In this workshop, participants create large-scale woodcuts using a chainsaw as an artistic tool. Images are carved directly into wood, resulting in expressive printing blocks of substantial size. The blocks are then inked by hand and printed onto paper without the use of a press. The workshop introduces the fundamentals of woodcut printmaking, safe chainsaw handling, and experimental hand-printing techniques. No previous experience is required; curiosity, creativity, and an interest in working on a large scale are all welcome. The event will take place on the 4th floor of the Künstlerhaus Stuttgart.

Please bring: work clothes suitable for printing, protective gear (gloves, safety glasses, protective trousers), woodcut carving tools, and a wooden mallet.

The number of participants is limited—please register via Eventbrite by September 20, 2026. (Update: We would like to express our sincere thanks for the great interest and the numerous registrations! The event is now fully booked. If you would still like to attend, please send us an email at ll@kuenstlerhaus.de to be added to the waiting list. We will contact you as soon as a spot becomes available.)

Künstlerhaus HAUS ORKESTRA is starting up again on September 17th, 2026!

The HAUS ORKESTRA invites singers and musicians with some previous musical experience, accomplished amateurs, to professional musicians ready to play and sing together! Focusing on multi-part singing with instrumental accompaniment, folk songs from across the world, and occasionally popular songs, Natia Dikhtyar leads each session with passion and playfulness. The goal throughout is to learn new songs and musical pieces in a joyous way.

Each class begins with vocal warm-up exercises, learning new songs and vocal techniques, and as the repertoire expands, practicing these chosen songs. Vocal technique is focused on various voices together: one grooving, moving voice towards Unisono, unity together.

Starting from September 17th 2026, we meet every two weeks on Thursday nights from 7:30 to 9 pm. Classes and rehearsals will take place in the art gallery on the 2nd floor of Künstlerhaus Stuttgart, which is an exceptional experience for music lovers. Twice a year, summer and winter, we will have concerts open to the public.

We sincerely welcome anyone with basic to advanced musical experience to join the group! Enjoy the groove and rhythm of making music in the gallery.

• Participation is 5 – 10 euros per class, sliding scale.
• Starting from September 17th, every two weeks on Thursday nights from 7:30 to 9 pm, 2nd Floor
• For further information please contact Natia Dikhtyar: natiajazz@gmail.com

About the Orkestra Leader:

Natia Dikhtyar, a singer and jazz musician from Georgia, composes and performs music that blends jazz-rock-Latin fusion grooves with Georgian folk elements and poetry. She teaches voice and piano and directs choirs and vocal ensembles with an international background.

Visual artist and musician Eva Dörr explores those moments when a personal recommendation brings about a lasting change in one’s understanding of music. In this listening session, she will present audio clips that friends have shared with her. Sounds, pieces, styles and artists remain inextricably linked to the moment and the person who passed them on. Whether it’s an excerpt, a live moment, a recording, a performance, an object, an improvisation, an atmosphere, a tradition, a song, an album, an artist or a whole universe – the focus here is less on the format and more on what was set in motion.

Places in the recording studio are limited; please register at audio@kuenstlerhaus.de

Listening Session

This is the tenth event in the “Listening Sessions” series at the Künstlerhaus’s recording studio. Artists are invited to bring along the music that inspires, shapes and accompanies them. Together, they will listen to these tracks in the recording studio. This regular series provides a space to discuss musical influences and personal connections to music. The series was conceived by Lena Meinhardt, an artist and head of the Künstlerhaus’s audio workshop.

The characters of the East – Hanzi (Chinese) and Kanji (Japanese) – are not mere symbols, but images. In ancient Chinese painting, it is said that writing and painting share a common origin – and so every act of writing becomes an act of painting. They breathe, they stand, they bloom like flowers; every stroke is an expression. Building on the last workshop, we will try out a different approach to practising. This time, we’ll be working with large brushes and large-format paper – for example, we can use a mop or our own hands and feet as brushes, and the wall or floor as our canvas.

Anyone who didn’t attend the last workshop can still join in without any problems – you can start from the beginning at any time.

An event by our scholarship recipient, Einan Kaku.

Please register by emailing mail@einankaku.com.
The number of participants is limited to a maximum of 8 people.

To mark the conclusion of the Pop-up Glass Workshop, workshop participants will present the works they have created over the course of the project. The presentation offers insights into a range of artistic approaches, techniques, and experiments with glass as a medium. In an informal setting, visitors are invited to view the works and engage in conversations about processes, experiences, and future projects. The evening also provides an opportunity to discuss the future of the glass workshop at Künstlerhaus Stuttgart.

We will also be joined by Angelika Müller-Ottenbreit, former director of the historic glass workshop at Künstlerhaus Stuttgart. She will tell us when and how the glass workshop at Künstlerhaus was established, what role it played there, why it was closed, and what possibilities there are today for reviving it.

The event takes place as part of the Pop-up Glass Workshop with Thora Gerstner at Künstlerhaus Stuttgart.

Tuesday Workshop

With the Tuesday Workshop, Künstlerhaus invites artists and collectives to talk about their working methods, backgrounds, and approaches. We aim to establish a platform for in-depth exchange around artistic practice, enabling us to connect, build solidarity, and strengthen one another. The series is aimed at all members of Künstlerhaus Stuttgart, artists from Stuttgart and the surrounding region or those passing through, as well as art educators, curators, cultural practitioners, and others—and is open to everyone!

How does glass become a medium for images, a mirror, a light-emitting object or a spatial intervention? The artist Claudia Henzler discusses her work with a material that is at once fragile, precise and surprisingly versatile. Drawing on her own projects and her many years as head of the glass workshop at the ABK Stuttgart, she offers insights into artistic processes, technical possibilities and the special role of artistic workshops as places for experimentation and the exchange of knowledge.

The event will take place as part of the pop-up glass workshop with Thora Gerstner at the Künstlerhaus Stuttgart.

Tuesday Workshop

With the Tuesday Workshop, the Künstlerhaus invites artists or collectives to talk about their working methods, backgrounds and approaches. We aim to establish a platform for in-depth discussion of artistic practice, enabling us to network, show solidarity and support one another. The series is aimed at all members of the Künstlerhaus Stuttgart, artists from Stuttgart and the surrounding area, or those passing through, as well as art educators, curators, cultural practitioners, etc., and is open to everyone!

The Pop-up Glass Workshop on the 4th floor of the Künstlerhaus Stuttgart creates a temporary workspace and experimental environment for contemporary glass art. Under the guidance of artist Thora Gerstner, artists, designers, architects, and anyone interested can learn various glassworking techniques and apply them to their own projects.

In addition to courses on the Tiffany technique, leaded glass, surface finishing, and glass mosaic, the workshop offers the opportunity to work independently after an introductory session. The pop-up glass workshop is intended as a place for exchange, knowledge sharing, and collaborative production—and as a catalyst for establishing a permanently accessible glass workshop for artists in Stuttgart.

Participation & Use:

Use of the pop-up glass workshop begins with a paid introductory session led by workshop manager Thora Gerstner. In addition to beginner courses on specific techniques, a brief introduction is also available for experienced glass artists.

After successfully completing a course or workshop introduction, you may use the workshop and its equipment independently during open workshop hours, Monday through Saturday from 9 a.m. to 5 p.m.

A daily flat fee of €12 applies for independent work. Material costs will be billed separately, if applicable. Please register for the courses via Eventbrite and for independent workshop use by email at glaswerkstatt@kuenstlerhaus.de.

Membership in the Künstlerhaus Stuttgart is also required to use the workshop. Membership costs €25 per year for artists and can be purchased using the form on the Künstlerhaus website.

Program Overview:

Opening

Featuring a live demonstration by Thora Gerstner

July 31, 2026, 7:00 p.m.

Tuesday Workshop LV:

Artist Talk with Claudia Heinzler,

Director of the Glass Workshop at ABK Stuttgart

August 11, 2026, 7:00 p.m.

Tuesday Workshop LVI:

Final presentation by workshop participants

September 8, 2026, 7:00 p.m.

Course Overview:

Course 1: Tiffany Technique

August 3 & 4, 2026

August 3: 2:30–7:30 p.m. & August 4: 10:00 a.m.–4:00 p.m.

Cost: 120 euros per person

Lightness, attention to detail, and the fascination of three-dimensional art.

Cutting and grinding the glass serves as the foundation for further processing. Each individual piece of glass is precisely wrapped along the edges with self-adhesive copper foil. The pieces are then joined seamlessly and fully soldered together.

Since the copper foil is extremely thin, this technique allows for delicate, organic, and very intricate designs. Three-dimensional work is also possible.

Registration via Eventbrite.

Course 2: Surface Finishing

August 10 & 11, 2026

10:00 a.m.–4:00 p.m. each day

Cost: 120 euros per person

Reflection, Light, and Texture.

