SPEED takes the form of two major new commissions by James Richards and Leslie Thornton, alongside a show-within-the-show convened by Richards with works by Horst Ademeit, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Jeff Preiss and Jens Thornton.
In the making of SPEED, Richards and Thornton have been concerned with specific psychic and temporal states, rushes of interconnectedness and scientific wonder, as well as a sense of ecological dread and paranoia. The oscillation between an ordering impulse, and the relinquishing of control is a central feature of SPEED, one that returns in the exhibitions’ different modes: cinema screening, video mural, reading room and group show.
Many of the works in the group exhibition were made against a backdrop of apprehension and self-destruction during the Cold War, with its at times uncanny resonances with the present moment. The atmosphere contains an obsessive energy, a recurring fascination with rays, mind altering effects and rituals and the systematic sorting and recording of experience. It is sense of frantic repetition and labour, which van Bender described as ‘Divine Drudgery’, a spirit also present in Bruce Conner’s psychedelic inkblot drawings.
There is an impulse of collaboration that brought about SPEED, one that renders the monologue of anxious speculation into a dialogic practice. The exhibition comprises discrete and individual new works, from Richard’s large-scale video mural Phrasing to Thornton’s cinema installation Cut from Liquid to Snake, and yet all elements have been generated from the third mind of collaboration, a channeling of and at times conscious unsettling of each other’s sensitivities. The basic biographical contrasts between Richards and Thornton are apparent: gender, age and sexuality are all points of difference. What has drawn them together is an inclination they seem to share: that of grabbing charged material, and without apparent judgement or moralising, filling and emptying it. There is an attuned pitch for locating and unsettling any received and comfortable meaning. And at the same time, they produce works with a highly specific sense of the contemporary moment and the urgencies that it presents.
Commissioned by Künstlerhaus Stuttgart and Malmö Konsthall
The second iteration of SPEED takes place at Malmö Konsthall, 15 March – 26 May 2019
Realised with the generous support of Pedro Barbosa; Ministry of Science, Research and the Arts, Baden-Württemberg; Wüstenrot Stiftung; Ritter Sport; pbb Stiftung für Kunst und Wissenschaft and the British Council, Berlin.
With special thanks to Rodeo, Galerie Isabella Bortolozzi, Cabinet Gallery, Andrea Bellini, Centre d’art Contemporain Genève und CERN.
At the 24th Tuesday Workshop, the project space kunst [ ] klima will introduce itself on behalf of Barbara Karsch-Chaïeb and Caro Krebietke.
The project space was founded in 2021 by Barbara Karsch-Chaïeb and Caro Krebietke has been involved since March 2023.
The project space kunst [ ] klima is the first art space in Stuttgart to exclusively show exhibitions on the topic of climate change and sustainability.
The bracket between the terms art and climate is provided with a blank space that opens up a possible space for communication and creates a connection. The blank space preserves openness and flexibility.
Solo exhibitions are shown with works by artists from different fields. The focus is on predominantly scientific themes such as climate, weather, climate change, energy transition, plants, water, earth, earth history, biology, biochemistry, chemistry, artificial intelligence.
The focus of an exhibition is largely on the content level of a work on display and its mediation.
In addition, lecturers are invited to complement the exhibited topics.
At the Tuesday workshop, Barbara Karsch-Chaïeb will report on the development and exhibition projects of kunst [ ] klima since its founding in 2021. She will also give an outlook on future plans and ideas for sustainability and networking with other Stuttgart cultural institutions.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Anna Gohmert is interested in finding a formal language for intimacy without theorising the personal and losing the tenderness or rawness of the private.
Her work is about social justice, challenges of a health nature, generational conflicts and dealing with self-efficacy and powerlessness.
She assigns her artistic practice to the genre of autofiction and engages in personal conversations to delve deeper into the subject matter. She brings together these different aspects, by which she means individual spaces of experience as well as scientific findings, with heterogeneous media as a spatial installation.
Despite the various sources, materials and people, the work is held together by an invisible text that she has penned.
Anna Gohmert will present the current works, which were created in the context of the exhibition Gescheite(rte) Familienplanung, as well as give an insight into the upcoming exhibition Das ist (ja) voll mein Ding.
Participation and accessibility play a role in both groups of works.
The focus of this evening will be on accessibility of art and culture. Gohmert will share her experiences of how costly but also rewarding it is to ask one’s own artwork whether it is accessible in a barrier-free way and how it can be translated into a barrier-free format.
More informations:
IG: @annagohmert
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
For the artist’s debut exhibition in Germany, Niloufar Emamifar presents a newly produced body of work across both main gallery floors of the Künstlerhaus Stuttgart. Drawing from her study of architecture and consistent attention to the psychosocial dynamics of built space, Emamifar’s exhibition, EX GRATIA, emphasizes site-specific demands on structural capacity in responding to the needs of lived relations. This emphasis on material conditions—the insistence on operative structures—when considering interpersonal experience is a crucial aspect of Emamifar’s ongoing approach to exhibition-making. Her work carefully examines the causative relationships between site, situation, and subjectivity. For Emamifar, while living beings are not determined, they are extremely porous, thereby susceptible to the constructed systems they presently occupy and embody. The artist’s exhibition at the Künstlerhaus Stuttgart is attuned to this vulnerability—the artist leans into the work of exposure within surrounding circumstances, while also recognizing how individuated experience is not ultimately separate from the oppressive structural realities shouldered by many. The conditions encountered by Emamifar in producing EX GRATIA necessitated efforts by the artist to develop lasting structures that could be applicable for future artists working at the Künstlerhaus Stuttgart and at other art sector institutions in the German context.
In contracting Emamifar to produce an exhibition at the Künstlerhaus Stuttgart (KHS), it became apparent that the KHS does not have legal-economic infrastructure in place to be accessible to visa-applicant, migrant, displaced, and refugee status artists/workers. Provisions such as legal counsel support, annual earmarked funds, or staff training devoted to the needs of such contracted workers have not been established at this forty-five-year-old institution. Like many art institutions in the German context and beyond, artists facing barriers to cross-border migration are contracted on a case-by-case basis at the KHS, with no institutional guidelines, protocols, or procedures established in coordination with state laws. In responding to the systemic inadequacies and under-resourced infrastructure at the KHS, Emamifar allocated a portion of her exhibition budget to hiring legal counsel to produce a legal feasibility assessment and draft a set of practicable guidances for the KHS to be capable of working with visa-applicant, migrant, displaced, and refugee status artists.
Rather than solely drawing up an individual work contract, Emamifar tasked legal counsel with producing a shared policy document that could be implemented institution-wide for all future instances when the KHS contracts an artist to come work in Stuttgart, Germany on an exhibition, program, or other limited-term work. Legal counsel organized this proposed framework as a set of modules to anticipate distinct cases where artists are contracted by the KHS, with the emphasis on project-based work rather than full-time employment. While recognizing that jurisdictionally-specific law must account for situational-specificities in different cases, advocates for legal rights also recognize the need for standards of regulation and protection. It is well known how certain doctrines often codify, legitimize, and enforce individual rights at the expense of collective struggles to achieve systemic change. Equitable hiring practices increasingly call for transparent standards, rather than approaching a worker’s contract on an individualized case-by-case basis which often reduces efforts against structural oppression to isolated individual grievances and remediations. In working with potential governance arrangements and legal aid infrastructure, Emamifar’s exhibition grapples with the law as a largely inaccessible system, which has also been shaped by ongoing histories of immigration law, poverty law, labor law and other advocates for greater accessibility and the asserting of rights within a legal order that too often merely codifies what dominant economic authority has qualified as justice. And of course, the law is not a neutral framework of conduct. It is defined.
While committed to effectively redefining foundational and underlying structures, Emamifar is ambivalent about the role of artists as short-term workers who engage in capacity-building for the long-term prospect of an art institution. There is real danger for artists as project-based laborers when they intervene in governance structures of hosting institutions. Artists are left economically destitute, foreclosed upon, or discarded, when they operate beyond their expected role by attempting to intervene in institutional administration. This danger is precisely why Emamifar has brought in key collaborators—legal counsel—to take on a substantial behind-the-scenes and public-facing role in engaging with the structural conditions of the institution. Emamifar’s exhibition includes a built stage where representative legal counsel, Nora Ebeling, will give a public presentation on the practicable legal-economic guidances for the KHS to utilize when contracting visa-applicant, migrant, displaced, and refugee status artists. Emamifar’s decision to construct a platform for Ebeling’s public presentation of this proposed legal-economic infrastructure underscores vital interrelated questions for the artist: What are the risks of visibility and platforming—of representation— when seeking to actualize lived political realities? What does it mean for Emamifar to assign Ebeling with the public-facing work of exposure and education in confronting audiences with the structural imperatives for visa-applicant, migrant, displaced, and refugee status workers? To what extent will this legal-economic framework serve as both an internal and outward facing policy, offering everyday considerations that are specific to the KHS, as well as reproducible models of institutional conduct that challenge the inequitable, exclusionary, and discriminatory hiring practices so prevalent in the art sector at large?
The title of Emamifar’s exhibition, Ex gratia, refers to the term as used in a legal context for a payment that is made not out of legal obligation but because the circumstances justify it. It is a kind of standard practice recognized by the law that is irregular, a legally recognized consideration that is extra-legal. Ex gratia payments are morally justified but legally unsanctioned—that is, they are a means of recourse potentially more exacting than those mandated by law. Emamifar’s exhibition includes a fully executed agreement between the artist and KHS that governs the storage of materials owned by the artist within a safe deposit box located on the fourth floor of the KHS for as long as KHS rents the building at its current location. A key provision of this agreement is that Emamifar may grant an assignee access to any of the many safe deposit boxes the artist has made available. In the event that the artist grants an assignee access to a safe deposit box, all terms and conditions of the agreement apply to the assignee just as they do to the artist. This signed agreement is included in the exhibition pamphlet.
Program
05/06/2023 (7pm)
Opening reception
06/24/2023 (3-5pm)
Nora Ebeling, legal counsel, public presentation and workshop at the Künstlerhaus Stuttgart
06/25/2023 (3-4pm)
Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public
Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. In addition, this project was supported in the form of a production residency by Callie’s, Berlin.
The next meeting of the Fourth Organ will take place on 4 May.
At this meeting there will be no dedicated topic focus, but we will get together for a casual exchange over a few drinks.
The meeting point is in the Künstlerhaus on the 2nd floor at 7 pm.
33 Träume (Dreams)
Book presentation and talk with Chris Mennel
In the Tuesday workshop, Chris Mennel talks about events that have taken place around his book “33 Träume” – the project idea, the affection for his own homepage, the remoteness of Instagram and Facebook, the book trade, marketing goals and wilful naivety in book sales.
“33 Träume” is an art book that includes texts and poems by the artist as well as photo paintings he has created, and is now cause to go on a promotional tour, because the books cannot be ordered on Amazon, but only from the artist himself.
At the beginning of 2022, Chris Mennel discovered a box of darkroom pictures from the last 20 years and presented them on camera. These images can also be found in the book, together with an imaginary 33rd, a black image and texts that were created to accompany the images.
On the one hand, the small print run of the book combines the joy of having an art book printed in a small edition at a fair price; on the other hand, it also goes hand in hand with a distance to museum shops and bookstore chains and thus less attention from the press.
To get around this, social networks are served by Mennel through a chatbot and populated with content and the artist’s name. The chatbot draws on seasonally appropriate photos from recent years and thus repositions what was already posted years ago.
The art book is accompanied by the domain 33träume.de.
The Tuesday workshop is moderated by Florian Model, artist, member of the advisory board and head of the video workshop.
The topic for the next meeting of the Fourth Organ is the Guideline for Dealing with Discrimination, Harassment and Violence, which a working group consisting of parts of the Board, Advisory Board and staff of the Künstlerhaus have developed over the last two years.
On Tuesday, April 04, 2023 at 7 p.m., the Advisory Board will present the guideline to members on the 2nd floor.
Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.
The program will be held in English. If needed, Juliane Gebhardt, curatorial assistant at Künstlerhaus Stuttgart, will translate into German.
All events take place on the second floor of Künstlerhaus Stuttgart.
Schedule:
Friday March 31
7pm – 9pm
Working Group Reader Launch
Food and drink
“Never Settle: The Program” video work by New Red Order on view
Welcome remarks from Eric Golo Stone (Künstlerhaus Stuttgart), Lulani Arquette and Reuben Tomás Roqueñi (The Center for Native Arts and Cultures)
Spoken word performance by Allison Akootchook Warden
Saturday April 1
1pm – 2:30pm
Introductory remarks by Eric Golo Stone and Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum (Editor of Working Group Reader and Organizer of Working Group)
Working Group Session 1
2:30 – 2:45pm
Break
2:45 – 4pm
Working Group Session 2
Sunday April 2
Fourth Floor Gallery
12 – 12:45pm
Flint Jamison public tour of the artist’s exhibition, “Masterworks on Loan, 2020, 2022″
Second Floor Gallery
1 – 2:30pm
Working Group Session 3
2:30 – 2:45pm
Break
2:45 – 4pm
Working Group Session 4
5pm
Closing performance by Tiokasin Ghosthorse (musical piece and unlearning colonization work)
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg.
On Saturday 25 March 2023 from 6 pm – 1 am there will be the opportunity to take part in various events on the four floors of the Künstlerhaus:
1st floor and workshops on the ground floor:
6 pm – 1 am Hourly percussion performance by studio scholarship holder Eva Dörr in the sound studio.
6 pm – 1 am Open workshops (ceramics, screen printing, etching, lithography, relief printing)
2nd floor:
6 pm – 1 am Hourly video screening Never Settle: The Program by New Red Order in the exhibition Convenings on Land Reclamation by The Center of Native Arts and Cultures (Oregon, USA).
3rd floor:
6 pm – 1 am The studio holders Florian Glaubitz, Alba Frenzel, Lambert Mousseka, Mona Zeiler, Lennart Cleemann, Janis Eckhardt, Lena Meinhardt, Ekaterina Surgutanova and Elena Trutieva show artistic works and performances in the studios, the staircase and the common room of the studio floor.
4th floor:
8 pm and 10 pm Curatorial tours in German and English through the exhibition Masterworks on Loan, 2020, 2022 by Flint Jamison.
Tickets cost 22 €, concessions (trainees, students, pupils) 16 €, children up to 6 years have free admission.
Advance ticket sales for the Long Night of the Museums will take place from 24 February at
www.lange-nacht.de, under the ticket hotline 0711/601717 30 and at all advance booking offices in Stuttgart and the region.
Box office tickets are available at all participating houses. Pre-sale tickets will be converted into a ticket band at the box office the first time you visit a house.
The Long Night Ticket entitles you to free use of all trams, S-Bahns and buses in the VVS network from 12 noon.
More information at www.lange-nacht.de, the information and ticket hotline 0711/601717 30 and at the information stand on Schlossplatz between Landesmuseum/Altes Schloss and Alter Kanzlei (from 25.03., 3 pm).
Algorithm-based camera surveillance
Film screening and talk
with Martin Mannweiler
Documenting a video surveillance project by the Mannheim police – a pilot project introduced in 2017 to monitor public spaces. The monitored areas of Mannheim are considered criminal hotspots. Cameras are intended to defuse the situation by ensuring rapid police intervention when criminal acts are observed. Work is currently underway to enable algorithms to recognize specific movement patterns and signal possible criminal acts.
In addition to the analytical presentation of the surveillance project in Mannheim, the following topics will be addressed on a general level: criminal hotspots and threat situations, panoptical surveillance, private generation and public provision of image data, security and fear, global crises and the associated need to control the local. Likewise, other cities that rely on camera surveillance projects are exemplified – including Stuttgart.
By looking at the initial stages of camera surveillance projects, can considerations be formulated that will prevent or curb rampant mass surveillance of public spaces in European metropolises such as London or Paris in the future?
Film: Martin Mannweiler
Graphics: Mark Julien Hahn / Stereo Typefaces
Music: Björn Castillano
Film and talk in German language
Gefördert von
Stadtlücken, Stuttgart
Mofa – Mannheim´s Ort für Architektur
Kulturamt, Stadt Stuttgart
Ministerium für Wissenschaft, Forschung und Kunst Baden Württemberg
Danke für die Freundliche Unterstützung
ato.vision, Württembergischer Kunstverein, Kunsthalle Mannheim, Stadtzimmer der Kunsthalle Mannheim, Rimini Protokoll, Künstlerhaus Stuttgart
Saturday, March 4th 2023, 7pm
Kunstraum Atelierhaus Filderstraße 34 e.V., Filderstraße 34, 70180 Stuttgart
The second meeting on the topic “Kunstverein(e) der Zukunft” took place on December 4 at the Kunstverein Böblingen. With numerous guests and representatives of different Kunstvereine, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes, which have often developed over years and decades, must be questioned, further developed and possibly reinvented in order to be able to continue to do successful artistically committed association work in the future. The representatives of the various Kunstvereine reported on their own concrete experiences, problems and approaches to solutions. Based on the different perspectives and contexts, an open, multifaceted and fruitful discussion resulted for all participants. It also became clear that this was not the end of the discussion and that we would like to use this impulse to promote further exchange and networking between the art associations.
In doing so, we would like to take the opportunity to visit the various Kunstvereine and get to know them better: the host of our next meeting on March 4 at 7 pm will therefore be Kunstraum34 in Stuttgart. Invited to the meeting are Kunstverein Neuhausen, Kunstverein Böblingen, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.
The position of artistic director at Künstlerhaus Stuttgart is to be filled as of January 1st, 2024.
Künstlerhaus Stuttgart was founded in 1978 by artists to promote practical working conditions, theoretical engagement with art, and cross-disciplinary exchange among artists. By giving space to social and political demands while addressing the most current artistic practices and discourses, Künstlerhaus Stuttgart is today an institution of local and international significance.
Künstlerhaus Stuttgart houses exhibition spaces, workshops and seven artists’ studios with changing fellows. We are looking for a director who will build on this structure to develop an artistic program that brings local communities and international agents into exchange.
As a Verein, we have a strong interest in alternative models of presenting and communicating art, as well as experimental formats.
Within the structure of the Künstlerhaus, the artistic director is responsible for
– the independent development and implementation of an artistic program
– the logistical and budgetary preparation and realization of the developed program, as well as related events
– project financing and the associated acquisition of third-party funding
– the conception of the education program within the framework of the Artistic program for which the artistic director is responsible
– the documentation of the projects, as well as the conception and realization of publications, if applicable
– press and public relations work
What the position requires
– very good knowledge of contemporary cultural production
initiative and a high degree of personal responsibility in combination with a strong ability to work in a team
– strong communication and organizational skills
– full professional proficiency in German and/or English
– proven experience in project financing and cultivating third-party funding
– experience in public speaking and excellent verbal communication skills with members, visitors, colleagues, and staff as well as the press and politicians
– willingness to make Stuttgart your main place of residence for the duration of your tenure
At Künstlerhaus Stuttgart, the Artistic Director works closely with a dedicated team consisting of a full-time managing director, an accountant, a technical manager, and volunteer members on the board, advisory board, and workshops.
The appointment of the Artistic Director is for three years with the option of a one-year extension. The Artistic Director is offered an assistant to the extent of half a position.
If necessary, Künstlerhaus offers help in finding an accommodation and supports a German language course.
Please send us your application (cover letter, curriculum vitae without photo and an overview of your previous work qualifying you for the artistic direction) as well as a forward-looking concept for the artistic direction (max. 1 Din A4 page) as one PDF-file (max. 10 MB) only by Email no later than May 1, 2023 to:
Ania Corcilius, Chairwoman of the Board
Künstlerhaus Stuttgart e.V.
Reuchlinstraße 4b, 70178 Stuttgart
Email: bewerbung@kuenstlerhaus.de
Applications from teams or groups will also be accepted. All applications will be treated confidentially.
Together with Künstlerhaus Stuttgart, the Center for Native Arts and Cultures (Portland, USA) is organizing a two-day open working group to review the land reclamation process that led to its founding. These working groups will be accompanied by a reader, a new video work titled “Never Settle: The Program” by New Red Order, performances by Tiokasin Ghosthorse and Allison Akootchook Warden, a collection of documents, and by a program organized by educators from Künstlerhaus Stuttgart.
Detailed information about the project can be found here.
Please register for the educational program by sending an e-mail to education@kuenstlerhaus.de.
All workshops are free of charge.
Journal Workshop for Teenagers
with Thora Gerstner
February 26 (3-5 p.m.)
Where do we collect memories? In a bookbinding class, we will make our own sketchbooks, calendars, or blanks for journal entries, drawings, collages, or notes to create a gathering place for memories. Historical bookbinding techniques will form the basis for independent production. The cover can be designed with worn-out clothing brought along.
Jewelry Workshop for Children
with Thora Gerstner
March 2 (2-4 p.m.)
Jewelry can hold memories. We will combine found and brought materials and assemble them into a variety of unique jewelry pieces to find new and old, real or made-up memories in our jewelry.
BPoC Creative Empowerment Workshop
with Yara Richter
March 4 (3-6pm)
Developing and providing an ongoing space for the work of the BPoC community will be consistently pursued in this workshop. In the context of an educational, research, and discursive space focused on decolonial practices, cultivating and growing a BPoC community over time is really important and represents a specific approach to what a public education program can do.
Weaving with Paper: Rethinking History and Space
with Lejla Dendic
March 5 (3-4:30 p.m.)
In this workshop we will learn together how to weave with paper. We will gain a better understanding of this world and its interconnectedness with us humans through the physical process of weaving. Using Masao Adachi’s landscape theory fúkeiron, we will try to identify and analyze global and communal structures and spaces together and process them through weaving. Weaving serves to overcome the blockages of seemingly broken connections and to connect people and visions of a world that works for all.
Working with Clay: Rethinking the Collective Self
with Lejla Dendic
March 11 (2pm-3:30pm)
Together we creatively explore the possibilities and symbolism of clay. What does identity, culture and violence mean? Clay symbolically represents ideas of renewal, as it can be endlessly reshaped in its raw state by controlling moisture content. The material thus holds infinite possibilities and the ability to start over again and again. We focus on what it means to create and foster a shared understanding of our impact in this world and what could be.
