The interdisciplinary studio program
offers individual work spaces to artists, architects, designers, and theoreticians for a period of up to three years. Applications for studios are reviewed annually by a committee comprised of the Board and Advisory Board. Studio grant recipients are assigned their own work space, with access to a shared kitchen and a large communal meeting room on the third floor, while they also have free access to the various workshops and administrative offices at the Künstlerhaus Stuttgart. The individual studio spaces are approximately 25 sq meters.
Studio Holders
Yara Richter (*1996) moves between art, cultural work and motherhood. With a focus on decolonial and collective processes, Richter works alongside her artistic work as a facilitator, speaker and educational consultant specialising in Black identities, intersectional feminism and institutional critique.
Since 2022, Yara Richter has been researching black noise with sound, text, video and performance as a starting point to imagine and create decolonised art and cultural practices. The creative process is a multi-layered, deeply political dance in which ecofeminism, queerness, Altra Egos and historiographies merge with a non-linear understanding of time, psychosomatics and spaces of possibility for marginalised bodies. Analogue and digital technologies interact with the spirit of the body, always raising the question of (agency) power. Performance is also used as a form of institutional critique to deal with the friction of representation and visibility of people and power structures. This is fuelled by Yara’s research into the space in which voice and movement are mutually dependent. In doing so, Yara Richter undertakes experiments in collective and collaborative practice, as in the case of the Noise Sessions (2022) as clits akimbo with Kai Krämer and the performance seep (2022) with Toni Böckle at the Staatliche Kunsthalle Baden-Baden.
2024 Yara’s text Dissolving Intimacy about the exhibition You Are Another Me by Adina Pintilie is published in the Lerchenfeld Magazin of the HFBK Hamburg. 2023 Yara produced the experimental podcast black noise x Bad Cannstatt with the Black Community Foundation and young Black artists in Stuttgart as part of the Open School Bad Cannstatt of the Künstlerhaus Stuttgart and the Current – Kunst und Urbaner Raum Festival.
Since 2023, Yara Richter has been curating the Future Building Site of the Junge Oper im Nord Stuttgart with Ülkü Süngün and Noah Anderson, which deals with the question of how BIPoC communities can be enabled to participate structurally and sustainably in art & cultural institutions. Yara Richter is also co-coordinator of Black History Month 2024 Stuttgart, which is collectively organised by various Black and Afro-diasporic groups.
From 2020 to 2023, Yara Richter completed the MFA in Body, Theory and Poetics of the Performative at the State Academy of Fine Arts Stuttgart with Discoteca Flaming Star and Ines Kleesattel. During this time, Richter also worked as an art mediator in various art institutions in Stuttgart. Prior to this, she completed a Bachelor’s degree in Sociology with Quantitative Methods at the University of Warwick (Coventry, UK) and spent three years on parental leave.
Yara Richter lives and works in Stuttgart.
anima ona is a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas. The duo studied industrial design at the Stuttgart State Academy of Art and Design.
Following a transdisciplinary and collaborative approach, they have been developing own projects and realizing commissioned works since 2018, straddling the border between design, research, and art.
Their diverse works are united by the search for previously untapped resources and opportunities to reuse materials, which they explore by adopting experimental strategies and examining the cultural significance of objects.
Further information about anima ona can be found here:
As an artist, art educator and mother, Marcela Majchrzak (b. 1993) deals with topics relating to identity, culture and work in her projects. She is particularly interested in the (dis)functionality of structures and their justification mechanisms. Her works often have an exploratory and performative character and are frequently realized through various formats of coming together.
As a founding member of the Matriarchale Volksküche (MV), which is a collective of artists, she stages various kitchen-, meal-, and discourse-based events. In these, the artists attempt to bring together different perspectives and approaches around the table in order to exchange recipes for future coexistence. In this way, they situationally continue the work of the people’s kitchens, whose economy of care contrasts with the economy of the free market, but also question the mechanisms of exploitation and value systems internalised therein.
Marcela Majchrzak lives and works in Stuttgart. She studied at the Academy of Fine Arts with Rainer Ganahl, Ülkü Süngün and Heba Y. Amin and philosophy at the University of Stuttgart.
Mizi Lee Lee (b. 1990, Changwon, South Korea) uses various forms of media and transcends disciplinary boundaries to produce a unique experience. This might involve establishing a fake supermarket to print brochures full of artworks, or screaming in a punk band at the Kulturbrauerei in Berlin or in old train carriages at the Nordbahnhof in Stuttgart. She adopts an interdisciplinary and collective approach because she believes that art requires more than just a single artist. In 2022, she founded the punk band Horizontaler Gentransfer; together with the other members, she has created a series of projects that lie at the intersection of visual art, performance, and theatre.
She has a bachelor’s degree in painting from Hongik University, Seoul and completed her diploma in fine arts at the ABK Stuttgart with Nadine Bracht, Werner Schüle, Enno Lehmann, Claudia Heinzler, Solveig Fröhling, Jonghyun Park, Martin Lutz, Nobert Kull, Thomas Breitenfeld, Daniel Mijic, Justyna Koeke, Tilmann Eberwein, Prof. Bier, Prof. Roggan, Prof. Roob, Prof. Thomas and Schorsch Kamerun.
Further information about Mizi Lee can be found at
Lambert Mousseka has developed the concept “Stuttgart Akt” for the final year of his studio grant at the Künstlerhaus Stuttgart.
This includes three publications covering his entire time at the Künstlerhaus on the subject of La Sape – Sapologie.
With “Stuttgart – Akt”, everyone in Stuttgart is invited to sape. The idea is to go out into Stuttgart’s public with volunteers such as the current scholarship holders, members, art lovers, students and people from Stuttgart and make sape.
Clothing will be made from natural materials, ceramics and fabrics, which will not only be dedicated to Sape. The beautiful, elegant, colourful and exaggerated clothing also includes accessories. Attention – not to be confused with carnival, Sapologie has more to do with fashion than anything else.
The plan is to cooperate with a fashion school and two or three tailors from Kinshasa. One of whom is a member of the Bakoko collective, which makes clothes from natural materials. This revolutionary collective refuses to make clothes from fabric, instead taking inspiration from nature.
Focusing his artistic research in performance and visual arts, Paco Ladrón de Guevara (Granada, b. 1997) uses a variety of different media such as installation, drawing or dance to realize his projects.
After practicing acrobats for 8 years and obtaining his bachelor Degree in Fine Art, Paco travelled to Brussels and Berlin to have an independent formation in dance. Since then, he has worked as a professional dancer in the companies Aura Dance theatre (Lithuania) and Ballet Pforzheim (Germany).
After the season 2021/22, Paco based himself in Stuttgart as a freelance artist, focusing on plastic research and choreography and having the opportunity to work as a performer for other choreographers in different cities of Germany, Italy, Spain and Switzerland as well as creating his own work.
During the last years, Paco kept running his own transdisciplinary projects in the shape of exhibitions or performances.
Lastly, it is worth mentioning his teaching labour in workshops of contemporary drawing and movement research such as “due to, despite of. Between boredom and necessity” (Spain, Lithuania and Germany).
Theo Ferreira Gomes (b. 1993, Niterói/Brazil) is a post-disciplinary curator, designer and DJ. He is particularly interested in informal social economies and how different currencies can create personal or impersonal communities.
Since June 2022, he has been a curatorial fellow at ORNAMENTA, a reactivated cultural programme in the Northern Black Forest that explores modern regionalism and is taking place—for the second time since 1989—from July to October 2024.
In a series of site-specific exhibitions and event formats, the thematic neighbourhoods Bad Databrunn, Zum Eros, Schmutzige Ecke, Inhalatorium, and Solartal will be prototyped and presented to the public, in collaboration with societal, artistic, and entrepreneurial perspectives.
From April 2022 – May 2023 he was a coordination fellow for art, science & business at Akademie Schloss Solitude. He was involved in coordinating the Field Trip Residency, an ongoing collaboration between the Department for Ecology of Animal Societies at the Max Planck Institute for Animal Behavior in Konstanz and the art, science & business program at Akademie Schloss Solitude. He furthermore was involved in the Namibia exchange program and the Under Utopia fellowship.
From November 2019 – February 2023 he was board member at Leerstand als Freiraum e.V. (LAF), a collectively run, independent art space in centre of Pforzheim. LAF e.V. stands up for cultural spaces in Pforzheim and initiates projects situated within the fields of art, urbanism and society.
2018, he completed his BA in fashion design at University Pforzheim. During his studies he received a project stipend from AsaPreneurs. Goal of the project was to co-develop design methods in collaboration with workers at a factory in Tirrupur (South India) which use and reduce textile waste.
Yara Richter (*1996) moves between art, cultural work and motherhood. With a focus on decolonial and collective processes, Richter works alongside her artistic work as a facilitator, speaker and educational consultant specialising in Black identities, intersectional feminism and institutional critique.