In this course, the glass generally remains intact in its basic form but is altered chemically and mechanically:

• Mirroring: Chemical coating of glass surfaces to create reflective effects.
• Filming: Application of special films (e.g., dichroic films, opaque or colored films).
• Engraving: Mechanical removal of the glass surface using diamond grinding bits (Dremel) or sandblasting to create matte textures.

Lettering, fine illustrations, or abstract patterns can be engraved or sandblasted into the glass. Combining these techniques with mirror coating or film application creates fascinating depth effects and interplay between transparency and reflection.

Registration via Eventbrite.

Course 3: Lead Glasswork

August 17 & 18, 2026

10:00 a.m.–4:00 p.m. each day

Cost: 120 euros per person

Artistic Potential

Participants will learn how to cut and break colored flat glass. The unique features of this course include cutting, bending, and straightening lead rods; assembling the glass pieces within the lead mesh; and finally soldering the intersections with a soldering iron, as well as the optional application of putty for stabilization.

The focus here is on clear, primarily graphic or geometric structures. The lead rod is not merely a means to an end, but a dominant, creative element: as a contour line, an internal graphic element, or a sharp edge.

Registration via Eventbrite.

Course 4: Glass Mosaic

August 24 & 25, 2026

10:00 a.m.–4:00 p.m. each day

Cost: 120 euros per person

Playful Upcycling

This course focuses not only on precise cutting, but also on breaking and crushing colorful glass scraps—such as genuine antique glass, patterned glass, or even simple float glass—using mosaic nippers. The shards and pieces are glued onto a backing surface and arranged.

The course offers the lowest barrier to entry with maximum creative freedom. Participants can work completely freely, in a painterly style, or using stencils. Since no soldering is required, this technique is also suitable for children.

Registration via Eventbrite.

General Workshop Introduction

By appointment

Duration: 1.5 hours

Cost: 25 euros per person

Get to know the workshop and work independently.

The workshop introduction is intended for people with prior experience in glassworking or related workshop areas. It covers specific work procedures, safety standards, rules of use, and how to handle the tools and machines available at the Künstlerhaus. Participants will receive an overview of the available work options and can ask questions about their own projects. The introduction is a prerequisite for subsequently using the pop-up glass workshop independently during open workshop hours.

Please register by email at glaswerkstatt@kuenstlerhaus.de.

As part of our CSD programme, we invite you to a film night at the Künstlerhaus. We will be screening *Teaches of Peaches*, the acclaimed documentary about the musician, performer and icon Peaches. The film follows her on her anniversary tour and traces her journey as an artist who has shaped generations through radical self-determination, a feminist stance and queer visibility.

Following the screening, the artist Lena Meinhardt (she/her) will speak with the queer activist Ida Liliom (she/they) about the themes of the film, queer activism, visibility and the importance of community; as well as riots, punk and why queer protests don’t have to be polite. We would also like to explicitly involve the audience in the conversation and create space for exchange, questions and discussion.

The event is part of our CSD programme and is intended to serve as a collective warm-up for Christopher Street Day, which takes place on Saturday that same week. At a time when queer rights still need to be defended and fought for, we want to come together, learn from one another and network ahead of the coming days.

About the initiative

Once again this year, the Akademie Schloss Solitude, the Künstlerhaus Stuttgart, the Kunstverein Wagenhalle, the Theater RAMPE and the Württembergische Kunstverein are joining forces at Stuttgart’s CSD to stand up for queer rights, solidarity and social diversity as cultural institutions. For the first time, the Merlin Cultural Centre and Kunstraum 34 are also joining the initiative.

As we did last year, we are organising a joint programme of events, including talks and open craft and screen-printing workshops to help prepare for the parade.

The CSD march will take place on 25 July 2026.

If you’d like to join us on the streets or have any questions about the initiative, please feel free to email us at: csd@kuenstlerhaus.de

We look forward to seeing you there!

Savings banks, prefabricated houses, shopping centres – Karla Zipfel’s works examine the architectural promises of prosperity from past decades and their numerous modernisations. Her work explores: collective and individual design patterns of detached houses, the narrative of the ‘Bausparfuchs’ (a character from a building society advert), the emotional qualities of different heating systems, and creative approaches to potential landlords. As well as sculptures and installations, Karla Zipfel also uses social media to publish short videos that focus on buildings and places outside the architectural canon.

In an artist talk, she presents works from recent years and takes us on a virtual tour through her Reels tab.

Learn more about the artist Karla Zipfel here.

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!

Translation in a global world is not only literary but also profoundly performative, embedded in how ideas and gestures, sounds and voices transform and move.’
-Avishek Ganguly and Kélina Gotman in the introduction of Performance and Translation in a Global Age

TRANSLATION // PERFORMANCE takes a wide view of translation as a starting point for an ongoing process of communal inquiry into language and into experiments in performance, poetry, choreography, and other time- and language-based practices.

This second meeting will circle around the voice, and the material conditions for sound.

Performers:
Laïs Gruau with “Birth Through Spit”
Almar Martinez Londono with “Flotando”

This gathering aims to take the expansive field of translation theory as a starting point to examine performative practices in our current time.

Each gathering will begin with the collective reading of a text which touches on translation in some way. It could be an excerpt from a research paper, a poem, art criticism, a recording, a video. There will be a moment to share immediate thoughts or impressions, leading into a short tea break.
In the next part, two performances will be shown. These may be work-in-progress or finished pieces, they may be shown as fragments or in their whole form.

Following the two performances everyone, performers, guests, the audience, and the facilitator(s) gather to discuss all the input that has accumulated over the evening. This is a chance to share in depth about the impressions the performances made, as well as thoughts the readings may have sparked, and to connect the dots and levels between thoughts on translation and embodied practices.

Gatherings will happen roughly every two months.

Join us for the second session on July 12th on the studio floor at 17h. All are welcome.

Shodō (Japanese: 書道, literally ‘the way of writing’) is the Japanese art of calligraphy, which is based on the Chinese tradition of writing and has developed over the centuries into a distinct form of expression. Calligraphy is a traditional art form that remains vibrant and relevant in China and Japan to this day.

This workshop offers an insight into East Asian philosophy and aesthetics through the brush art of calligraphy. Shodō is taught not only as the art of writing, but also as a practice of concentration, body awareness and the conscious use of space and emptiness – central aspects of East Asian thought and aesthetic experience.

At the start of the workshop, the origins of Chinese characters and their systematic principles will be introduced. Participants will then have the opportunity to choose and write a word or character themselves. Basic techniques will be practised on various types of paper, whilst exploring the concepts of balance and white space – two central elements of East Asian aesthetics.

To conclude, each participant will create their own calligraphic piece on a fan. This can serve as a personal keepsake or as a gift for friends and family.

No prior knowledge is required.

Please register by emailing mail@einankaku.com.

The number of participants is limited to a maximum of 20 people.

08.07.2026, 17 Uhr

15.07.2026, 17 Uhr

22.07.2026, 17 Uhr

In the weeks leading up to Stuttgart CSD, the Künstlerhaus Stuttgart hosts the Wired Wednesdays workshop. During these open printmaking and craft sessions, participants create posters, banners, tote bags, postcards, stickers, buttons, and other materials for the CSD demonstration using screen printing and potato printing.

The series is presented in dialogue with the current atmosphere ()Print(), initiated by Grizedale Arts and Adam Sutherland. The project understands printing as a collective cultural practice—a way of circulating ideas, creating public visibility, and fostering collective action. Wired Wednesdays builds on this approach, connecting it to the collaborative preparation for the CSD.

The workshops offer space for creativity, exchange, and new encounters while making a visible statement in support of queer rights, solidarity, and diversity.

About the initiative

Once again this year, the Akademie Schloss Solitude, the Künstlerhaus Stuttgart, the Kunstverein Wagenhalle, the Theater RAMPE and the Württembergische Kunstverein are joining forces at Stuttgart’s CSD to stand up for queer rights, solidarity and social diversity as cultural institutions. For the first time, the Merlin Cultural Centre and Kunstraum 34 are also joining the initiative.

As we did last year, we are organising a joint programme of events, including talks and open craft and screen-printing workshops to help prepare for the parade.

The CSD march will take place on 25 July 2026.

If you’d like to join us on the streets or have any questions about the initiative, please feel free to email us at: csd@kuenstlerhaus.de

We look forward to seeing you there!

Some records never disappear.

Others only resurface years later.

Some were bought without knowing why.

In the Künstlerhaus’s audio studio, people bring in recordings that defy easy categorisation: recordings that lie somewhere between experimental set-ups, overwhelming intensity, solace, megalomania and precision. Music that refuses to be just one thing.

It’s about repetitions, about covers that promise more than they explain, about voices, spaces, glitches, and the strange loyalty of certain albums that suddenly resurface as if they’d been waiting for something.

We listen together.

Not everything is resolved.

Places in the recording studio are limited – please register at audio@kuenstlerhaus.de

Listening Session

This is the ninth event in the ‘Listening Sessions’ series at the Künstlerhaus recording studio. Artists are invited to bring along the music that inspires, shapes and accompanies them. Together, they listen to these tracks in the recording studio. This regular series offers a space to exchange ideas about musical influences and personal connections to music. The series was conceived by Lena Meinhardt, artist and head of the Künstlerhaus’s audio workshop.