Udu Making with Ceramics
with Ludgi Porto
March 17-19 (2pm-6pm each day)
As part of the workshop, participants* will be invited to make their own Udu. The Udu is a Nigerian ceramic drum that came to Brazil in the Afro-diaspora. In the Nigerian context, the ceramic drum is traditionally made and played by women, and the voice of the udu is considered the voice of the ancestors. In the Brazilian context, however, the instrument has detached itself from its spiritual origins and found its place in Brazilian popular music. Together we reflect on different questions: What does it mean to produce in the European context an instrument of Nigerian origin that was kidnapped to America in the course of colonization? What am I really doing when I make this instrument? Is this instrument a body? How do I relate to it? Where and how can this body exist? In the decolonial process, what would be the process of restitution? Does this restitution take place on the cultural level? To what extent is restitution possible?
Basic knowledge of ceramics is desirable. The workshop will be held in English language.
Artist Talk
with Ludgi Porto
March 18 (3:30pm)
As part of the workshop program Ludgi Porto will hold an artist talk about her research with the Udu drums. She will briefly talk about the origins of the instrument, including its kidnapping and the kidnapping of its peoples; describe the complex social and racial context involved in her relation with the Udus, while sharing her own discovery as a person of color beyond the South American limits. Along with these topics she will present texts’ excerpts, drawings, paintings and documentations of the developed work throughout the research.
The artist talk will be held in English language.
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg
We invite you to an evening with wax, candles and light
Shallow flames and the thermals of architecture
Fine movements
Flickering
Hissing
Steam and smoke
Soot
Tea
Soup, warm
Wax wanders
Performative objects
The event starts at 6 p.m.
on the studio floor (3rd floor) of the Künstlerhaus Stuttgart
About the project series Sleep over
In the ongoing project series Sleep over, Lennart Cleemann invites artists*, designers* and architects to explore settling in, playing, exhibiting and sleeping together. Every three months a pop-up event takes place. New ideas and works emerge from the coming together of different artistic positions. What are we interested in? What do we want to explore together? There is no set goal or theme, but the search for an open, fluid process in togetherness is the focus. The studio floor of the Künstlerhaus Stuttgart serves as the location for this. There you will find Cleemann’s studio and a 150 sqm large common room, which will be shared by the fellows.
Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures, and to envision how from this process the Center will advance a commitment to mobilizing networks of Indigenous artists, culture bearers, and Native-led arts organizations. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.
The Center for Native Arts and Cultures was founded in 2021 as the headquarters of the non-profit Native Arts and Cultures Foundation after taking up the transfer of ownership of the historically registered Yale Union Laundry Building, a two-story commercial structure and surrounding land parcel, in the city of Portland, Oregon, which was previously owned by an artist-run space called Yale Union. This working group serves as a contribution to a larger series of internal focus groups currently being convened by the Center for Native Arts and Cultures to gather input on its organizational capacity and structural conditions as it situates operations, exhibitions, and educational programs in the newly acquired building. While acknowledging the land that this particular building sits on, working responsibly in various local level contexts to reflect the history of previous Native tribes and peoples who inhabited the land for the purposes of use rather than ownership has always been crucial to the Native Arts and Cultures Foundation. Additionally, efforts around the transfer of Yale Union to the Native Arts and Cultures Foundation reflect a broader movement to address ongoing historical inequities stemming from land ownership and property in the US and beyond.
This inter-institutional collaborative project is consistent with the ethos of the Künstlerhaus Stuttgart, which was founded by artists in 1978 as a place where producers from around the world convene to discuss their conditions of artistic production. Its foundational structure situates artistic interests and institutional capacity as closely interrelated. The Künstlerhaus Stuttgart seeks to engage in knowledge sharing with respect to the Center for Native Arts and Cultures’ specific interests in Indigenous approaches to artistic production, organizational capacity, and governance arrangements, as well as decolonial education that includes learning in water rights, reparations, and land use justice. Germany is yet another site from which these discussions must necessarily take place. There is little question that current German land law has been shaped through German colonial empire and its patrician city-state colonial encounters in the global context. Germany has a long complex history of implementing laws to seize property and assert land ownership. This confiscatory history of legal-economic structures ratified by Germany and the broader European colonial venture has fundamentally altered the management of land and related resources globally. And it must be recognized how these fundamental changes extend to the lived social relations, economic conditions, and cultural practices imbricated with Indigenous and existing forms of land use. This project focuses on a specific set of lived questions and material challenges that the Native Arts and Cultures Foundation and its Center for Native Arts and Cultures is confronting, but which are also part of the research, education, and outreach efforts today that emphasize rebuilding, restitution, and reparations efforts of Indigenous peoples worldwide as they seek to strengthen internal governance capacities and realize political, economic, and community development objectives.
Contributors include: Maile Andrade, Natalie Diaz, Healoha Johnston, Tiokasin Ghosthorse, Joy Harjo, Flint Jamison, Brandy Nālani McDougall, New Red Order, and Allison Akootchook Warden. With representatives from the Center for Native Arts and Cultures: Lulani Arquette, Reuben Tomás Roqueñi, and Gabriella Tagliacozzo.
The working group and accompanying reader are organized and edited by Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum, with Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart.
Never Settle: The Program by New Red Order, on view:
February 17 – April 2, 2023
Document collection on view:
February 17 – April 2, 2023
KHS Educators programs:
Thora Gerstner: February 26 (3pm – 5pm) and March 2 (2pm –4pm)
Yara Richter: March 4 (3pm – 6pm)
Lejla Dendic: March 5 (3 – 4:30pm) and March 11 (2pm – 3:30pm)
Ludgi Porto: March 17, 18, and 19 (2pm – 6pm)
Detailed information about each of the programs by the Educators may be found on the Künstlerhaus Stuttgart website.
Working Group Reader Launch and Performance by Tiokasin Ghosthorse: March 31, 7pm
Working Group Session 1: April 1, 1pm – 4pm
Working Group Session 2: April 2, 1pm – 4pm
Performance by Allison Akootchook Warden: April 2, 5pm
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg
At the 20th Tuesday Workshop, ak interspace will present the booklet series “Hefte zur Haltung” in the form of a lecture performance.
The booklet series deals with a critical practice of artistic-social making and asks for an attitude between doing and not doing, between theory and practice, between us and me.
The booklets bundle memes, texts, questions, tasks, images and quotes. Playfully and fragmentarily – without providing answers – they give impulses for working on one’s own conditions, which are often challenging in the context of mediation and beyond. The booklets are not intended to be a best practice example of mediation, instruction or a collection of methods, but rather to facilitate a little playful searching.
Afterwards, there will be room for discussion with the visitors about the form and content of the booklets. The booklets will be for sale for a donation.
As ak interspace, Miriam Trostorf, Christian Limber and Lara Dade are part of the rampe:aktion group.
The group works together on a mediation practice that transcends disciplines and is located at the intersections of visual art, social work, film, art education, activism and curating.
As part of the one-year Fellowship for Art Mediation 2021/22 of the Städtische Galerie Wolfsburg, the booklet series “Hefte zur Haltung” was created.
Website: https://rampecollective.org/
Instagram: rampe_aktion
Contact: mail@rampecollective.org
Midissage Sunday, 05 February 4 pm
in the Restaurant Im Künstlerhaus
In the Restaurant Im Künstlerhaus we show works by seven artists who dedicate themselves to the medium of photography, some of which were created in the darkroom of the Künstlerhaus.
The artists present a wide variety of photographic techniques such as cyanotype, digital prints or black and white hand prints, thus demonstrating not only the diversity of photography but also the diversity of artistic positions.
For the exhibitions in the restaurant, the workshop directors of the ten Künstlerhaus workshops invite members to present their work together in a group exhibition. In 2022, this series started with an exhibition of the screen printing workshop with workshop director Jochen Detscher.
We invite you to sparkling wine and coffee & cake. The artists will be present.
In the first Fourth Organ of 2023, we will dedicate ourselves to the call for proposals for the next Artistic Director and its selection process. All members are invited to discuss this on Saturday, February 04, 2023 7pm.
Tuesday Workshop XIX presents: Andrés Baron
December 13 2022, 7pm
Two persons watching a sunset, a woman sleeping at night, the ending of a song: Andrés Baron dislocates and transfers actions in short 5 to 10-minute films. Then, he frees the moving images from the duty to narrate and make sense: attending to the tactility of the image, the plays of perception, and the evocative force of sound. Along the way, the viewers are transported into mistaking the object for its representation, or stillness for movement. (Jade Barget)
Andrés Baron is born in Bogotá, Colombia and lives and works in Paris. Graduated from l’École nationale supérieure des Arts Décoratifs in Paris, his work has been presented in various places and exhibitions, including the International Film Festival Rotterdam (NL), la Fondation d’enterprise Hermès (FR) the Edinburgh International Film Festival Edinburgh (UK), Anthology Films Archives, New York (USA), LA Film Forum, Los Angeles (USA), Images Festival, Toronto (CA), EMAF, Osnabrück (DE), Le Bal, Paris (FR), La Cité des Arts in Paris (FR), the FRAC Franche-Comté (FR), among others.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Künstlerhaus Stuttgart is offering 7 studio residencies for a period of 12 months, starting May 1st 2023. Each individual studio is approx. 25 sqm. A large recreation room is accessible for all recipients. Additionally, stipendiaries have free access to all technical facilities of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.
It is possible to extend the studio grant through applying for another year. This option can be used not more than twice, so a maximum period of three years is possible.
Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.
Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome.
Application
Please include with your application the following documents:
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CV
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documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
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a written description how you want to use your studio at Künstlerhaus Stuttgart (max. 2 pages)
Please send us your application via email, please send pdf files only, latest by January 31st 2023:
Contact Person: Romy Range
Email: bewerbung@kuenstlerhaus.de
Subject line: Studio application
The jury, which consists of members of the artistic board, will meet in February and all applicants will be informed about the decisions as soon as possible.
Please note that the studio program does not include accommodation or any kind of financial aid. International applications are welcome provided that applicants see to their accommodation and visa themselves. The residency has to be in Stuttgart within the year.
Künstlerhaus Stuttgart congratulates Bernhard Herbordt and Melanie Mohren on being awarded the theatre prize DER FAUST in the category Genrespringer.
The jury explained their selection: “With their ‘Schaudepot’, Herbordt/Mohren have created a place that points beyond itself and has an impact. On the one hand, it is a small shop with open doors on the outskirts of Stuttgart; lovingly and very elaborately thought out down to the last detail. But above all, it is also a construction kit, a principle, an invitation, a thought that is taken out to the villages and the World Wide Web, that can be applied and, as if in passing, raises the question of the social significance of theatre. It is a very serious – with emphasis and great consistency – research. On-going and in the very best sense: transdisciplinary!”
Bernhard Herbordt and Melanie Mohren were studio fellows at Künstlerhaus Stuttgart in 2012. Schaudepot can be found online at https://www.das-schaudepot.org/ and is located at Altenbergstraße 10 in Stuttgart-Süd.
DER FAUST has been awarded as a national theatre prize since 2006 and is sponsored by Deutscher Bühnenverein, Kulturstiftung der Länder, Deutsche Akademie der Darstellenden Künste and this year the state of North Rhine-Westphalia (source: Wikipedia).
The event will take place at Kunstverein Böblingen, Schloßberg 11, 71032 Böblingen.
Our first meeting on the topic of “Art Association(s) of the Future” took place on 4 October at the Künstlerhaus Stuttgart. With numerous guests and representatives of various art associations, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes that have often developed over years and decades need to be questioned, further developed and possibly reinvented in order to be able to continue to do successful, artistically committed association work in the future. The representatives of the various art associations reported on their own concrete experiences, problems and approaches to solutions. The different perspectives and contexts resulted in an open, diverse and fruitful discussion for all participants. It also became clear that this was not the end of the story and that we would like to use this initial impulse to promote further exchange and networking between the art associations.
In doing so, we would like to take the opportunity to visit the various art associations and get to know them better: the host of our next meeting on 4 December at 7 pm will therefore be Kunstverein Böblingen. Invited to the meeting are Kunstverein Neuhausen, Kunstraum34, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.
On Friday 25 and Saturday 26 November, das Bündnis invites you to a two-day event with workshops at Künstlerhaus Stuttgart. After months of online meetings, it is time to meet, encounter and, above all, exchange analogue and in presence.
The two days are meant to be used for a reunion with long-time members as well as for getting to know new members.
Friday, 25 November, 5 pm
“Diversity Development” with Markues Aviv from the BBK Berlin
On Friday 25.11.2022 at 5 pm Markues Aviv will report on the activities of the BBK Berlin in recent years. Markues Aviv is a board member of the professional association, which pursues the structural promotion of all visual artists. In addition, the BKK is active in cultural policy and advocates for open and permeable art businesses. It is precisely the diversity developments of organisations that Markues Aviv will focus on in his workshop: What are the basic figures and strategies for diversity development in cultural associations? And what transfer can the alliance draw from the experiences of the BKK for their future work? This is to be found out in a joint discussion.
Afterwards, the room will remain open for lingering. Drinks and small snacks invite us to enter into conversation and to continue networking.
Saturday, 26 November, 3 pm
“Abuse of power and the independent scene in Baden-Württemberg” with Paula Kohlmann and Frederik Zeugke.
Cooperation with FTTS, PZ and Theater Rampe
On Saturday 26.11.2022 at 3 pm we will deal with questions on how to deal with discrimination, assaults or abuse of power with Paula Kohlmann and Frederik Zeugke as a cooperation with FTTS, PZ and Theater Rampe. Even the art scene in Baden-Württemberg is not free of these issues. It is seldom spoken about, and consequences follow even more rarely. This should change! As artists and employees of institutions, we have recently been coming together to gather knowledge, to exchange ideas internally and to talk to the administration and politicians in order to develop strategies and measures. A change in thinking and acting is needed. On an individual, institutional and political level. Abuse of power is not an individual problem, but a structural one. In this workshop, we will gather different perspectives of those involved, discuss current priorities, focus on necessary goals, prepare very concrete next steps for action.
Doors open on Saturday at 2:30 pm, the workshop will start promptly at 3 pm.
For both workshops, please register by email to praesenz@dasbuendnis.net.
Bridge, football, fox, ping-pong table, handkerchief, numbers, pole, clock, butterfly, LOOK.
These are keywords from the series that have been created over the last 18 years. They are connected in the background one by one. But how and why?
In this event he will present how he developed his artistic approach in Chigasaki, Leipzig, Zurich, Rome, Tokyo and London in the period from 2004 to now.
Hayahisa Tomiyasu (1982, Kanagawa, Japan) studied photography at Tokyo Polytechnic University (BA) and at the Hochschule für Grafik und Buchkunst / Academy of Visual Arts Leipzig (Dipl. and MA). He taught at the Zurich University of the Arts (ZHdK) in the Department of Fine Arts in the Bachelor’s program. In 2018, he won the MACK First Book Award with his work TTP. This series is part of the Art Collection Deutsche Börse Photography Foundation.
Flint Jamison’s exhibition at the Künstlerhaus Stuttgart investigates a tax-incentivized art loan program called “Masterworks on Loan,” which was established in 2015 at the Jordan Schnitzer Museum of Art (JSMA), a collecting museum on the campus of the public state University of Oregon, in Eugene, USA. Jamison’s exhibition of newly commissioned work presents a damaging account of this museum loan program during the onset of the COVID-19 pandemic. Ultimately, Jamison reconsiders to what extent the JSMA settles the terms that define the museum’s obligation to serve a public who supports the institution through tax deductions, and for whose benefit it exists as a charitable organization. This reconsideration extends from the seemingly small and localized case of the JSMA, to the broader role art sector institutions have in conceptualizing, legitimizing, and implementing tax laws that facilitate divestment of public interests through extraction and exploitation.
Jamison’s exhibition at the Künstlerhaus Stuttgart builds on his previous work exposing the lived politics of tax law, and it draws from a broad spectrum of literature relied upon by journalists investigating tax law and by critical tax theorists. Critical tax theory is a field of groundbreaking legal scholarship that examines the political and discriminatory aspects of tax law. It is an intellectual discipline that seeks to recognize how deeply consequential tax law is in managing property ownership, vast income inequalities, disproportionate exemptions, inherited advantages, disincentives, and indebtedness. Challenging historical claims that tax law is neutral or unbiased, critical tax theory intersects with other fields studying the ongoing impact of tax laws that have been ratified in the service of colonialism, class oppression, and racial-economic subordination. Significantly, critical tax theory has also long insisted that a complete study of the political dynamics of tax law would require an understanding of specific cultural contexts in which the tax laws operate.
Tax laws increasingly determine the operative structure of art institutions. The expansion of arts patronage globally is inextricably bound to the preferential tax laws that wealthy individuals, foundations, and corporations aggressively lobby for at the city, regional, and federal level. Consequently, the art sector has become dedicated to inventing and upholding legal-economic structures that reduce tax liability for high-net-worth individuals. This legal-economic bias mobilized through art is evidenced today by artworks as tax-exempt assets, art philanthropy as system of tax avoidance, and art workers as a freelance labor force that shifts the tax burden away from employers and onto the worker. Of course, it must be recognized that tax-avoidance laws are not solely distant legal permissions advocated for by the wealthy—these are laws that the broader art field routinely promotes as beneficial to artists, art institutions, art audiences, and the public at large.
Künstlerhaus educators engage visitors in conversation about the exhibition: Wed–Sun 12–6pm
Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in English): November 20, 2022 (3pm)
Juliane Gebhardt, assistant curator of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in German): December 11, 2022 (3pm)
This exhibition has been realized with public funding from the city of Stuttgart and was also supported with a donation by Galerie Max Mayer.
Tuesday Workshop XVIII presents: Lis Klein
November 8th 2022, 7pm
The basis for her work is the preoccupation with found material, which either originates from already existing collections or for which her own archival structures and documentary means are developed. Starting from this, she integrates and transfers objects into her own expression to create works.
The current pivot of her work is her engagement with nature, primarily with the world of insects, plants and fungi. Lis Klein gives insights into her collections, working methods and shows works in different stages.
Lis Klein studied fine arts at the State Academy of Fine Arts Stuttgart. She lives and works in Stuttgart.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
For the exhibition “The Hunt” Moritz Berg and Lennart Cleemann went stalking in the Kräherwald. An approach of two artists and their practice with nature. Close to earth, approaching the supposedly dead. From spring to autumn. The conduct becomes hunting, thoughtfully, outside the usual sense of time. The ritual constitutes the change. The trophy perpetuates decay and consolidates our time.
Tuesday Workshop XVII presents:
Judith Engel, Katharina Jabs and Ann-Kathrin Müller: The view has been hazy for days. 35‘ 14‘‘
The film circles around the scene of a seismological station and negotiates which traces and cracks can be found in our thinking along the history of earthquakes. Starting from the physical uncertainty principle, the film examines the obsession of sharply viewing the world without distortion, and how that relates to the history of science and culture. The filmic montage of analogue photographs and essayistic text fragments creates a never-ending reel of still images that transports the film along its narrative. In this way, an associative access to reality is formulated that cannot rely on a certain that-has-been but recognises uncertainty and blurriness itself as conditions of experience and thus questions a principle of photographic and cinematic evidence.
The film accompanies the book „Das Signal“, published by Edition Taube in 2022.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
This year, Künstlerhaus Stuttgart has awarded two working grants to Ukrainian artists who fled the war and are now based in Stuttgart and the surrounding area: Ekaterina Surgutanova and Elena Trutieva.
Both artists will be provided with a workspace on the studio floor until further notice. They also receive a monthly financial allowance to enable their artistic practice.
Ekaterina Surgutanova
Ekaterina Surgutanova was born in Ukraine in 1995 and lived in Slavutich, Kiev and Lviv. From 2010 to 2012 she studied at the School of Culture and Art in Slavutich at the Faculty of Fine Arts.
2012 to 2018 Surhutanova studied at the National University of Civil Engineering and Architecture in Kiev, specialising in urban planning and architecture and landscape architecture.
She worked as an architect. However, she started painting murals indoors and outdoors. The focus of her work is on detailing objects, emphasising shapes and playing with colours so that the painting becomes one with the environment it is in, using acrylic paint.
In her paintings she explores the transformation of authentic images through colour and varied composition, while retaining the graphic strokes of academic drawing.
In her latest series, the artist tries to capture the emotional context of a nation confronted with the problem of the expulsion of people from their country through the prism of their individual feelings and experiences. She uses the example of the Ukrainian nation to which she herself belongs. In doing so, she touches on themes such as self-identity in society, personal and collective memory, experience and reflection.
For her works, the artist uses photographs of real people or her memory of people she met on the street when she and her child had to seek safety.
Elena Trutieva
Elena Trutieva was born in Odessa, Ukraine in 1980.
From 1998 to 2002 she studied at the M. B. Grekov School of Art at the Ukrainian National Technical University in Odessa. She graduated with distinction.
From 2002 to 2008 she studied at the NAOMA National Academy of Fine Arts and Architecture, specialising in graphic design. From 2007 to 2022 she worked as an interior designer, designing private and public interiors.
From 2015 to 2017 she worked in Kalamata, Greece, designing cafés, hotels and restaurants.
In the interiors she always tried to use painting, painting walls and ceilings and finding interesting artistic solutions.
When she moved to Greece in 2015, she started painting on sea stones, which has become a very important artistic work.
She is currently working on a series of works that deal with her memories of the war. She spent 15 days with her family in occupation by Russian troops near Gostomel. On social media, she detailed what they experienced during this time and shared her story with the world. This story quickly spread worldwide and is now on display at the Austrian Historical Museum in Vienna. She started with three paintings – a portrait of her mother, one of her friend and a self-portrait. She now wants to draw all the people who were with her these 15 days and who were involved in her rescue. For her, they are not simple portraits, but shots of events with emotions frozen in people’s faces. In these works, she wants to show what they have endured and survived, and the special role of each person in that terrible time.
Two finished portraits show the women who helped her in Germany when she had just arrived.
The monthly financial support is possible thanks to the generosity of private donors.
For our 16th Tuesday Workshop we invite Lennart Cleemann.
Tuesday, September 13, 2022, 7 p.m.
The event will take place on the third floor, in the studio of the artist.
“In einem Raum werde ich reden
mein Atelier
meine Arbeit
in Enge
umgeben von Charakteren
physisch manifestierte Momente
forcierte materielle Intimität
unausweichlicher Terror
existentielle reelle
subjektiv die Brust
ein bisschen Ruhe
ein bisschen Lust”
Lennart Cleemann (*1990) studied architecture (Hanover, Aarhus, Basel and Stuttgart). At the ABK Stuttgart he was part of Reto Boller’s art class and thus found his way into artistic practice.
