the highest level and make it visible and available for the public in Stuttgart.

 

 

photo: Florian Model
2021 14.04.–07.07.2021
Satellit Stuttgart
Events
News
14.04.–07.07.2021
Raum- und Projektstipendien am Schlossplatz
Curated by:
Karima Klasen

Season 1 – In Orbit

The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:

 

Episode I

Wed Apr 14th — Wed Apr 28th

Lowland

 

Episode II

Wed Apr 28th — Wed May 12th

Thomas Weber

 

Episode III

Wed May 12th — Wed May 26th

Ann-Josephin Dietz

 

Episode IV

Wed May 26th — Wed Jun 9th

Friedrich Hensen

 

Episode V

Wed Jun 9th — Wed Jun 23rd

Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI

Wed Jun 23rd — Wed Jul 7th

Linienscharen

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.

 

The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.

 

With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.

 

The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart

Design: Stefanie Schwarz
Satellit Stuttgart, photo: Frank Kleinbach
Satellit Stuttgart, photo: Frank Kleinbach
Raumstipendium No. 6: Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Linienscharen, Funkenflug, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 5: Fünfte Kraft, exhibition view "Home in an Eggshell", Satellit 2021, photo: Frank Kleinbach
Fünfte Kraft, exhibition view "Home in an Eggshell", 2021, photo: Frank Kleinbach
Raumstipendium No. 4: Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Friedrich Hensen, HUMAN CLOUD, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 3: Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Raumstipendium No. 3: Ann-Josephin Dietz, CARPE DIEM. Holistic Nail Concepts, Satellit 2021, photo: Frank Kleinbach
Thomas Weber, Bilder aus der näheren Umgebung, photo: Frank Kleinbach
Raumstipendium No. 2: Thomas Weber, Bilder aus der näheren Umgebung, Satellit 2021, photo: Frank Kleinbach
2021 13.04.2021, 07:00pm
Tuesday Workshop VI
Ania Corcilius
Discussion
Events
13.04.2021, 07:00pm
Curated by:
Ronald Kolb

For our sixth Tuesday workshop we invite Ania Corcilius. Due to current regulations, this event will also take place online. You can join the event via Zoom:

 

Join the meeting:

https://us02web.zoom.us/j/86556521495?pwd=d3l6aENSTUFhZ3RoQjk4UUQzd2NTZz09

 

Meeting-ID: 865 5652 1495
Kenncode: 656406

Ania Corcilius

studied at the HfbK Hamburg and the Whitney Independent Study Program New York. The thematic focus of her artistic-curatorial work is the city as a social space. After many years, first in Berlin and then in San Francisco, Ania Corcilius now lives with her family in Stuttgart. Since 2018 she has been involved in the Stadtlücken e.V.

 

___

 

Tuesday Workshop

From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.

The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.

The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!

The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.

Ania Corcilius, Umbau-Workshop, 1996
2021 27.03.–25.07.2021
The Supporters
Eva Barto
Exhibition
27.03.–25.07.2021
Discussion with Eva Barto online livestream, Co-presented with the Kunstverein Nürnberg, with Milan Ther (Director, Kunstverein Nürnberg), and Eric Golo Stone (Artistic Director, Künstlerhaus Stuttgart):
Tue, 27.04.2021
07:00pm

The artist Eva Barto consistently realizes her work through a situationally-specific reconsideration of the very conditions and relations by which her work is produced and circulated. Barto often internalizes, repurposes, and complicates the existing socioeconomic materials and arrangements that constitute a particular site of cultural work. Barto’s exhibition at the Künstlerhaus Stuttgart reconsiders the legal-economic infrastructure by which financial giving is managed in the art sector. Rather than solely reflect on the transactional structures of monetary gifts, financial support, and philanthropy at large, Barto’s exhibition actualizes a specific set of grantor-grantee, donor-donee, and sponsor-sponsee relations. The transactional order for these actualized relations and effects are governed through a system of distinct contractual agreements, which the artist conceptualized and implemented within the material and temporal dimensions of her exhibition. For Barto, to produce transparency and disclosure on financial giving and reciprocal compensation in the field of art today, is to challenge the idealization of independence by emphasizing the messy, enmeshed, and consequential dependencies that define actual lived relations and working conditions.