The topic of the next HAUSTREFF* is: Craft + Art

At the Künstlerhaus, artists and visitors have always engaged with questions of artistic production, presentation and reception in the studios, workshops and exhibition spaces. This gives rise to intense synergies, but also contradictions.

The questions that repeatedly arise can be summarised as follows:

To what extent are craft practices and contemporary art still connected today?

Can art benefit from craft-based ways of thinking?

Is it merely a matter of respecting the material or adhering to canonical working rules?

Or does breaking the rules of craftsmanship – ‘unlearning’ – also teach us something?

Does craftsmanship protect the artistic process from losing its physicality?

Thesis: The relationship between art and craftsmanship today is clearly neither obsolete nor stable, but rather a field of tension between appropriation, transformation and the deliberate breaking of rules.

The Stuttgart-based artists Katharina Strasser and Thora Gerstner explore different aspects of this broad theme in their respective artistic practices. Their accounts and reflections provide a framework for an exchange between those active at the institution and those interested in it, regarding their own approaches and questions.

* The HAUSTREFF is an initiative of the Advisory Board and invites all members to discuss issues relating to the creation of art.
We are always delighted to hear from anyone interested in getting involved or contributing ideas, and welcome suggestions and requests for topics at any time.

‘ANKNÜPFEN ERWÜNSCHT’ is a communicative, process-oriented project for the shop window space of the former Galeria-Kaufhof and the 2026 annual project of the Linienscharen – a platform for contemporary drawing in Stuttgart.

The first preparatory meeting for participants from the Linienscharen circle will take place at the Künstlerhaus, featuring informative, communicative and practical elements.

Linienscharen was founded in 2012 as an exchange platform to bring together artists from Stuttgart and the surrounding region. Its aim is to foster an ongoing dialogue about drawing and contemporary art.

Further information can be found on the Linienscharen.

Printmaking has been part of the DNA of the Künstlerhaus since its founding in 1978 and was a central component of the artistic practice of its first artistic director, Ulrich Bernhardt, during the late 1960s and 1970s. As the first in a series of events engaging with the current atmosphere, we warmly invite you to join a conversation on June 17 between the artists Frieder Grindler — one of Stuttgart’s leading and most prolific poster and printmakers — and Ulrich Bernhardt.

What makes a poster work? Are posters advertisements or sources of information? In terms of conceit, is estrangement more effective than agitation? What actually is a poster, and what are the means available to postermakers? When posters are deployed in political struggle, to whom are they addressed: the activists, the opponents, or the apathetic and the undecided? Why were posters so crucial to the democracy movement of the 1960s and 70s? Are posters art or propaganda, and does it even matter? Why do theaters, concert venues and art houses still advertise with posters today? What makes a poster effective: the content, the distribution or the context? What role does the poster still play in the social media sphere?

About the artists

Ulrich Bernhardt is a freelance artist and erstwhile postermaker based in Stuttgart. He was the initiator and founding artistic director of the Künstlerhaus Stuttgart (1978-86).

Frieder Grindler is an artist and postermaker, who, since the mid-60s, has conceived and printed hundreds of posters, particularly for the theater. He has been based in Stuttgart since 2012.

Kevin Kolland and Domenik Gebhardt are each one, and yet together they are more than two, or even a duo.

Here, expressions from the realm of art and photography converge with those from painting, drawing and architecture. Here, the concept of bringing the world in shifts towards leaving the world as it is, and even more so towards identifying with the world. The respective time, the respective place, and the respective participants in that time and place do not disappear; they are, as the cycle Poly vs Mono underscores. (Nicolai Forstbauer)

A three-part artist talk in which our respective positions, as well as the third, shared position, will find their place.

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!

‘Translation in a global world is not only literary but also profoundly performative, embedded in how ideas and gestures, sounds and voices transform and move.’
-Avishek Ganguly and Kélina Gotman in the introduction of Performance and Translation in a Global Age

TRANSLATION // PERFORMANCE is a reading group, a performance platform, and a research experiment.
It’s a public gathering format that invites collective and active reflection on the connection between the concept of translation and the practice of performance.
Translation here is not only the transference of meaning from one language to another, but a vehicle of transformation. Translation happens whenever we take something – it could be a word, a sentence, a gesture, a sound, a movement, an image, an identity, a memory, a thought, a code, an impression – and subject it to a process of change and interpretation, after which this morsel of information takes on a new form and can thus be understood in a different way or by a different audience.
Some translation follows a more or less codified structure – other translation processes adhere to more interpretive principles, and others are entirely free and associative. Understood in this way, translation is inherent to the artistic and speculative process and offers questions worth exploring together. As language – and thus translation –  is never apolitical, these avenues of inquiry will necessarily include perspectives on the social and political agency of translation practices.

This gathering aims to take the expansive field of translation theory as a starting point to examine performative practices in our current time.

Each gathering will begin with the collective reading of a text which touches on translation in some way. It could be an excerpt from a research paper, a poem, art criticism, a recording, a video. There will be a moment to share immediate thoughts or impressions, leading into a short tea break.
In the next part, two performances will be shown. These may be work-in-progress or finished pieces, they may be shown as fragments or in their whole form, as this gathering is meant to be a low-stakes and low-tech setting, embedded in a workshop-like environment. The aim is to create space for practice, curiosity, reflection and exchange, especially as it pertains to performance and other time based practices. Performers will be announced a week prior to the gathering.
Following the two performances there will be another short break after which everyone, performers, guests, the audience, and the facilitator(s) gathers to discuss all the input that has accumulated over the evening. This is a chance to share in depth about the impressions the performances made, as well as thoughts the readings may have sparked, and to connect the dots and levels between thoughts on translation and embodied practices.

As the project evolves, an archive of texts, material, and topics will be collected, publicly accessible on are.na → link to follow soon.

Gatherings will happen roughly every two months. Join us for the inaugural session on May 17th on the studio floor at 17h. All are welcome.

Veronika Schneider presents her audio piece to touch a cloud as well as works from her ongoing series Emoji

Clouds absorb and transform. These boundless forms, made up of dust particles and condensed water, have long served as images for humanity. After years of cloud-watching, the work ‘to touch a cloud’ reflects on changing states – such as consistencies, qualities or moods. Clouds as phenomena of change and the present moment. In times of war and climate change, the text, in the form of an audio recording, asks what clouds carry and what knowledge they hold.

For the Tuesday Workshop, to touch a cloud will be presented in a transformed form: Lea Rossatti and Hausmusik (Leo Weber and Lorenzo Mastrosimone) have each created their own versions of the material.

Whilst listening, one’s gaze can rest on current emojis – since 2018, Veronika Schneider has been painting and drawing snapshots. Over the years, this has resulted in an archive of moods that allows one to move forwards and backwards in time.

to touch a cloud will be available to listen to on Full Beans Radio following the event.

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!

“My family was poor from the time I was little,
and we never went out for a meal like everyone else.
Whenever my mum was at work,
I’d cook myself some ramen.
At some point, I’d had so much of ramen that
I argued with her and begged her to let us eat something tasty.
Then, reluctantly, she took out her hidden emergency money
and ordered
me a bowl of jajangmyeon, and I was over the moon.
But for some reason,
my mother didn’t eat it.
She said she hated jajangmyeon.
She said she hated jajangmyeon.”
-G.o.d, To Mother, 1999

Even if we disregard the fact that constantly exploring unknown terrain on foot is an instinctive act that stimulates the human brain in a particularly efficient way, the question remains: why do people leave their homes, their villages, their ‘LÄND’, at all, to discover new places, test their abilities under their own steam, and set out on rickety iron machines? Even in this age of high efficiency, when we can observe the world through our ‘phones’ as if they were surveillance cameras and follow global events from the comfort of our own homes, many people still roam far and wide for a wide variety of reasons. To attribute noble or even grand intentions to such actions would be yet another insult to their decisions.

8,200 kilometres from home, I certainly didn’t have any grand plans. I don’t keep a diary. That’s why I have no recollection of what I thought, in my early twenties, about moving away from Korea. Yet before I knew it, I was in Germany, at the Stuttgart Art Academy, where I studied for ten years, and had become something of a ‘famous foreigner’. This fact shaped my everyday life and my artistic practice.

But this shadow was alive. To put it another way: my life as a foreigner had become so deeply ingrained in my daily existence that I had so much to say to the world, and my artistic sensibility gave voice to these words in a natural and passionate way. I envy works of art that deal exclusively with other art.

But I have realised that I do not have that choice. It is probably a great luxury for an artist to be able to choose the subjects they wish to explore – just as it is for those people who have been blessed with the choice of whether to move or not.

I had no right to put down roots in the country of my birth.