At the Künstlerhaus he explores ideas and notions of “home”. He works with space and material. Through the construction and abstraction of rooms, furniture and playground equipment, he explores his environment and attempts to gain an understanding of its processes. In this process, the studio has become a place of necessity. It becomes a physical arena of the interior, absorbing whimsy, dust and sweat. The daily change of this intimate space and its observation serves the exploration of the self.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Sonntag, 4. September 2022, 14 bis 18 Uhr
im Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart, 4. Stock
Seit Jahren verliert die Berichterstattung über Kultur (Feuilleton), sowohl örtlich wie auch darüber hinaus gehend, merkbar an Bedeutung und Qualität in den Lokalblättern Stuttgarts – Stuttgarter Zeitung und Stuttgarter Nachrichten. Nicht zuletzt der massive Personalabbau in den Redaktionen beider Zeitungen hat dies bewirkt.
Es zeigt sich, dass der Umfang des täglichen Feuilletons in der Regel zwei Seiten umfasst, deren Beiträge zum größten Teil Agenturmeldungen mit keinem örtlichen Bezug sind. Durch diese Einschränkungen erlangen besonders örtliche, durch Tagesaktualität bestimmte Anliegen in der täglichen Kultur-Berichterstattung in Stuttgart nachrangige bis minimale Bedeutung; dazu gehören Kritiken, Reportagen, Ankündigungen von Ereignissen, Personalien … Das monatlich erscheinende Buch „Kulturreport Stuttgart“ vermag das beschriebene Defizit nur begrenzt aufzufangen. So verbleibt den im Kulturbereich Tätigen keine redaktionell ernstzunehmende, mediale Plattform mehr.
Vor diesem Hintergrund lädt die Basisinitiative des Künstlerhauses, das „Vierte Organ“, zu einer öffentlichen Diskussionsveranstaltung ein. Wir fragen:
• Wie kann kritische Kulturberichterstattung im lokalen Kontext aussehen?
• Was sind aktuell die wichtigsten Themen in der lokalen Kunst und Kulturpolitik?
• Wie erreicht man diverse Öffentlichkeiten?
• Was erwarten Künstler*innen, Kritiker*innen, Kulturinstitutionen und -verwaltung von Kulturberichterstattung und -kritik?
• Welche Formate wünschen wir uns?
• Wie lässt sich unabhängige Kulturberichterstattung finanzieren?
Lokale Pressevertreter*innen, Kunstkritiker*innen, Künstler*innen und freie Journalist*innen werden ihre Perspektiven darstellen und in einer moderierten Diskussion mit den Besucher*innen des Symposions ins Gespräch kommen.
Referent*innen sind:
• Adrienne Braun, freie Journalistin und Autorin, u.a. Stuttgarter Zeitung, Stuttgarter Nachrichten, Süddeutsche Zeitung, Themenschwerpunkt Kunst und Theater;
• Dr. Dietrich Heißenbüttel, Kunsthistoriker, freier Journalist und Autor, Kontext Wochenzeitung, Themen: Kunst, Architektur und Stadtplanung;
• Alexa Dobelmann, Mitbegründerin von Frame[Less], digitales Magazin für Kunst in Theorie und Praxis;
• Judith Engel, freie Kulturjournalistin und Autorin, Dozentin für Kulturtheorie an der Merz-Akademie Hochschule für Gestaltung Kunst und Medien Stuttgart
Anschließend möchten wir in Workshops konkrete Maßnahmen erarbeiten, mit denen wir dem diagnostizierten Mangel begegnen können.
Das Ziel ist es, eine neue Plattform für Kritik & Kulturjournalismus zu schaffen, wofür wir Mitstreiter*innen und Unterstützer*innen suchen, die durch ihr Wissen und ihre Expertise bei diesem Projekt helfen können. Wir laden Sie deshalb auch ein, um gemeinsam über die Anforderungen und die daraus resultierende Struktur dieses neuen Formates nachzudenken.
Für die Teilnahme an dem Symposium bitten wir um Anmeldung unter info@kuenstlerhaus.de
After two years of forced break due to corona, an exhibition will take place again this year in Stuttgart’s city hall. For this, the Künstlerhaus invited its artist members via Open Call to participate and submit works on this year’s theme of the exhibition “Island”.
21 artists have been selected and will again provide an insight into their current work in the 6th edition of the city hall exhibition. The artists not only draw on different media, but also approach the theme of the exhibition in different ways in terms of content and concept.
The cross-generational group exhibition once again impressively demonstrates the role of Künstlerhaus Stuttgart as a place of exchange as well as artistic production, and it also represents the cross-section of Stuttgart’s artistic diversity.
Mit freundlicher Unterstützung der Landeshauptstadt Stuttgart
Zu unserer 15. Dienstags-Werkstatt laden wir Christian Diaz Orejarena ein.
Dienstag, 14. Juni 2022, 19 Uhr
Die Veranstaltung wird im 3. Stock im Künstlerhaus stattfinden.
Ein Comic, der sich mit der deutschen Kolonialgeschichte in Kolumbien beschäftigt. Im Rahmen eines Stipendiums bewegt sich Christian Diaz Orejarena auf den sogenannten »Lengerke Wegen« im Nordosten Kolumbiens, die von einem deutschen Unternehmer im 19. Jahrhundert angelegt wurden. Dort stößt er auf Heldengeschichten über skrupellose Kaufleute, Mythen und Geschichten rund um Ausbeutung und Größenwahn und wirtschaftliche Mechanismen, die sich bis heute fortsetzen. Auf verschlungenen Pfaden, Wegen und Gedanken folgen wir der Familiengeschichte des Autors, treffen auf aufklärerische Karnevalsmasken, den zum Leben erwachten Walking Man aus München und indigene Widerständler:innen.
Experimentell, lustig und abgedreht nähert sich Christian Diaz Orejarena in Otras Rayas – Andere Linien einem Thema an, das im deutschsprachigen Raum noch nicht viel Beachtung erfahren hat und das, obwohl es sehr enge Verbindungen nicht nur zwischen Kolumbien und Kaufleuten aus den hiesigen Hansestädten gab.
Infos zum Buch OTRAS RAYAS – ANDERE LINIEN https://christiandiaz.net/otraraya/index.html
https://thegoldenpress.org/produkt/otras-rayas%E2%80%89-%E2%80%89andere-linien/
Teaser der Performance: https://vimeo.com/662773781?embedded=true&source=vimeo_logo&owner=497281
Christian Diaz Orejarena,
in München geboren und aufgewachsen, studierte in Berlin und Wien Konzept- und Medienkunst. Er arbeitet an recherchebasierten und interdisziplinären Projekten, die oft in kollektivem Zusammenhang entstehen. In seiner künstlerischen Arbeit erzählt er selbstironische und persönliche Geschichten über seine postmigrantische Biografie und konstruiert darüber einen dokufiktiven Blick auf sozio-politische, ökonomische und ästhetische Verbindungen zwischen Kolumbien und Deutschland. Den eigenen Wahnsinn vor Augen, hält er durch seine künstlerische Praxis der Gesellschaft den Spiegel vor die Nase und baut Zeichnungen, Videos und Aktionen ins Leben zurück, die von unangepassten Dingen, widerständigen Menschen und antikolonialen Traumwesen berichten. Seit er mit dem Kollektiv rampe:aktion zusammen arbeitet, motiviert er auch andere sich mittels Zeichnung, Film und Poesie eine undisziplinierte Welt zu erkämpfen.
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Dienstags-Werkstatt
Mit der Dienstags-Werkstatt lädt das Künstlerhaus Künstler:innen oder Kollektive ein, über ihre Arbeitsweisen, Hintergründe und Vorgehensweisen zu sprechen. Wir wollen eine Plattform etablieren, in der sich intensiver zur künstlerischen Praxis ausgetauscht wird und uns so vernetzen, solidarisieren und gegenseitig stärken.
Die Reihe richtet sich an alle Mitglieder des Künstlerhaus Stuttgart, an Künstler:innen aus Stuttgart und Umgebung, oder auf der Durchreise, an alle Kunstvermittler:innen, Kurator:innen, Kulturschaffende usw. und ist offen für alle!
On Saturday, June 4 at 7 p.m., the next session of the Fourth Organ will be held at the current exhibition “It has nothing to do with happiness” by Anike Joyce Sadiq.
It is also possible to participate via Zoom at the following link:
https://us02web.zoom.us/j/82690585857?pwd=MHJxUmo2UE5BcUNnYzFRL2VBSFdXZz09
Meeting ID: 826 9058 5857
ID code: 236881
We want to deal with two topics at this meeting:
– on the one hand with the survey from Anike Joyce Sadiq, which she sent out to all members at the end of last week
– secondly, we want to discuss possible formats & events that can take place during the exhibition
Die Stuttgarter Künstler:innen Kerstin Schaefer und Christa Munkert – die als FUKS Freie Unabhängige Künstlerinnen Stuttgart seit 2010 kollaborative und partzipative Installationen und Aktionen im öffentlichen Raum durchführen in unterschiedlichsten Konstellationen mit Künstlerkolleg:innen und Publikum – an Kunstorten oder in neuen, aufregenden Spaces…sind am Sonntag, dem 22. Mai 2022 von 11-16:00 Uhr im KÜNSTLERHAUS STUTTGART zu Gast.
Im Rahmen des inklusiven Kulturfestivals „FUNKELN inklusive“ realisieren Sie gemeinsam mit dem Stuttgarter Künstler Kurt Grunow und den Gästen Ihre Malerei-Lichtskulptur 1000 X LEUCHTEN/ TAUSENDSCHÖN. Dabei werden auf durchsichtigen Materialien Bilder gemalt, welche zu einer transluzenten Rauminstallation zusammengefügt werden.
Mehr Infos unter www.fuksweb.blogspot.com
Es entsteht ein kleiner Film ab 14 Uhr.
The work of Anike Joyce Sadiq consistently reconsiders the extent to which social dynamics, intersectionality, and perspectives of difference are negotiated within institutional structures. Sadiq’s exhibition projects often produce scenographic spaces with installation works that activate a social-situational awareness of the immediate institutional context. The artist creates mechanisms and platforms for attentiveness to one’s social surroundings, including the people, their interactions, and their behaviors. Sadiq is interested in how interactive, divergent, and converging lived relations specifically play out within sites of artistic production and reception. The scenographic spaces that Sadiq produces contend with fundamental challenges to social connectivity, recognizing for instance that disclosure and exchange are pursued within art institutional structures that too frequently undermine these pursuits. Informing the planning, construction, and use of these spaces Sadiq creates within institutions, the artist at times takes an active mediating role in communications with representatives of the hosting institution and invited collaborators. Sadiq works as an interlocutor, seeking out other interlocutors and inviting in allies, in order to examine dependencies, reciprocities, differences, and hierarchies within the institutions where the artist works. Taking on this high-risk role of internal mediation in producing her exhibition projects, Sadiq employs a position of critical ambivalence that recognizes how institutions intended to be places of public-facing accessibility and facilitation almost always operate internally by deferral and obstruction.
Anike Joyce Sadiq’s first major monographic exhibition in Stuttgart, Mit Glück hat es nichts zu tun, presents newly produced work that carries forward the artist’s investigations into complex social dynamics through mediated spaces that center perceptions of difference. Sadiq’s exhibition at the Künstlerhaus Stuttgart comprises multiple interrelated pieces situated within a large-scale installation. Sadiq wrote a questionnaire addressed to all association members of the Künstlerhaus Stuttgart.[1] The questionnaire itself and the responses to this multiple-choice survey are presented in the exhibition gallery. Additionally, beyond the artist’s exhibition in Stuttgart, the survey and database of survey results will be maintained indefinitely as an openly accessible online platform, with Sadiq distributing the survey to art institutions globally while updating language and other accessibility features to the website as the platform is more widely distributed. While the survey reflects on the status quo and demographics—the racially- specific, gender-specific, class-specific relations—that currently constitute the Künstlerhaus Stuttgart, Sadiq has created a large-scale installation in the gallery that is devoted to generating critically reflexive discussions about the future potential of the institution. Built from a repurposed scaffolding system, Sadiq’s installation emphasizes contingent relations and conditional infrastructure. Focusing on this critical horizon, Sadiq invited a semi-autonomous organization associated with the Künstlerhaus Stuttgart, named the Fourth Organ, to hold their monthly meetings within the large installation. Sadiq has been actively engaged in the Fourth Organ meetings since the organization’s founding in 2020, at the outset of the pandemic and most recent social justice uprising. The Fourth Organ is intended to offer an open, inclusive, interstitial space within the Künstlerhaus Stuttgart, where individuals and groups can voice their interests for the institution. But the Fourth Organ is not solely a space for voicing open proposals or the politics of protest, the monthly meetings are intended to serve a very specific purpose of developing formal motions to be voted on at the annual membership meeting. For Sadiq, the porousness of the Fourth Organ is consistent with her artistic interests in holding space for contentious social dynamics and dissenting positions within art institutions. Because the Fourth Organ meetings are open to board members, staff members, association members, and non-members alike, safety and discretion are challenged by the authority dynamics present in these gatherings. The final work in Sadiq’s exhibition is an interview text the artist conducted with the writer Andrea Scrima that reflects on their experiences working in art institutions, with specific case-study attention given to recent experiences working within the Villa Romana, a German art institution which oversees a residency program in Florence Italy, and which offers related exhibitions and programming. Sadiq’s and Scrima’s incredibly candid first-person account evidences their experiential research into institutional conduct broadly, while also focusing in on the particularly fraught socio-economic conditions of the Villa Romana.[2]
Schedule of Programs:
21/05/2022 (8pm)
Judith Hamann performs a site-specific sound work within the exhibition installation
10/06/2022 (6.30pm)
Discussion with Anike Joyce Sadiq, Simone Frangi, Justin Randolph Thompson, Lucrezia Cipitelli, Alessandra Ferrini, and Andrea Scrima at the Villa Romana, in Florence, Italy
04/06/22 & 04/07/22 & 04/07/22 (7pm) & 04/09/22 (2-6pm)
Fourth Organ Meetings: Open to all members and anyone who may be considering membership. A space for initiatives, criticisms, and perspectives, while supporting discussions that consider relations between artistic and institutional practices
19/06/2022 (3pm)
Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart
Wed/Thu/Fri/Sat/Sun (12—6pm)
Künstlerhaus educators lead public discussions of the exhibition
[1] Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany. The Künstlerhaus Stuttgart currently has over 500 members.
[2] For each work within the exhibition, Sadiq engages in the complex messy work of analyzing, embodying, and enacting institutional structures. The work of institutional analysis and critique is frequently dismissed as being easily adopted and neutralized by the institution in question, but this dismissive characterization of institutional work does not account for the hard fought behind-the-scenes efforts by artists and their collaborators. It must not be forgotten that there are real limitations to confronting institutional structures through artistic positions, with artists’ projects being canceled and collaborating institutional representa- tives having their jobs terminated.
Mit Glück hat es nichts zu tun at the Künstlerhaus Stuttgart has been organized in cooperation with Anike Joyce Sadiq’s concurrent presentation of her works “You never Look at Me from the Place from which I See You” (2015), “Papierstück” (2014) and “Berührung” (2008) at the permanent collection of the Kunstmuseum Stuttgart.
Realized with public funding from the city of Stuttgart
With the generous support of the Stiftung Kunstfonds
In collaboration with the Akademie Schloss Solitude
Over the past decade, Bea Schlingelhoff has become increasingly known for producing site-responsive and situationally-specific exhibition projects that test institutional capacity for exposure work. Schlingelhoff’s exhibitions often initiate or accelerate an internal reflexive process of uncovering, divulging, and repairing historical trauma present within the immediate context of exhibiting institutions that hire the artist. For Schlingelhoff, tasking institutional representatives with this behind-the- scenes work of confrontational exposure and reparative justice is an artistic position-taking—a means by which the artist as a short-term contracted worker attempts to maintain safe distance from the deeply unsafe social conditions inherent to all institutions, and particularly with respect to transitional institutions claiming to be committed to structural change. Anticipating real danger when the freighted memory, identity, and legacy of an institution is unsettled, Schlingelhoff calls on institutional representatives to respond to this induced stress test. In doing so, the artist’s exhibitions consistently gauge institutional responsibility by asking: what capacity to respond do representatives have on behalf of their unsettling institutions?
Bea Schlingelhoff’s exhibition, Declined Declinations, proposes a legal institutional name change of the Künstlerhaus Stuttgart. Over the course of a multi-month process that began with an initial site visit in July of 2020, the artist prepared and submitted formal motions to change the gendered institutional name “Künstlerhaus” (“the male artists’ house”), and to change language in the institutional bylaws that reflects this gender-specific bias. The Künstlerhaus Stuttgart was founded by artists in 1978 as a space for artists to produce onsite while also discussing and redefining the onsite production conditions. It is an institutional context that is structurally equipped for reconsiderations of governance and policy-making from the perspective of art producers. This emphasis on the laboring artist who is not external to the art institution is embodied in the name of the “artist’s house,” a widely replicated categorical name of an art institution in the German-speaking context that offers onsite production and residency facilities for artists (i.e., the Künstlerhaus Bremen, the Künstlerhaus Dortmund, the Künstlerhaus Bethanien, etc). Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany, with bylaws that stipulate association members’ voting rights in governing the institution. The vast majority of members at the Künstlerhaus Stuttgart are artists who pay the requisite annual membership fee of twenty-five euros. Other than this annual membership fee, there are no sanctioned conditions for becoming a member. Immediately upon gaining membership, any new member may submit motions to be voted on by the membership. Members of the Künstlerhaus Stuttgart vote at the general assembly. The general assembly is a legally required body. Every association must hold a general or annual general assembly meeting at the intervals specified in the association’s articles of association. Members at the general assembly may elect members of the board, vote on various resolutions, and vote to change the statutes. Consequently, artists occupy a position that closely interrelates institutional governance arrangements and the immediate conditions of artistic production at the Künstlerhaus Stuttgart. Artistic positions and artistic criteria—rather than purely bureaucratic positions or technocratic criteria—are central to the administrative work of structural governance. And by emphasizing artists as primary contributors to governing decisions, the Künstlerhaus Stuttgart potentially challenges the settled expectation that artists’ work should amount to purely content-related outcomes.
In 2021, Schlingelhoff became a member of the Künstlerhaus Stuttgart and submitted two formal motions that were voted on at the annual general assembly in November of that year. The first motion stipulated a change of name from Künstlerhaus Stuttgart to Künstlerinnenhaus Stuttgart (“the women artists’ house,” or “the female-identifying artists’ house”). This motion was defeated with 10 yes votes, 15 no votes, and 8 abstentions. The second motion stipulated that any language in the bylaws where the generic masculine is used would be changed to the generic feminine. This second motion was defeated with 7 yes votes, 19 no votes, and 4 abstentions. There were three widely expressed reasons for the down votes, which were communicated to Schlingelhoff by fellow members and institutional representatives. Firstly, the membership and institutional administration at large needed more time to become familiarized, informed, and educated on the political imperatives at stake as well as the practical implications of renaming the institution. Secondly, it was expressed that Schlingelhoff’s motion to change the name of the institution was reductive in that it offered only one single name change option selected by one member artist (this point was sometimes taken further to argue against an artist joining the membership to immediately propose structural changes to the institution, while also then presenting these proposed structural changes as material within an exhibition of their work). Lastly, it was expressed that within the context of gender-politics and broader political realities, changing an institutional name and corresponding language of the bylaws is a relatively trivial matter.
To this last point on the relative triviality of language, Schlingelhoff felt the response was obvious. There is of course a necessary correlation between the structures of society and those of language. The biases and exclusions of language are imprinted and internalized every day from a very young age consistently through life. The uncovering of the gendered and racialized nature of many linguistic rules and the unsettling of norms in how the use of language can be analyzed from a feminist viewpoint has proven to be of critical importance. And at this point, the various arguments that have been presented for retaining masculine/generic usage have been thoroughly documented, illustrated, and analyzed. There is a strange contradiction when one so adamantly refutes what one believes to be so trivial.[1] In response to the other expressed points, Schlingelhoff prepared and submitted a new set of motions to be voted on at the annual general assembly in March of 2022. Schlingelhoff submitted nine motions, each offering a different institutional name option. These nine name options were taken directly from widely accessible German language publishing style guidelines on the gender formulation of the phrase “artists’ house.” Schlingelhoff wanted to make sure the maximum number of variations on the gender formulation were represented, while keeping close to the most widely used gender neutral language guidelines and gender diversity teaching manuals (there are no established gender-neutral standard publishing guidelines as of yet in Germany). The only condition Schlingelhoff applied was that a name option could not entirely avoid confronting the gender politics (for instance, with the “Kunsthaus” Stuttgart, “the art house” Stuttgart). The nine name options proposed were as follows: 1.) Künstlerinnenhaus (generic feminine); 2.) Künstler/-innenhaus (forward slash with supplementary dash); 3.) KünstlerInnenhaus (internal capitalized letter “I”); 4.) Künstler:innenhaus (colon); 5.) Künstler*innenhaus (asterisk); 6.) Künstler_innenhaus (underscore); 7.) Künstler•innenhaus (bullet point); 8.) KünstlXhaus (X ending); 9.) Künstlerinnen- und Künstlerhaus (double naming).[2] While there is no conclusively fixed or settled agreement, each of the different typographic conventions used in these name options is recognized within the German publishing context as intended to disrupt the grammatical gender binary that is inherent in the German language.[3]
On March 17th of this year, 2022, the nine motions, and corresponding motions to change the language of the bylaws to mirror each of the nine motions, were up for a vote at the general assembly. These motions had been submitted weeks prior to the assembly so that they could be distributed to the entire membership two weeks in advance of the general assembly. There were meetings leading up to the assembly to provide opportunities for members to discuss the institutional renaming and change to the bylaws, and Schlingelhoff held an information session for the membership a day prior to the assembly. On the day of the general assembly, just before the nine name change motions were to be voted on, a member invoked their right to raise a motion without prior notification—a point of order that did not need to be submitted weeks in advance through the procedure to have a motion entered into the general assembly meeting agenda. This member raised the following point of order for a vote: “Shall the motions to amend the bylaws to change the name of the Künstlerhaus Stuttgart be voted on today?” The resulting vote tally on this member’s point of order was 15 yes votes, 26 no votes, and 5 abstentions.[4] As a result of this sudden foreclosure of the vote on the nine motions to change the name of the institution, Schlingelhoff withdrew the corresponding motions to change the language of the bylaws. It should be mentioned that invoking one’s individual right in order to foreclose a planned vote from even taking place is a longstanding tradition within the history of oppression.