 

The current problem field of financial support for the arts is widely recognized. Fundraising within the global art sector is dominated by privately governed legal-economic arrangements attributed to charitable giving and philanthropy. The US system of arts funding—which since the early 1980s has been wholly structured as a political economy of individual financial contributions, and entirely overdetermined by privately governed philanthropy—is increasingly adopted by art contexts around the world. For instance, donor advised funds and other similar legal mechanisms are being considered in various legal jurisdictions as a means of transforming publicly funded cultural services into opportunities for the non-disclosure management of private assets incentivized by tax deductions and returns on investment. Art institutions are key to considering the investment capacity of non-profits. Institutions that produce and distribute artistic work are widely utilized as havens for tax-avoidance, while they are also increasingly targeted by the philanthropy class for private investment purposes through the legal-economic incentives proposed by social entrepreneurship and social impact bonds. This return on investment logic is a driving force in the expansion of fundraising activities and development departments within art institutions and cultural organizations, which work closely with individual patrons and their foundations that structure financial giving.

 

While the number of private foundations in Germany is growing, charitable contributions are being made by a shrinking number of supporters.[1] With less people giving more money, charitable purposes in Germany are increasingly defined by a very select few under less transparent governance arrangements. Under threat of state budget cuts, an urgent question today for the art sector in Germany and beyond (i.e. in France, where Barto lives and works), is whether the model of tax privileged private philanthropy and its entrepreneurial approaches to fundraising for art become an increasingly expected substitute for state governmental public support such as grants. How will funding for art be altered by the increased expectation of privately contributed income and revenue streams? And ultimately, what are the circumstances of socioeconomic injustice which make the model of privately governed patronage and philanthropy seem necessary?

 

Grants, donations, and sponsorship are a response to funding requests and fundraising efforts. Art institutions are at the forefront of establishing neoliberal philanthropy and entrepreneurial fundraising as the means for responding to socioeconomic necessity. While the emphasis is most often on distinguishing between modes of arts funding like grants, donations, and sponsorship, these different modes of art funding in fact share many of the same operative functions. Grantors, donors, and sponsors alike, stipulate conditions and directives in providing funds, requiring the funding recipient to report on outcomes that meet certain metrics, and which the funders have built into their funding arrangement in order for outcomes to be gauged according to criteria of success they have established. Particularly in the art sector, distinctions between these forms of funding are increasingly unclear, which is why gift classification policy has become more complex in recent years. From a legal standpoint, the distinctions between these systems of financial support for the arts center around the statutes, implications, and effects of tax treatment, charitable purposes, and related compensation. But the legal classification of financial giving in the art sector raises crucial questions that remain unsettled. For instance, German law clearly stipulates that donations are gifts—a specific legally defined form of financial giving that prohibits the donor from receiving any form of compensation or recoupment on their donation, save for the allotted tax deduction. Yet there remain open-ended questions about the potential for eventual compensation on donations when those very donations are used to fund the production of artworks that are destined for private holding (the vast majority of artworks as legal property are of course destined for private holding).

 

In preparing her exhibition The Supporters for the Künstlerhaus Stuttgart, Barto reexamined this current problem field within the German art context, and considered specific—distinct yet interrelated, and often overlapping—forms of financial support, namely: grants, donations, and sponsorship. The different sources that fund Barto’s exhibition were actively pursued by the artist as necessary means of production, and as a deliberately comparable set of relations. Working with the Künstlerhaus Stuttgart, Barto secured a grant for her exhibition from the regional German government of Baden-Württemberg, where Stuttgart is located. This grant from the regional government’s granting agency for arts and culture is particularly meaningful when considering how the statutes of state funding and charitable uses expand as new public needs develop. The grant, titled, “Art Despite Distance/Kunst Trotz Abstand,” was made available as a direct response to the needs of artists and their institutions during the COVID-19 pandemic. In addition to emphasizing artist fees and underwriting material production, the grant made certain funds available for infrastructural materials that supported public health needs and guidelines. Barto utilizes the full allocation from the grant for this intended purpose of equipping the institution with materials that support public health in face of the COVID-19 pandemic. Barto then necessarily supplemented this grant, and matching funds provided by the Künstlerhaus Stuttgart from its core budget that derives from the City of Stuttgart, with a donation from Galerie Max Mayer, a commercial gallery owned and operated by Max Mayer in Düsseldorf, Germany.

 

Finally, Barto secured an additional working relationship to amplify and extend further the comparable forms of financial giving and receiving localized within her exhibition at the Künstlerhaus Stuttgart. The artist proposed that her exhibition in Stuttgart be mirrored by an exhibition of her work at the Kunstverein Nürnberg—an exhibiting institution, which in comparison to the Künstlerhaus Stuttgart, is more reliant on fundraising from third-party sources. While Barto’s exhibition at the Künstlerhaus Stuttgart is almost entirely supported through city and regional government funding, the artist’s exhibition at the Kunstverein Nürnberg, also entitled The Supporters, is largely made possible through financial sponsorship from Galerie Max Mayer. Galerie Max Mayer’s donation to the Künstlerhaus Stuttgart prohibits any direct compensation beyond the permissible tax deduction, yet the gallery’s sponsorship provided to Kunstverein Nürnberg is far less restrictive in how compensations are regulated. The complex circuit of comparative interrelations that Barto has orchestrated between these art institutions is formalized through a system of legal contracts that govern the different forms of financial giving and effects. The contractual agreements are included in both exhibitions as an unlimited edition work by Barto, which the artist has made freely distributable to anyone visiting the exhibitions.