There were certainly many reasons why I left my unstable homeland, South Korea, which emerged during the Cold War following the Japanese colonial era. There was my father, who grew up in a remote mud hut on the brink of starvation and had to work over 85 hours a week for Samsung. Then there were the hardships of my mother, who was born in a remote mountain village without electricity and was never able to finish school because she had to feed her six siblings and tend to the livestock. This zeitgeist is evident in the lyrics of ‘To Mother’, a song by the K-pop group G.o.d from 1999 (even their band name is unmistakably Korean; in Europe, where monotheism is taken seriously, they would not have dared to use such a name). The descendants of those who fled to China and Manchuria before Japanese rule to fight for Korea’s independence, who endured the freezing cold and never returned, now run jajangmyeon restaurants in Korea as ‘guest workers’, as cheap labour and often illegally.

‘Zhajiangmian’, originally a dish from the Chinese province of Shandong, was adapted by them into the Korean dish jajangmyeon. Their descendants, known as the ‘Joseonjok’, took on the various challenging tasks that contributed to the remarkable development of Korean society. The “Joseonjok” men who worked in my mother’s 24-hour restaurant would end their gruelling day in front of these bead curtains, drinking soju advertised by K-pop singers and listening to loud K-pop music until dawn.

Perhaps these unseen stories are hidden behind the glittering bead curtains that hang between the kitchens and the diners in countless ‘Chinese restaurants’?

Text: Mizi Lee

Obsessive listening is embodied listening, it’s listening with the brain, it’s listening and memorizing, it’s repetition. 

Sounds, pieces of music, sequences of notes and harmonies settle in the inner ear, creating a connection that is physical and alters perception – when a piece of music or a song strikes the right chord, I listen to it over and over again until it becomes a part of me, or I become a part of the piece –

Liv Rahel Schwenk invites participants to engage in obsessive listening and explains the role that repetition and physicality play in her work with rule-based drawings, performance and video.

This is the eighth event in the ‘Listening Sessions’ series in the recording studio at Künstlerhaus. Artists are invited to bring along the music that inspires, shapes and accompanies them. We will listen to this music together in the recording studio.
The regular series offers a space to exchange ideas about sonic influences and personal connections to music. This series of events was conceptualised by Lena Meinhardt, artist and manager of the audio workshop at Künstlerhaus.

As places in the recording studio are limited, please register at audio@kuenstlerhaus.de

Who speaks when we commemorate Jewish victims of the Holocaust? This workshop focuses on a satirical text from Oyf der fray, the Yiddish-language magazine of the Stuttgart DP camp – written by people who had just survived the Nazi genocide and were now using black humour to grapple with the question of what a ‘DP’ – a Displaced Person – actually was. The text appeared in 1946, a few months after Shmuel Dancyger was shot by the German police, and is a document of Jewish self-assertion that is as witty as it is incisive. Reading and discussing it together will serve as a starting point for fundamental questions: How can the voices of survivors truly be heard in the culture of remembrance, and what do these voices tell us, if we really listen to them, about the pitfalls of a culture of commemoration that all too easily reduces Jews to their status as victims? The workshop concludes the programme and invites participants to reflect together on the fundamental questions that run through it.

Tal Hever-Chybowski is a scholar, cultural activist and artist specialising in Yiddish and Jewish culture. From 2014 to 2025, he directed the Paris Yiddish Centre – Medem Library. Since 2025, he has been a research fellow at the Department of Jewish Studies at Martin Luther University Halle-Wittenberg. He has taught Yiddish language and literature at the YIVO Institute for Jewish Research (New York), the Yiddish Book Center (Amherst, Massachusetts), the Free University of Berlin, the Université libre de Bruxelles, the University of Basel, the University of Mannheim and Martin Luther University Halle-Wittenberg. He edited Daniel Boyarin’s A Talmud: a Personal Take (Mohr Siebeck, 2017) as well as the journals Mikan Ve’eylakh, Der Yidisher Tam-Tam and Netivot Olam. As an author and translator, he publishes in several languages. He is also active as a director and actor and has appeared in Unorthodox (Netflix, 2020), Jacob Jacobson (Theatre of the Oppressed, Paris, 2021) and Transatlantic (Netflix, 2023).

Registration for the walking workshop with Tal Hever-Chybowski at the Künstlerhaus Stuttgart.

info@stuttgart-reinsburgerstrasse.de

On 4 April 1946, a week after Shmuel Dancyger’s death, the Displaced Persons organised large-scale protests to demonstrate against German police brutality. During a guided walk along their route, Ann-Kathrin Müller and Judith Engel share insights into Shmuel Dancyger’s story, life at the Stuttgart-West Displaced Persons Centre, and the often-forgotten resistance and anger of the DPs.

Registration for the walk with Ann-Kathrin Müller and Judith Engel

info@stuttgart-reinsburgerstrasse.de

Meeting point: Reinsburgstraße 208 B

With “STUTTGART, 1946³”, artist Ann-Kathrin Müller and author Judith Engel continue the “STUTTGART,” series on the history of the former Displaced Persons Centre on Reinsburgstraße in Stuttgart-West. The series began in 2024 with the summer school “STUTTGART, Reinsburgerstrasse¹” and was instrumental in the naming of Shmuel-Dancyger-Platz in 2025.

A full programme can be found here.

Through the audio installation “Hejst dos Bafrajung?!” on Shmuel-Dancyger-Platz and a programme of public discourse, “STUTTGART, 1946³” links historical events with contemporary social debates. How can places, anniversaries and memorials serve as starting points for a vibrant engagement with the present? How can we prevent anti-Semitic and racist violence from being historicised as “the past”?

This event includes an audio installation, a workshop and a walk. With Tal Hever-Chybowski, Sharon Brauner, Hershl Grant, Eva Dörr, Simon Heinze, Lena Meinhardt, Ann-Kathrin Müller and Judith Engel.

With “STUTTGART, 1946³”, artist Ann-Kathrin Müller and writer Judith Engel continue the “STUTTGART,” series on the history of the former Displaced Persons Centre on Reinsburgstraße in Stuttgart-West. The series began in 2024 with the summer school “STUTTGART, Reinsburgerstrasse¹” and was instrumental in the naming of Shmuel-Dancyger-Platz in 2025.

Programme

Sunday, 29 March 2026

Location: Shmuel-Dancyger-Platz

2.00 pm Welcome
2.30 pm “Hejst dos Bafrajung?!”, audio installation
3.30 pm Discussion

Saturday, 4 April 2026

Location: Reinsburgstraße 208 B

11.00 pm “Der protest miting fun der jidiszer bafelkerung”, a tour of the neighbourhood with Ann-Kathrin Müller and Judith Engel

Location: Shmuel-Dancyger-Platz

2.00 pm Introduction
2.30 pm “Hejst dos Bafrajung?!”, audio installation

Location: Künstlerhaus Stuttgart, Reuchlinstraße 4b

4.00 pm “Who are we?” – A Yiddish voice from the Stuttgart DP camp, a workshop with Tal Hever-Chybowski at the Künstlerhaus Stuttgart

Registration for the walk with Ann-Kathrin Müller and Judith Engel, and for the workshop with Tal Hever-Chybowski

info@stuttgart-reinsburgerstrasse.de

You can find the full programme at

stuttgart-reinsburgerstrasse.de

An event organised by Ann-Kathrin Müller and Judith Engel in collaboration with the Künstlerhaus Stuttgart on Shmuel-Dancyger-Platz.

“STUTTGART, 1946³“ is supported by the Department of Art in Public Spaces at Stuttgart’s Cultural Office, as well as by the Berthold Leibinger Foundation and the LBBW Foundation.

³ “?! שטוטגרט 29.3.1946  הייסט דאס באפרייונג” asks the Yiddish title of a poster now held in the YIVO Archives in New York. Translated into Latin script, it reads: “STUTTGART, 29 March 1946 Hejst dos Bafrajung?!” (Eng.: “Is this what you call liberation?!”). The poster shows black-and-white photographs of a raid during which the German police forcibly entered the Stuttgart West Displaced Persons Centre on 29 March 1946. Between 1945 and 1949, over a thousand Polish-Jewish displaced persons who had survived the Nazi genocide of European Jews were housed there. One of the photographs depicted shows the body of Shmuel Dancyger, who had been shot during the raid. The question “Hejst dos Bafrajung?” encapsulates the horror felt by the displaced persons at the German police violence, which, following the official “liberation” by the Allies, appears to be continuing the Nazi fascism.

On Saturday, 21 March 2026, from 6 pm to 1 am, visitors will have the opportunity to take part in various events on the four floors of the Künstlerhaus as part of the Long Night of Museums:

Workshops on the ground floor:

6 pm to 1 am
Open ceramics and printing workshops

7 pm to 9 pm

Book Release with Thora Gerstner

The artist Thora Gerstner presents her new artist’s book – Fragments of Public Space, a limited edition screen print produced at the Künstlerhaus Stuttgart.