Since 2022, Yara Richter has been researching black noise with sound, text, video and performance as a starting point to imagine and create decolonised art and cultural practices. The creative process is a multi-layered, deeply political dance in which ecofeminism, queerness, Altra Egos and historiographies merge with a non-linear understanding of time, psychosomatics and spaces of possibility for marginalised bodies. Analogue and digital technologies interact with the spirit of the body, always raising the question of (agency) power. Performance is also used as a form of institutional critique to deal with the friction of representation and visibility of people and power structures. This is fuelled by Yara’s research into the space in which voice and movement are mutually dependent. In doing so, Yara Richter undertakes experiments in collective and collaborative practice, as in the case of the Noise Sessions (2022) as clits akimbo with Kai Krämer and the performance seep (2022) with Toni Böckle at the Staatliche Kunsthalle Baden-Baden.
2024 Yara’s text Dissolving Intimacy about the exhibition You Are Another Me by Adina Pintilie is published in the Lerchenfeld Magazin of the HFBK Hamburg. 2023 Yara produced the experimental podcast black noise x Bad Cannstatt with the Black Community Foundation and young Black artists in Stuttgart as part of the Open School Bad Cannstatt of the Künstlerhaus Stuttgart and the Current – Kunst und Urbaner Raum Festival.
Since 2023, Yara Richter has been curating the Future Building Site of the Junge Oper im Nord Stuttgart with Ülkü Süngün and Noah Anderson, which deals with the question of how BIPoC communities can be enabled to participate structurally and sustainably in art & cultural institutions. Yara Richter is also co-coordinator of Black History Month 2024 Stuttgart, which is collectively organised by various Black and Afro-diasporic groups.
From 2020 to 2023, Yara Richter completed the MFA in Body, Theory and Poetics of the Performative at the State Academy of Fine Arts Stuttgart with Discoteca Flaming Star and Ines Kleesattel. During this time, Richter also worked as an art mediator in various art institutions in Stuttgart. Prior to this, she completed a Bachelor’s degree in Sociology with Quantitative Methods at the University of Warwick (Coventry, UK) and spent three years on parental leave.
Yara Richter lives and works in Stuttgart.
I explore the relationship between text and image and how words and images circulate between the discursive and pictorial realms, investigating the objecthood of language and the grammar of images. My practice is often generated through writing and unfolds as installations gather print and sculptural elements while writing functions as a fulcrum. My inspiration comes from philosophy, literature, culinary arts, and an edge of an apple. Within and around my work, I’m interested in perforating the tightly knit textures of art history, the entirety texture of the self, and the fetish of authenticity and originality. This attitude allows me to think without establishing a new center, an origin, or a truth. I don’t care about the purpose of a medium; instead, I use what’s there (it could be originally not meant for) to get a particular job done. I don’t worry about the coherence of my words or ideas. I act like a bricoleur in that sense. My written material connotes how the “I” as a portrait of an artist is diagnosed and what the symptoms might be for mild, moderate, or severe. Therefore, writing is a way to celebrate my symptoms as an artist! I split myself into multiples and became a spectator of one another. The difficulty of recognizing art-making as labor and the economic realities of life as an artist are both addressed in my written work.
Irem Gunaydin (born in 1989, Istanbul/Turkey) holds a Foundation diploma from Chelsea College of Art and Design (2011) and her BA in Fine Art from Central Saint Martins, London (2014). She lives and works in Istanbul.
Marcela Majchrzak (*1993) is an artist, art mediator and mother. In her projects, she is interested in the (dis)functionality of structures and their justification mechanisms around the themes of identity, work and culture. Her work often has an exploratory, performative character and likes to realise itself in different formats of coming together. She is currently researching a monument in the place where she spent parts of her childhood, revealing its social and national entanglements, but also her own personal ones. As a founding member of the Matriarchale Volksküche, which is an artists’ collective, she realises various kitchen, dinner and discourse events, repeatedly asking herself how an artistic/activist group structure can be open and sustainable. Together with interdisciplinary actors, she thinks about new perspectives on the future of art education.
She studied philosophy and fine arts in Stuttgart and Warsaw and graduated in the class of Heba Y. Amin and Ülkü Süngün.
Mona Zeiler’s works trace the levels of meaning of things and establish links between the materials and forms used in terms of their content and aesthetic attributions. Metal constructions, glass and wooden elements meet ceramic objects, moulds made of plaster or elements made of stone.
By working with different materials, it is also a question of letting something emerge that is negotiated through the material experience in the space on and with things and brings forth a knowledge that language cannot formulate. Within these arrangements, the human being appears merely as an ordering (invisible) point of reference.
The studio in the Künstlerhaus is a place for developing further tools and methods – a spatial container, so to speak, for the artistic process, for adding and taking away, in that points of reference within this system are constantly dissolving and forming anew.
The work “rue de figuier / extérieur” (2021/22), the first parts of which were created during her scholarship residency at the Cité Internationale des Arts, Paris 2021, uses moulded pieces of tree bark to look at interfaces between inside and outside, as separating or connecting elements and moments of transition, and explores concepts such as permeability, envelope, protection and demarcation.
The forms developed for “landscape of support, four fragments” (2022), emerge from objects intended to provide support for parts of the body. Ergonomic wrist rests, for example, briefly become a kind of support when used, a ‘supporting structure’ for a particular position. Detached from their original context, the objects become fragmentary connecting links that suggest different postures and, like artefacts, still hint at their function.
Theo Ferreira Gomes (b. 1993, Niterói/Brazil) is a post-disciplinary curator, designer and DJ. He follows an interest in informal social economies and how different currencies have the ability to produce or mediate (im)personal relations.
Since June 2022, he is curatorial fellow at ORNAMENTA, a reactivated cultural program exploring updated regionalism in the Northern Black Forest region. ORNAMENTA will take place for the second time from July to October 2024 since its first edition in 1989. In a series of site-specific exhibitions and event formats, the thematic neighbourhoods Bad Databrunn, Zum Eros, Schmutzige Ecke, Inhalatorium, and Solartal will be prototyped and presented to the public, in collaboration with societal, artistic, and entrepreneurial perspectives.
From April 2022 – May 2023 he was a coordination fellow for art, science & business at Akademie Schloss Solitude. He was involved in coordinating the Field Trip Residency, an ongoing collaboration between the Department for Ecology of Animal Societies at the Max Planck Institute for Animal Behavior in Konstanz and the art, science & business program at Akademie Schloss Solitude. He furthermore was involved in the Namibia exchange program and the Under Utopia fellowship.
From November 2019 – February 2023 he was board member at Leerstand als Freiraum e.V. (LAF), a collectively run, independent art space in Pforzheim. LAF e.V. stands up for cultural spaces in Pforzheim and initiates projects situated within the fields of art, urbanism and society.
2018, he completed a BA in fashion design at University Pforzheim. During his studies he received a project stipend from AsaPreneurs. Goal of the project was to co-develop design methods in collaboration with workers at a factory in Tirrupur (South India) which use and reduce textile waste.
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
In Lena Meinhardt’s compositions, recordings of places, objects or texts take on a life of their own through dense syntheses of sound. Together with Eva Dörr, whose focus is on installation and new media, interdisciplinary and context-related works are created.
“Good morning midnight – ” is a 4-channel composition for electronics, percussion and bass-baritone.
It was premiered in 2022 with Pascal Zurek (vocals) at the exhibition opening of “Nachtstücke – unterwegs in der Dunkelheit”. The composition interlocks patterns of machine recordings, a machine percussion and polyphonic and discordant overlapping vocal loops.
“Ralentir” is a video-sound work that was created during the scholarship at the Künstlerhaus. It consists of image and sound material that the duo recorded in the Paris metro. The camera was held up to the window of the metro. City views, tunnels, platforms and waiting passengers pass by. Image and sound material were strongly assembled.
Through the transformation of the sound material and extreme montage in the image, these levels and the temporal structures within them become intertwined.
Lambert Mousseka, (born in Katanga, Democratic Republic of Congo) has been questioning the origin, spirit and state of matter since his youth. These questions led to various studies and researches and still influence his artistic work today.
In the same rhythm as matter, Lambert Mousseka tries to oscillate, not only to find a form, but also to bring forth an expression, a language, thus creating a dialogue between the creator, the audience and the work of art.
After studying art, he set himself the goal of experimenting with different materials and their application in artistic practice. Material here means a global vision. The said and unsaid thoughts, the text and the spirit are the link to the vision. Thus, it cannot be decided whether the material precedes the concept or vice versa.
To be able to enter into a dialogue with the artworks, openness and humour help.
anima ona is a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas. The duo studied at the Staatliche Akademie der Bildenden Künste Stuttgart. Following a transdisciplinary and collaborative approach, they have been developing self-initiated projects and realising commissioned works since 2018, straddling the line between design, research and art. Their diverse body of work is united by a search for previously untapped resources and ways to reuse material, which they pursue through experimental approaches and an exploration of the cultural significance of objects.