 

The Künstlerhaus Stuttgart is pleased to present “The Supporters”, a project by Eva Barto produced in collaboration with the Kunstverein Nürnberg and Galerie Max Mayer, Düsseldorf.

 

[1] Council on Foundations Report, “Non-Profit Law in Germany” (March 2020). European Fundraising Association, “Growing Philanthropy in Germany”, https://efa-net.eu/features/your-voice-growing-philanthropy-in-germany (last accessed March 2021).

 

Eva Barto, exhibition view, 2021, photo: Frank Kleinbach
Eva Barto, exhibition view, 2021, photo: Frank Kleinbach
2021 27.03.–25.07.2021
Unusability Might be Assumed Unless There are Signs Indicating Otherwise
Ramaya Tegegne
Exhibition
27.03.–25.07.2021
Program:
Sun, 25.07.2021
03:00pm

Ramaya Tegegne’s exhibition at the Künstlerhaus Stuttgart centers around the artist’s experiential research into the conflicting role art institutions maintain when they promote claims to anti-racism while actively engaging in the management of racial inequalities. It is this violent disconnect between a declarative politics and the actualized material politics that Tegegne recognizes as being particularly pervasive in the arts sector. This disconnect is amplified today by a social uprising that extends from the racial equity demands of individual access and representation to transforming race relations at the systemic level of shared policy and institutional governance. While considering the extent to which racially specific elision and dispossession continue to define the operative structures of art institutions, Tegegne’s exhibition emphasizes how everyday lived relations are directly responsive to these deeply entrenched ongoing historical conditions.

 

Within her exhibition at the Künstlerhaus Stuttgart, Tegegne’s new film work, Framer Framed[1], presents a deliberation by the board of directors of an unnamed cultural institution in French-speaking Switzerland. This fictional staged board meeting revisits an actual incident that took place in 2019 when a group of Black migrant men were forced to vacate the lobby of a Swiss state-funded cultural institution, which at the time was screening a film about the exclusion and discrimination of Black migrant men in Switzerland. These individuals gathered in the lobby were told to leave by a management employee of the institution who justified the expulsion by stating that the group was loitering and disrupting the experience of patrons attending the screening. For Tegegne, this incident must be recognized within a far-reaching history of loitering and vagrancy laws directed against Black people, as well as the broader history of racialized policing of property and public space. Framer Framed was produced in response to this particular incident, which Tegegne witnessed first-hand, and intervened in by first confronting the employee, and then addressing the institution’s board through a collectively-organized letter writing campaign. Because the institution provided no substantive reply to these modes of address, nor any inclusive means for deliberation on appropriate recourse or retribution, Tegegne sought other means by which to hold a hearing on the facts of the matter.

 

The scripted, staged, and performed deliberations in Framer Framed enact a place for governance arrangements, adjudication, and dispute resolution as wrested from the continued historical realities of institutional proceedings that define property rights and property relations through racialized expulsion and dispossession. In doing so, Tegegne’s film embodies a collective experience of joy, solidarity, and defiance, while it also evidences a painful outcome: a substantive deliberation on racial justice conducted by the institutional governing board was ultimately realized as fiction, solely as artistic content. And this painful outcome—consistent with an oppressive system of reality that relegates recourse for BIPOC wholly within the realm of expression—is reached by way of a cunning deception which Tegegne recognizes as a unique operative function of the artistic field. In her letter writing campaign, Tegegne had asked the organizer of the screening that presented a film about the exclusion and discrimination of black migrant men in Switzerland, and the board of the hosting institution, to advocate for and implement specific anti-racist policies. That the institution in question was unresponsive to these policy demands, while presenting and promoting artistic content that evokes these very demands, is exemplary of how art institutions prevent structural transformation by dissociating artistic content from its social conditions of production, distribution, and reception. What is the role of art institutions and cultural organizations when their own claims for racial equity are ultimately rendered as purely content-related? What are artists as content producers to do when institutional conduct is in direct conflict with the values expressed by their artistic content? What methods and techniques might artists utilize to more fully align their symbolic, affective, sensorial interventions, and the structures that govern these artistic interventions?