Workshops on the 1st floor:

6 pm to 1 am
Open audio workshop with contributions from its users: Émilie Bovigny, Elisabeth Haselberger, Heide Both, Lena Meinhardt, Leonie Klöpfer & Ivo Hagenmaier, Liv Rahel Schwenk, Nina Welte, Paco Ladrón de Guevara

6 pm to 1 am

Open photo lab

2nd floor:

6 pm to 7 pm

Stones in Our Phones

Workshop with Maja Van Der Velden

Under the instruction of Maja Van Der Velden, participants dismantle old smartphones into their constituent parts and examine their mineral components.
Advance registration is requested.

9 pm to 10.30

Wine Tasting

with Hannah Liya & Sophia Sadžakov

Artists and winemakers Hannah Liya and Sophia Sadžakov present their work with Trollinger vines that are over 100 years old and grow on steep terraced hills above the Neckar River in Ludwigsburg.
Advance registration is requested. (The workshop is limited to a maximum of 30 participants.)

3rd floor:

6 pm to 1 am

Special exhibition:

WHAT DO PEOPLE DO ALL NIGHT?

Studio holders Tyler Cunningham, Liv Rahel Schwenk and Marcela Majchrzak, together with Jonas Bolle & Reinhold Buhr, are exhibiting installations, site-specific activations and performances on the studio floor.

4th floor:

6 pm to 1 am

Atmosphere

anima ona: Terra Alchimia – Landscape in the Making

With “Terra Alchimia – Landscape in the Making,” Freia Achenbach & June Fàbregas (anima ona) initiate and foster an atmosphere at the Künstlerhaus Stuttgart in which three states of what they call “earthbeing” come into interaction with one another. Anima ona integrate their ongoing research projects on the transmutation of soil and rock, vegetation in urban space, and the innovative use of agricultural by-products, into a common spatial narrative about material cycles, growth, and transience.

8 pm

Curator-led tour of the atmosphere with Tamarind Rossetti and Stephen Wright

10 pm, 11 pm and 0 am

Guided tours through the atmosphere with the artists

You can find more information about the programme here

Ever wondered about the stones in your phone? It’s actually full of rocks! And in this workshop, we will take mobile phones apart, disassembling them to their tiniest bits. It will be immediately clear that mobile phones are designed to be hard to open and hence to repair. We will then take a closer look at what materials are concealed inside, and begin to think about how they got there – which is where technology meets geology and geopolitics. Delving into the Materials Library of Stones, which includes all the minerals used in producing cellphones, participants will together map the stones with the components found in the phones and with their points of extraction from the earth planetwide.

About the artists

Dr. Maja van der Velden is an artist and professor of Technology and Sustainable Futures at the University of Oslo. Director of the University’s Sustainability Lab she also leads the Circular Energy project. Her current research – informed by critical informatics, feminist technoscience, and socioecological systems-thinking – focuses on repurposing digital technologies, digital degrowth, (big) tech companies and international crimes. Through her projects, research and collaboration, she explores the social and ethical effects of technology design and use. She is cofounder, with Andrea Gasparini, of The Materials Library of Minerals.

Dr. Andrea Gasparini is an artist and Senior Librarian at the Library of the University of Oslo. He is also a cofounder, with Maja van der Velden, of The Materials Library of Minerals, a mobile collection of rocks found in key technologies: smartphones, laptops, data centers, sensors, wind turbines, solar panels, and batteries. By making these chunks of Earth tangible, the Library highlights their links to both people and the planet, with a view to prompting policymakers, researchers, designers, engineers, and the public to confront the social and environmental impacts of digitalisation and a shift to clean energy.

Participation

The workshop is part of the Lange Nacht der Museen festival. Please register in advance by sending an email to ll@kuenstlerhaus.de. (The workshop is limited to a maximum of 20 people.) A valid ticket for the Lange Nacht der Museen is required to participate. Tickets can be purchased via www.lange-nacht.de, via the ticket hotline (0711 60171730), or at all advance ticket outlets in Stuttgart and the surrounding region.

In the 51st Tuesday Workshop, Eunyoung Bae presents her work Salted Burden.

The starting point for the installation is a used riding saddle, which is stretched freely in the room and visible from both sides.

As an object between human and animal, the saddle becomes a contact zone – a surface characterised by movement, weight and dynamics.

The artist shapes the friction surface between horse and saddle from clay fired once at a high temperature and then treats it repeatedly with salt water. The process of drying and reapplying creates visible traces of crystals. The salt appears as a material residue and functions as a sign of sweat, energy loss and circulation.

At the heart of the work is an interest in cycles: in processes of evaporation, deposition and transformation. Salted Burden makes these invisible processes visible and understands salt as an indicator of exchange processes between bodies – human and non-human.

Afterwards, we invite you to join us for a discussion and exchange.

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 24-minute short film A Glimpse Of Balance: A Real Fiction about Unreal Estate and the Value of the Land shows how the protagonist maneuvers through agro-cultural structures over the course of two years and takes root in a location where growing has an emancipatory value.

The 830sqm location is not only for the protagonist a place to radically imagine; it is also home to many heat-loving, endangered species. They and the place are washed away.

Liquids, gases, energies, images and more connect the bodies. The preservation of the habitat and the integrity of the protagonist are in inseparable and mutual dependence.

Except for one scene, Hannah Liya filmed with her mobile phone in her hand.

What can be seen is very close to her and is almost real.

Director/Camera 1: Hannah Liya
Camera 2: Marius Schwingel
Speaker 1: Eberhardt Simon
Speaker 2: Hannelore Oetinger
Speaker 3: Irene Baumann
News anchor: Hanna Araujo Ulmer

The film screening is open to everyone and the participation is free of charge. The event will take place on the 2nd floor of Künstlerhaus Stuttgart.

Siggi Kalnbach is known to some as the long-standing technical manager of the Künstlerhaus Stuttgart. He has been active in the arts and culture sector for over thirty years. For just as long, he has been working at the ABK Stuttgart as an artistic-technical teacher in the fields of stage design and performance. He founded a cultural association and was the director of the Marbach Summer Theatre for many years.

In recent years, Kalnbach has become increasingly interested in the subject of light, on which he also gives workshops. He himself calls it ‘investigations of the image in relation to light’. This raises the question for him of what distinguishes an image from a picture and what framing results from this.

For some time now, he has been working on ‘sorting’.

Siggi Kalnbach will present the preliminary results at the 50th Tuesday Workshop at the Künstlerhaus Stuttgart. Afterwards, we invite you to join us for a discussion and exchange.

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!

Audio essay followed by a presentation with Theo Ferreira Gomes

Since the deregulation of global financial markets in the 1970s, economic success and smart investment are increasingly understood as integral to personal well-being. The listening session »Moneyfestations« merges sound-healing technologies with a desire for market domination and invites listeners into a spa for financial wellness. The bubbly soundbath slowly drifts between internet filter bubbles, speculative bubbles, and crypto bubbles, resoundingfoamy constellations of meaning. Bubble-hopping between AI-generated music for money attraction, Bitcoin ASMR, and meditation music for financial traders, the essay questions what is implied when we think of financial wellness. By tuning to these co-isolated systems, a set of undercurrents emerges that turns the structural conditions of wealth inequality into background noise and primarily benefits the wellness of the wealthy elites.

Theo Ferreira Gomes (*1993 Niterói/Brazil) is a transdisciplinary researcher working between curating, community programming, and sound. His independent research revolves around alternative monetary systems, new economies,and financialization. Together with Kosmas Phan Ðinh, he is exploring resistance at the threshold of audibility and the politics of silence. Among others, he worked with Akademie Schloss Solitude (art, science & business program), ORNAMENTA 2024, Max Planck Institute for Behavioural Biology, Konstanz, and The Indian Sonic Research Organisation. From 2019–2023, he was Deputy Chairman at the non-profit art space Leerstand als Freiraum e.V. (LAF), and he is currently a fellow of the SHIFT research grant and at the studio program of Künstlerhaus Stuttgart.

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!

For postwar modernity, rational arguments, empirical facts, abstract models were the framework for enlightened debate, deliberation and decision making in human communities. It is a euphemism to say that the reliance on this rationalist outlook is today in crisis. As rational argumentation struggles to get people to change their minds or impact their decisions, “narrative” takes on renewed significance. Alongside reason or logos, the ancient form of mythos has become a facilitator of future-oriented change: stories propel us towards the future.

What is the power, potential and challenges of using stories for a better future? Could a new form of “eco-mythology” close the gap between values and action in our political emotions? Does a better future include stories of new spirits of the forest, vengeful floods, and hybrid creatures? And what do they look like?

Stories for a Better Future is a collaborative project initiated by ILPÖ, IZKT and Institut für Philosophie of the University of Stuttgart, and the Künstlerhaus Stuttgart. The event will take place on the 2nd floor of the Künstlerhaus Stuttgart.

The Künstlerhaus invites you to the Haus Orkestra Concert!