Exhibitions/Presentations/Awards
2023 Solid Transitions, group exhibition, Rohbauhallen Stuttgart 21, Stuttgart
2022 Expert discussion “sustainable and innovative building materials”, parliamentary group Die Grünen, Haus der Abgeordneten, Stuttgart
2022 Archaeology of a city mine, solo exhibition, project space Kunst()Klima, Stuttgart
2022 Zum Abgang eines Sonderlings, group exhibition, Akku Stuttgart
2022 Escapism, exhibition, Collectible Fair, Brussels
2022 In Fülle…Transformation to Geopolymere, Hospitalhof Stuttgart
2021 Outer Space, group exhibition, Kernweine Gallery, Stuttgart
2021 Atelier Ecru x Objects with Narratives, group exhibition, Aterlie Ecru, Ghent
2021 brahha, with Ann-Kathrin Müller + Julia Schäfer, Weissenhofmuseum Stuttgart / Current Festival Stuttgart
2021 The Makers Show, Salone del Mobile, Milan
2020-2021 Places to be, exhibition with anima ona, Fondation d ́entreprise Martell, Cognac
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, where I am active and present as an artist with photography, sculpture, text, text images, with sung and spoken quotes that I encounter in the course of the research, performative elements, readings and lectures.
One of the most important questions of this research is how close I can get to the tree using found material.
For indeed, thanks to the many possibilities of Internet research, I can investigate something that I have never seen in reality. But what does the virtual experience of the liverwurst tree do to me?
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
In Lena Meinhardt’s compositions, recordings of places, objects or texts take on a life of their own through powerful syntheses of sound. Together with Eva Dörr, they create interdisciplinary and 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.
Both met at the Stuttgart University of Music and Performing Arts. There, Lena Meinhardt was a contact student in computer music with Prof. Piet Johan Meyer, while Eva Dörr was a guest student in the electronic music studio after completing her teaching degree in art and mathematics.
Ralentir is a video and sound work created during the fellowship at the Künstlerhaus. It consists of video and sound footage recorded by the duo in the Paris Metro. The camera was held up to the window of the metro. City views, tunnels, platforms and waiting passengers pass by. Visual and sound material were heavily montaged.
Through the transformation of the sound material and extreme montage in the image, these layers and the temporal structures within them become intertwined.
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.
Similarly, image and sound evolve in a loop that intertwines exterior and interior views of the city. As the different levels rush past and into each other, the patterns of time and sense of time continuously dissolve.
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.
On his process he writes:
My work takes place in physical space.
I act and react.
I do not know what I want.
I act.
Material guides me.
I try not to think.
Does not work.
Tidying up, making order, discovering connections.
Satisfied with the stupid simplicity of the process.
Going for a walk.
Finding things.
Dragging to the studio.
Cluttering up.
Letting go.
Piss.
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.
In Mona Zeiler’s works we encounter common materials and forms that refer to the familiar. They are part of our environment, but rarely the focus of our perception. Combining analog and digital working techniques, Zeiler develops sculptural installations that engage with the three-dimensional components of our living environment.
In her collage-like carefully arranged constellations, Zeiler combines artificial materials with natural materials and those that imitate natural properties.
She detaches structures and objects from their original context, brings them onto a plane, and relates them anew to further processed surfaces and materials. Metal constructions, glass and wood elements, digitally processed image material, printed plastic tarpaulins meet ceramic objects, molds made of plaster or elements made of stone. The boundaries between the industrially produced and the manually processed merge and blur.
Her works trace the levels of meaning of things and establish links between the materials and forms used and concepts such as inside and outside, support, protection, permeability and demarcation. Within these arrangements, the human being appears merely as an order-giving (invisible) point of reference.
With these juxtapositions, Mona Zeiler examines the relationship between the forms and their textures for their aesthetic and content-related attributions and challenges the viewer to new associations and contextualizations.
Mona Zeiler (*1989 in Ellwangen) studied Fine Arts in the Department of Sculpture as well as Intermedial Design at the State Academy of Fine Arts Stuttgart, where she graduated in 2017. In 2019, Zeiler received the Peter Hans Hofschneider Prize of the Kunststiftung Baden-Württemberg and in 2021 the residency scholarship at the Cité internationale des arts in Paris of the Ministry of Science, Research and the Arts, Baden-Württemberg. She has exhibited at Kunsthalle Baden-Baden, Kunstraum Riehen, and Kunstverein Freiburg, among others.
Lambert Mousseka betrachtet sein Leben als eine Reise. Als Künstler begann er als Schauspieler, dann Figurenspieler. 2001 studierte er Marketing an der Wirtschaft Hochschule (Institut Supérieur de Commerce Kinshasa). 2013 schloss er sein Kunststudium an der Staatliche Akademie der Bildenden Künste Stuttgart ab.
Seitdem arbeitet er im Bereich Malerei und Keramik und gibt Workshops im Bereich Figurentheater und Keramik in Deutschland und im Kongo. Seine Arbeit basiert auf Malerei und Keramik.
In den vergangenen Jahren nahm er u.a. an folgenden Gruppenausstellungen teil: Gemeinschaft Jetzt (Stadtkirche Schorndorf), Disturbance Wich (Zitadelle Spandau Berlin), Es dauert, es ist Zerbrechlich, es bleibt womöglich für immer (Bahnhof Museum Rolands Eck), Prêt-à-Partager (Ifa, Stuttgart), Couture Commune (Künstlerhaus Stuttgart) und Kinoserie – Briller et s’envoler (Institut Français Kinshasa).
Er hat verschiedene Kunststipendien und Residenzen für Keramik und Recherche erhalten, unter anderen Schloss Balmoral, EKWC – Sunday Morning, und Institut Français Kinshasa.
Lambert Mousseka versucht eine Zusammensetzung von Konzepten, Texten und Formen, Mode, Politik und Religion, Ökonomie und Ritualen, Philosophie und Design etc. herzustellen.
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. 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.
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.
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.
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 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.”
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.
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.
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.”
Stadtlücken e.V. is a group of designers from various disciplines who seek to make us more aware of public space and the urban experience and to encourage a digital-analogue network for the collaborative development of a livable city. A livable city offers non-commercial public spaces in which different people can meet and help to shape urban structures. The urban space that is to be shaped here is not only to be understood in terms of urban planning; it encompasses legal and knowledge spaces, as well as buildings and infrastructure, which must be accessible to all.
Regular discussion events such as Einmal im Monat—Wem gehört die Stadt? (Once a month—To whom does the city belong?) promote interaction and offer initiatives and interested citizens the opportunity to network further. Together they discuss urban issues such as “What is participation?”, “Where do homeless people actually live?”, or “How does cooperation work?”. Through this network, the right to the city in Stuttgart is assessed, put to the test, developed further, and implemented as a basic principle.
Stadtlücken is also working on the development of a cooperative urban space at Österreichischer Platz and on a concept for an interface between politics, administration, and citizens in the form of the Office for Public Space, which will open at the Architekturgalerie am Weißenhof in summer 2020.
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 also carries out artistic research with her process-oriented and collaborative approach. As a lecturer at the Merz Akademie and the State Academy of Fine Arts in Stuttgart, she also explores questions of emancipation in her teaching.
Her project Institut für Künstlerische Migrationsforschung (IKMF; Institute for Artistic Migration Research) is currently being realized at the Künstlerhaus. Founded in 2017, her association enables her to make her previous artistic and sociocritical practice structurally visible and also to use spaces nomadically. As part of this project, the event series ACTIVIST ACADEMY. VISUAL STRATEGIES I was held at the Künstlerhaus in the spring of 2019, along with with several open workshops. She also had a residency with IKMF at zeitraumexit in Mannheim in 2019: GEMEINGUT JUNGBUSCH. She investigated the functions of migration and cultural institutions in the context of gentrificationin the Jungbusch neighborhood. The short film series KANAKINO with Belit Sag and Cana Bilir-Meier was the main element of this residency.
Lennart Cleemann (born 1990) studied architecture at the University of Hanover, the Aarhus School of Architecture (Denmark), and the State Academy of Fine Arts Stuttgart, graduating with bachelor’s and master’s degrees. Before coming to the art academy in Stuttgart, he completed an internship at Buchner Bründler Architects in Basel (Switzerland). This period shaped his way of thinking and his approach to work with regard to what he refers to as “poetic pragmatism.”
In his work, he mainly focuses on themes of loneliness and togetherness, as well as sexual desire and consumption. One of the aims of his work is also the liberation from perceived helplessness in the face of firmly entrenched social and conceptual structures. He applied to the Künstlerhaus Stuttgart with the desire to use the studio provided as a test space for installations—a kind of dystopian bedroom. This idea originates primarily from his interpretation of the bed as a place of retreat and lethargy, but also intimacy and joy.