 

Framer Framed draws from the reflexive, situationally-specific, and interventionist theater methodologies that the noted Brazilian playwrite, dramaturgist, and educator, Augusto Boal developed in the 1950s and 1960s from Black Experimental Theater traditions in New York, and during his years organizing forum theatre productions at the Teatro de Arena de São Paulo in Brazil. Boal’s forum theatre productions worked to bring underserved local community constituents into the space of theater in order to roleplay and workshop advocacy and policy goals for their communities. Tegegne cast Black-identifying filmmakers and actors living and working in the French-speaking Swiss context, including one individual who was directly involved in the 2019 incident, to perform the staged deliberations that were filmed for Framer Framed. Another forum theatre method that Tegegne’s film utilizes is having scripted performances interjected with unscripted input and feedback by performers and set production workers as the deliberations play out on set. At one crucial point, the performers and set production workers begin having an entirely unscripted discussion on camera about their reasons for agreeing to work on the film, as well as discussing what the fictional staged board deliberations convey about the field of artistic production. While satire is a prevalent motif within the scripted performances, it was important for Tegegne to corroborate the disaffection and unmediated actual lived relations that worked together to produce Framer Framed. Additionally, in producing the film, Tegegne was intent on extending the political imperatives expressed within Framer Framed, to an inquiry of the Künstlerhaus Stuttgart as the institutional context for its reception and for her exhibition at large.

 

In preparing Unusability Might be Assumed Unless there are Signs Indicating Otherwise[2], Tegegne conducted a study of the exhibition history of the Künstlerhaus Stuttgart, and implemented a particular legal-economic structure through which to manage the means of production for her exhibition. Tegegne is the first Black artist to produce a major monographic exhibition for the Künstlerhaus Stuttgart since its founding in 1978. This historical reality informs a number of the artist’s decisions about the spatial logic and use of the exhibition gallery where her work is situated. Constructing a barrier made from semi-transparent theater curtains, Tegegne has sectioned-off most of the gallery, rendering the exhibition space largely inaccessible to visitors and veiling any possibility to see out onto the space. The artist’s ambivalence in considering how to make use of a space that has not evolved to be usable for her is expressed throughout the exhibition. There is the opacity and transparency of the constructed barrier. The unoccupied space is confrontationally off-limits, but also softened by the semi-transparent fabric acting as an optical filter—a clear obstruction and soft-focus lens all at once. And there is the intimate space Tegegne constructed for viewing the film—welcoming, open, and snug, but also set aside and withdrawn. Beyond the symbolic, affective, and sensorial encounter generated by the theater curtain structure, Tegegne reconsidered the usability of the economic conditions typically arranged by an exhibiting institution. In preparing for her exhibition the artist founded a Verein (e.V./Association), a registered association that governs her work according to association law and provides the artist with greater direct control over how the financing of her exhibition is managed. For instance, rather than the hosting institution managing third-party funds raised for Tegegne’s exhibition, these funds are directly wired to her Verein. And through this legal-economic structure, the artist allocates funds for her own needs and the needs of workers she hires, bypassing the mediatory influence—the oversight and reporting—that is typically centralized within the fiduciary responsibilities of the hosting institution. Consequently, Tegegne’s exhibition at the Künstlerhaus Stuttgart mobilizes a critical ambivalence towards the usability of established and inherited art institutions, by more fully realizing how artistic interests must be inextricably bound to their determining material conditions.[3]

 

[1] Tegegne takes this title for her film from: Trinh T. Minh-ha, Framer Framed, Routledge, 1993
[2] Tegegne draws inspiration for this exhibition title from Sara Ahmed’s writings, specifically: Sara Ahmed, What’s the Use? On the Uses of Use, Duke University Press, 2019, p. 57
[3] Ambivalence is a critical position-taking, not a passive state of contradiction. It must be recognized that “ambivalence,” and interpretations of “Black ambivalence” have been articulated by scholarship within Black Studies, and Black radical traditions more broadly. Please see for instance the concept of “Double Consciousness,” often associated with William Edward Burghardt Du Bois, who introduced the term into social and political thought, most notably in his groundbreaking, The Souls of Black Folk (1903). The criticality of “ambivalence” has also been discussed within intersectional and Black feminist writings which seek to disrupt fixity and oppressive dichotomies that have historically impeded the intersectional work of forming feminist alliances.