After a year of singing and playing together at the Künstlerhaus Stuttgart, the Haus Orkestra, initiated by Monika Nuber and Natia Dikhtyar, will give a concert on December 9th. The singers and musicians will take the audience on a musical journey with songs from Georgia, Croatia, North Macedonia, and Romania, among other countries. The program also includes pieces featuring Natia Dikhtyar (vocals), Helga Freude (guitar and vocals), and Monika Nuber (double bass and vocals).

The HAUS ORKESTRA is composed of new and experienced singers and musicians, changing throughout the year with revolving members. Focusing on multi-part singing with instrumental accompaniment, Natia Dikhtyar leads each session with passion and playfulness. The goal throughout has been to learn new songs and musical pieces in a joyous way.

About the lead artists and musicians:

Monika Nuber is an animator and musician who intricately interweaves image and sound in her work. She plays double bass with Rózsák and Maslband, is a member of the Jon Shit Collective, and Mother Mountain (with Johanna Mangold and Lidija Paun). She gained extensive experience in projects with Hans Joachim Irmler at Faust Studio in Scheer.

Natia Dikhtyar, a singer and jazz musician from Georgia, composes and performs music that blends jazz-rock-Latin fusion grooves with Georgian folk elements and poetry. She teaches voice and piano and directs choirs and vocal ensembles with an international background.

The concert will take place on the 2nd floor of the Künstlerhaus Stuttgart.

In search of her own family history, artist Julia Scholl discovers a small hole that grows larger the deeper she tries to look into it. Where she had hoped to find answers, she is confronted with questions. Like dark matter, which shapes and influences everything yet remains invisible, the hole gapes in the construction of the narrative of the past and, in its silence, permeates the artist’s present. In the 48th Tuesday Workshop, she therefore focuses on what it means when we find ourselves in moments when something eludes us, shifts, and several truths suddenly exist simultaneously. How do we deal with it when certainties become fragile, we have to endure uncertainties, and we have to deal with ambiguities? How do we pursue open ends instead of closing them?

Julia Scholl’s work continuously deals with loss—not as an exceptional circumstance, but as a fundamental human experience. In her work, loss appears in the slipping away of memory, in the disintegration of familiar narratives, and in the finiteness of life as a whole. For the artist, the cracks that open up in these moments do not mark end points; rather, in her photographic, screen-printed, and sculptural works, she explores how new stories can emerge from the incomplete and how fragments and blurring shape knowledge and emotion.

After training as a nurse, Julia Scholl studied at the State Academy of Fine Arts in Stuttgart and the Tokyo University of the Arts in Japan in the sculpture class of Prof. Udo Koch, in the photography class of Prof. Ulrike Myrzik, in the printmaking class of Prof. Seiichiro Miida, and spent several guest semesters in the photography class of Prof. Ricarda Roggan. In 2020, she was awarded the Academy Prize of the ABK Stuttgart and received a scholarship from the Baden-Württemberg Foundation in the same year. In 2024, she completed her degree in fine arts. Her works have been exhibited at the Staatsgalerie Stuttgart, Werft 77 in Düsseldorf, Kobun Gallery in Tokyo, Galerie Gruppe Motto in Hamburg, and the Lindenmuseum Stuttgart, among others.

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!

In 2006, Paul Sullivan travelled to Seoul, South Korea after Static Gallery, Liverpool, had been invited to carry out their Press Corps project as part of the Seoul Artists Forum International and the Gwangju Biennale (Curated by Park Chan-kyong and Kim Hong-hee respectively)

During this visit, Sullivan visited a Street Saju (fortune teller), at the former Sinchon Market Hall, in order to find out if the Press Corps project would be a success or a failure.

The result of that question was “No”, but the Saju continued “A man without his own language is like a seed perpetually floating on the winds, never to drop to the soil in order to germinate, never to be grounded”. He continued “English is your mirror front, a false language, the real word comes from a place in middle Europe, a place of salt, the place of rings. Your destiny is tied up in the discovery of these things. There is a person with a birthmark, a shape of concentric rings from the old country”

On the last evening of the research trip, Sullivan and Colleague John Byrne stumbled upon the Kalguksu Alley (Knife Noodle Alley), at Namdaemun Market. This chance visit triggered a number of long-standing ideas for Sullivan – namely the improbable linkages between Manet’s 1882 painting A bar at the folies-bergère, Juzo Itami’s 1985 Japanese cult classic film Tampopo, and Sullivan’s own investigations into migration, immigration control, planning and architecture control, identity, borders, public and private space and wanderlust. These ideas, combined with the new puzzle proposed by the Street Saju, led directly to Sullivan’s notorious 2008 Noodle Bar project.

The Establishment of the Noodle Bar

The Noodle Bar started as a series of adverts fly-postered around Seoul and also posted on online recruitment sites, in the early summer of 2008 (facilitated by Park Eunseon and Ssamzie Gallery), advertising for a Korean family to come to Liverpool, UK, to run the Noodle Bar for one year, and ended up as a one year legal dispute between the Static Gallery Noodle Bar and the Liverpool City Council Planning Enforcement Department, as the Noodle Bar kitchen – a repurposed shipping container situated on the gallery car park and connected to the gallery/eating area via a newly formed opening in the wall connecting the two – was erected without planning permission and described as a ‘one year temporary art installation’.

After selecting the Korean staff to run the Noodle Bar as part of the recruitment process in Seoul, work permits were applied for and rejected by the UK Border Agency resulting in the workers being re-invited as ‘visiting international artists’. The Noodle Bar opened as a business in October 2008 and the chefs left after two weeks. The resultant year long legal dispute explored and exposed the hierarchical structures of power within Liverpool City Council.

Noodle Bar was later inserted into an artworld frame as The Noodle Bar (Edit 1) film at BAK Gallery, Utrecht, Holland in 2013 (curated by Ben Fallon), and then morphed into Paul’s Kimchi Co at the Van Abbemuseum, Holland 2014, (curated by Annie Fletcher, Liam Gillick, Alistair Hudson and Steven Ten Thige), before shifting again as Kimchi Human, a ten year 1:1 scale business art project 2015-2025, a partial re-make of Tehching Hsieh”s 1980-81 performance piece Clocking on.

The project also surfaced as the Kimchi Workshop at the Jeanne Barret Space in Marseille 2023 (curated by Fred Pradeau), and as Paul’s Kimchi Café at the Künstlerhaus Stuttgart in the summer of 2024 (curated by Tamarind Rossetti and Stephen Wright), before being re-presented as an installation at the Broadside Gallery, Glasgow in 2025 (curated again by Ben Fallon). The key purpose of the later incarnation was to use the ‘installation’ event as a way to reach out to the protagonists of the original 2008 Noodle Bar, in order for them to access all the RAW footage of the project (film/audio/stills), to make their own version of the truth.

Paul’s Noodle Bar in Künstlerhaus Stuttgart (December 2025)

For the Paul’s Noodle Bar version of the project at Künstlerhaus Stuttgart in December 2025, there will be a nod to the previous Paul’s Kimchi Café menu, as well as a full feedback loop to both the original visit to the ‘Kalguksu Alley’ in Seoul in 2006 and a short fire attempt to make the perfect ramen dish as proposed in Itami’s Tampopo. There will also be an attempt to decipher the Street Saju’s riddle.

Sullivan will also begin a written work collaboration with Stephen Wright that addresses Sullivan’s description of projects like Noodle Bar as LIVE EDITS.

Paul’s Noodle Bar will take place on the 2nd floor of Künstlerhaus Stuttgart.

“Climb down into the well of your own night of deep, blind feelings.
Let yourself fall to the bottom of the sea, slip into the green darkness of the stones, circle in the eyes of the fish in the cold blood of their gills.
Let yourself be rocked in the seaweed
of the equinoxes.”
Rebecca Horn

In the sixth Listening Session, Marla Gwendolyn Fischinger opens up a poetic, sensual world of soothing sounds and songs for body and soul. Based on the working process for the video work Durst, in which water plays a central role as a symbol of healing, security and communication, an atmosphere is created that is carried by field recordings and ambient music, but also pop, classical and forever love for the harp, and which, fluid like water, carries us, envelops us and lets us float.

You’re invited to shed a tear.

Listening Sessions

This is the sixth event in the ‘Listening Sessions’ series in the recording studio at Künstlerhaus. Artists are invited to bring along the music that inspires, shapes and accompanies them. We will listen to this music together in the recording studio.
The regular series offers a space to exchange ideas about sonic influences and personal connections to music. This series of events was conceptualised by Lena Meinhardt, artist and manager of the audio workshop at Künstlerhaus.

As places in the recording studio are limited, please register at audio@kuenstlerhaus.de

Lost in Research

In the 47th Tuesday-Workshop, Leonie Klöpfer explores the question of how to proceed with the development of a project or concept after a long research phase and with all the new information at hand. Which wrong turns, delicate paths and unforeseen alleys actually lead to where you want to go?

She ‘s currently conducting extensive research on the topic of textiles in a hospital context. To this end, she completed a several-week internship at a hospital in Stuttgart. Her experiences and conversations, as well as her reading of a wide variety of texts, have woven together a tapestry of information, images and impressions, from which she is currently developing an exhibition project.
In Tuesday-Workshop, she will provide insights into her research and material samples and present her initial work, followed by an open discussion.