Through these Betonbetten (Concrete Beds) he explores the emotional and relational connections that hold his attention in everyday life. The test space can also be viewed as a kind of construction site in a state of constant change. Death and life both find their raison d’être here.
Alba Frenzel (born 1984) has lived in Leipzig since studying at the Academy of Fine Arts. During her studies she focused on photography in the context of contemporary art. In summer 2017, after her degree, her work Fotopapier, Licht, Ei (Photo Paper, Light, Egg), was exhibited alongside other prizewinners as part of the photography competition gute aussichten—junge deutsche fotografie at the Deichtorhallen in Hamburg. The pictures we real l created in a darkroom solely by means of the interaction between photographic paper and light. She used hen’s eggs in various physical states to create her images, which resulted indifferent shapes of varying intensity. In 2019 she began a residency at the Künstlerhaus Salzwedel.
In her photographic work Aus erdgeschichtlicher Sicht (From a Geological Perspective), she photographed ice cream counters in ice cream parlors. Due to the angle and coloration of the shot, they took on the appearance of natural rock, lava, or mud formations.
Her current work explores the creation of a living art through the lens of the Leberwurstbaum.
Jasmin Schädler is a director and visual artist. After her bachelor’s degree in physics and cultural studies, she studied theatre direction under Christof Nel at the Academy of Performing Arts 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 her central concerns. Her work on the interaction between humans and algorithms is a longer-term artistic research project. She recently gave a lecture performance on this topic at Silent Green (Berlin) in May 2019.
For the festival Die irritierte Stadt (The Confused City) in 2020, she is currently creating a work with Bongile Gorata Lecoge-Zulu that deals with the performative diversity of the perception of urban space. As part of the collective die apokalyptischen tänzer*innen (www.apocalyptic.dance) she develops performances in close cooperation with Theater Rampe and also as part of Freischwimmen, a platform for young talent.
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.
Amiko Li (born 1993) is a visual artist who works in the fields of photography, text, and video. His works investigate the paradox of intimacy and distance. Through strategies of reenactment, exchange, and mistranslation, his works explore an aleatory approach to nuances in the cultural and social system, as well as the ethics of language and representation. He is currently working on a text-based project that draws from sources such as acupuncture, palmistry, the induction of psychogenic diseases, tetrachromacyin birds, evolution, value systems, and bodily autonomy.
Due to the pandemic, Amiko Li is currently not able to enter Germany, so his scholarship will be postponed accordingly.
After studying design in Bolzano, Veronika Schneider (born 1991 in Berlin) moved to Stuttgart, where she has been studying art and art education at the State Academy of Fine Arts since 2016. She studied under Rainer Ganahl, discoteca flaming star, and is currently completing her bachelor’s degree under the supervision of Antonia Low. Through museum workshops and self-initiated art programs, she interrogates the moment in which art is created. Veronika Schneider is interested in the open state of unknowing. It is to do with the human body, which is influenced by architecture, art, or other forms of symbolic violence, and is in constant contact with cold and smooth surfaces. The contrast between hard facts and intuitive knowledge is also the focus of her sculptural exploration of glass as a material.
Veronika Schneider is currently using Amiko Li’s studio, but she is not a Künstlerhaus Stuttgart scholarship holder.
June 2019 until August 2019
anorak is a curatorial trio consisting of Lukas Ludwig, Johanna Markert, and Florian Model. Their work focuses on the collaborative process and the conviction that a collaborative working method opens up possibilities that go far beyond their individual approaches. The starting point for anorak’s projects is their interest in other artistic positions, and the projects are created in close collaboration with young local and international artists and cultural workers. For anorak, creating exhibitions means developing venues for serious mutual exchange and a dialogue between young artists.
Since 2016 the trio has been running the non-profit art association Anorak e.V. with the aim of creating an institutional infrastructure that enables young artists and cultural workers to realize their works and create a discussion around them. In the first year of their studio scholarship anorak realized the exhibition project Gemini (2018/19) in cooperation with Künstlerhaus Stuttgart, Akademie Schloss Solitude, and the Delphi Cinema. Starting from the figure of the double as an other in itself, Gemini posed the question as to what extent forms of preconceived narratives—myths, fate, and history—trigger identification processes and form contemporary subjectivities within them.
The multi-part project, which began in autumn with the film premiere of A GRIN WITHOUT A CAT—THE VERY TALE by Katharina Jabs, involved an online and print magazine, an events program, and two exhibition chapters.
anorak’s studio at Künstlerhaus Stuttgart is a workspace, the headquarters of their association, a meeting place, and a starting point for new projects all at once. anorak is currently working on freelance curatorial projects, including an exhibition at Villa Merkel that will be realized in 2020 as part of the Bahnwärter scholarship.
More information can be found here: anorakanorak.com
Lowland provides a space for exchanging ideas about different artistic positions and realities. It combines a magazine with a changing interdisciplinary group of artists. During each cycle of exchange, the participating artists are given the opportunity to open up their artistic positions to each other. The founders are Anne Pflug, Christiana Teufel, and Damaris Wurster.
March 2019 until May 2019
Website: https://sophieinnmann.com
Current exhibition “Wände | Walls” at Kunstmuseum Stuttgart
September 2018 until February 2019
Sören Hiob studied at the State Academy of Fine Arts Stuttgart with Christian Jankowski and Mike Bouchet. He works across boundaries in several fields of contemporary artistic production: from painting, sculpting and installation to his main focus on performance and video. As far as content is concerned, he increasingly tries to develop perspectives that are independent and institutionally unaffiliated. With his works Hiob has been part of numerous group exhibitions – at several places in Stuttgart, of course, but also across Europe in Wrocław, Warsaw, Vaduz, London, Edinburgh, Basel, or Rome.
Anna Romanenko (born in Moscow in 1983) initially studied theatre directing at the Theaterakademie Hamburg followed by architecture, New Media and Sculpting at the State Academy of Fine Arts Stuttgart. She “designs objects with operative capacities as well as processes, which occur by means of objects.” Together with Björn Kühn she co-founded the performance collective Punch and Jude and the Verlag für Handbücher.
Björn Kühn (born in 1987) studied Fine Arts at the State Academy of Fine Arts Stuttgart as well as at Goldsmiths, University of London. In addition to diverse exhibition, performance and lecture activities and well as the collaborations with Anna Romanenko mentioned above, Kühn also co-founded the magazine Copter. In their artistic practice, Romanenko and Kühn deal with “inventing new mechanisms between humans, objects and their surroundings, describing them and designing tools for those mechanisms.”
Katharina Jabs, born 1986 in Kazakhstan, is an artist and filmmaker. She studied fine art at the Staatlichen Akademie der Bildenden Künste Stuttgart, documentary film at the Filmakademie Baden-Württemberg, and new media at the Kyushu Sangyo University in Japan on an exchange program.
From 2016 to 2017, she was the recipient of a state postgraduate scholarship for the artistic-scientific research project Ein Grinsen ohne Katze, which drew on the methods of the Japanese documentary film avant-garde in the sixties as well contemporary film-aesthetic theories on the topic “OFF.” The shooting of her current film, Ein Grinsen ohne Katze – THE VERY TALE, has been funded by the DAAD in Japan.
In her films, Katharina Jabs works with various states of absence. An essential criterium for her filmic practice is an engagement with the materials of the “OFF” (hors-champ, off-screen space), film’s imagina-ry space that exists/insists beyond the image frame that is staged and conceived through the camera and mise en scène.
In 2017 her film TERRY JO WANTED received the “Link 2 Future” prize of Zürich’s psychoanalytic society.
anorak is a trio made up of Lukas Ludwig, Johanna Markert, and Florian Model. The collaborative process lies at the heart of their work, along with the conviction that communal working methods open up possibilities far exceeding those enabled by an individual approach. Anorak’s projects start with an interest in other artistic positions and develop in close collaboration with young local and international artists and cultural producers. In their experiments with formats like exhibitions, dinners, conversations, and film screenings, anorak tries to develop spaces for earnest, reciprocal exchange and dialogue between young artists. Since 2016 the trio has run the non-profit Kunstverein Anorak e.V. Their recent exhibition and event projects include Mixed Feelings (2016), in collaboration with the Künstlerhaus Stuttgart and Palermo Galerie, as well as In a Room (2017) at Leopoldstr. 2 in Karlsruhe.
The anorak studio at Künstlerhaus Stuttgart is simultaneously a work space, meeting place, and starting point for new projects. Anorak is currently working on a multi-part exhibition and event project titled Gemini, which will open early in the summer of 2018. Gemini will be realized in cooperation with the Akademie Schloss Solitude, among others.