 

 

 

Ramaya Tegegne, 2021
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
Ramaya Tegegne, exhibition view, 2021, photo: Frank Kleinbach
2021 25.03.2021
Relaunch: The New Künstlerhaus Stuttgart Website Goes Online
News
25.03.2021

As the intersection between internationally renowned exhibition programs, Stuttgart’s community of artists, and important local discussions, the Künstlerhaus is taking on an increasingly important role. Now, this significance is also reflected in a brand-new website. Following an intensive working process, www.kuenstlerhaus.de goes online today with its new design and clear structure.

The new online presence is based on visitor-friendliness, transparency, and the presentation of all content through a new navigation system and a clear design.
The idea for the new website was to present the Künstlerhaus Stuttgart in its entirety directly on the homepage, to create a structure that made it possible to find information easily, and to present activities in our workshops and studios on an equal footing with the exhibition program.
The Stuttgart office matter of was responsible for the design, and Valentin Alisch for the technical implementation. The project was led by Managing Director Romy Range, who was supported by the board during the realization.

 

Transparency and Clarity

All areas of the Künstlerhaus are now placed on an equal footing alongside one another, directly visible to users. Whether it’s a matter of exhibitions, workshops, studio fellowships, or memberships for the Künstlerhaus, everything can be found in one glance and accessed directly via the navigation system. The tiled images on the homepage also enable intuitive access to the individual menu options, such as exhibitions, studios, or workshops. Moreover, the agenda provides an overview of all upcoming events and exhibitions. All content will also continue to be available in both German and English.

 

New Menu Options, New Content

We have not only restructured the existing content but also brought opportunities for participation more prominently to the fore with the Education and Membership categories. For example, in the area of Education, our project with the Hölderlin-Gymnasium will also become visible in the coming months.
In our new shop, editions and publications are now available for purchase, and purchases can be processed via the website. Memberships can also now be set up online, which simplifies the process for all users.
Furthermore, what is also new is the website’s function as a comprehensive research tool with filter options. It provides different users with the opportunity to delve into a multitude of particular topics and to search for content.

 

Clear and Simple Design

Fresh colors, lots of white space, large-format images, and embedded videos: the newly designed website provides users with all important information in a single glance. Each subpage offers an entry point via images and videos, followed by longer texts.
Hence our workshops, for example, can be experienced not only through images but also videos. In the coming months, each workshop and its special features will be presented in a short film. The first to be shown will be for the ceramics, silkscreen, and etching workshops.

 

Archive from 40 Years of the Künstlerhaus

In our archive, there are more than 40 years of the Künstlerhaus Stuttgart to explore. In order to make research easier for visitors, we have built in search and filter functions, so that one can research specific exhibitions, events, publications, and the like. We have processed archival material, researched visual materials, and generated new content. The archive is therefore a continual work-in-progress. In the coming months, we will continue to supplement it with further content.

 

With this new website, all the different facets of the Künstlerhaus Stuttgart shall be available to experience, and users will be informed about all our activities in the best possible way.

2021 22.03.2021
Studio scholarships 2021/22
News
Studios
22.03.2021
The new studio holders move into their studios on May 01

Künstlerhaus Stuttgart is pleased to announce the new studio holders for the year 2021/22, who will move into their studios at Künstlerhaus starting May 01, 2021. This year, the Künstlerhaus is once again able to provide six outstanding artists, artist groups and collectives with working spaces for one year.
We are pleased to welcome Helen Weber and Janis Eckhardt as new fellows.
The grants of Alba Frenzel, Lennart Cleemann and Marlon Lanziner and Valentino Berndt (MAVA) have been extended for another year. Jasmin Schädler will share her studio with her colleagues of the n.n.n. collective Susanne Brendel and Julia Schäfer in her last year as a studio holder.

 

Janis Eckhardt

Janis Eckhardt’s (*1994) working method combines personal fascinations with contemporary social circumstances through the lens of constellations and objects. His works are mostly the result of a casual momentum that emerges from these accumulated materials. Performative aspects as well as the reutilization of his own and other material—plus its history, distribution and recontextualization—are the mechanisms running through his work. He is consequently always in search of a form of reproduction and representation that is not merely symbolic but rather an intervention that produces and perpetuates ambiguity.

 

Helen Weber

Helen Weber (*1994) studied fine arts in Stuttgart and Istanbul. She works individually and collectively between interior and exterior space, and is part of the Schwäbischer Online-Albverein, kollektiv_mitteperformance, and ROSANNAWIDUKIND. Weber throws herself into different contexts with a field-research approach, resulting in actions, sculptures, texts, video installations and various forms of documentation. For some time now, she has been interested in the contradictions of the “German Forest,” an ideological playground between survival, woodland solitude*, folklore, protest, ticks, nature and climate protection.
*In July 2020, the “Black Forest Rambo” Y. Rau