Leonie Klöpfer is a visual artist. In her work, she deals with the (metaphorical) healing of wounds and injuries and explores how injury and healing are interdependent in the form of large-scale installations, architectural interventions and drawings. By deconstructing (supposedly) real and metaphorical healing processes, she exposes underlying layers of injury, revealing their causes. This raises questions such as what form of injury, including immaterial wounds, must have occurred previously, what repairs have been made that may carry new injuries, and what scars remain visible or tangible. Fundamental to this is the constant idea of surfaces as shells with an inside and an outside: skin, textiles, architecture and other phenomena that function as boundaries and protection, the violation of which often means penetration into another system.

Before studying art at the ABK Stuttgart in Prof. Birgit Brenner’s installation class, !Mediengruppe Bitnik, Anike Joyce Sadiq and Flaka Haliti, Leonie Klöpfer studied German language and literature at the University of Stuttgart and spent a guest semester in communication design with Prof. Dr. h.c. Patrick Thomas. In 2020 and 2023, she was awarded the Academy Prize and, after graduating with a degree in fine arts in 2024, received the State Graduate Scholarship of Baden-Württemberg. Her work has been exhibited at the Kunstverein Neuhausen, the Staatsgalerie Stuttgart and Kunstraum 34 in Stuttgart, among others.

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!

Torshi: Manifestation Pickling with artist and architect Hanieh Fatouraee is an invitation to explore and exchange methods of food preservation together around a Sofreh made of fruits and vegetables. A Sofreh is a traditional cloth used for serving food or sharing meals while sitting together on the floor.

Together, we explore pickling as a ritual, caring, and communal practice – inspired by the tradition of Toroshi-making, which is common in several West Asian cuisines. Gathering around the Sofreh holds significance not only because it is a mobile nomadic tool of carrying food and a space of gathering but has long been part of many cultures as a ritualistic place for ceremonial events or celebratory symbolism like Haft-seen.

In this freestyle event, Hanieh Fatouraee will talk about some of her familial local preservation methods of the Urmia region followed by collectively sharing pickle recipes while cutting, peeling, gossiping, debating whose method is better, and designing colorful pickles with vegetables & fruits.

During these political times when intersectional solidarity is needed more than ever, we will take a moment to inscribe our desired manifestations onto the pickles. As we embody these pickles by eating them in the near future, we allow the act of preservation to infuse into our bodies with more care and acknowledgement.

The event will be held in English. The expense contribution for food is 5 Euros.

The number of participants for the workshop is limited. Please register by November 2 with Hanieh Fatouraee, haniehfatouraee@gmail.com

This event is part of Companion Planting, a collaborative series by Künstlerhaus Stuttgart and Akademie Schloss Solitude, inspired by the gardening practice in which different plants grow stronger side by side. The series cultivates a similar ecology of exchange, where both institutions support, nourish, and inspire one another, allowing new ideas and practices to take root and flourish. It regularly presents formats in which Solitude fellows engage with the community of Künstlerhaus Stuttgart, creating spaces for encounter, dialogue, and shared growth.

Join artist Stéphanie Sagot and mindfulness leader and physician Grégory Baptista on Sunday morning for a guided meditation session in the newly inaugurated meditation space, Galacté.e in the atmosphere of Voyage en Terres Amoureuses.

A second guided meditation session with Sagot and Baptista will be held on Monday evening from 5:30 pm to 7:30 pm, followed by an artist talk.

Galacté.e invites participants to develop through meditation a presence, attentive to the self, to others, and more broadly to the cosmos, in order to cultivate a “medicine-world” that cares for all, everyone and everything. These moments of meditation will be followed by an open exchange, reflecting on the immersive experience, surrounded by Sagot’s Cartes de Tendre, and bathed in a sound installation.

This meditative atmosphere is inspired, in part, by Albert Einstein’s understanding of the oneness of all things. As he put in a letter written in 1950, “A human being is a part of the whole, called by us “Universe,” a part limited in time and space. He experiences himself, his thoughts and feelings as something separate from the rest— a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest us. Our task must be to free ourselves from this prison by widening our circles of compassion to embrace all living creatures and the whole of nature in its beauty.”

No previous meditation experience necessary. The group is limited to 21 participants. Registration: ll@kuenstlerhaus.de

Since July, Stéphanie Sagot’s Voyage en Terres Amoureuses has opened pathways into agroecology and land use, as well as the political, institutional, and deeply personal relationships that constitute such landscapes. Her large-format watercolors (250 x 150 cm), and ceramic works are inseparable from the agricultural, political and artistic communities and struggles in France and Spain, which they depict. They map what the artist calls “terres amoureuses”, and the relationships they nourish. These paintings are both personal and political cartographic documents.

Sagot’s first Carte de Tendre was inspired by Madeleine de Scudéry’s Carte de Tendre written in 1654, which created a visual geography of emotions and illustrated the dangers and pleasures to be attained on the path to courtly love. Sagot’s works include the literal landscapes of her chosen sites, in France, Spain and now Germany, and the inherent complexities of living on the land and in community, while referencing the joys and perils inherent in farming practices today. Since 2016, Stéphanie Sagot, together with Suzanne Husky, has instantiated “Le Nouveau Ministère de l’Agriculture”, a thoroughly researched, institutionally designed prefiguration of a new French Ministry of Agriculture, based on a love-inspired rural agroecology. In the tradition of Cartes de Tendre, her richly detailed and referenced historical watercolor maps form and reform landscapes beyond national boundaries, restricted zones and private property lines, representing them as loving lands.

At the commencement of Voyage en Terres Amoureuses, Stéphanie Sagot hosted a workshop where participants followed in her footsteps through the Voyage – gaining insights into how she researched the topics of these cartographic works, how she coalesced images, interviews, and ideas into a cartographic landscape, and finally how all this came together in the painting. She is now augmenting and activating the atmosphere with the meditative installation Galacté.e.

Thistles, traditionally associated with self-protection, resilience, and defensiveness, serve in Donna Volta Newmen’s recent works as a multifaceted symbol for current sociopolitical tensions. Using various etching techniques, the artist explores the characteristic tactile qualities of the plant during her residency at Künstlerhaus Stuttgart – its rough surfaces, delicate textures, and complex structures are combined with drawn and painterly elements of printmaking. Newmen’s thistles bloom where strength hesitates. This results in nuanced pictorial spaces that allow and investigate inner affinities and reciprocal relationships between plant and figure. Drawing on the mythological notion that thistles only came into being after the loss of paradise, the new series opens a symbolically charged point of departure for the artist.

Newmen’s works understand the portrait as a space of resistance and shifting power relations between history and the present. Respecting the complexity of her motifs—drawn from history, myth, or fiction—she avoids serial editions by continuously altering the printing plate. Through the combination of intaglio techniques with painterly monotypic elements, unique pieces emerge that reveal different facets of a personality.

The frequently occurring botanical structures in her portraits create subtle connections between plant forms and human figures—organic matter thus becomes the woven presence of the human and addresses themes such as interdependence, vulnerability, and transformation.

Donna Volta Newmen is a visual artist whose work combines traditional intaglio printmaking techniques with interdisciplinary methods on paper and film. Raised in a printmaking atelier, she studied at the intersection of fine art and feminist theory and completed her Master of Fine Art and Design at the Sandberg Institute Amsterdam in 2019. Her works have been exhibited internationally, including at Museum Gunzenhauser, Stuttgart Ballet, Kunstverein Wagenhalle, the Istanbul Design Biennial, and the British Film Institute.

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!

What influence does music have on the artistic process of a painter? Could moods seep into painting in a way that is seemingly imperceptible?

In the fifth Listening Session, painter Ivan Zozulya presents his selection of songs and pieces from a wide range of genres – from pop and blues to garage punk, experimental electronic music and ambient – songs and albums that he plays on repeat to stay in the flow.

Listening Sessions

This is the fifth event in the ‘Listening Sessions’ series in the recording studio at Künstlerhaus. Artists are invited to bring along the music that inspires, shapes and accompanies them. We will listen to this music together in the recording studio.
The regular series offers a space to exchange ideas about sonic influences and personal connections to music. This series of events was conceptualised by Lena Meinhardt, artist and manager of the audio workshop at Künstlerhaus.

As places in the recording studio are limited, please register at audio@kuenstlerhaus.de.

At first sight, musical composition and the printing technique of etching have nothing more in common than the fact that musical scores were engraved rather than typeset for a long time. Johann Sebastian Bach engraved some of his piano works himself. With the introduction of modern printing techniques, this practice has become obsolete.