January 2018 until April 2018
August 2017 until October 2017
February 2017 until April 2017
South Korean artist Minyoung Paik, born in 1983, studied textile design at Konkuk University, Seoul, South Korea, graduating in 2008. Subsequently, she studied sculpting at the State Academy of Fine Arts Munich under Magdalena Jetelová. In 2015 she became Meisterschülerin with Gregor Schneider and gained a diploma, for which she was awarded the DAAD prize. The artist has lived and worked in Munich since 2008. Her installations, objects and photographs are concerned with the cultural and political structures in her home country and the mechanisms of contemporary art.
In the 35th Tuesday Workshop, visual artist, researcher and art educator Lejla Dendić invites us to consider art as a counter-hegemonic instrument. With her multidisciplinary approach, she explores the intersections of visual politics, subjectivity and resistance, creating works that question established norms and power structures.
Lejla will present selected works that deal intensively with memory, narratives, collective identity, colonialism and healing. Her works analyse these themes in a constant continuum, considering the notion of continuum as a surface on which time and space are inextricably linked. This perspective makes it possible to understand time not as a linear sequence of past, present and future, but as a curved surface on which these dimensions exist simultaneously. This perspective creates bridges between geographies, temporalities and humans and emphasises the need to use these connections for solidarity and transformative change.
Lejla Dendić (*1997) studied at the State Academy of Fine Arts Stuttgart and completed her artistic education there. She currently lives and works in Stuttgart, where she is furthering her artistic practice.
Following the presentation, everyone is invited to join the discussion and exchange to delve deeper into these topics.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
In 1946, Shoa survivor Shmuel Dancyger is shot dead by a Stuttgart police officer during a raid in Reinsburgstraße. The crime remains unsolved. Today, a plaque commemorates him and the more than one thousand Polish Jewish displaced persons who were housed in Stuttgart-West from 1945 to 1949. Less is told about the self-organised everyday life: In addition to various educational institutions and cultural events, Reinsburgstraße had a synagogue, a mikvah, its own football club, a kosher kitchen, the “Café-Klub Tel Aviv” as well as an infirmary and its own police department. A newspaper was also published. Today, this is largely invisible, with only the buildings remaining as silent witnesses.
During the Summer School, the site-specific history will be recalled in the context of current artistic and cultural discourses. In addition, German remembrance culture will be discussed against the background of anti-Semitic, racist and right-wing extremist continuities in Germany. A city walk leads in two stages from Bad Cannstatt to Reinsburgstraße in Stuttgart-West. With talks, guided tours, workshops and lectures by Hannah Peaceman, Monty Ott, Ruben Gerczikow, Juliane Bischoff, Avi Palvari, Tamar Lewinsky, Josefine Geib, Günter Riederer, Martin Ulmer, Karin Autenrieth and others. With films by Chantal Akerman, Hito Steyerl, Maya Schweizer, Arkadij Khaet and Mikey Paatzsch as well as Cana Bilir-Meier, a book by Judith Coffey and Vivien Laumann and an exhibition in the shopwindow of Achim Lesnisse’s insurance office.
The full program you can find here
As places at the Summer School are limited, we kindly ask for registration.
Please register by 25 August 2024 at info@stuttgart-reinsburgerstrasse.de with the following details:
- Name and pronouns
- Place of residence
- 1 sentence about your motivation to take part in the Summer School
If you have any questions about the programme, please contact us at
info@stuttgart-reinsburgerstrasse.de
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¹ “STUTTGART, Reinsburgerstraße . . Do gefint zich einer fun di greste jidisze lagern in der Amerikaner zone” is written in Yiddish with Latin letters on the title page of the Stuttgart DP camp album as a caption under a black and white photograph. Together with photographer Alexander Fiedel, we look down Reinsburgstraße from a traffic island. The album is now in the United States Holocaust Memorial Museum in Washington. There it is labelled as follows: “Title page of the Stuttgart Jewish DP camp album with a photograph of the Reinsburgerstrasse. The Yiddish caption reads, ‘Stuttgart, Reinsburgerstrasse . . . on which is located the greatest Jewish camp in the American zone.'” Reinsburgstrasse, which is located in Stuttgart’s West district, leads from the Rotebühl and Feuersee neighbourhoods up to the Hasenberg and ends just below the Westbahnhof.
An event organised by: Ann-Kathrin Müller and Judith Engel in cooperation with Künstlerhaus Stuttgart as part of “HIDDEN PLACES – Stuttgart neu erzählt” organised by the Stuttgart Cultural Office
Concept and research: Ann-Kathrin Müller
Realisation: Ann-Kathrin Müller and Judith Engel
Graphic design: Studio Tillack Knöll
With the kind support of
*The ‘Queer Forest Creatures’ bring the forest around Stuttgart into the Kessel and you to the forest within you*
Join us on a journey of self-exploration and expression in the forests of Stuttgart! Lingering, listening, breathing, sounding, dancing, performing, fantasising and writing stories in the forest – this is how we want to encounter the parts of ourselves that are marginalised and suppressed in urban spaces and can therefore rarely be felt and lived. Our two-day workshop invites us to bring the queer forest beings within us to life, to embody them and let them shine outwards.
Where and when:
Workshop: 24 – 25 August 2024
24 August UTOPIA Kiosk
25 August Künstlerhaus Stuttgart
Exhibition: 19-29 September 2024 at the UTOPIA Kiosk
19 September Vernissage with reading and presentation/performance, music
28 September Finissage with zine workshop
The workshop is aimed at people who are affected by heterosexism and/or queer hostility.
No previous knowledge is necessary. As we are going into the forest, the workshop is unfortunately not completely barrier-free. It is possible to choose a place in the forest that is easily accessible by train and on forest paths, but the ground will not be completely flat. Please bring clothes that you can move around in and that can get dirty, as well as sun and mosquito protection, water to drink and a few snacks. Breakfast and lunch will be provided. The event will be held in German and English.
Registrations and questions by mail to lu.kenntner@vlsp.de. Participation is free of charge.
More information: utopiakiosk.100mensch.de
At the general meeting of the Künstlerhaus on July 13th 2024, the representatives on the board and advisory board were re-elected for a three-year term.
The Board is made up of Ania Corcilius (1st Chairperson) and Christoph Schwerdtfeger (Treasurer), who were confirmed in their respective positions, as well as Jochen Detscher, the new 2nd Chairperson.
Julian Bogenfeld, Stephanie Bollinger, Eva Dörr, Björn Kühn, Lena Meinhardt and Jasmin Schädler were elected to the Advisory Board.
We would like to thank the outgoing members of the Board and Advisory Board – Anna Schiefer, Monika Nuber, Florian Model, Alexander Sowa and Yvette Hoffmann – for their voluntary work and for the important impetus that each of them has given the Künstlerhaus in recent years.
We would like to thank the membership for their trust in our work and look forward to accompanying the Künstlerhaus in its current metamorphosis under the artistic direction of Tamarind Rossetti and Stephen Wright. In addition, the launch of the Neue Auftraggeber program this year also marks the beginning of a new chapter in the history of the Künstlerhaus, which continues to develop into the urban space and the region.
Join us Sunday July 21st in the hay at 11am for a fun family morning of animated short films! Come sit in the haystacks, have some popcorn, and watch these beautiful, unique films made for kids and great for all ages! Come on a journey through the fruits of the clouds, into a forest with magical foliage, on an adventure with a tiny fox, a day on the farm wandering the fields as small animals prepare for the changing season.
The Fruits of the Clouds – Kateřina Karhánková – 2017 – 11 minutes
Miscellaneous – Anne-Lise King – 2010- 4 minutes
The Tiny Fox – Aline Quertain, Sylwia Szkiladz – 2015 – 9 minutes
Boriya – Min Sung Ah – 2019 – 17 minutes
November – Marjolaine Perreten – 2015 – 4 minutes
Free
Screening on the 2nd floor (side entrance to the right of the building)
Total screening time: 45 minutes
All films are accessible for all languages. There is a music soundtrack and little or no dialogue.
For all ages.
Program:
The Fruits of the Clouds – Kateřina Karhánková – 2017 – 11 minutes
In the heart of a dark forest, live seven small harmless, hungry and very, very cute beings. They live in a clearing that they never leave. But when food is running out, the bravest of them ventures into the forest.
Miscellanées – Anne-Lise King – 2010- 4 minutes
The evening falls on the mountains of Queyras. A strange being appears in the forest and plants a seed that gives birth to a tree with magical foliage. When the day rises, one of the small leaves then begins a journey that will animate the whole valley.
The Tiny Fox – Aline Quertain, Sylwia Szkiladz – 2015 – 9 minutes
In the middle of a teeming garden, a tiny fox meets an intrepid child who grows giant plants! By a joyful chance, they discover that they can grow objects, it will give ideas to the little cunners…
Boriya – Min Sung Ah – 2019 – 17 minutes
One summer, in the Korean countryside. Bori, a 7-year-old girl, is bored on the family farm. Everyone is busy, except her, because it’s the harvest season. She is desperately looking for someone to play with… but nothing happens as she had imagined.