Schedule of Programs:
19/06/2022 (3pm)
Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart
Wed/Thu/Fri/Sat/Sun (12—6pm)
Künstlerhaus educators lead public discussions of the exhibition
[1] There have been centuries of misogyny consciously and unconsciously attacking and mocking against language movements. They have been well covered, as follows: “(1) the ‘cross- cultural’ arguments; (2) the ‘language is a trivial concern’ arguments; (3) the ‘freedom of speech,/ unjustified coercion’ arguments; (4) the ‘sexist language is not sexist’ arguments; (5) the ‘word- etymology’ arguments; (6) the ‘appeal to authority’ arguments; (7) the `change is too difficult, inconvenient, impractical or whatever’ arguments; and (8) the ‘it would destroy historical authenticity and literary works’ arguments.” For being such ‘a trivial concern’ efforts against language bias have received an inexplicable amount of attention in both academia and the media, and an inordinate degree of resistance to change. Maija S. Blaubergs, “An analysis of classic arguments against changing sexist language,” Women’s Studies International Quarterly, Volume 3, Issues 2–3, 1980, Pages 135–147.
[2] Schlingelhoff’s exhibition project engages with longstanding and ongoing discussions about how unsettled the German language is with respect to gender politics and identity formation. Identity formations and the language for fully recognizing these identity formations is a critical horizon, a process that is unfixed and developing. With respect to this horizon and transformation, it is important to mention that Schlingelhoff is strongly opposed to any project where female identifying individuals and groups are pitted against gender variant or gender non-conforming individuals and groups. To pit these experiences against each other is to neutralize the politics of difference and ultimately adhere to the patriarchal status quo.
[3] There are many available resources for referencing these typographic conventions, gender- neutral language publishing guidelines, and gender diversity teaching manuals in the German context. Please see: Steinhauer, Anja and Diewald, Gabriele, “Richtig gendern: Wie Sie an- gemessen und verständlich schreiben” Berlin: Bibliographisches Institut Duden, (2017). See also: Abbt, Christine und Kammasch, Tim, “Punkt, Punkt, Komma, Strich?: Geste, Gestalt und Bedeutung philosophischer Zeichensetzung,” Edition Moderne Postmoderne, Bielefeld, (2009). For english language readers, please see: Leue, Elisabeth (2000). “Gender and Language In Germany.” Debatte: Journal of Contemporary Central and Eastern Europe. Routledge. 8(2): 163–176. There is also of course comparative research to look at in other language and publishing contexts. For instance, the term “Latinx” has been widely used to disrupt the grammatical gender binary that is inherent in the Spanish language (the gender-neutral 〈-x〉 suffix replaces the 〈-o/-a〉 ending of Latino and Latina that are typical of grammatical gender in Spanish).
[4] This point of order and the vote tally (as with all the numerical outcomes of the general assemblies referred to in this text) are taken directly from the official meeting minutes. The reported meeting minutes of any registered kunstverein in Germany must by law be publicly accessible information.
Realized with public funding from the city of Stuttgart
With the generous support of the Stiftung Kunstfonds NEUSTART KULTUR
For our 14th Tuesday Workshop, we invite Linienscharen to attend.
Tuesday, May 10, 2022, 7 pm.
The event will take place on the 3rd floor.
Linienscharen
was founded in 2012 as a platform for contemporary drawing in Stuttgart and offers a framework for exchange, lectures and presentations. Linienscharen functions as an open forum for artists from Stuttgart and the region who deal with the theme of line in their work.
In the context of the Tuesday Workshop at the Künstlerhaus, Linienscharen would like to look back on past projects and give those who are not yet familiar with Linienscharen an insight into the platform’s activities. On the other hand, Linienscharen will present their current project “How much can a pigeon carry?” as well as the Ukrainian artist Toma Safarova, who will participate in this planned exhibition series.
Afterwards, it would be nice to get into conversation with each other – about the artistic work, the current art production, the discoveries, recollections, new beginnings …
We ask all visitors to bring 1-2 original works to this evening, a drawing, a sketchbook or an expression in another medium, which deals with the theme of the line.
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Tuesday Workshop
With the Tuesday Workshop, the Künstlerhaus invites artists or collectives to talk about their working methods, backgrounds and approaches. We want to establish a platform for more intensive exchange on artistic practice and thus network, show solidarity and strengthen each other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists from Stuttgart and the surrounding area, or those passing through, all art mediators, curators, cultural workers, etc. and is open to everyone!
Choose cake display position based on the sun. You wouldn’t want to put your cake table on the sunny side of your tent.
Choose a lighter colour for your cake.
Use a glass cover if your cake is able to fit inside one.
Indoors, the venue should definitely have ample air conditioning.
Consider asking your cake designer about inserting some faux tiers.
Talk to your cake designer and/or wedding planner.
The three-day exhibition “How to protect your wedding cake” by Lennart Cleemann, Lena Meinhardt, Sophia Sadzakov and Eva Dörr is an invitation to stroll – to haptic, audio-visual dreaming. To detach oneself from the ground, via the wind, the rocking, the lullaby, via utopia to the supposedly light emptiness.
On May 4, 2022 at 7pm we will meet for the next meeting of the Fourth Body. This time the meeting will be held at the upcoming exhibition of Anike Joyce Sadiq. It is also possible to attend via Zoom at the following link:
https://us02web.zoom.us/j/82633972299?pwd=QmczZnpPUEkyNVo3Z1ByQ2FXbTkwUT09
Meeting ID: 826 3397 2299
identification code: 757374
Anike Joyce Sadiq offers in her exhibition to the Fourth Organ a place of meeting and exchange. Therefore, at this meeting we would like to discuss with Anike what is possible and what we would like to work on beyond the regular Fourth Body meetings during the exhibition period.
For our 13th Tuesday Workshop we invite Matthias Megyeri.
Tuesday, April 26, 2022, 7 p.m.
The event will take place on the 4th floor in the Künstlerhaus.
Matthias Megyeri
was a studio fellow from 2010 to 2013 and a member of the advisory board at the Künstlerhaus for 10 years.
Matthias Megyeri is an artist and designer.
His work is based on a conceptual approach that aims to be understood as a contribution to the discussion of socially relevant issues – and to have an impact on them. Since 2003, he has been working continuously on an artistic research project on the subject of security in public spaces. More than 140,000 snapshots are now part of his “Living Archive,” which he uses to think visually on a project-by-project basis in his artistic practice. Using the psychological function of objects is one of the strategies with which he succeeds in placing his works in everyday life. In an art-in-architecture commission for the headquarters of a bank in Manhattan, for example, he was asked to design three hundred street bollards. For this, he used the functional aspect of the bollards to simultaneously refer to the question of the proportionality of security measures and their psychological effect.”
Matthias Megyeri has Hungarian roots and was born in Stuttgart in 1973. He has lived and worked mainly in Stuttgart since his fellowship at the Akademie Schloss Solitude in 2008/09.
www.matthiasmegyeri.net
Instagram: @matthiasmegyeri
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
On April 4 at 7pm, the next meeting of the Fourth Organ will be held on the studio floor (3rd floor).
It is also possible to attend via Zoom at the following link:
https://us02web.zoom.us/j/82521529290?pwd=enl4SDFLMXRyWjkyK2ZLakE4enF4UT09
Meeting ID: 825 2152 9290
identification code: 606565
Hermann Pflüger will present his project LadeCA View. This is a tool under development to help with the reception and organization of image sets.
Furthermore there will be an exchange about the last general meeting. An essential point here is the name change and how it should be continued from the perspective of the Fourth Organ.
In addition, it is to be concretized what can happen in the context of Anike Joyce Sadiq’s exhibition, which will open in May – also beyond the monthly meetings.
About the Fourth Organ
At the general meeting on March 25, 2021, the members collectively voted to meet regularly as an association from now on.
These meetings are intended to establish a space for understanding between the membership and the Board. A sounding board for initiatives, critiques, and visions, a space for discourse between artistic and institutional practice, and possibly a step towards making the oft-cited hive hum a few decibels louder.
These regular meetings are organized by the advisory board of the Künstlerhaus. Questions or suggestions are welcome to be sent in advance to the Advisory Board at beirat@kuenstlerhaus.de.
These meetings are open to all members and those who would like to become members.
Please note the change of dates for this workshop. The workshop will be held in-person on the fourth floor gallery at the Künstlerhaus Stuttgart and will be held in English. Please register by email here.
Artist Nikita Gale will explore themes of polyvocality, performance, recording, exhaustion, and duration in the context of Andrea Fraser’s This meeting is being recorded.
Nikita Gale’s work applies the lens of material culture to consider how authority and identity are negotiated within political, social, and economic systems. Currently living and working Los Angeles, USA, Gale holds a BA in Anthropology with an emphasis in Archaeological Studies from Yale University, and received an MFA in New Genres at the University of California Los Angeles.
Gale’s work has recently been exhibited at MoMA PS1 (New York); LACE (Los Angeles); Commonwealth and Council (Los Angeles); Matthew Marks Gallery (Los Angeles); The Studio Museum in Harlem (New York); Rodeo Gallery (London); and the Hammer Museum (Los Angeles). Gale will present a major new solo exhibition at Chisenhale Gallery, London in 2022.
Andrea Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).
This workshop—co-organized by Rhea Anastas, Andrea Fraser, and Eric Golo Stone—was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART KULTUR Grant.
Please note the change of dates for this workshop. The workshop will be held in-person on the fourth floor gallery at the Künstlerhaus Stuttgart and will be held in English. Please register by email here.
“To me it is more than ever clear that there is some quite surprising contradiction in the situation in which I find myself. I, too, have heard rumors about the value of my contributions to groups; I have done my best to find out just in what respects my contribution was so remarkable, but have failed to elicit any information. I can, therefore, easily sympathize with the group, who feel that they are entitled to expect something different to what, in fact, they are getting.”
— WR Bion, Experiences in Groups, 1948
A workshop in the form of a process group, in which members will, in various ways, have opportunities for “learning from experience”, as proposed by British psychoanalyst Wilfred Bion (1897-1979) whose writings on group phenomena and intra-group authority dynamics orient both Andrea Fraser’s new video work This meeting is being recorded and this event in Stuttgart. The workshop is co-directed by Alex Davidson and Jamie Stevens.
Alex Davidson works in the mental health charity sector in London, where part of her role is to facilitate reflective practice groups for mental health support workers. She has written about art for various publications internationally.
Jamie Stevens is an independent curator and writer based in London. He has worked in curatorial roles at Artists Space, New York; CCA Wattis Institute, San Francisco; Cubitt Gallery, London; and Chisenhale Gallery, London.
Davidson and Stevens are both psychotherapists-in-training at the Tavistock Clinic in London.
Andrea Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).
This workshop—co-organized by Rhea Anastas, Andrea Fraser, and Eric Golo Stone—was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART KULTUR Grant.
For our 12th Tuesday workshop we invite Alba Frenzel.
February 8th 2022, 7 pm
The event will take place in presence at the Künstlerhaus.
Alba Frenzel
has been a studio fellow at the Künstlerhaus since 2020.
She describes her artistic practice thus:
My project is a large-scale research in which the liverwurst tree is dealt with as if it were art, or with art as if it were a liverwurst tree. The qualities of the tree that can be rethought to the qualities of art are selected. In this way, art grounds itself and we get to know the liverwurst tree.”
“I am working on a format between studio and exhibition, in which I am active and present as an artist with photography, sculpture, text, text images, with sung and spoken quotations that I encounter in the course of the research, performative elements, readings and lectures.
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Studio grants 2022/2023
Künstlerhaus Stuttgart is offering six studio grants for a period of 12 months, starting 1st of May 2022. Each individual studio is approx. 25 sqm. A large recreation room is accessible for all recipients. Additionally, stipendiaries have free access to all technical facilities of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.
It is possible to extend the studio grant through applying for another year. This option can be used not more than twice, so a maximum period of three years is possible.
Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.
Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome. Students are unfortunately not eligible to apply.
Please include with your application the following documents:
– CV
– documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
– a written description how you want to use your studio at Künstlerhaus Stuttgart (max. 2 pages)
Please send us your application via email, please send one pdf file only, latest by January 31th 2022:
Contact Person: Romy Range
Email: info@kuenstlerhaus.de
Subject line: Studio application
The jury, which consists of members of the artistic board, will meet in February and all applicants will be informed about the decisions as soon as possible.
Please note that the studio program does not include accommodation or any kind of financial aid. An introduction to all workshops is liable for costs. International applications are generally accepted, provided that the applicants make their own accommodation arrangements. The residency has to be in Stuttgart within the year.
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Workshop grant
Künstlerhaus Stuttgart is now awarding regular workshop grants for the following workshops: Audio, Ceramics, Media, Photography, Silkscreen, Etching, Lithography.
Artists and collectives can apply for a project for a specific duration. The occupancy of the workshop will be coordinated with the respective workshop manager.
The workshop grant includes:
– the use of the workshop free of charge (use in coordination with the workshop manager)
– an introductory technical course in the respective workshop
– Advice from the workshop manager (not complete project supervision)
The following information is required for the application:
– Project description incl. project duration
– CV
– exposé
An application for a workshop grant is possible all year round. The jury, consisting of the board of directors and the respective workshop manager, meets regularly to decide on the submitted projects. Applicants can contact the workshop manager before applying to clarify whether the project can be realized in the workshop. Unfortunately, any material costs cannot be covered.
Please submit the application documents only digitally as a pdf file by e-mail:
Contact: Romy Range
e-mail: info@kuenstlerhaus.de
Subject: Workshop grant
Opening hours exhibition
The exhibition will be closed from 22 December to 06 January. On 07 January 2022 the exhibition will be open again at the regular times for visitors.
Wed – Sun 12 to 6pm
Free entrance
Opening hours office
From 20 December 2021 to 10 January 2022 the office is closed.
Mon closed
Tue – Fri 12 to 5pm
2G+ rule
For the visit of our exhibitions and events the 2G+ rule is valid. This means that only vaccinated and recovered persons with an additional negative rapid test are admitted. Exceptions: Those who have been boostered or whose full immunization / recovery was not longer than three months ago are exempt from testing at 2G+. It is also mandatory to wear an FFP2 mask. A simple medical mask is no longer sufficient.
„ABOUT:BLANK“
30 min, Documentary HD, German with English subtitles
By Julian Bogenfeld
The movie “About:Blank” shows insights of an art happening that took place in the premises of the LAF (Leerstand als Freiraum e.V.) Pforzheim in May 2018: A group of artists lives and works for 3 days in an empty commercial space, an old shop with large windows, opposite the city’s town hall. The luggage is limited to one piece per person, for the artistic work on site. The tight time frame and the clear definition of the place are meant to stimulate artistic exchange. The interdisciplinarity and openness of the format promises unexpected results. The film shows images from a time before Corona and recalls freedoms of art that were not given in the past months.
Direction and production: Julian Bogenfeld
Duration 30 min, German with English subtitles
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Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Next Tuesday Workshop Dec 14th 2021 with Alba Frenzel
For our tenth Tuesday workshop we invite Dirk Reimes.
12.10.2021, 7 pm
The event will take place in presence at the Künstlerhaus.
Dirk Reimes
is a visual artist living and working between Brussels and Stuttgart. His practice feeds from a continuous field research on the everyday and the ordinary. The methods and tools of this research, as well as the forms and formats of the results, are wide-ranging and include images, objects, and texts. In the Tuesday workshop, he will present his current book “sous un ciel partagé entre nuages et éclaircies,” which is based on a year of research in Brussels and combines autobiography with fiction, everyday experiences with found contemporary testimonies.
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Tuesday workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Since the 1980s, Andrea Fraser has achieved renown for work that interrogates social and psychological structures with incisive analysis, humor, and pathos. While Fraser’s work often is associated with critical investigations of art institutions, her performances since the mid-2000s have turned toward examining the intersections between sociopolitical and psychological structures as these produce and reproduce individual and group identity as well as social systems. Fraser’s solo exhibition at Künstlerhaus Stuttgart brings this examination into focus with three performance-based video installations: Projection (2008), Men on the Line: Men Committed to Feminism, KPFK, 1972 (2012/2014), and her major new work, This meeting is being recorded (2021), a ninety-eight-minute video exploring the processes and formation of race, gender, and age within an intergenerational group of seven self-identified white women.
While they do not comprise a formal trilogy, Projection, Men on the Line, and This meeting is being recorded are clearly linked by process, method, and formal strategy. All three works build on the multivoice performance practice Fraser has developed since the early 1990s. All three are shot against black backdrops and projected life-size to affect the experience of being in the same room as the performer. All three are performed directly to the camera to include the viewer in the dialogue. All three are based on recordings of forms of dialogue with high emotional stakes that are usually very private but which Fraser brings into the public realm. And all three are informed by Fraser’s understanding of performance as a practice of capturing and framing the processes of internalization and projection, incorporation and enactment through which the social and the psychological intersect in the production and reproduction of social identity, groups, and institutions. Combining rigorous investigation and intimate self-exposure, Fraser explores how artistic, intellectual, and political positions are driven by emotional needs and how psychological forces both shape and are shaped by social and political structures.
This meeting is being recorded: Andrea Fraser is organized by curator Rhea Anastas and Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart.
Full exhibition text may be read in the pamphlet above.
The video works in the exhibition will be shown in English only. However, the performance scripts of Projection and Men on the Line can be viewed in English and German on request in the galleries.
Please note that proof of recovery, negative testing or full vaccination is required to visit the exhibition and all related events. We look forward to your visit!
Schedule of Programs:
09/28/2021 (7 pm):
Andrea Fraser gives a public lecture at ABK-Stuttgart, followed by a discussion with curator Rhea Anastas
(registration by e-mail to veranstaltungen(at)abk-stuttgart.de is necessary due to limited capacities)
10/01/2021 (open to students only):
Andrea Fraser conducts a workshop with students from the Body, Theory, and Poetics of the Performative program in the Department of Art at the ABK-Stuttgart Heusteigtheater
10/16/2021 (3pm):
Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart
02/12/2022 (3pm):
Curator and psychotherapist Jamie Stevens conducts a workshop with Alex Davidson open to the public at the Künstlerhaus Stuttgart
03/19/2022 (3pm):
Nikita Gale conducts a workshop open to the public at the Künstlerhaus Stuttgart
Fri, Sat, Sun 12–6pm:
Künstlerhaus educators lead public discussions of the exhibition
Fraser’s new work This meeting is being recorded (2021) is coproduced by the Hammer Museum and Künstlerhaus Stuttgart. Production was supported by a grant from the Mike Kelley Foundation, which also supported Hammer Projects: Andrea Fraser, a 2019 exhibition at the Hammer Museum, Los Angeles, which included a presentation of Men on the Line and an associated publication, Andrea Fraser: Collected Interviews, 1990–2018, edited by Andrea Fraser, Rhea Anastas, and Alejandro Cesarco (New York and London: A.R.T. Press and Koenig Books, 2019).
In collaboration with the Stuttgart State Academy of Art and Design and with the generous support of:
collectively uncurated
with
Beria Altinoluk, Joannie Baumgärtner, Begleitbüro SOUP, Ulrich Bernhardt, Bureau Baubotanik, Lennart Cleemann, Ania Corcilius, Theo Dietz, Eva Dörr, Janis Eckhardt, Alba Frenzel, Peter Hauer, Herbordt/Mohren, Yvette Hoffmann, Hannelore Kober, Justyna Koeke, Paul Kramer, Otto Kränzler, Caro Krebietke, Björn Kühn, Marlon Lanziner & Valentino Berndt, Matteo Locci, Matthias Megyeri, Lena Meinhardt, Elmar Mellert, Boris Nieslony, n.n.n. collective, Romy Range, Yara Richter, Jasmin Schädler, Ursula Scherrer, Anna Schiefer, Fender Schrade, Mira Simon, Michael Stockhausen, Başak Tuna, Helen Weber, Heidemarie von Wedel,Olav Westphalen, Georg Winter et al
Daily: round table from 6 pm at the Künstlerhaus – performances in the urban space – exhibition
Exactly 40 years ago, from September 01 to 30, 1981, the Künstlerhaus Stuttgart, under the direction of Ulrich Bernhardt, invited 57 local and 19 international artists to the artistic group project KONZIL. Every evening, questions about cooperation, artistic exchange, content-related, political, formal and social aspects of ephemeral and performance art were discussed at a 40-square-meter table. The project was complemented by actions and events in the urban space. Out of the KONZIL, the artist Boris Nieslony developed the world’s first performance art archive in 1981, “Die Schwarze Lade” (Black Kit).
40 years later, Künstlerhaus Stuttgart brings KONZIL back to Stuttgart and builds a bridge to current topics, debates and discourses. In the course of a two-week event, the historical KONZIL will be linked in the form of an archival exhibition with a performance program and daily discussion rounds.
Nine artists were selected through an open call to present performances in Stuttgart’s urban space. Joannie Baumgärtner, Theo Dietz, Justyna Koeke, Paul Kramer, Caro Krebietke, Matthias Megyeri, Ursula Scherrer and Başak Tuna & Matteo Locci will perform at different locations in Stuttgart such as the observatory, the Rosensteingarten or at the Neckar river. Following the performances, we invite every evening from 6 pm to a discussion with changing guests and a joint meal at the Künstlerhaus.
All evening events will take place on the 4th floor of the Künstlerhaus, where the exhibition with historical material from the Black Kit archive of Boris Nieslony can also be seen. Documents, photographs, posters, and video footage, including those of artists who were active at the Künstlerhaus and in Stuttgart in 1981, provide insight into the significance of the archive and place the current performances in a historical context.
The exhibition Permanente Performance – 40 Jahre Konzil is open from Aug 31 to Sept 12, 2021, Tuesday through Sunday from 2 to 6 pm.
Program
Monday, August 30, 2021, 6 pm
Opening
Greeting: Ania Corcilius, 1st Chairwoman, Künstlerhaus Stuttgart
Greeting: Dr. Fabian Mayer, First Mayor, Department of General Administration, Culture and Law
Introduction: Ulrich Bernhardt (Co-Founder and 1st Artistic Director, Künstlerhaus Stuttgart / Organizer Konzil, 1981); Boris Nieslony (Founder Performance Art Archive “Die Schwarze Lade” / Organizer Konzil, 1981)
Introduction: Anna Schiefer, 2nd chairperson, Künstlerhaus Stuttgart
Tuesday, August 31, 2021
Theo Dietz
How to build fishing rods
Place: Künstlerhaus courtyard
Time: 4 pm
A lecture about so called miscast hooks, which can be handy for fishing in garbage containers, and how to build them. Waste separation becomes an artistic action and attitude.