Stuttgart composer Jan Kopp has been working in the Künstlerhaus etching workshop for a year and a half. For him, there is much more that connects the two arts. For example, the differentiated application of pressure plays a central role in both the production of sound and etchings. In addition, the function of the etching plate in the working process is similar to that of a musical score: in both cases, the form of the artwork is designed and fixed, but neither is directly visible to the audience. Rather, it is the print and the performance that make the etching and composition sensually experienceable and, at the same time, reproduce them. This act of reproduction is usually delegated to a third party, be it a printing workshop or an orchestra. Designing and printing an etching plate at the same time is then equivalent to the performance of a composition by the composer.

In addition to these general references, Kopp is particularly interested in the specific design possibilities offered by the media. In etching, for example, it is the design of plate edges and engraving depths that lead to differentiation in the print under the press and to different reliefs in the paper. Recently, Kopp has been exploring two-colour printing from a single plate and the combinations offered by the use of multiple partial plates, which allow for the creation of series. (A technique that can also be found in his 2021 composition ‘offen. 31 Farben der Hoffnung’ [open. 31 colours of hope].)
In cooperation with the ceramics workshop, he is also exploring the possibility of printing etchings in clay.

Jan Kopp will provide insights into his musical and artistic work at the 45th Tuesday Workshop. Afterwards, we invite you to join us for a discussion and exchange of ideas.

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!

Flowing from the riverine atmosphere at the Kunstlerhaus Stuttgart, filmmaker and Akademie Schloss Solitude Fellow Louis Henderson will screen his recent Afterthoughts of a Walk on the Naze (2024) and join us in conversation about his practice.

‘In the year of his death, my great-uncle, the artist Nigel Henderson, wrote a letter addressed to my future self. In his letter, he asked me to decipher a painting he made of the fossilized cliffs at Walton on the Naze in Essex, in the east of England. As a clue, he sent me a photocopied manuscript of the novel “The Fourbanks of the River of Space” by the South American novelist Wilson Harris, who lived nearby. Afterthoughts of a Walk on the Naze is a quantum fiction that attempts to answer his letter. I revisit the house and studio where he made the painting and film the surrounding seascape/riverscape and the cliffs the painting references. Harris’ book, the landscapes and the painting work together in counterpoint, revealing ideas about artistic inheritance, creation, death, weather and time.’

In the 44th Tuesday Workshop, Florina Leinß will give an insight into her work, which was created as part of a workshop scholarship in the etching workshop at Künstlerhaus Stuttgart.

For some time now, the interweaving of digital drawing gestures and analogue printmaking has formed a sideline to the artist’s painterly-installative practice. In a series of etchings, Florina Leinß explores the colour aquatint in an experimental way, in which she encounters the traditional technique of etching with a contemporary view – characterised by digital influences.

Despite the apparent dichotomy between digital drawing and manual printmaking, the artist seeks a connection in the tactility of both processes. The physical gestures with which we operate touchscreens – swiping and touching – are surprisingly close to the haptic work with the etching plate. In this shared space of gesture and touch, she explores the tension between clearly defined vector drawings, digitally connoted colourfulness and a gestural-material approach to the image.

Afterwards, we invite you to join us for drinks and snacks and a dialogue.

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!

Theresa Dorn listens to everyday life.
Together with her Westhafen studio collective, she explores walking as an artistic practice.
Sound, dialogue and perception of place flow into installative and performative works.

Perspectives – What stands out and when? What penetrates the consciousness? What remains in the background? What surrounds us and how much do we perceive? How does our everyday life and our surroundings sound? How do things, tones and sounds change when we pay attention to them? And how do perspectives change when we share them?

Listening Sessions

This is the fourth event in the new ‘Listening Sessions’ series in the recording studio at Künstlerhaus. Artists are invited to bring along the music that inspires, shapes and accompanies them. We will listen to this music together in the recording studio.
The regular series offers a space to exchange ideas about sonic influences and personal connections to music. This series of events was conceptualised by Lena Meinhardt, artist and manager of the audio workshop at Künstlerhaus.

As places in the recording studio are limited, please register at audio@kuenstlerhaus.de.

In the 43rd Tuesday Workshop, Laurenz Theinert will give insights into his artistic practice.

“What do we actually see? What does the image we form say about reality?
Laurenz Theinert does not provide any answers to these questions. But in his works, he slows down the complex process of seeing, which normally takes place at high speed and subconsciously, as if in slow motion, and focusses attention on individual aspects of what is happening. He makes it possible to observe what happens on the way from a visual impression, a light impulse on the outside, via the physical visual organs and the contributions of thinking, feeling, connecting and interpreting in the brain, before something arises in us that we call perception or cognition. Observing the processes and automatisms, conditions and contingencies that make up perception can be a fascinating experience. But you can also suddenly feel quite blind in the face of the limitations of your own ability to recognise. Laurenz Theinert has no solution to this dilemma. But with his works, he at least offers a training zone in which you can reflect on the paths and limits of perception and perhaps develop new perspectives on what can be seen.”

Dr. Julia Otto, Kunstmuseum Celle, excerpt from the text in the catalogue of the exhibition ‘Fehlende Dunkelheit’ Museum Ritter 2024

Afterwards, we invite you to join us for drinks and snacks and a dialogue.

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!

In the third listening session, following the CCR credo: ‘hitch a ride to the end of the highway where the neons turn to wood’, digital, vibrating, raw walls of sound are broken through and over-constructed city parks are traversed – in search of sparkling lakes, lush green meadows and dense forests.
djytb takes sound as the starting point for an examination of identity, cultural codes and different living environments.

Listening Sessions

This is the third event in the new ‘Listening Sessions’ series in the recording studio at the Künstlerhaus. Artists are invited to bring along the music that inspires, shapes and accompanies them. We will listen to this music together in the recording studio.
The regular series offers a space to exchange ideas about sonic influences and personal connections to music. This series of events was conceptualised by Lena Meinhardt, artist and manager of the audio workshop at the Künstlerhaus.
As places in the recording studio are limited, please register at audio@kuenstlerhaus.de.

In the 42nd Tuesday-Workshop, Julia Wenz-Delaminsky will give insights into her artistic practice.

Julia Wenz-Delaminsky pursues a conceptual and experimental way of working that reacts variably to the respective situation. Her artistic scope is very broad and not tied to a specific technique or medium. Her work includes photographs, graphics and digital art as well as large-scale installations, performances and collaborations. ‘Medium and message’ are fused and linked to her everyday life. Travelling and collecting are also part of the creative process.
She poses the question of how much in/stability is needed to develop potential?

Afterwards, we invite you to join us for drinks and snacks and a dialogue.

More information about Julia Wenz-Delaminsky: www.julia-delaminsky.de

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!

HAUS ORKESTRA continues at the Künstlerhaus Stuttgart. We start again on May 8. New members are very welcome. The basis is polyphonic singing with instrumental accompaniment. Natia Dikhtyar, a musician from Georgia who lives in Stuttgart, introduces each session with vocal and rhythmic exercises. Our aim is to learn songs and pieces of music in a playful way. Anyone who enjoys singing or making music is very welcome. Monika Nuber and Krešo organize the sessions and come up with suitable pieces, open to suggestions.

starting May 8, 2025

bi-weekly Thursdays, 19:30-21:00 (2nd floor)

Participation is free of charge.

Please email any questions to mail@monikanuber.de

About the artists and musicians:

Monika Nuber is an animator and musician, and interweaves image and sound in her work in a variety of ways. She plays double bass with Rózsák and Maslband, is part of the Jon Shit Kollektiv and will open another audiovisual chapter in her latest formation Mother Mountain (with Johanna Mangold and Lidija Paun). She gained a lot of experience in projects with Hans Joachim Irmler at the Faust Studio in Scheer. For the Eclat Festival for New Music 2025, she contributed animations for “ABC der Ausrufe”.

The Georgian-born singer and jazz musician Natia Dikhtyar composes and plays music in a mixture of jazz-rock-latin-fusion grooves with Georgian folkloristic elements and poetry. She works as a teacher for voice and piano and conducts choirs and vocal ensembles with an international background. For the Haus Orkestra she will introduce us to Georgian singing, but will also be happy to lead us in other ways if desired and appropriate.

Krešo has worked in various roles in live and media productions at the intersection of art and pop-cultural formats, is professionally involved in the creative industries of design, communication and education and finds that sung language is the best way to travel the world.

As part of the 41st Tuesday-Workshop, Marcela Majchrzak would like to share a transitional situation between two artworks with the participants.

At the beginning, the connections between two works are often perceptible, but cannot yet be clearly identified. The artist provides an insight into this sensitive moment by showing her video work hügeln, which is embedded in the installation Domistification of my Expectations (AT) and marks the beginning of a new artistic exploration.

The video work hügeln deals with remembering and forgetting on a personal and social level. The object of the dialogue is a monument from the artist’s childhood that is to be removed. Through the possibility of removal, it loses its veil of invisibility and creates new existences. The installation Domistification of my Expectations (AT) builds on the work hügeln and explores the gestures of arriving and inhabiting a space as well as the relationship of personal space to the outside world.

The artist invites you to a screening of her video, followed by drinks and talks within the installation.

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!