November – Marjolaine Perreten – 2015 – 4 minutes
Autumn settled on the banks of the stream. Small animals are active to prepare for the great winter season.
In the exhibition OK BYE, Surja Ahmed, Marla Fischinger, Leonie Klöpfer, Clarissa Kassai, Veronika Schneider and Josephine Boger meet not only as artists and colleagues, but also as this year’s graduates in Fine Arts from the ABK Stuttgart.
The diploma works will be presented on the fourth floor of the Künstlerhaus Stuttgart. The interactions of the Self and the space as well as their structures, power relations and healing processes are examined in installations and objects.
The opening will take place on 18 July 2024 at 7 pm on the fourth floor of Künstlerhaus Stuttgart with a welcome by Anike Joyce Sadiq. There will be sparkling wine, snacks and drinks.
The exhibition runs from 18 July to 28 July 2024, open Tuesday to Sunday from 2 pm to 7 pm.
The exhibition at Künstlerhaus Stuttgart takes place as part of the diploma and master’s exhibitions of the ABK Stuttgart art department. The graduates’ graduation works can be seen at Künstlerhaus Stuttgart, Kunstbezirk Stuttgart and at ABK Stuttgart.
Auf einem Bauernhof gibt es keine Sonntage.
There are no Sundays at ranch.
(Harvest Moon – Back to Nature, 1999)
Digital farms and farming simulations are among the most successful video game genres of all time. Players can build their own farm, cultivate fields, breed animals, harvest crops or simply enjoy the virtual rural idyll. These games depict a range of narratives, from romanticised simplification, such as in ‘Stardew Valley’ (2016), to the most realistic economic simulation possible, such as in ‘Farming Simulator’ (since 2008). The appeal of such games lies in their reassuring routine, allowing us to escape our everyday lives and immerse ourselves in a virtual world. However, these are games in which we almost exclusively work.
Based on her own video game biography and her experiences as a digital farmer and virtual hunter, Juli Gebhardt will give an insight into her artistic practice in the next Tuesday workshop. By interweaving work, corporate, gaming and net culture, she attempts to break through established routines and narratives that determine the realities of our lives in her works.
The starting point for Juli Gebhardt’s expansive installations is the dissolution of boundaries between leisure and work in the neoliberal, digital age. She places the individual, who is at the mercy of the interactions and entanglements of the analogue and digital world of work, as well as the question of how community can be constantly formed in the digital space, at the centre of her discussions. While reflecting on the loss of traditional work structures and the emergence of new forms of self-exploitation, she questions the compatibility of personal fulfilment and economic pressure. In her work, she thus constantly takes a critical look at the effects of this dissolution of boundaries on the individual.
Before Juli Gebhardt completed her art studies at the ABK Stuttgart in the installation class of Prof Birgit Brenner and !Mediengruppe Bitnik, she first studied business administration in Karlsruhe. In addition to periods at Burg Giebichenstein in Halle, the University of Derby (UK) and the Angewandte in Vienna, she took part in a residency scholarship at the EIGEN+ART Lab gallery in Berlin in 2018. In 2021, Gebhardt was also awarded the ABK Stuttgart Academy Prize. After graduating as a Meisterschülerin of Prof. Heba Amin and Prof. Antonia Low, Gebhardt was a fellow of the Cité internationale des arts residency programme in Paris from November 2023 to April 2024. In addition to her own artistic practice, she has been working as a curatorial assistant at Künstlerhaus Stuttgart since 2021 and has been director of the Kunstverein Kunstraum 34 in Stuttgart, which focuses on time-based art and experimental music, since 2022.
Dienstags-Werkstatt
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!
From Tuesday 9 July to Sunday 14 July, everyday from noon to nine, Paul’s Kimchi Café, a popup eatery and artists café, will set up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients. And of course a selection of hot and icy cold beverages.
***
Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)
10:00am–01:00pm
On Sunday 7 July and July 14 from 10 am to 1 pm, kimchi artist Paul Sullivan will be leading a kimchi-making workshop. Join Paul and other fermenters for this atmosphere of collective fermentation, learn the art of lacto-metabolizing with the summery flair of local seasonal produce. Please bring an air tight container/jar to take your kimchi home. The workshops are by registration here.
From Tuesday 9 July to Sunday 14 July, everyday from noon to nine, Paul’s Kimchi Café, a popup eatery and artists café, will set up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients. And of course a selection of hot and icy cold beverages.
***
Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)
06:00pm–09:00pm
Talking Hay is an invitation to join us in the local hay we harvested to riff on hay and all it means and reveals. Haystacks are one of the icons of agrarianism and come in an astonishing variety of shapes, sizes and makeups. They are often expertly crafted objects — vernacularly engineered rural architecture — made up of layers and layers of desiccated grasses and plants, which store the transformed energy of the sun for the darker months. We will think about what goes into a haystack — what grasses and flowers, but also what embedded knowledge. Stacking hay in the second storey of the Künstlerhaus makes a haystack at once a shifter, between art-historical conventions of representation the countryside, and a signifier — like a sculpture — through which we can question what artists Kathrin Böhm and Wapke Feenstra call the ‘rural undercurrents’ of urban communities.
We won’t just talk hay though, we’ll try and get a better look, smelling it and drawing it — being in it. Followed by a light supper.
Künstlerhaus Stuttgart
Thursday, 4 July 2024
6pm – 9 pm.
For the final moment of Rotting Hegel, Künstlerhaus Stuttgart is hosting Dialectics of Mycelium: A Banquet, where guests will enjoy a tasting menu featuring the oyster mushrooms cultivated in the pages of Hegel’s complete works. Join us in eating the mushrooms that ate Hegel…
In early May of this year, Paris-based SPORA — a collective of human and mycelium artists and agents — set up a library-laboratory on the Künstlerhaus Stuttgart’s fourth floor, hosting a Hegel-myceliation workshop. After inoculating dozens of volumes of the Hegel library with mushroom spores and allowing them to incubate for several weeks in the dark pages of the great human philosopher, fructification began in early June as mushrooms began sprouting out from the books on the shelves with baroque abandon.
Materially speaking, the cellulose of the books’ pages provided an ideal substrate for the fungi to flourish, yielding a phenomenal harvest of magnificent oyster mushrooms, nourished on an exclusively Hegelian diet. However, farming philosophy in this way leads to unexpected insights. Mycelium, it seems, has discerning tastes and no lack of wit — and apparently it did not take to all of the enlightenment thinker’s musings indiscriminately, and found the pages on Absolute Knowledge positively unpalatable.
‘A philosopher doesn’t just sprout up like a mushroom from the earth,’ wrote Hegel famously, no doubt thinking of his own lofty world-historical mission, while showing unconcealed scorn for a life form he considered only marginally more than mineral. Today, in a dialectical inversion that Hegel could not fail to recognize, though could not have foreseen, we might note that mushrooms are indeed sprouting up like philosophers from a library. Certainly it may be said that all libraries are slowly rotting; this particular one just a little faster than others. If the Rotting Hegel project can be seen as laboratory of dialectical exchange between the unreconciled energies of the most powerful philosophical system of modernity and those of one of the Earth’s oldest, most resilient — and for humans — most cryptic life forms, how can the act of devouring the outcome of that encounter be understood? Perhaps as an opportunity to literally digest and assimilate Hegel by digesting and assimilating the mushrooms that digested and assimilated his works…
A project by SPORA.
Info
Saturday, June 22, 2024, 7 pm
in the Künstlerhaus, 4th floor
vegetarian 5-course menu
including wine accompaniment and non-alcoholic drinks
with speeches on Hegel und mycelia
contribution towards expenses 39 euros
Seating is limited. Reservation is necessary. RSVP at Eventbrite.
In the 33rd Tuesday workshop, artist Thora Gerstner will provide an insight into the broad spectrum of her artistic work.
In addition to combining free graphics with the material glass, her fields of research include the artistic reworking of historical patterns. Recurring rhythms, pattern structures and typographic forms can be found in her individual visual language. She studied at the State Academy of Fine Arts in Stuttgart and at Listaháskóli Íslands in Reykjavík.
She currently teaches at the State Academy of Fine Arts in Stuttgart and, in addition to a guest lectureship in Beijing, China, has held teaching positions at the University of Tübingen, the Augsburg University of Art and Design and the Pforzheim University of Applied Sciences.
For years, her drawing work focused on the gold plates from Tutankhamun’s tomb, the documentation of which completes Julia Bertsch’s written doctorate.
Since 2021, she has curated a permanently accessible exhibition space at Stuttgart Central Station, together with the artist collective ATELIER TRANSLUZENT, which she founded.
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!
08:00am–12:00pm
The Künstlerhaus is making hay!