In his cross-media projects Theo Dietz deals with places in their social, material and political dimensions and opposes them with his own post-ironic utopian spaces. He has been involved with performances at the 15th Istanbul Biennial and
Manifesta11, among others. In addition to his artistic activities, Dietz works as a garbage collector.
Table talk from 6 pm in the Künstlerhaus
Guest: Armin Chodzinski
Armin Chodzinski negotiates the network of relationships between art and business in performances, lectures and exhibitions. His practice moves between mediation, self-experimentation and research, which he develops further in theaters and exhibition spaces as well as on radio and television.
Wednesday, September 1, 2021
Caro Krebietke
MISSING!
Location: Main entrance Rosenstein Castle, Stuttgart Museum of Natural History, Rosenstein 1, 70191 Stuttgart, Germany.
Time: 3 to 5 pm
The dramatic decline of insect diversity in southern Germany is the theme of the performance MISSING! Animals that have accompanied us through many centuries are disappearing almost unnoticed, in recent years at an alarming rate.
MISSING! is a cooperation with the Natural History Museum Stuttgart.
Caro Krebietke finds the themes of her projects in dialogue with the environment. Traces, stories and connections are the starting points of her performative interventions. Everyday places are thus transformed into scenes of special events. There is almost always a reference to historical or current political facts.
www.carokrebietke.com
Table talk from 6 pm in the Künstlerhaus
Guests: Bureau Baubotanik
Bureau Baubotanik stands for the integration of the life processes of our plant environment into architecture. In 2017, the Bureau took over the artistic direction of the “Theatre of the Long Now,” which promises to put on a natural theater performance lasting at least 100 years on a brownfield site in Stuttgart.
http://www.bureau-baubotanik.de
Thursday, September 2, 2021
Paul Kramer
Song Cycle 150
Live Studio Recording Box Recording
Location: Audiowerkstatt, Künstlerhaus Stuttgart
Time: 3 to 6 pm
Paul Kramer follows up with a live recording of Song Cycle No. 150, his archive of self-performed musical fragments recorded in one sitting – without notes, without lyrics. A work on the personal and collective earworms, besides performing all kinds of music and non-music (ringtones, animal sounds, machine sounds), means researching titles and its failure in the form of the “mystery tracks”. In addition to the live recording in the Künstlerhaus studio recording box, the audience will be given the opportunity to listen to the “Mystery Tracks” (i.e., the ones Paul Kramer doesn’t know), and to identify them, both via listening stations and online via Sound Cloud. (https://soundcloud.com/paul-kramer-10)
www.kramerpaul.wordpress.com/
Table talk from 6 pm at the Künstlerhaus
Guests: Otto Kränzler, Eva Dörr & Lena Meinhardt
Eva Dörr and Lena Meinhardt are currently studio fellows at Künstlerhaus Stuttgart and have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
Otto Kränzler, musician and sound engineer, studied at the University and Academy of Music in Stuttgart and worked as a freelancer in the Studio for Electronic Music at WDR Cologne under Karlheinz Stockhausen and Mauricio Kagel. He is co-founder of the Audio-Werkstatt at the Künstlerhaus Stuttgart.
Friday, September 3, 2021
Joannie Baumgärtner
Bat Shit Crazy
Meeting point: Entrance Leuze, Am Leuzebad 2a, 70190 Stuttgart
Time: 3 pm
Bat Shit Crazy is dedicated to a central raw material of early globalization: guano, which was valued as fertilizer by industrialized nations and mined all over the world. The performance combines archival material, diary entries and poems with field recordings and electronic music.
Joannie Baumgärtner has been working between visual art, writing and philosophy since 2010. Joannie identifies as non-binary and uses she/her as a pronoun. Her performances interrelate sound art, spoken word, critical theory, and cultural history.
www.jbaumgaertner.com
Table Talk starting at 6 p.m. at the Künstlerhaus
Guest: Fender Schrade
Fender Schrade engages musically, performatively, in installations, technical inventions, and live sound engineering with transgender identities and embodiments in the context of larger narratives of cultural history. With the artist collective NAF he* performs on theater stages as well as in public space.
Saturday, September 4, 2021
Peter Hauer
The chair without qualities
Performance Workshop
Location: Künstlerhaus Stuttgart and in the urban space
Time: 16:30
No special previous knowledge or skills are necessary. Registration by e-mail at info@kuenstlerhaus.de
The workshop is about the problem of domain dependency in relation to the body, movement and environment. The problem of domain dependence describes the phenomenon that we perceive things exclusively based on certain assumptions about their properties or contexts, and thus become blind to a variety of other possibilities. These things can be objects, place or time, but also actions themselves, or a social context. We will look at how one can embody different strategies to deal with this problem.
In his work, Peter Hauer deals with movement in the broadest sense. From the body as a tool and workshop of perception, expression and function, to movement as a medium of culture and knowledge production. With his interdisciplinary approach he develops new perspectives and connects what supposedly does not fit together.
Table talk from 6 pm in the Künstlerhaus
Guest: Olav Westphalen
Olav Westphalen is a German-American artist in whose work the expressive forms of play, entertainment and cartoons play a central role. His activities aim to highlight cultural blind spots and hypocrisies in his immediate social and cultural environments.
Sonntag, 5. September 2021
Von und mit: Lennart Cleemann, Eva Dörr & Lena Meinhardt, Janis Eckhardt, Alba Frenzel, Marlon Lanziner & Valentino Berndt, n.n.n. collective (Susanne Brendel, Julia Schäfer & Jasmin Schädler), Helen Weber
CKonvention
Ort: Atelieretage, 3. Stock, Künstlerhaus Stuttgart
Zeit: Zwischen Kirche und Tatort
11:00 am Breakfast pint (n.n.n. collective)
12:00 pm Brunch (Eva Dörr & Lena Meinhardt)
2:00 pm Trip (Janis Eckhardt, Helen Weber)
3:30 pm coffee & cake (Lennart Cleemann)
5:00 pm Stadt, Land, Fluss (Alba Frenzel)
Wednesday, September 8, 2021
Justyna Koeke
City beautification measures
Meeting place: Schiffmann fountain drinking fountain, Badstraße 31D, 70372 Stuttgart, Germany
Time: 3:00 pm
Registration by e-mail at info@kuenstlerhaus.de
Justyna Koeke seeks out supposedly inhospitable places in Stuttgart, with found and collected plastic waste she builds vases with the participants and fills them with water and flowers from the surrounding area. This intervention of “sprucing up” is meant to remind us of the complexity of dealing with progress and the preservation of nature.
As an artist, Justyna Koeke seeks above all the contact between art and reality. For this reason, she often shifts her performative works to public spaces, but this also means leaving the comfort zone of the trained and tamed art audience to create immediate and intimate moments. Many of her self-initiated projects are at the interface with political activism – it is in this area in particular that art becomes approachable, and here the confrontation with various actors is essential.
In terms of content, her work deals with feminist and socio-political issues: women’s rights, citizen participation, sustainability, self-determination and urbanity play a crucial role in many of my works.
www.justynakoeke.com
Table talk from 6 pm at the Künstlerhaus
Guests: Beria Altinoluk, Elmar Mellert
Beria Altinoluk and Elmar Mellert turn Stuttgart bulky waste finds into spontaneous interventions in urban space.
Beria Altinoluk studied media philosophy and art science at the University of Design Karlsruhe. Elmar Mellert is a member of the electronic music group Rework in addition to his work as a DJ.
Thursday, September 9, 2021
Matthias Megyeri
Inner Peace, Blowball, 77/2021
Location: Königstraße 5 (height Marstallstr.), “Pusteblume-Brunnen” (B. Woodward, G. Behnisch, 1977), 70173 Stuttgart
Time: 2 to 5 pm (duration 180 minutes)
Six Security Service Members (SDM’s) hired by the artist will position themselves for 180 minutes, equidistant from each other, with their backs to the fountain. No more than 3 of the 6 SDM’s sit on the ring of shell limestone at any one time during the period.
Conceptual artist Matthias Megyeri’s practice explores the cultural, social and psychological aspects of the visual appearance of protection and safety. The works in his Sweet Dreams Security® series, for example, combine our need for security with our simultaneous desire for harmony and beauty. Thus, boundaries such as fences, metal grates, padlocks, barbed wire, and chains become endearing objects. Megyeri has been realizing site-specific art on buildings as well as in public spaces internationally for 20 years. His installations always relate to the site-specific context in which they operate.
www.matthiasmegyeri.net / Instagram: @matthiasmegyeri
Table talk from 6 pm at the Künstlerhaus
Guests: Begleitbüro SOUP
Harry Walter and Ulrich Bernhardt talk about the art project BRASILIEN and its participatory prehistory.
Begleitbüro SOUP is an artistic formation founded in 2009 by the artists Ulrich Bernhardt, Steffen Bremer, Michael Gompf, Kurt Grunow, Andreas Mayer-Brennenstuhl, Karin Rehm and Harry Walter, which subjects urban processes to long-term observation and makes them accessible to the public in the form of exhibitions, interventions, publications and performative walks.
www.begleitbuero.de
Friday, September 10, 2021
Ursula Scherrer
Can you see me
Meeting place: Schillerplatz, Am Fruchtkasten 3, 70173 Stuttgart, Germany
Time: 3 pm
Meeting point: Landtag, Konrad-Adenauer-Straße 3, 70173 Stuttgart
Time: 4:30 pm
We try to be seen by making ourselves heard.
We try to make ourselves heard by being seen.
What at first seems like a game becomes a desperate attempt to be heard, to be seen.
The poetic quality of Ursula Scherrer’s work draws the viewer into being and lets them sink into their own stories. Ursula Scherrer’s path began with dance and choreography and led on to photography, video, text, mixed media, performance art. She was born in Switzerland in 1966 and lived in New York from 1988 to 2019.
www.ursulascherrer.com
Table talk from 6 pm at the Künstlerhaus
Guests: Ulrich Bernhardt, Heidemarie von Wedel
Ulrich Bernhardt, artist and former director of Künstlerhaus Stuttgart, has been working with film and video, video and spatial installations, and space-time phenomena in photography since 1973. His works include panoramas, photo sequences and film friezes, light kinetic objects and sculptures.
Heidemarie von Wedel, artist and publisher, sneaks her photographs into everyday life. She produces a constantly growing archive of images whose goal is never the single image, the presence of an iconic panel, but rather an associative noise in the flow of individual moments of what is seen, experienced, hashed.
Heidemarie von Wedel and Ulrich Bernhardt talk about open work situations and collaborations.
Saturday, September 11, 2021
Başak Tuna & Matteo Locci & Maximilian Lehner
Downtown daydreaming-Upward public walk.
Meeting point: Ecke Marienstraße/Paulinenstraße, 70178 Stuttgart
Time: 4 pm (duration approx. 90 minutes)
Registration by e-mail at info@kuenstlerhaus.de
A walk through the city with your head in the clouds, equipped with 90-degree-angle mirror glasses. Cloud watching is not looking for symbols or spiritual divination. For now, we enjoy not making a decision, letting the clouds drift over our view like disillusioned aeromancers.
Tuna-Locci is an artist duo exploring the visible and invisible forms of relationship art. Başak Tuna is a critical spatial artist from Turkey whose work speculates on the ontology of networks and power relations.
Matteo Locci is a multimedia artist with an architectural background. He conducts most of his research with and thanks to the Roman interdisciplinary collective ATI suffix.
www.matteolocci.com, Instagram: @basak.tuna / @ma_l3h
Table talk from 6 pm at the Künstlerhaus
Guest: Georg Winter
Georg Winter lives in Saarbrücken, Stuttgart and Budapest. Characteristic of Georg Winter’s artistic practice are temporary laboratories, urban situations, self-organizing performances, research projects in an interdisciplinary field of work.
from 9 pm
musical evening with DJ
Sunday, September 12, 2021
Herbordt/Mohren
Place: Künstlerhaus Stuttgart
Time: from 12 pm
Melanie Mohren and Bernhard Herbordt (The Institution) are graduates of Applied Theater Studies in Giessen. Since 2000 they have been working on interdisciplinary projects in the border area of the performing arts. They work on an expanded concept of theater and since 2012 on institutions and their actualization in different formats and media.
In their work Herbordt / Mohren take up the idea of the performance archive. A collection of documents, and videos on recent performance history can be viewed at Schaudepot in Stuttgart.
www.die-institution.org
The jury that selected the nine artists was composed of: Ulrich Bernhardt (co-founder and first artistic director of Künstlerhaus Stuttgart/organizer of the 1981 Konzil); Ania Corcilius (board of directors), Yvette Hoffmann (advisory board), Björn Kühn (advisory board), Jasmin Schädler (advisory board), Anna Schiefer (board of directors).
With the kind support of
je ralentis ralentissais ralentirai –
Lena Meinhardt and Eva Dörr show current works in the studio floor of the Künstlerhaus Stuttgart. There will be different stands of work from the fields of sound and video, experimenting with patterns of time and the sense of time.
Opening hours
Fri. 30.07.21 18.00 – 21.00
Sat. 31.07.21 12.00 – 20.00
Sun 01.08.21 12.00 – 20.00
Reconsidering Institutional Conduct (Almost Everything Still Remains to be Done) is a two-day program at the Künstlerhaus Stuttgart that convenes a group of artists to conceptualize and draft provisions for a legally enforceable code of conduct. Drawing from different critical perspectives, this group will generate specific considerations and stipulations that will directly inform an internal process currently underway by the Künstlerhaus Stuttgart’s governing bodies to implement the institution’s first ever code of conduct.
This program examines how an art institution governs its own immediate social and workplace conditions, directly addressing the Künstlerhaus Stuttgart as a responsive institutional case study, while also supporting experiential research into shared policy and collaborative governance. Additionally, by emphasizing artists as primary contributors to institutional policy-making, this program challenges the settled expectation that artists’ work amounts to purely content-related outcomes. Indeed, this process of generating a code of conduct seeks to recognize the extent to which artists define the actual lived relations and working conditions that produce and distribute their art.
Once fully implemented, this code of conduct aims to be both an internal and outward facing policy—offering everyday considerations that are specific to the Künstlerhaus Stuttgart, as well as reproducible models of institutional conduct that challenge the exploitative, discriminatory, and dispossessive practices so prevalent in the art sector at large. It is well known that the Kunstverein system in Germany is particularly conducive to establishing legal structures that regulate artistic production, yet significant work remains to be done in terms of how these legal structures ensure a field of artistic production that is equitable, inclusive, and truly diverse. While referring to existing legal protections for workers and constituents, a code of conduct is intended to go much further, imposing requirements and providing means of recourse that are more exacting than those mandated by law. Collective reconsiderations of what constitutes these exacting principles and effects is precisely what this program offers space for.
Reconsidering Institutional Conduct (Almost Everything Still Remains to be Done) brings together an international group of distinct artists and cultural practitioners including Heba Y. Amin, Grayson Earle, Irena Haiduk, Clara Sukyoung Jo, Sandrine Micossé-Aikins, Anike Joyce Sadiq, Anna Schiefer, Bea Schlingelhoff, Ülkü Süngün, and Stefan Wäldele. In order for this group process to generate a practicable code of conduct, the invited practitioners will directly advise and work with representatives of the Künstlerhaus Stuttgart—the majority of whom are practicing artists—including individuals from the Board of Directors, Artist Advisory Council, and Membership Association. This two-day program of directed group work and discussion is open to the general public, offering a culture of transparency around behind-the-scenes work that is typically conducted in closed-door session. Please note however, that capacity will be regulated in keeping with COVID-19 public health requirements. The program will be conducted in English language, with German translation available on request.
Schedule:
*All session groups are comprised of the invited artists. Additional contributors are noted in each session description. The general public is invited to attend all sessions, but will be asked to contribute with questions and comments only in the sessions noted as “open discussion.”
Sunday July 25
3pm – 3:30pm
Intro Session
Presenting: Eric Golo Stone, Artistic Director Künstlerhaus Stuttgart
– Welcome, introductions, and program structure
3:30 – 5pm
Session 1
Presenting: Eric Golo Stone with Anna Schiefer, Artist, Scholar, and KHS Board Member (Open discussion)
– Purpose and objectives of CoC beyond applicable laws
– Recap common provisions found in an organizational CoC and specific provisions found in current draft of KHS CoC
5pm – 5:30pm
Break
5:30pm – 7pm
Session 2
Presenting: Sandrine Micossé-Aikins, Director, Diversity Arts Culture, Berlin
– Anti-Discrimination, anti-racism, equity, diversity and inclusivity provisions
7pm – 7:30pm
Break
7:30pm – 8:30pm
Session 2 Follow-up (Open discussion)
8:30pm –
Food and Drink
Monday July 26
10am – 11:30am
Session 3 (Open discussion)
Presenting: Grayson Earle, Founder of Artists for Workers, New York
Facilitating: Anna Schiefer
– Fair labor practices and worker rights
– Working conditions
11:30am – Noon
Break
Noon – 1pm
Session 4
– Compliance, consultation, ombuds program, and complaint procedure
– Legal/extra-legal enforceability
1pm – 2pm
Break for lunch
2pm – 3:30pm
Session 5 (Open discussion)
– Additional provisions
– Appendix and annexure
3:30pm Conclude program
This program was made possible through the generous support of the Stiftung Kunstfonds in the form of a 2021 NEUSTART Grant
Thank you: Ania Corcilius, Juliane Gebhardt, Yvette Hoffmann, Björn Kühn, Florian Model, Daniel Niccoli, Monika Nuber, Regine Pfisterer, Romy Range, Jasmin Schädler, Anna Schiefer, Damaris Wurster
German Translation of Program Text and Schedule: Johanna Schindler
After 3 eventful, dynamic months with exhibitions, interventions, presentations, collaborations and events, Season 1 of the temporary project “Satellit Stuttgart” in the city center comes to an end.
Closing event: Saturday, 10.07.21 between 1-8pm at Königstraße 22.
There will be a limited edition of Satellit t-shirts (16€) and bags (4€) at cost price and chilled drinks. As always, it is possible to be indoors and outdoors.
We want to say a big thank you to everyone involved!
The epilogue with the SPACE HACKERS starts directly after the LINIENSCHAREN from Wednesday 07.07.21, so that satellite is played continuously and until the end of the project on Saturday 10.07.21, 8pm.
The SPACE HACKERS transfer the Satellit concept from virtual to real space.
The Künstlerhaus Stuttgart is looking for artistic positions in the field of performance art for the project “Permanente Performance – 40 Jahre Konzil”. Artists and artist collectives are invited to submit concepts for performances at locations they define themselves in Stuttgart’s urban space. The choice of locations is up to the artists. However, the Künstlerhaus offers support in finding a suitable location.
The selection of the participating artists for the period from August 30 to September 12 will be made by a jury consisting of members of the board and advisory board of the Künstlerhaus.
Project period: August 30 to September 12, 2021
Application deadline: July 18, 2021
Fee: 1.000 EUR
Possible transport, material and travel costs cannot be reimbursed.
Documents to be submitted: application form, project description (max. 2 pages), portfolio and CV.
Please send the application documents in one pdf (max. 10 MB) by e-mail to info@kuenstlerhaus.de. Applications not submitted by the deadline or applications with incomplete documents will unfortunately not be considered.
Background
Exactly 40 years ago, from September 01 to September 30 1981, the Künstlerhaus Stuttgart, under the direction of Ulrich Bernhardt, invited 57 local and 19 international artists to participate in the artistic group project KONZIL. In this project, questions about cooperation, artistic exchange and thematic aspects of ephemeral and performance art were discussed daily at 6 p.m. at a 40-square-meter table. The project was complemented by actions and events in the urban space. Out of the project, artist Boris Nieslony developed the Black Kit. The Black Kit archives the documentation of organizations, associations, artist-run spaces and some of the most important international projects in the field of performance since 1975. It refers to about 3800 artists, contains photographs, individual performance relics and records.
40 years later, Künstlerhaus Stuttgart will bring KONZIL back to Stuttgart and into the present, building bridges to current issues, debates and discourses. Over a two-week period, the historical council will be linked in the form of an archival exhibition with a performance program.
For the historical processing, Boris Nieslony’s Black Kit Archive will provide the Künstlerhaus with documents, photographs, posters and video material of artists who were active in the Künstlerhaus and in Stuttgart in 1981. In parallel, the Künstlerhaus invites artists and artists’ collectives to present performances in Stuttgart’s urban space – from Stuttgart West to Bad Cannstatt, from Zuffenhausen to Wangen – over a period of fourteen days.
Following these performances, several panels will be held at the Künstlerhaus, inviting participants to exchange ideas, engage in discourse, and work together.
For further information about the Open Call please click here
Funkenflug
ongoing work on the collective drawing
daily from 10-18 o’clock
Satellite Stuttgart, Königstraße 22, 70173 Stuttgart
In fall 2012 Linienscharen was founded, a platform for contemporary drawing in Stuttgart. Linienscharen aims to keep the discourse on drawing in Stuttgart alive and provide a framework for exchange, lectures and presentations on the subject. Linienscharen functions as an open forum for artists from Stuttgart and the region whose work deals with drawing or the theme of line in another medium.
The satellite project Funkenflug is designed as an open-ended process that uses the space in Königstraße as a place for concentrated drawing over a period of twelve days. 47 artists of the Linienscharen will be active in the project space in groups of two, one after the other, and will react to the spatial conditions of the space and the surrounding urban space with drawings throughout the duration of the project and continue a dialogue with the already existing artistic interventions.
June 25 – June 30, 2021
Julia Wenz-Delaminsky with Barbara Armbruster // AC Klarmann with Jürgen Klugmann // Elly Weiblen with Vasiliki Konstantinopoulou // Sabine Fessler with Alicia Hernandez Westpfahl // Matthias Kohlmann with Harald Kröner // Kanoko Hashimoto with Margarete Lindau // Michelin Kober with Stanislaus Müller-Härlin // Erwin Holl with Uwe Schäfer // Melanie Grocki with Stef Stagel // U!!i Berg with Alexandra Centmayer // Helga Schuhmacher with Karina Stein // Uta Krauss with Tobias Greiner
July 1 until July 6, 2021
Annie Krüger with Anja Klafki // Karl-Heinz Bogner with Josephine Bonnet // Sabina Aurich with Ute Fischer-Dieter // Christian Schiebe with Doris Erbacher // Nina J Bergold with Veronika Kergaßner // Monika Schaber with Rita Schaible- Saurer // Silke Schwab with Simone Eckert // Werner Degreif // Thora Gerstner with Heike Grüß // Frauke Schlitz with Beate Baumgärtner // Maria Grazia Sacchitelli with Barbara Karsch-Chaïeb // Conny Luley with Christiane Haag
For more information about Satellit Stuttgart:
Instagram: satellit_stuttgart
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Episode III
Wed May 12th — Wed May 26th
Episode IV
Wed May 26th — Wed Jun 9th
Episode V
Wed Jun 9th — Wed Jun 23rd
Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
Linienscharen
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.
Our studio fellow Lennart Cleemann shows his installation Schaukel mit Fischen for the first time in the project space Lagune.
Summer exhibition! Lennart Cleemann (*1990) shows in the Lagune for the first time his installation Schaukel mit Fischen, the attempt of an abstract reproduction of his studio atmosphere. Many objects occupy the space, overlapping spatially, visually and refusing their decoupled observation. An important theme of Cleemann’s work is the exploration of the idea of home. Space and object serve as sculptural communicators of interpersonal relationships.
Viewing by appointment:
Contact: lennart.cleemann@web.de
Home in an Eggshell
June 9 until June 23 2021
“Home” (eng.), in German: Zuhause, Heim, Heimat, Heimstätte.
In times of the Corona pandemic, the term “home” takes on a completely new and formative meaning worldwide. Due to isolation, all parts of society are thrown back on that personal place that functions as a “life-location” and is closely linked to the identity of the respective people.
But is it so simple to define “home” as protective, four walls, or is this concept and its associated meanings far more complex and spongy than can be broken down to a simple formula?
The debate around this term is also changing with people coming to Germany from other countries and living here. It is of central social importance to enter into a new dialogue at this point and to discuss and negotiate deadlocked and described concepts again.
Within the framework of art and culture, an impulse can be given for this. We have dedicated our work as a group of artists to this area, since this topic plays its own special role for all of us in the artistic or private sphere.
Dates:
Saturday, June 12 2021, 11am–7.30pm – Opening
All artists will be present.
Sunday, June 13 2021, 3.30pm–7.30pm
Johanna Mangold will be present.
Thursday, June 17 2021, 3.30pm–7.30pm
Paula Pelz will be present.
Friday, June 18 2021, 3.30pm–7.30pm
Min Bark will be present.
Saturday, June 19 2021, 3.30pm–7.30pm
Min Bark will be present.
Sunday, June 20 2021, 13.30pm–7.30pm
Mizi Lee will be present.
For more information about Satellit Stuttgart:
Instagram: satellit_stuttgart
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Episode III
Wed May 12th — Wed May 26th
Episode IV
Wed May 26th — Wed Jun 9th
Episode V
Wed Jun 9th — Wed Jun 23rd
Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
Linienscharen
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.
For our eighth Tuesday workshop, we are swapping roles:
Ronald Kolb will present the workshop, event and exhibition project “Small Projects for Coming Communities”, which took place in Stuttgart in 2018 and serves him as a sketch of an expanded concept of exhibition (“expanded exhibition”).
Tuesday, June 8 2021, 7pm
https://us02web.zoom.us/j/87291399689?pwd=QkFoNXYzRUZGdlBnbUtXb3hBWjlJZz09
Meeting-ID: 872 9139 9689
Code: 498907
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Friedrich Hensen: HUMAN CLOUD
The exhibition HUMAN CLOUD poetically explores the question of what it means to be human in the digital age in a spatial installation using sound, moving images, and words. To what extent are we cyborgs, or have we always been?
Dates
Thursday, 27/05 – ArtsUp-Stammtisch / livestream from Satellit
Please register here: https://us02web.zoom.us/meeting/register/tZEufuivrTIsHtWvv402reJIcWBQZIaC3Knm
Saturday, 29/05 – Vernissage
Tuesday, 01/06 – Lecture Performance: humanCloud
Saturday, 05/06 – Concert with TwoPartout and livestream
Where?
Königstraße 22, 70173 Stuttgart
Friedrich Hensen is an artist, musician and poet from Stuttgart.
He studied at the ABK Stuttgart from 2012-2020 and participated in numerous events of the CAMPUS GEGENWART at the HMDK Stuttgart from 2017, which brought him into contact with New Music.
He describes the starting point of his work as “traversing spheres”.
With this interdisciplinary approach he works mostly multimedia and installative, in which he transforms and resamples different media in others.
For more information about Satellit Stuttgart:
Instagram: satellit_stuttgart
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Episode III
Wed May 12th — Wed May 26th
Episode IV
Wed May 26th — Wed Jun 9th
Friedrich Hensen
Episode V
Wed Jun 9th — Wed Jun 23rd
Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
Linienscharen
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.
Ann-Josephin Dietz: CARPE DIEM. Holistic Nail Concepts
May 12th – May 26th 2021
The nail studio Holistic Nail Concepts is run by Alana Heubeck, who is also the owner and holistic color coach of CARPE DIEM. After a personal consultation, she will compile an individual nail set for the prospective customer via zoom. This can then be picked up in the nail studio and applied independently with instructions. Through the open consultation hours on site and the Instagram channel @heubeckalana, visitors are given an insight into the working method of Alana Heubeck.
Ann-Josephin Dietz studied at the State Academy of Fine Arts in Stuttgart as well as at the University of Edinburgh (degree: Diplom) from 2013-2020. She works with photography, performance, video, intervention and installation. With her artistic projects she has been represented in numerous group exhibitions, including UG Museum Folkwang, Essen; Galerie Parrotta Contemporary Art, Bonn; Schaulager of EIGEN+ART, Leipzig; Heidelberger Kunstverein; Minshar Gallery, Tel Aviv; Projektraum AKKU, Stuttgart and Staatsgalerie Stuttgart.
Opening hours
mondays 12-2pm, 3-6pm
tuesday 12-2pm, 3-6pm
Live events every Monday 2pm and Tuesday 5pm
Personal appointments by appointment: alana-heubeck(at)web.de
For more information about Satellit Stuttgart:
Instagram: satellit_stuttgart
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Episode III
Wed May 12th — Wed May 26th
Ann-Josephin Dietz
Episode IV
Wed May 26th — Wed Jun 9th
Friedrich Hensen
Episode V
Wed Jun 9th — Wed Jun 23rd
Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
Linienscharen
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.
We invite Michael Dreyer to our seventh Tuesday Workshop.
Tuesday, May 11th, 2021, 7pm
Michael Dreyer
is a German artist and designer. He is professor for visual communication at the Merz Academy, University of Design, Art and Media, Stuttgart, and was involved in its realignment in 1982. In 2006 Dreyer founded the “W.O. Scheibe Museum” project as a temporary exhibition space in Stuttgart, continued in the form of film performances (Atelier, 2012, by Peter Ott and Abwinkl ’83, 2021 ff., Video review by and with Dreyer).
___
Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
Thomas Weber “Bilder aus der näheren Umgebung”
April 29th – May 12th 2021
Thomas Weber will be present at the following times from 2 – 6 p.m. each day:
Thu. 29.4. //Fri. 30.4. //Sun. 2.5.//Thu. 4.5. //Thu. 6.5. //Fri. 7.5.//Sa. 8.5.//Mo. 10.5 //Thu. 11.5.
More about Satellit Stuttgart:
Instagram: satellit_stuttgart
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Thomas Weber
Episode III
Wed May 12th — Wed May 26th
Ann-Josephin Dietz
Episode IV
Wed May 26th — Wed Jun 9th
Friedrich Hensen
Episode V
Wed Jun 9th — Wed Jun 23rd
Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
Linienscharen
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart.
Please join us for a discussion with the artist Eva Barto. Organized in conjunction with her current exhibitions at the Künstlerhaus Stuttgart and Kunstverein Nürnberg.
April 27 2021, 7pm / 19.00
Presented online live-streamed https://us02web.zoom.us/j/89943878326
Contributing to the discussion will be Milan Ther (Director, Kunstverein Nürnberg), and Eric Golo Stone (Artistic Director, Künstlerhaus Stuttgart).
Eva Barto’s exhibition at the Künstlerhaus Stuttgart reconsiders the legal-economic infrastructure by which financial giving is managed in the art sector. Rather than solely reflect on the transactional structures of monetary gifts, financial support, and philanthropy at large, Barto’s exhibition actualizes a specific set of grantor-grantee, donor-donee, and sponsor-sponsee relations. The transactional order for these relations and effects are governed through a system of distinct contractual agreements, which the artist conceptualized and implemented within the material and temporal dimensions of her exhibition. For Barto, to produce disclosures on financial giving and reciprocal compensation in the field of art today is to challenge the idealization of independence by emphasizing the messy, enmeshed, and consequential dependencies that define working relations and conditions.
Please note: Due to public health requirements, the exhibition galleries at the Künstlerhaus Stuttgart remain closed until further notice.
While we eagerly look forward to welcoming you when the exhibition space may safely reopen, the Künstlerhaus Stuttgart as an organization recognizes its responsibility towards visitors and staff in making every effort to contain the spread of COVID-19.
Radical care is not solely a declarative position or something to be reflected on thematically—spaces for art must also of course actualize radically empathetic care work at the policy level. We continue to organize behind-the-scenes so that when we can reopen, the Künstlerhaus Stuttgart will implement accessibility policies that are inclusive of immunocompromised and/or high-risk people.
On March 25th, 2021 the Members of Künstlerhaus Stuttgart elected a new advisory committee and board of directors. The general members assembly – originally scheduled for 2020 – was postponed due to the pandemic. Eventually it was decided to hold the meeting online. Nevertheless, the member’s participation was at a record high. The newly elect members of the advisory committee are: Yvette Hoffmann, Björn Kühn, Florian Model, Monika Nuber, Jasmin Schädler and Damaris Wurster. The board of directors consists of: Ania Corcilius (president), Anna Schiefer (vice president) and Daniel Niccoli (treasurer).
Ania Corcilius, artist and curator, brings her experience on the boards of the Hamburger Kunstverein, nGbK Berlin, and San Francisco’s Creative Arts Charter School to the Künstlerhaus. In Stuttgart, Ania has been teaching at Merz-Akademie and is engaged in the group “Stadtlücken”, who, up until recently, were residents at the studio program at Künstlerhaus.
Anna Schiefer, artist and art educator, is a graduate of ABK Stuttgart, founding member of the collective “Publishing House for Handbooks“, and also a former fellow in the Künstlerhaus‘ studio program. Due to her numerous residencies and research activities at artistic and academic institutions, Anna draws from a broad network, both locally and internationally.
Daniel Niccoli, IT-architect und self-employed IT-advisor, came to the Künstlerhaus through his participation in various workshop classes. Besides his entrepreneurial experience, he will bring to the board a strong interest in forms of participation and communication processes.
Together with the advisory committee the board of directors emphasizes the importance of the Künstlerhaus as a Stuttgart art institution, which is among the leading non-profit galleries contributing to the international contemporary art discourse. At the same time the board seeks to encourage a close dialog between the curated exhibition program and local artists as well as the community. The primary goal is to strengthen the Künstlerhaus as a place for critical artistic debates on the highest level and make it visible and available for the public in Stuttgart.
Season 1 – In Orbit
The following artists and collectives have been selected for the Satellit Space and Project Grants 2021 at Schlossplatz:
Episode I
Wed Apr 14th — Wed Apr 28th
Lowland
Episode II
Wed Apr 28th — Wed May 12th
Episode III
Wed May 12th — Wed May 26th
Episode IV
Wed May 26th — Wed Jun 9th
Episode V
Wed Jun 9th — Wed Jun 23rd
Fünfte Kraft: Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz
Episode VI
Wed Jun 23rd — Wed Jul 7th
SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and supported by the Wüstenrot Foundation.
The current situation brings many challenges for solo independent artists, designers and cultural workers. Satellit Stuttgart is intended to be a platform through which independent projects now become visible. We want to strengthen our local network and generate far-reaching, interdisciplinary dialogues.
With Satellit Stuttgart we create a new format of a temporary, inner-city art space. We invite professional solo artists, designers and collectives from Stuttgart and the surrounding area.
For 3 months (April-July), a vacant store space in Stuttgart will become a temporary studio, exhibition and gallery space, an intervention and experimentation area for cultural workers from various disciplines.
The project grants will be awarded to one artist (or artist group/collective) for two weeks (14 days) at a time.
Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart
For our sixth Tuesday workshop we invite Ania Corcilius. Due to current regulations, this event will also take place online. You can join the event via Zoom:
Join the meeting:
https://us02web.zoom.us/j/86556521495?pwd=d3l6aENSTUFhZ3RoQjk4UUQzd2NTZz09
Meeting-ID: 865 5652 1495
Kenncode: 656406
Ania Corcilius
studied at the HfbK Hamburg and the Whitney Independent Study Program New York. The thematic focus of her artistic-curatorial work is the city as a social space. After many years, first in Berlin and then in San Francisco, Ania Corcilius now lives with her family in Stuttgart. Since 2018 she has been involved in the Stadtlücken e.V.
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
The artist Eva Barto consistently realizes her work through a situationally-specific reconsideration of the very conditions and relations by which her work is produced and circulated. Barto often internalizes, repurposes, and complicates the existing socioeconomic materials and arrangements that constitute a particular site of cultural work. Barto’s exhibition at the Künstlerhaus Stuttgart reconsiders the legal-economic infrastructure by which financial giving is managed in the art sector. Rather than solely reflect on the transactional structures of monetary gifts, financial support, and philanthropy at large, Barto’s exhibition actualizes a specific set of grantor-grantee, donor-donee, and sponsor-sponsee relations. The transactional order for these actualized relations and effects are governed through a system of distinct contractual agreements, which the artist conceptualized and implemented within the material and temporal dimensions of her exhibition. For Barto, to produce transparency and disclosure on financial giving and reciprocal compensation in the field of art today, is to challenge the idealization of independence by emphasizing the messy, enmeshed, and consequential dependencies that define actual lived relations and working conditions.
The current problem field of financial support for the arts is widely recognized. Fundraising within the global art sector is dominated by privately governed legal-economic arrangements attributed to charitable giving and philanthropy. The US system of arts funding—which since the early 1980s has been wholly structured as a political economy of individual financial contributions, and entirely overdetermined by privately governed philanthropy—is increasingly adopted by art contexts around the world. For instance, donor advised funds and other similar legal mechanisms are being considered in various legal jurisdictions as a means of transforming publicly funded cultural services into opportunities for the non-disclosure management of private assets incentivized by tax deductions and returns on investment. Art institutions are key to considering the investment capacity of non-profits. Institutions that produce and distribute artistic work are widely utilized as havens for tax-avoidance, while they are also increasingly targeted by the philanthropy class for private investment purposes through the legal-economic incentives proposed by social entrepreneurship and social impact bonds. This return on investment logic is a driving force in the expansion of fundraising activities and development departments within art institutions and cultural organizations, which work closely with individual patrons and their foundations that structure financial giving.
While the number of private foundations in Germany is growing, charitable contributions are being made by a shrinking number of supporters.[1] With less people giving more money, charitable purposes in Germany are increasingly defined by a very select few under less transparent governance arrangements. Under threat of state budget cuts, an urgent question today for the art sector in Germany and beyond (i.e. in France, where Barto lives and works), is whether the model of tax privileged private philanthropy and its entrepreneurial approaches to fundraising for art become an increasingly expected substitute for state governmental public support such as grants. How will funding for art be altered by the increased expectation of privately contributed income and revenue streams? And ultimately, what are the circumstances of socioeconomic injustice which make the model of privately governed patronage and philanthropy seem necessary?
Grants, donations, and sponsorship are a response to funding requests and fundraising efforts. Art institutions are at the forefront of establishing neoliberal philanthropy and entrepreneurial fundraising as the means for responding to socioeconomic necessity. While the emphasis is most often on distinguishing between modes of arts funding like grants, donations, and sponsorship, these different modes of art funding in fact share many of the same operative functions. Grantors, donors, and sponsors alike, stipulate conditions and directives in providing funds, requiring the funding recipient to report on outcomes that meet certain metrics, and which the funders have built into their funding arrangement in order for outcomes to be gauged according to criteria of success they have established. Particularly in the art sector, distinctions between these forms of funding are increasingly unclear, which is why gift classification policy has become more complex in recent years. From a legal standpoint, the distinctions between these systems of financial support for the arts center around the statutes, implications, and effects of tax treatment, charitable purposes, and related compensation. But the legal classification of financial giving in the art sector raises crucial questions that remain unsettled. For instance, German law clearly stipulates that donations are gifts—a specific legally defined form of financial giving that prohibits the donor from receiving any form of compensation or recoupment on their donation, save for the allotted tax deduction. Yet there remain open-ended questions about the potential for eventual compensation on donations when those very donations are used to fund the production of artworks that are destined for private holding (the vast majority of artworks as legal property are of course destined for private holding).
In preparing her exhibition The Supporters for the Künstlerhaus Stuttgart, Barto reexamined this current problem field within the German art context, and considered specific—distinct yet interrelated, and often overlapping—forms of financial support, namely: grants, donations, and sponsorship. The different sources that fund Barto’s exhibition were actively pursued by the artist as necessary means of production, and as a deliberately comparable set of relations. Working with the Künstlerhaus Stuttgart, Barto secured a grant for her exhibition from the regional German government of Baden-Württemberg, where Stuttgart is located. This grant from the regional government’s granting agency for arts and culture is particularly meaningful when considering how the statutes of state funding and charitable uses expand as new public needs develop. The grant, titled, “Art Despite Distance/Kunst Trotz Abstand,” was made available as a direct response to the needs of artists and their institutions during the COVID-19 pandemic. In addition to emphasizing artist fees and underwriting material production, the grant made certain funds available for infrastructural materials that supported public health needs and guidelines. Barto utilizes the full allocation from the grant for this intended purpose of equipping the institution with materials that support public health in face of the COVID-19 pandemic. Barto then necessarily supplemented this grant, and matching funds provided by the Künstlerhaus Stuttgart from its core budget that derives from the City of Stuttgart, with a donation from Galerie Max Mayer, a commercial gallery owned and operated by Max Mayer in Düsseldorf, Germany.
Finally, Barto secured an additional working relationship to amplify and extend further the comparable forms of financial giving and receiving localized within her exhibition at the Künstlerhaus Stuttgart. The artist proposed that her exhibition in Stuttgart be mirrored by an exhibition of her work at the Kunstverein Nürnberg—an exhibiting institution, which in comparison to the Künstlerhaus Stuttgart, is more reliant on fundraising from third-party sources. While Barto’s exhibition at the Künstlerhaus Stuttgart is almost entirely supported through city and regional government funding, the artist’s exhibition at the Kunstverein Nürnberg, also entitled The Supporters, is largely made possible through financial sponsorship from Galerie Max Mayer. Galerie Max Mayer’s donation to the Künstlerhaus Stuttgart prohibits any direct compensation beyond the permissible tax deduction, yet the gallery’s sponsorship provided to Kunstverein Nürnberg is far less restrictive in how compensations are regulated. The complex circuit of comparative interrelations that Barto has orchestrated between these art institutions is formalized through a system of legal contracts that govern the different forms of financial giving and effects. The contractual agreements are included in both exhibitions as an unlimited edition work by Barto, which the artist has made freely distributable to anyone visiting the exhibitions.
The Künstlerhaus Stuttgart is pleased to present “The Supporters”, a project by Eva Barto produced in collaboration with the Kunstverein Nürnberg and Galerie Max Mayer, Düsseldorf.
[1] Council on Foundations Report, “Non-Profit Law in Germany” (March 2020). European Fundraising Association, “Growing Philanthropy in Germany”, https://efa-net.eu/features/your-voice-growing-philanthropy-in-germany (last accessed March 2021).
Ramaya Tegegne’s exhibition at the Künstlerhaus Stuttgart centers around the artist’s experiential research into the conflicting role art institutions maintain when they promote claims to anti-racism while actively engaging in the management of racial inequalities. It is this violent disconnect between a declarative politics and the actualized material politics that Tegegne recognizes as being particularly pervasive in the arts sector. This disconnect is amplified today by a social uprising that extends from the racial equity demands of individual access and representation to transforming race relations at the systemic level of shared policy and institutional governance. While considering the extent to which racially specific elision and dispossession continue to define the operative structures of art institutions, Tegegne’s exhibition emphasizes how everyday lived relations are directly responsive to these deeply entrenched ongoing historical conditions.
Within her exhibition at the Künstlerhaus Stuttgart, Tegegne’s new film work, Framer Framed[1], presents a deliberation by the board of directors of an unnamed cultural institution in French-speaking Switzerland. This fictional staged board meeting revisits an actual incident that took place in 2019 when a group of Black migrant men were forced to vacate the lobby of a Swiss state-funded cultural institution, which at the time was screening a film about the exclusion and discrimination of Black migrant men in Switzerland. These individuals gathered in the lobby were told to leave by a management employee of the institution who justified the expulsion by stating that the group was loitering and disrupting the experience of patrons attending the screening. For Tegegne, this incident must be recognized within a far-reaching history of loitering and vagrancy laws directed against Black people, as well as the broader history of racialized policing of property and public space. Framer Framed was produced in response to this particular incident, which Tegegne witnessed first-hand, and intervened in by first confronting the employee, and then addressing the institution’s board through a collectively-organized letter writing campaign. Because the institution provided no substantive reply to these modes of address, nor any inclusive means for deliberation on appropriate recourse or retribution, Tegegne sought other means by which to hold a hearing on the facts of the matter.
The scripted, staged, and performed deliberations in Framer Framed enact a place for governance arrangements, adjudication, and dispute resolution as wrested from the continued historical realities of institutional proceedings that define property rights and property relations through racialized expulsion and dispossession. In doing so, Tegegne’s film embodies a collective experience of joy, solidarity, and defiance, while it also evidences a painful outcome: a substantive deliberation on racial justice conducted by the institutional governing board was ultimately realized as fiction, solely as artistic content. And this painful outcome—consistent with an oppressive system of reality that relegates recourse for BIPOC wholly within the realm of expression—is reached by way of a cunning deception which Tegegne recognizes as a unique operative function of the artistic field. In her letter writing campaign, Tegegne had asked the organizer of the screening that presented a film about the exclusion and discrimination of black migrant men in Switzerland, and the board of the hosting institution, to advocate for and implement specific anti-racist policies. That the institution in question was unresponsive to these policy demands, while presenting and promoting artistic content that evokes these very demands, is exemplary of how art institutions prevent structural transformation by dissociating artistic content from its social conditions of production, distribution, and reception. What is the role of art institutions and cultural organizations when their own claims for racial equity are ultimately rendered as purely content-related? What are artists as content producers to do when institutional conduct is in direct conflict with the values expressed by their artistic content? What methods and techniques might artists utilize to more fully align their symbolic, affective, sensorial interventions, and the structures that govern these artistic interventions?