Join us first thing in the morning on Saturday 08 June for a scything workshop led by scything expert Bernhard Lehr in association with Bienenschutz Stuttgart. Scythes, all equipment and transportation to and from the meadow will be provided. Participants will learn the technique and process of scything (including blade peening and deburring, handle making), understood as an integral part of the careful usership of landscape. The workshop is suitable for both novice and advanced mowers, but places are limited, so sign up early!
The outcome of the workshop will be a haystack on Floor 2 of the Künstlerhaus, to be used as a user-friendly atmosphere for meetings, screenings and conversations. Scything and haymaking are amongst a series of activities where artistic and agricultural agency converge to produce a common atmosphere, which will be explored through workshop formats in the coming months.
To register: info@kuenstlerhaus.de
Please join us on Monday 3 June for the first in our once-monthly series of _Compatible Conversations (farm_compatible, art_compatible, bazaar_compatible, research_compatible…). For this first conversation, we will be talking with artist and author Kathrin Böhm on the occasion of the release of her new book Art on the Scale of Life.
Since the mid-1990s, Kathrin Böhm has expanded the terms of socially engaged ways of working to what she calls the ‘scale of life’, seeking common ground between the fields of art and farming, cross-pollinating their vocabularies, spaces, economies and practices, through such collective projects as Myvillages (ongoing since 2003), The Centre for Plausible Economies (since 2018), Company Drinks (since 2014) and the Rural School of Economics (with Wapke Feenstra since 2019). Her new book comes in the wake of a two-part exhibition project, COMPOST. Kathrin Böhm: Turning the Heap and COMPOST: For Future Use, and seeks to show how the joyful visual methods and languages, tactics, tools, concepts and strategies that serve a socially transformative art practice have been usefully deployed in rural and farming settings far from the usual sites of the contemporary artworld, even as art has merged with agriculture. If art has now ramped up from the ‘scale of art’ to the ‘scale of life’, what does that look like? What indeed is the scale of life? And what is to be gained, and what forsaken, in this scalar shift?
06:00pm–08:30pm
Beginning in June, Künstlerhaus Stuttgart will host kimchi artist Paul Sullivan to lead a series of public kimchi-making workshops as part of Paul’s Kimchi Café, a popup eatery that will be setting up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients.
In preparation for this atmosphere of collaborative fermentation, you are invited to join Paul and others for a Kimchi Keramik workshop led by pottery maker and designer Yvette Hoffmann, in order to produce ceramic kimchi bowls to be used in Paul’s Kimchi Café and shared among workshop users: one for you, one for the café, one for you, one for the café…
The workshop is free of charge, and open to a maximum of 10 participants who will learn how to make bowls of different sizes using an over-moulding technique. Participants can make as many bowls as the time allows: typically between 4-5 bowls in the course of the evening. Drying, glazing and firing will be done subsequently by Yvette Hoffmann. The glaze firing will be done at 1240° C, making the bowls suitable for dishwasher. All materials, glazing and firing are free of charge. The course will be in both German and English and is suitable for beginners as well as for advanced potters. To register: info@kuenstlerhaus.de
Registration for the workshop is closed.
***
Yvette Hoffmann is a designer and maker. She creates and makes to explore the boundary between product and object and to discover the nature of material, process and form, in a spirit of understanding by doing and using. ‘It’s less about owning’, she says, ‘and more that you intuitively like to use it. Things you like to use, you don’t throw away so quickly. That is also a form of sustainability.’ Since founding her studio in 2011, she has worked on numerous experimental solo projects and collaborates regularly with artists and practitioners from other domains, and is currently developing a longterm wild clay harvesting project with artist Linda Weiss. She is also the Ceramics Workshop manager at Künstlerhaus Stuttgart. https://www.yvettehoffmann.com/
Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)
The staircase as a concert space – Ralph Gaukel uses the special acoustics for his sound and overtone instruments, deliberately avoiding electronic amplification.
The primeval sounds of the Australian didgeridoo can be heard, as well as the unspeakably light tones of the traditional Slovakian shepherd’s recorder Fujara and the rhythms of the dancing hands on the Swiss musical instrument “Hang”.
The ancient art of overtone singing can also be heard, as well as jew’s harps and the warm sound of the kalimba sansula.
A sonorous, even meditative experience.
The steps serve as seating, so please bring a seat cushion.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
The Fourth Organ invites you to cook and eat together in May.
The Fourth Organ is a place for, with and by the membership of the Künstlerhaus. It can be and become many things. At the next meeting, we want to devote ourselves to the aesthetic practice of cooking.
Some say that the simplest of all soups is vegetable soup/minestrone.
The quality of the food is always important. They are the focus and have an influence on the taste and the result.
So on Saturday, May 4, 2024, from 4.30 p.m., we want to chop and cook together on the 3rd floor and then eat, exchange ideas and feel good in a convivial get-together. The ingredients will be bought fresh from the Stuttgart weekly market on Saturday.
Please register by Sunday, April 28, 2024 at info@kuenstlerhaus.de.
Rotting Hegel is a multi-phased operative installation proposed by SPORA in collaboration with other mycelial agents at the Künstlerhaus Stuttgart, during which fungal hyphae will entangle themselves in the pages of the human philosopher, feeding on the cellulose impregnated with words and concepts. Fungi have the power to transform dead matter into new fruit — but what of the spirit of Hegel’s corpus? As the fungi farm fructifies on the shelves of the library, which passages will prove most fruitful?
Fungi are known for their wry and unpredictable humour: stop by to see which concepts the mushrooms find nourishing, and which distasteful. It is well known, too, that in his Aesthetics, Hegel declared the death of art — ‘in its highest destiny’ wrote the harbinger of philosophical modernity, ‘art is a thing of the past’, mapping the way to the advent of conceptual art. Two centuries on, it feels urgent, and useful, to metabolize the great dialectician in an atmosphere of rot.
Rotting Hegel will culminate with a communal meal of a phenomenal mushroom risotto, in the library-farm where they grew, allowing diners to immediately assimilate Hegel.
Rotting Hegel Library Hours: Saturdays 12 pm to 6 pm
Myceliating Hegel: An introductory mycelium workshop
May 2, 6 pm – 9 pm
On 2 May, to launch Rotting Hegel, its operative installation at Künstlerhaus Stuttgart, SPORA has chosen a collective and user-friendly methodology, through a workshop introducing participants to the techniques of home-grown mycology and small-scale mushroom farming. In this case, the substrate will be the complete works of Hegel. Using nature’s largest decomposer, this workshop invites participants to myceliate the pages of Stuttgart’s philosopher-monument. From the pages of Hegel’s work, clusters of oyster mushrooms will fructify over the following weeks to be incorporated into a collective meal. Rather than a philosophy of mycelium — with which Hegel’s thought abounds — SPORA proposes a myceliation of philosophy.
In this 3-hour workshop, you will learn the basic theory and practice of cultivating fungi — everything you need to know to turn your home library (or woodshed) into a mushroom farm!
No previous fungal knowledge necessary. F
ree of charge for beginners or advanced Hegelians of all ages.
Registration required: info@kuenstlerhaus.de
About the collective SPORA
SPORA is an extradisciplinary project driven by the concept of mycelium as a methodology and observation tool of the almost invisible. Co-created in 2021 by Charlotte Janis (artist) and Roberto Dell’Orco (artist, landscaper, and architect), SPORA is based at the artist-run space Les Ateliers Wonder in Bobigny (France). Over the past three years, SPORA has initiated, joined, and connected research-based actions including exhibitions, participatory workshops, hybrid installations and performances, forest walks, public space landscape interventions and academic research programs. On each of these occasions, interactions with participants spanning different generations create a rhizomatic aspect facilitating new possibilities and transdisciplinary collaborations, all centred around exploring the intricacies of the fungal world. Viewing mycelium as the message fosters a deepened understanding of living organisms, soils, and the interconnections between humans and non-humans, depicting these interdisciplinary dialogues as unifying narratives of science-friction.
06:00pm–09:00pm
On 2 May, to launch Rotting Hegel, its operative installation at Künstlerhaus Stuttgart, SPORA has chosen a collective and user-friendly methodology, through a workshop introducing participants to the techniques of home-grown mycology and small-scale mushroom farming. In this case, the substrate will be the complete works of Hegel. Using nature’s largest decomposer, this workshop invites participants to myceliate the pages of Stuttgart’s philosopher-monument. From the pages of Hegel’s work, clusters of oyster mushrooms will fructify over the following weeks to be incorporated into a collective meal. Rather than a philosophy of mycelium — with which Hegel’s thought abounds — SPORA proposes a myceliation of philosophy.
In this 3-hour workshop, you will learn the basic theory and practice of cultivating fungi — everything you need to know to turn your home library (or woodshed) into a mushroom farm!
No previous fungal knowledge necessary.