Framer Framed draws from the reflexive, situationally-specific, and interventionist theater methodologies that the noted Brazilian playwrite, dramaturgist, and educator, Augusto Boal developed in the 1950s and 1960s from Black Experimental Theater traditions in New York, and during his years organizing forum theatre productions at the Teatro de Arena de São Paulo in Brazil. Boal’s forum theatre productions worked to bring underserved local community constituents into the space of theater in order to roleplay and workshop advocacy and policy goals for their communities. Tegegne cast Black-identifying filmmakers and actors living and working in the French-speaking Swiss context, including one individual who was directly involved in the 2019 incident, to perform the staged deliberations that were filmed for Framer Framed. Another forum theatre method that Tegegne’s film utilizes is having scripted performances interjected with unscripted input and feedback by performers and set production workers as the deliberations play out on set. At one crucial point, the performers and set production workers begin having an entirely unscripted discussion on camera about their reasons for agreeing to work on the film, as well as discussing what the fictional staged board deliberations convey about the field of artistic production. While satire is a prevalent motif within the scripted performances, it was important for Tegegne to corroborate the disaffection and unmediated actual lived relations that worked together to produce Framer Framed. Additionally, in producing the film, Tegegne was intent on extending the political imperatives expressed within Framer Framed, to an inquiry of the Künstlerhaus Stuttgart as the institutional context for its reception and for her exhibition at large.
In preparing Unusability Might be Assumed Unless there are Signs Indicating Otherwise[2], Tegegne conducted a study of the exhibition history of the Künstlerhaus Stuttgart, and implemented a particular legal-economic structure through which to manage the means of production for her exhibition. Tegegne is the first Black artist to produce a major monographic exhibition for the Künstlerhaus Stuttgart since its founding in 1978. This historical reality informs a number of the artist’s decisions about the spatial logic and use of the exhibition gallery where her work is situated. Constructing a barrier made from semi-transparent theater curtains, Tegegne has sectioned-off most of the gallery, rendering the exhibition space largely inaccessible to visitors and veiling any possibility to see out onto the space. The artist’s ambivalence in considering how to make use of a space that has not evolved to be usable for her is expressed throughout the exhibition. There is the opacity and transparency of the constructed barrier. The unoccupied space is confrontationally off-limits, but also softened by the semi-transparent fabric acting as an optical filter—a clear obstruction and soft-focus lens all at once. And there is the intimate space Tegegne constructed for viewing the film—welcoming, open, and snug, but also set aside and withdrawn. Beyond the symbolic, affective, and sensorial encounter generated by the theater curtain structure, Tegegne reconsidered the usability of the economic conditions typically arranged by an exhibiting institution. In preparing for her exhibition the artist founded a Verein (e.V./Association), a registered association that governs her work according to association law and provides the artist with greater direct control over how the financing of her exhibition is managed. For instance, rather than the hosting institution managing third-party funds raised for Tegegne’s exhibition, these funds are directly wired to her Verein. And through this legal-economic structure, the artist allocates funds for her own needs and the needs of workers she hires, bypassing the mediatory influence—the oversight and reporting—that is typically centralized within the fiduciary responsibilities of the hosting institution. Consequently, Tegegne’s exhibition at the Künstlerhaus Stuttgart mobilizes a critical ambivalence towards the usability of established and inherited art institutions, by more fully realizing how artistic interests must be inextricably bound to their determining material conditions.[3]
[1] Tegegne takes this title for her film from: Trinh T. Minh-ha, Framer Framed, Routledge, 1993
[2] Tegegne draws inspiration for this exhibition title from Sara Ahmed’s writings, specifically: Sara Ahmed, What’s the Use? On the Uses of Use, Duke University Press, 2019, p. 57
[3] Ambivalence is a critical position-taking, not a passive state of contradiction. It must be recognized that “ambivalence,” and interpretations of “Black ambivalence” have been articulated by scholarship within Black Studies, and Black radical traditions more broadly. Please see for instance the concept of “Double Consciousness,” often associated with William Edward Burghardt Du Bois, who introduced the term into social and political thought, most notably in his groundbreaking, The Souls of Black Folk (1903). The criticality of “ambivalence” has also been discussed within intersectional and Black feminist writings which seek to disrupt fixity and oppressive dichotomies that have historically impeded the intersectional work of forming feminist alliances.
As the intersection between internationally renowned exhibition programs, Stuttgart’s community of artists, and important local discussions, the Künstlerhaus is taking on an increasingly important role. Now, this significance is also reflected in a brand-new website. Following an intensive working process, www.kuenstlerhaus.de goes online today with its new design and clear structure.
The new online presence is based on visitor-friendliness, transparency, and the presentation of all content through a new navigation system and a clear design.
The idea for the new website was to present the Künstlerhaus Stuttgart in its entirety directly on the homepage, to create a structure that made it possible to find information easily, and to present activities in our workshops and studios on an equal footing with the exhibition program.
The Stuttgart office matter of was responsible for the design, and Valentin Alisch for the technical implementation. The project was led by Managing Director Romy Range, who was supported by the board during the realization.
Transparency and Clarity
All areas of the Künstlerhaus are now placed on an equal footing alongside one another, directly visible to users. Whether it’s a matter of exhibitions, workshops, studio fellowships, or memberships for the Künstlerhaus, everything can be found in one glance and accessed directly via the navigation system. The tiled images on the homepage also enable intuitive access to the individual menu options, such as exhibitions, studios, or workshops. Moreover, the agenda provides an overview of all upcoming events and exhibitions. All content will also continue to be available in both German and English.
New Menu Options, New Content
We have not only restructured the existing content but also brought opportunities for participation more prominently to the fore with the Education and Membership categories. For example, in the area of Education, our project with the Hölderlin-Gymnasium will also become visible in the coming months.
In our new shop, editions and publications are now available for purchase, and purchases can be processed via the website. Memberships can also now be set up online, which simplifies the process for all users.
Furthermore, what is also new is the website’s function as a comprehensive research tool with filter options. It provides different users with the opportunity to delve into a multitude of particular topics and to search for content.
Clear and Simple Design
Fresh colors, lots of white space, large-format images, and embedded videos: the newly designed website provides users with all important information in a single glance. Each subpage offers an entry point via images and videos, followed by longer texts.
Hence our workshops, for example, can be experienced not only through images but also videos. In the coming months, each workshop and its special features will be presented in a short film. The first to be shown will be for the ceramics, silkscreen, and etching workshops.
Archive from 40 Years of the Künstlerhaus
In our archive, there are more than 40 years of the Künstlerhaus Stuttgart to explore. In order to make research easier for visitors, we have built in search and filter functions, so that one can research specific exhibitions, events, publications, and the like. We have processed archival material, researched visual materials, and generated new content. The archive is therefore a continual work-in-progress. In the coming months, we will continue to supplement it with further content.
With this new website, all the different facets of the Künstlerhaus Stuttgart shall be available to experience, and users will be informed about all our activities in the best possible way.
Künstlerhaus Stuttgart is pleased to announce the new studio holders for the year 2021/22, who will move into their studios at Künstlerhaus starting May 01, 2021. This year, the Künstlerhaus is once again able to provide six outstanding artists, artist groups and collectives with working spaces for one year.
We are pleased to welcome Helen Weber and Janis Eckhardt as new fellows.
The grants of Alba Frenzel, Lennart Cleemann and Marlon Lanziner and Valentino Berndt (MAVA) have been extended for another year. Jasmin Schädler will share her studio with her colleagues of the n.n.n. collective Susanne Brendel and Julia Schäfer in her last year as a studio holder.
Janis Eckhardt
Janis Eckhardt’s (*1994) working method combines personal fascinations with contemporary social circumstances through the lens of constellations and objects. His works are mostly the result of a casual momentum that emerges from these accumulated materials. Performative aspects as well as the reutilization of his own and other material—plus its history, distribution and recontextualization—are the mechanisms running through his work. He is consequently always in search of a form of reproduction and representation that is not merely symbolic but rather an intervention that produces and perpetuates ambiguity.
Helen Weber
Helen Weber (*1994) studied fine arts in Stuttgart and Istanbul. She works individually and collectively between interior and exterior space, and is part of the Schwäbischer Online-Albverein, kollektiv_mitteperformance, and ROSANNAWIDUKIND. Weber throws herself into different contexts with a field-research approach, resulting in actions, sculptures, texts, video installations and various forms of documentation. For some time now, she has been interested in the contradictions of the “German Forest,” an ideological playground between survival, woodland solitude*, folklore, protest, ticks, nature and climate protection.
*In July 2020, the “Black Forest Rambo” Y. Rausch disarmed four police officers during a call-out to his garden hut and subsequently found shelter from police helicopters in his native Black Forest during a six-day manhunt. In a video, a local resident describes the situation: “I was busy in the garden and on my way down I was looking along the street—because you just kind of glance around then for a moment—when I saw a young man in camouflage walking down the street with a long walking stick. He was walking like a hiker.”
n.n.n. collective
n.n.n. collective was founded by Jasmin Schädler, Julia Schäfer, and Susanne Brendel in 2014. Schädler studied theater directing at the Akademie für Darstellende Kunst Baden-Württemberg (2016) and art praxis at the Dutch Art Institute (2019). Schäfer graduated with a degree in fine arts from the Staatliche Akademie der Bildenden Künste Stuttgart (2020) and Brendel studied stage and costume design and visual arts at the Staatliche Akademie der Bildenden Künste Stuttgart (2021). Together, they develop formats grounded in both the visual and performing arts. Their content engages with literary and theoretical texts in equal measure as well as their potential to activate scenic processes. Their works have been shown in venues including the project space at the Kunstverein Wagenhalle, the Schauspiel Stuttgart, and the Theater Rampe. With the aid of a publication grant from the Ministry of Science, Research and the Arts of Baden-Württemberg, their book vom Aufgang der Sonne (From the Rising of the Sun) will be released in 2021. It will present texts and artistic works within the context of a critical examination of Hegel’s lectures on the philosophy of world history.
Eva Dörr & Lena Meinhardt
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
Lena Meinhardt was a contact student in computer music at the Stuttgart University of Music and Performing Arts. She is currently studying audiovisual media at the HdM Stuttgart. In her compositions, recordings of places, objects or texts take on a life of their own through powerful syntheses of sound. Together with Eva Dörr, who studied fine arts and mathematics at KIT Karlsruhe and the State Academy of Fine Arts Stuttgart, among others, she creates location- or context-related works. Eva Dörr’s artistic focus is on (sound) installation and video. She focuses on the acoustic perception of mostly marginal spaces and places.
The work ABELKA is part of the self-organized exhibition project “Kehrmaschine”. Synchronized with other works in the exhibition, the 8-channel sound installation mixes the hall’s ventilation system with a 60-minute composition that takes spatial memory as its theme, filling the hall with sounds and their reflections.
Alba Frenzel
Alba Frenzel studied at the Academy of Visual Arts in Leipzig. During her studies, she focused on photography in the field of contemporary art. After receiving her diploma in the summer of 2017, she exhibited her work Fotopapier, Licht, Ei together with other prize winners as part of the photography competition gute aussichten – junge deutsche fotografie at the Deichtorhallen Hamburg. In spring 2021 her first publication Kreatur o.T. will be published by Vexer Verlag.
In her artistic-research work, she is interested in how “living art” is created. In her current research, she came across “liverwurst tree” by chance, which is on the same page as “life” in the Duden dictionary. “My work is large-scale research, dealing with the liverwurst tree as if it were art, or with art as if it were a liverwurst tree. The qualities that can be metaphysically rethought to the properties of art are selected in the process.
The heterogeneous material I have collected on the tree, originally native to West Africa, comes from a variety of found sources: Images, catalog texts, videos, professional essays, and internet search results.”
Lennart Cleemann
Lennart Cleemann (*1990) has a background in architecture. He studied in Hanover, Aarhus and Stuttgart. Before joining the Kunsthochschule in Stuttgart, he did an internship at Buchner Bründler Architekten in Basel (Switzerland). This time shaped his way of thinking and working attitude regarding what he calls “poetic pragmatism”. It was in Reto Boller’s art class that he discovered his affinity for direct contact with material and its emotional potency.
His work deals primarily with themes of oneness and togetherness, as well as themes of sexual desire and consumption. Liberation from a felt helplessness in the face of socially and intellectually entrenched structures is a goal of his work. He has an affinity for raw, untreated materials, which are often the starting point of his work. These are often combined with found objects from the street and construction sites and put into context with each other.
He applied to Künstlerhaus Stuttgart with the intention of using the studio provided as a test space for installations, in the sense of a dystopian apartment. The idea stems primarily from his exploration of the motif of the bed as a place of retreat, lethargy, but also intimacy and joy.
He explores emotional and relational contexts that occupy him in his everyday life. The test room can also be seen as a kind of construction site that is in constant flux. Life and death, beauty, destruction and decay have an equal right to exist here.
Marlon Lanziner und Valentino Berndt (MAVA)
As the artist group MAVA, Marlon Lanziner and Valentino Berndt have been working on the sculptural elaboration of environmental phenomenasince 2014. In their project the rain brings the color, they demonstrate how copper’s weathering processes create streaks of color on a white marble staircase as it reacts with rainwater and how this transforms the staircase’s appearance.
Marlon Lanziner (born 1989) and Valentino Berndt (born 1988) studied fine arts at the State Academy of Fine Arts in Stuttgart from 2010 to 2018.
In 2019 Marlon Lanziner designed the first edition of miniature Vadonna sculptures with Eva-Marie Holzner. The unique, individually colored bronze sculptures refer on the one hand to the classic representation of the Virgin Mary as the Madonna, and on the other to the female sex. The sculptures unite both of these aspects.
In 2020 Marlon Lanziner and Valentino Berndt published the MAVA art book The Speed of the Earth, which summarizes the artistic projects from 2014 – 2020. In the following year 2021 they plan to publish the book in the context of an exhibition.
Within the framework of the studio program, scholarships are awarded to outstanding artists and applicants from the fields of architecture and theory. They are provided with a working space in the Künstlerhaus free of charge. In addition, the workshops of the Künstlerhaus can be used free of charge. The workspaces are awarded annually on the basis of the applications received. The decision on the allocation is made by the advisory board of the Künstlerhaus. This year, the start of the scholarship is May 1, 2021 due to corona. The jury consisted of representatives of the board of directors and the advisory board of Künstlerhaus Stuttgart e.V.
Ülkü Süngün
studied sculpture at the State Academy of Fine Arts. Using various media such as photography, installation, sculpture and lecture performances, she critically examines migration and identity (politics) and memory in her work and conducts artistic research with her process-oriented and collaborative approaches. As a lecturer at the Merz Academy and the State Academy of Fine Arts in Stuttgart, she also dealt with emancipatory issues in teaching. In the Künstlerhaus she realizes her project Institute for Artistic Migration Research (IKMF). With her association, founded in 2017, she makes her previous artistic and socio-critical practice structurally visible and uses spaces nomadically. In spring 2019, the ACTIVIST ACADEMY. VISUAL STRATEGIES I realized with several open workshops in the Künstlerhaus. In 2019 she had a stay with the IKMF during the zeitraumexit in Mannheim: GEMEINGUT JUNGBUSCH. In the Jungbusch district, she examined the functions of migration and cultural institutions in the context of gentrification. Stations of the stay were the short film series KANAKINO with Belit Sag and Cana Bilir-Meier.
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
Florian Model
meanders between curatorial and artistic practice and explores the influence of technological developments on societal processes and structures by simulating the outcomes of these complex systems. He runs the nomadic non-profit organization Anorak e. V. together with Johanna Markert and Lukas Ludwig. Recent group exhibitions include MADE IN CHINA at the MAB Society, Shanghai (2013); Soft Nepotism at the Bar Du Bois, Vienna (2014); Expectations at the Composing Rooms, Berlin (2015); Zunfthaus der Künstler at Cabaret Voltaire, Zürich; and the route of friendship runs into a big beautiful wall at the Ladrón Gallery, Mexico City (2018).
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
Statement
We, active practitioners and institutions in the field of art, working in Baden-Württemberg, came together on June 12th 2020 to form an open, independent, and interdisciplinary alliance for equitable and inclusive conditions in the arts and cultural sector. This alliance will actively bring about systemic changes on a regional, national, and trans-national level.
What motivates us is the concern for the future of the arts, and the conviction that the arts sector can only remain independent if the structural conditions change radically, for cultural workers and the field at large.[1]
The SARS-CoV-2 pandemic has yet again highlighted the deeply precarious and unequal conditions within the arts and cultural sector. These concerns are amplified by a sector founded on the (self-) exploitation of working people, that is, both freelance workers, as well as those employed by institutions. Discrimination based on social and ethnic origins, race, age, gender, ability, or the responsibilities of child care remains a pervasive problem in the arts and cultural sector. The current conditions do not allow most of those concerned to build up savings or other securities, and in particular limit the scope for action of underserved individuals and communities.
Since the 1980’s, that is to say, since the onset of neoliberalism, publicly funded arts and cultural institutions have been under political pressure to systematically align with economic criteria, and be tailored to the model of private companies. The result has been, and continues to be, a massive reduction in permanent positions, the commercialization of public institutions, and the mandated focus on quantity, especially in terms of visitor numbers. This quantifiable product and commercial production-oriented logic has proven completely untenable under the stresses imposed by the corona pandemic.
Many independent associations and organizations already work beyond institutional funding, i.e. on the basis of voluntary work and unsecured project funding, without long-term prospects.
Competition, attention, and winner-take-all principles overdetermining factors in the arts and cultural sector, and are often the only criteria of “success”. For the vast majority of artists, the lack of basic necessities and secure income, affordable studios, storage or rehearsal spaces continue to be an existential issue. This, and other imbalances, create questionable competition for resources that are mostly based on non-transparent accessibility. The first to fall by the wayside are various disadvantaged people.
Due to the structures mentioned, and the pandemic scenario of reinforcement of exclusions and hierarchization (“market cleansing”), this current situation urgently needs to be counteracted. It is important to ensure that “high culture” and socio-culture, large stages and independent theatres, museums and artist co-operative galleries, institutions as well as international and local artists are not being pitted against each other. The cultural landscape must remain diverse and complex.
The numerous aid and emergency programs, which are currently being laid out – especially in Baden-Württemberg – for workers and institutions in the field of the arts, are an encouraging sign that politicians are aware of the importance, concerns and needs of the arts—and this gives rise to hope for a common solidarity, in face of the current crisis and also after having overcome it.
However, the closure of all arts and cultural institutions while private businesses remain open, regardless of existing health and safety measures, in the so-called ‘lockdown light’, has painfully demonstrated that the social importance of the arts is still not fully recognized by some parts of politics. This demonstrates clearly that the arts, not just in times of crisis, clearly lag behind economic interests. It is highly problematic and we do not understand why moreover, with the second lockdown, they were denied any educational work.
We are highly concerned that the many aid packages will be followed by budget restructuring which would hit the arts with great severity. This would mean that we would fall even further behind the current inadequate funding policies. This requires new approaches and structures that go beyond the current crisis and give long-term security to the independence of the arts and their emancipatory potential.
For the absolutely necessary change in the arts and cultural sector, the existing funding policies and working practices must be fundamentally questioned and re-organized with the participation of the active protagonists from the arts, politics and administration. The financial basis for transparent and fair, diverse and inclusive (working) conditions must be created, instead of continuing to rely on the (self-) exploitation of arts and cultural workers and the structural deficits of public institutions. This means we need funding models which are based on long-term radical equality of institutions and artists which – for example, in their role as applicants – guarantee and allow adequate and binding payment for everyone working in the arts and cultural sector: for artists, as well as freelancing or employed curators, dramaturges, cultural producers, mediators, graphic designers, technical teams, mask, stage and costume designers, restaurators, assistants, interns, authors, translators, cashiers, security and cleaning staff, journalists and many more. This is impossible under the given funding conditions.
The sum that the federal, state and local authorities in Germany spend annually on culture is 11.4 billion euros, which represents merely 1.77% of the federal budget and 0.35% of GDP.[2] This is an extremely low percentage. In the European comparison, in terms of cultural expenditure of the total public budget [3] Germany ranks 15th, together with France, Slovakia, Romania and Finland. In the comparisons within the federal states, Baden-Württemberg ranks 8th in terms of cultural expenditure (states and municipalities) per inhabitant with 114.64 euros, just below the average and far behind Saxony (212.95 euros) in 8th place [4] (all figures: as of 2017).
As the figures above show, a significant increase in public funding for arts and culture in Germany, in general, and in Baden-Württemberg, in particular, is absolutely necessary. Furthermore, there is an urgent need for a transparent and participatory discussion about the existing allocation, between all parties involved. The promotion of culture must finally be declared a mandatory task of the state. This is the only way to counteract, in a binding and sustainable manner, the precarious working conditions in the cultural sector, in which around 1.3 million people are employed – almost 40% of them as freelancers (as of 2017).[5]
As an extension to existing forums, we want to be competent, critical advisory partners working closely with municipal, federal and national authorities, to help shape solutions, to bring demands and suggestions into budget negotiations, and to approach the political systems. It is only together that we can establish alternative structures, accurately analyze, and eliminate the systemic errors, which have arisen and stabilized over decades, in cultural policy and cultural financing.
In addition to the concern of helping to shape the necessary changes of the existing cultural-political structures through our knowledge, experience, criticism and creativity, it is equally important to us to put ourselves to the test, through developing our own working, thinking and decision-making methods concerning an equitable, diverse and inclusive arts and cultural sector. How are the institutions and active protagonists set up in our alliance, how transparent and democratic are their decision-making processes? How critical of discrimination and sensitive are their actual working practices? Last but not least, we also have to ask ourselves what functions and responsibilities public arts and cultural institutions have, in an immigration country, in terms of social imbalances, growing nationalism, right-wing radicalism, digital surveillance and the climate crisis. How do we deal with (self-) censorship and sexualised violence within the arts and cultural sector?
These questions can only be negotiated from multi-perspective points of view and in collective processes. There is as much to unlearn as there is to learn anew. In this sense, how can already existing resources and opportunities be used more cooperatively and in solidarity?
Our alliance is not only concerned with the old and new, pandemic related problems in the arts. It also asserts itself for strong systemic changes which think the arts in solidarity with other areas of society. We are concerned with a cultural, social and political change that does not follow the principle of the strongest but makes vulnerability its starting point.
This new alliance is open and currently incomplete. We are looking forward to many more participants from different fields and contexts of the arts.
More information: www.dasbuendnis.net
[1] For us, the term “art and cultural workers” includes all freelancers and employees in the arts and cultural sector: from artists, curators and dramaturges to security and cleaning services.
[2] from: Statistische Ämter des Bundes und der Länder (ed.), Cultural Financial Report 2020, 2020, p. 19-20. The 2017 public cultural expenditure on which this is based relate to the fields of theatre and music (34.5%), museums, collections and exhibitions (19.1%), libraries (14.1%), cultural affairs abroad (6%), public art colleges (5.1%), monument protection and preservation (5%), administration (2.5%) and other (13.8%). See: https://www.destatis.de/DE/Themen/Gesellschaft-Umwelt/Bildung-Forschung-Kultur/Kultur/Publikationen/Downloads-Kultur/kulturfinanzbericht-1023002209004.pdf (last accessed on 8.1.2021).
[3] from: European Union (ed.), Culture Statistics. 2019 Edition, 2019, p. 194. The comparison between European Union countries published here refers to expenditure on culture, broadcasting and publishing. See: https://ec.europa.eu/eurostat/de/web/products-statistical-books/-/ks-01-19-712 (last accessed on 8.1.2021).
[4] from: Cultural Finance Report 2020, as note 2, p. 24.
[5] [from: Statistische Ämter des Bundes und der Länder, press release no. 145, 22 April 2020. Occupations in the cultural sector are very broadly defined here and range from “technical media design” to “acting, dance and the arts of movement” and “teaching activities in extracurricular educational institutions” to “museum technicians and management”. It is not possible to identify who is working in the more commercial or more subsidised sector in the various categories used here. At the same time, it can be assumed that many who work in the publicly funded arts sector are not included here: such as security and cleaning staff. See: https://www.destatis.de/DE/Presse/Pressemitteilungen/2020/04/PD20_145_216.html(last accessed on 8.1.2021).
Damaris Wurster
is a visual artist, freelance editor and writer. She studied at the Merz Academy and the State Academy of Fine Arts Stuttgart.
In her work she deals with the abstraction of photography and digital compositions. The starting materials are analog film material, digital photographs and found footage. In addition to her artistic work, she works as an editor with a focus on media art.
In 2016 she founded the Lowland Magazine and the exhibition project of the same name together with Anne Pflug and Christiana Teufel. The project aims to promote networking among artists from different disciplines.
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
Jasmin Schädler
is a director and visual artist. After her bachelor’s degree in physics and cultural studies, she studied theater directing under Christof Nel at the Akademie für Darstellende Kunst Baden-Württemberg and completed a master’s degree in art practice at the Dutch Art Institute. Her artistic focus lies in the dissection of contexts and etymologies. Technology and perception are currently at the center of her work. One long-term artistic research project is her work on the interaction between humans and algorithms. She recently presented a lecture performance on this topic at Silent Green (Berlin) in May 2019.
In 2020 she is creating a work with Bongile Gorata Lecoge-Zulu for the festival Die irritierte Stadt that explores the performative diversity of the perception of urban space. As part of the collective die apokalyptischen tänzer*innen (www.apocalypse.dance) she develops performances in close collaboration with Theater Rampe and as part of Freischwimmen, a platform for new talent.
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The new format was initiated by Ronald Kolb and is supported by the Künstlerhaus advisory board.
NAF
are the two artists Nana Hülsewig and Fender Schrade. Their collaboration began in 2013 at the Künstlerhaus Stuttgart. Since then they have been working consistently on an aesthetic of transgression in the areas of pop music, theater and the visual arts. In 2019, they were awarded the Baden-Württemberg Dance and Theater Prize for the second time for their stage work. In June 2015 they received the three-year conceptual funding from the state of Baden-Württemberg for their project series “NORM IS F! KTION”. Since 2018, NAF has expanded its duo with international artists with its project “DIE WERKSTATT” and developed artistic working methods, their instruments and their compositions as a collective. The Galerie für Zeitgenössische Kunst Leipzig and the Theater Rampe Stuttgart are close allies.
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Tuesday Workshop
From October 2020, artists and other cultural workers will meet every second Tuesday of the month at 7 pm at Künstlerhaus Stuttgart to present their artistic practice, exchange and discuss ideas, and get to know each other better.
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc. and is open to everyone!
It is widely known that the field of art has become particularly indicative of the political economy. We recognize the kind ofdamage that art fully participates in now. Plutocratic governance arrangements and wealth management strategies increasingly define the operational structures of art institutions. Artworld sites of production, distribution, education, reception, and consumption are entirely synonymous with socioeconomic inequality. Artists are a frequently cited example of how laborers are exploited, dispossessed, and deprived when working in a hyper-atomized industry dominated by asymmetrical property laws, freelance contracts, non-disclosure agreements, and verbal offers.
How do we intervene in the consequential legal-economic structures that govern immediate lived relations and working conditions in the field of art? How do we reconcile the unbearable disconnect between the declarative politics that works of art invoke, and the actual political realities that produce and distribute works of art?
Working Group Series
The exhibition, Working Groups, at the Künstlerhaus Stuttgart initiates a two-year long series of closed-door working groups to engage in a substantive reconsideration of the institutional governance arrangements, socioeconomic conditions, and labor relations that produce and distribute art. Comprised of local, regional, and international constituencies, these working groups will conceptualize and implement policies, contracts, and bylaws specific to the Künstlerhaus Stuttgart. In addition to directly addressing the Künstlerhaus Stuttgart as a responsive institutional case study, this working group series offers a model of collaborative governance while supporting experiential research into shared policy.
Founded by artists in 1978, the Künstlerhaus Stuttgart is an institutional context that is structurally equipped for reconsiderations of governance and policy-making from the perspective of art practitioners. It is an art institution constituted by the legal-economic structures of association law in Germany, with bylaws that stipulate association members’ voting rights in governing the institution. In addition to the agency that comes with maintaining voting rights in a typical kunstverein structure, association members of the Künstlerhaus Stuttgart—the large majority of members being artists or practitioners who maintain artistic criteria at the core of their work—also oversee numerous production facilities, workshops, and studios located onsite in the same building that houses exhibition galleries and administrative offices. Consequently, artists occupy a position that closely interrelates institutional governance and the immediate conditions of production at the Künstlerhaus Stuttgart.
By emphasizing artists as primary constituents who conceptualize and implement institutional policy governing conditions in the field of art, this series of closed-door working groups at the Künstlerhaus Stuttgart challenges the settled expectation that artists’ work necessarily amounts to purely content-related outcomes for consumption. Working Groups also then reconsiders to what extent exhibiting art institutions can resist the attention economy and its current demand for consumable content by recognizing and valuing the work artists do that is not intended for consumption. Indeed, how can artists and their institutions fully realize the actual lived conditions that produce and distribute art as being inextricably bound to the symbolic, sensorial, and affective systems of artworks themselves?
The Services Working Group Video Document
The exhibition component of Working Groups at the Künstlerhaus Stuttgart presents the complete archive of videos documenting a historical closed-door working group on labor relations and institutional governance in the art field, which took place on January 22 and 23, 1994 at the Kunstraum of the University of Lüneburg, a non-collecting university art gallery in Lüneburg, Germany (now Kunstraum Leuphana University of Lüneburg). The art historian and curator, Helmut Draxler, and the artist, Andrea Fraser, organized this two-day working group at the invitation of the Kunstraum’s co-directors, Beatrice von Bismarck, Diethelm Stoller, and Ulf Wuggenig. Joining the organizers and co-directors in contributing to the working group discussions were a number of practitioners invited by Draxler and Fraser, including: Judith Barry, Ute Meta Bauer, Jochen Becker, Ulrich Bischoff, Iwona Blazwick, Susan Cahan, Michael Clegg, Stephan Dillemuth, Renée Green, Martin Guttmann, Renate Lorenz, Christian Philipp Müller, Fritz Rahmann, and Fred Wilson. The incredibly candid, and critically reflexive, working group discussions between the organizers, Kunstraum representatives, and the invited practitioners were recorded on videotape, and this compelling video document was then shown as part of the exhibition, Services: The Conditions and Relations of Service Provision in Contemporary Project Oriented Artistic Practice (Kunstraum Lüneburg, January 24 – February 20, 1994). Immediately following its debut at the Kunstraum Lüneburg, the Services exhibition travelled to the Künstlerhaus Stuttgart (1994), the Kunstverein Munich (1994), the Depot in Vienna (1995), Sous-sol, Ecole Supérieure d’Art Visuel in Geneva (1995), and the Provinciaal Museum in Hasselt (1995). The exhibition project was then further realized under the title Parasite at Clocktower, P.S. 1, New York (1997), and as Antagonisms Museum D’Art Contemporani de Barcelona (2001). Working groups with different newly invited contributors and representatives of the hosting institution were organized but not recorded on video.
The Services exhibition—and the closed-door working group as a central operative structure by which the exhibition itself was produced—came out of collaborative research that Draxler and Fraser had conducted into the concept of service provision. Their research aimed at identifying in economic terms what they considered a shared condition of art practices which, in the early 1990s, consistently resulted in ephemeral displays and activities that were not transferred into the art market as objects for sale. For instance, Draxler and Fraser considered to what extent economic theories of service provision could further an understanding of how artists exhibiting non-transferrable works ask for fees from exhibiting institutions. Their research into service provision requested a re-evaluation of the socioeconomic conditions and relations under which artistic practices were being carried out. By introducing the term ‘service provision’ to identify certain labor in the art field, they drew from a long history of social, legal, and economic analysis of service work.
One of the key determinants of service work is that it is a form of labor that incorporates both production and consumption, interacting between these two realms at ever-adaptable working time requirements. The temporal flexibility—the adjustable disciplining of time—required to produce in direct and immediate response to the consumer’s demands, places service work under the often precarious legal standards of subcontracted and freelance contracted work. Within service provision, employers and consumers increasingly share employing functions. The producer’s proximity to the inclinations of consumers is significant to considering abuses, and the variable working time condition has created deeply asymmetrical relations between employers and employees. The gendered and racially-specific dimension of service work, and the socially structured identities and bodies of those hired to perform services, is crucial to understanding abuses that continue to be exacted upon service workers. The exploitation, dispossession, and deprivation exacted upon hired service workers must also be considered with relation to the foundational and continuous histories of slavery, peonage, and human-trafficking. As a form of commodified labor that is contracted out entirely on-demand, the provision of work services has transformed businesses and organizations into contracting agencies that shift the costs of providing benefits, legal protections, and tax contributions onto the worker. These legally ratified exemptions for employers have made the hiring of work services increasingly pervasive within the global economy.
Service provision studies identify an extensive labor sector, and a widely reproduced model for how labor is managed, which has yet to be fully integrated into labor law practice, organized labor, and institutional hiring policies. The obstacles to regulating service work are numerous. There are the legislative complexities of applying shared governance arrangements to distinct services that are precured through individual privately-governed contracts—written or verbal agreements that are often merely one-sided offers with no input or negotiation on terms and conditions that benefit the service worker. And, perhaps moreover, there are the ideological impediments to realizing labor standards for service work. The responsiveness between production and consumption, and the variable working time that characterizes service provision, are often held up as ideal conditions, evidence that the service worker has seemingly greater individual autonomy. Service work, and freelance labor broadly, is promoted for its independence, allowing greater control over when, where, and for whom individuals work. But it is well known that the title of “independent curator,” for instance, is a euphemism for an occupation that by repeatedly claiming to be independent disavows the actual dependencies at work. We very rarely learn who is actually being depended on, and by what means they are being depended on, when affirming independence. Laboring relations are concealed in the dominant model of artistic production in part because asserting the artist’s autonomy from governing institutions, supply chains, and production systems too often also repudiates the laboring relations that constitute these sites. Persistent claims of artistic autonomy foreclose a process of collectively organizing the specific conditions by which we work, and together assess the burdens of our laboring subjectivities. Ultimately, by maintaining the declarative politics of creative autonomy, artists, curators, and other cultural producers do not solely compartmentalize, negate, contradict, or omit the material politics of their working conditions, they also usurp shared struggles.
During the Services working group at the Kunstraum Lüneburg in 1994, the contributors openly discussed their past work-related experiences and had direct exchanges about the immediate struggles of their shared working conditions. The video document of the two-day long discussions offers a sustained view of these shared struggles, messy interactions, and complex questions that took place over the course of an introductory session, four thematic sessions titled, Serving Institutions, Serving Audiences, Serving Communities, Serving Art and Artists, a concluding session, as well as a public presentation by the organizers and participants. The exhibition, Working Groups, at the Künstlerhaus Stuttgart emphasizes these working group discussions that took place at the Kunstraum Lüneburg, presenting a history of individual and collective dilemmas facing workers in the field of art. And by underscoring the Services working group structure itself, Working Groups seeks to actualize the exhibition’s history—rushing this past into the present by proposing a model of intervention-meaning and collective organizing that can be applied to the current historical moment of labor relations and governance arrangements within and beyond the field of artistic production.
Released in conjunction with the exhibition, Working Groups, is a newly produced publication, The Services Working Group (1994 – 1995), published by Fillip, Vancouver. This book revisits the history of the Services working group and reconsiders its political imperatives with relation to the current realities of the art field. The book features a newly produced English/German bilingual transcript of the entirety of the original Services working group discussions. The translation of this transcript was done by Fiona Bryson and co-produced by the Künstlerhaus Stuttgart and Kunstraum Leuphana University of Lüneburg. Bryson’s translation also forms the German language subtitles which accompany the Working Groups presentation of the Services working group video document.
This exhibition has been realized with public funding from the city of Stuttgart
Additional funding for this exhibition has been provided by Wüstenrot Stiftung and Kunstraum of the Leuphana University Lueneburg
The publication, The Services Working Group (1994 – 1995), released in conjunction with this exhibition, is published by Fillip, Vancouver
Photograph by Michael Koch, Courtesy of Kunstraum of the Leuphana University Lueneburg
Office:
Hannah Becker, Assistant General Management
Regine Pfisterer, Accounting and Membership Services
Romy Range, General Manager
Technical Crew:
RIdvan Civelek
Eva Dörr
Kai Fischer
Siggi Kalnbach, Technical Manager
Michelin Kober
Rebecca Ogle
Markus Feifel Pargas
Max Reschke
Anne Römpp
Ciara Tierney
Künstlerhaus Exhibition Educators:
Thora Gerstner
Maya Roismann
Anna Romanenko
Mira Simon
Björn Kühn
Eric Golo Stone has been appointed as the new artistic director of the Künstlerhaus Stuttgart. He will begin working in the position January 1, 2020. Stone will succeed Fatima Hellberg, whose tenure as artistic director concludes in December, 2019.
Stone’s writing and exhibitions emphasize legal mechanisms and socioeconomic conditions that constitute the production, distribution, and reception of art. From 2013 to 2017 he was a curator at LAXART, Los Angeles. In 2018, he organized the exhibition and program, Contractual Situations We Live By, at the Kunsthalle Bern. In addition to currently working on multiple book projects, he is organizing, US Code: Title 26, a forthcoming research initiative and exhibition at Artists Space, New York, which considers the consequential relationship between the art field, tax law, and systemic inequality in the United States. His essays have been published in Afterall, October, Texte zur Kunst, and Flash Art, among other publications. He is a recipient of the 2018 Creative Capital | Andy Warhol Foundation Arts Writers Grant for the book, Artist Contracts in the Political Economy, which examines how artists utilize contracts to intervene in the legal framings, transactional structures, property relations, debt obligations, and labor conditions that artistic production operates within.
Stone said in a statement, “The Künstlerhaus Stuttgart is a more than 40-year ongoing process of experimental institution-making. It has consistently been a space where ideas of institutional governance are questioned, enacted, and embodied as artistic interests. The artistic directorship at the Künstlerhaus has always been structured as a multi-year project, and those who have been elected to the position of artistic director often draw from their art practice backgrounds or maintain artistic criteria at the core of their work. It is this particular institutional identity that I believe makes the Künstlerhaus uniquely qualified to respond to the current structural problems that are so evident in the artworld. A young generation of practitioners today fully recognize how the art field globally has become indicative of, and attendant to, wide-spread socioeconomic inequality and exploitation. I feel it is imperative that art institutions give space for this awareness while considering the actual lived conditions and relations that circulate art as inextricably bound to the content-related symbolic, sensorial, and affective systems of artworks themselves. I look forward to building on the history of the Künstlerhaus as an institution where the organizing of policies can be realized as deliberate and substantive, restless and unruly, artistic experimentation.”
The team, the advisory board and the board of the Künstlerhaus are looking forward to their future collaboration with Eric Golo Stone.
Dr. Hannelore Paflik-Huber, 1st chair of the board
For more information please contact Romy Range (rr@kuenstlerhaus.de)
07:00pm–10:00pm
Mike Kelley’s absurdist masterpiece, Day Is Done, is a fractured feature-length musical, featuring vampires, goths, hillbillies, mimes and demons. The video comprises parts #2 through #32 of Kelley’s multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. In creating the work, Kelley collected hundreds of high school yearbook photographs of ‘extracurricular activities’, specifically those that represent what Kelley has termed as ‘socially accepted rituals of deviance’. He arranged the images into various categories, including religious performances, thugs, dance, hick and hillbilly, Halloween and goth, satanic, mimes, and equestrian events. Each of the 31 video chapters of the film is based on one of these categories, and consists of a performance or time-based recreation of the activities recorded in the photographs, all set at an undefined institutional building and gymnasium referred to as the ‘Educational Complex’. The result is an intentionally disjointed narrative that speaks to the cult of cultural and institutional rituals, the complex vulnerability of adolescence, and the related adult experience of potentially traumatic buried memories.
Day Is Done exemplifies Kelley’s fascination with what he called the ‘American Carnivalesque’, an ambivalent category oscillating between humour, eroticism, darkness, and alienation. Day Is Done treats its subjects with an approach that is not only dutifully anthropological – identifying and cataloging behaviors and types – but is also radically reconstructive, adding layers of perversity, violence, and surrealism to socially accepted rituals and folk entertainment.
A screening at Künstlerhaus Kino accompanying Ghislaine Leung’s exhibition CONSTITUTION.
The Künstlerhaus Stuttgart e.V. is a special institution with a special history. As the first chairwoman of the association and an art historian, Hannelore Paflik-Huber has edited a publicationto mark its fortieth anniversary.
The Künstlerhaus was founded in 1978 by a group of Stuttgart artists and has since developed into a nationally and internationally renowned institution for contemporary art.
The history of its curation over the last four decades is told through interviews with the artistic directors.
Two texts recount the Künstlerhaus’ history: one deals with the period from 1974 to its foundation in 1978, and the other with the building’s initial construction as a luggage factory by its two Jewish owners.
Over seventy leading artistic and political figures and artists associated with the Künstlerhaus explain the special significance of this institution, while the stars of the workshops and studios tell the story of these other two important pillars of the establishment.
The list of authors: Marius Babias, Rudolf Bumiller, Gerd Dieterich, Hildegarde Duane, Jesko Fezer, Liam Gillick, Dietrich Heißenbüttel, Fatima Hellberg, Hans Dieter Huber, MATHESON WHITELEY & Simon Jones, Hans Ulrich Obrist, Hannelore Paflik-Huber, Romy Range, Rachel Reupke, Anna Romanenko, Joachim E. Schielke, Ruby Sircar, Wolfgang Stübler, Wendelien van Oldenborgh, Heidemarie von Wedel, Georg Winter, Didem Yazıcı, and Philipp Ziegler.
The interviews featured are between Ulrich Bernhardt and Jean-Baptiste Joly; Veit Görner, Rudolf Bumiller, and Markus Brüderlin; Ute Meta Bauer and Maria Lind; Nicolaus Schafhausen and Vanessa Joan Müller; Fareed Armaly and Constanze Ruhm; Elke aus dem Moore and Alice Cantaluppi; Axel Wieder and Anja Casser; Misal Adnan Yıldız and Hito Steyerl; and Fatima Hellberg and Sabeth Buchmann.
The cover was designed by British artist Liam Gillick, and the book design is by Ronald Kolb.
This important reference work on this art institution was published by av edition and is available from them or from the Künstlerhaus Stuttgartdirectly. It can be ordered by emailing sales@avedition.de or info@kuenstlerhaus.de
German
664 pages, softcover
450images
20 x 26 cm
ISBN 978-3-89986-287-4
€ 49 [D]
Through a small door sat recessed within a heavy-set wall, white gloss painted walls hang and fold down into a space punctuated by several black gloss coated doors. Tonal sound fills the space in pockets and holes that shift and move. Directly opposite is a single prefabricated white metal panel filled with polyurethane and secured with bolts via white powder-coated metal brackets to the concrete floor. Fixed frontally to this is a small white powder-coated, wall-mounted heater powered by a single small, dark grey and lime green box with digital display also powering a small ceramic pink, white and green house-shaped object containing a light bulb. Mounted to the right are two tall long black speakers, a bit too close together, from which emit the aforementioned sounds. At a distance and facing these, are three more prefabricated white metal panels filled with polyurethane and secured with bolts via white powder-coated metal brackets to the concrete floor. Each panel contains one single plug power supply that runs, with white coated electrical cable, to multiple adapters set into white surface-mounted wall sockets. Two of these panels have small black plastic moulded lanterns attached to them, the white coated cables for which run to the plug points of another. Running behind and parallel to these, a row of forty ceramic objects with black text printed on them are wrapped in pairs in an abundance of red heart and clear cellophane with a combination of oversized pull bows and light pink and red curled ribbon that sits, entrail-like, at the base of each object. Set back against this line, are a further two larger prefabricated white metal panels filled with polyurethane and secured with bolts via white powder-coated metal brackets into the concrete floor. Both panels contain small fixed double-glazed windows with vents and double plug power supplies that each run with white coated electrical cable to single adapters set into white surface-mounted wall sockets. On the back of one panel, mounted low and close, is a large monitor screen running a video file from a small concealed media player, the cables of which are held together with a combination of cable ties and an unlocked heart-shaped padlock. To power this equipment, a long white lead folds around to reach the power source of the second panel. The sockets of the first panel remain unused and covered. Also featured, hung low on the white gloss walls are 272 close-cropped images taken over the years 2017, 2018, 2019 inclusive.
CONSTITUTION was commissioned and produced by Chisenhale Gallery, London, (25 January – 24 March, 2019) with production support by EMPAC, The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute through their artist in residence programme. Additional and context-contingent elements have been produced for Künstlerhaus Stuttgart.
Realised with the generous support of Fürstenberg Zeitgenössisch, Donaueschingen and ESSEX STREET, New York.