Free of charge for beginners or advanced Hegelians of all ages.
Registration required: info@kuenstlerhaus.de
The Künstlerhaus Stuttgart is delighted to announce the new studio grant recipients for 2024/25, who will move into their studios at the Künstlerhaus on 1 May 2024. As in previous years, the Künstlerhaus will offer workspaces to seven outstanding artists, artist groups, or collectives for a period of one year.
We are delighted to welcome Mizi Lee and Paco Ladrón de Guevara Rodríguez.
Lambert Mousseka, anima ona, Marcela Majchrzak, Theo Ferreira Gomes, and Yara Richter have all had their grants extended for another year.
Mizi Lee
(b. 1990, Changwon, South Korea) uses various forms of media and transcends disciplinary boundaries to produce a unique experience. This might involve establishing a fake supermarket to print brochures full of artworks, or screaming in a punk band at the Kulturbrauerei in Berlin or in old train carriages at the Nordbahnhof in Stuttgart. She adopts an interdisciplinary and collective approach because she believes that art requires more than just a single artist. In 2022, she founded the punk band Horizontaler Gentransfer; together with the other members, she has created a series of projects that lie at the intersection of visual art, performance, and theatre.
Paco Ladrón de Guevara Rodríguez
(b. 1997, Granada) focuses on the fields of performance and visual arts in his artistic research and uses a variety of different media such as installation, drawing, and dance to realize his projects.
He works as a freelance artist in Stuttgart, where he specializes in sculptural research and choreography and also has opportunities to work as a performer for other choreographers internationally as well as creating his own pieces. In recent years, he has regularly undertaken his own transdisciplinary projects in the form of exhibitions and performances and taught workshops in contemporary drawing and movement research.
Marcela Majchrzak
(b. 1993) is an artist, art mediator, and mother whose projects deal with themes relating to identity, culture and work. She is particularly interested in the (dis)functionality of structures and their justification mechanisms. Her works often have an exploratory, performative character and are frequently realized through various formats of coming together. As a founding member of the Matriarchale Volksküche (MV) artist collective, she stages various kitchen-, meal-, and discourse-based events. She lives and works in Stuttgart.
Theo Ferreira Gomes
(b. 1993, Niterói, Brazil) is a post-disciplinary curator, designer, and DJ. He is particularly interested in informal social economies and how different currencies can create personal or impersonal communities.
Since June 2022, he has been a curatorial fellow at ORNAMENTA, a reactivated cultural programme in the Northern Black Forest that explores modern regionalism and is taking place—for the second time since 1989—from July to October 2024.
Theo Ferreira Gomes was also a coordination fellow for art, science, and business at Akademie Schloss Solitude and a board member of Leerstand als Freiraum e.V. (LAF), a collectively run association with a project space in the centre of Pforzheim. In 2018, he completed his degree in fashion design at Pforzheim University.
anima ona
is a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas. The duo studied industrial design at the Stuttgart State Academy of Art and Design.
Following a transdisciplinary and collaborative approach, they have been developing their own projects and realizing commissioned works since 2018, straddling the border between design, research, and art.
Their diverse works are united by their search for previously untapped resources and opportunities to reuse materials, which they explore by adopting experimental strategies and examining the cultural significance of objects.
Yara Richter
(b. 1996) oscillates between art, cultural work, and motherhood. With a focus on decolonial and collective processes, Richter also works as a facilitator, speaker, and educational consultant specializing in Black identities, intersectional feminism, and institutional critique alongside her artistic practice.
Since 2022, Yara has been researching Black noise using sound, text, video, and performance as a starting point to imagine and create decolonized art and cultural practices. This creative process is a multifaceted, deeply political dance in which ecofeminism, queerness, altra egos, and historiographies merge with a non-linear understanding of time, psychosomatics, and spaces of possibility for marginalized bodies.
Lambert Mousseka
(born in Katanga, Democratic Republic of Congo) has developed the concept “Stuttgart Akt” for the final year of his studio grant at the Künstlerhaus Stuttgart.
This includes three publications covering his entire time at the Künstlerhaus on the subject of La Sape—Sapologie.
The plan is to collaborate with a fashion school and two or three tailors from Kinshasa, one of whom is a member of the Bakoko collective, which makes clothes from natural materials. This revolutionary collective refuses to make clothes from fabric, instead taking inspiration from nature.
As part of the studio programme, work grants are awarded to outstanding artists and applicants from the fields of architecture and theory. They are provided with a workspace in the Künstlerhaus free of charge. The Künstlerhaus workshops can also be used free of charge. The workspaces are allocated annually based on the applications received. The decision on the allocation is made by the advisory board of the Künstlerhaus. The scholarship begins on 1 May 2024. The jury consisted of representatives of the Board of Directors and the Advisory Board of Künstlerhaus Stuttgart e.V.
02:00pm–06:00pm
The first KHS house wine is being bottled! Join local artist-winemakers Hannah Liya and Mira Simon at the Künstlerhaus on Saturday, April 27th, where some 350 litres of their wine will make the next step on the journey to becoming a true vintage – from the fermentation tank into the bottle!
Grown on steep terraced hills above the Neckar river, these century old Trollinger vines produced half a ton of grapes, harvested by hand by Hannah, Mira, and a few friends. The grapes were then pressed and aged for 18 months on fine yeast in ceramic barrels in an earthen cellar located below the vineyards.
In just about the same year as the vines were being planted on the hillside, Marcel Duchamp repurposed a bottle-dryer as his first readymade (as he would come to describe it), withdrawing it from the realm of winemaking into the performative frame of art. A century on, the readymade is ready for winemaking, and the wine ready for bottling.
Together, we will make labels, and, repurposing a readymade as a bottle-dryer, fill and cork bottles, taking the final steps in the long process of making the first KHS Vintage House Wine. And of course, there will be a tasting!
April 27th 2-6pm
“It is not a question of imagining art as a relationship to the earth and to its metamorphoses. Rather, it is about thinking of every interspecific relationship — what we understand as the concept of ecosystem — as an art form, even when performed by non-human subjects.
Thinking of the identity of art and agriculture in a landscape means thinking of the landscape as a work of art conceived by each living creature who composes it.”
Emanuele Coccia, The Sower
Since taking up their position as Artistic Directors of Künstlerhaus Stuttgart on January 1, 2024, Tamarind Rossetti and Stephen Wright have been doing what farmers do in late winter and early spring: preparing the soil for seeding and succession planting, getting into sync with the other users of a common ecosystem. That is, getting to know the usership of the house.
For Rossetti and Wright, one of the key curatorial challenges of the coming decade is to acknowledge and make way for the artistic and aesthetic agency of other-than-human agents – plants, non-human animal species, perhaps even geophysical agents, including river and soil systems. This is an exciting and dynamic field within contemporary art and beyond, as theorists and practitioners envision political or diplomatic alliances with other life forms and geophysical forces, rethinking the modernist and anthropocentric paradigm, often reaffirming ancient connections with animism. Rossetti and Wright’s approach, while akin to these initiatives, is fundamentally different in that it is framed through the unifying lens of one usership: All life forms make use of environments and ecosystems, and in this respect they, together, inseparably, fashion those landscapes and produce an atmosphere. Their hypothesis is that usership is the common mode of relationality of all agency — this is how beings relate to their environment; the outcome is an atmosphere.
To test, challenge and enhance this hypothesis, Rossetti and Wright have conceived an artistic program for the Künstlerhaus Stuttgart which involves incorporating usership in this broadest sense, turning towards artists and art-compatible practitioners who are collaborating with plant and animal species as full-fledged artistic agents.
As an alternative to isolated exhibitions and event-based ideology, what Rossetti and Wright refer to as atmospheres provide the conditions for the intensification, amplification and sharing of aesthetic experience — precisely what might be described as farming an atmosphere. In this integrated ecosystem, artistic contributions function like plants in a constantly morphing garden, each of which needs a habitat and at the same time provides a habitat for others. Künstlerhaus Stuttgart is imagined here as a collective farm, an urban garden for the cultivation of art, based not on intensive cultivation methods but rather on a more extensive vision characterized by succession planting and institutional permaculture.
With this in mind, Rossetti and Wright have devised a 3-season cycle for 2024, punctuated by phases of composting, sowing, cultivation and harvesting. In the first phase, the focus is on processes of metabolizing through fermentation and myceliation (farming is above all about food). The second phase will focus on water, living rivers as landscapes (which are often created by non-human actors). In the third phase, the focus will be on institutional permaculture and its communal conservation and renewal. These three initial phases will be followed by an enquiry into anthrosols (soils co-created by humans).
The highest priority of the new artistic direction at the Künstlerhaus Stuttgart is to break down residual hierarchies between different constituencies of users, notably between the artistic programming and the in-house workshops, in favour of one usership.
On 15 April 2024, Künstlerhaus Stuttgart and the restaurant “Im Künstlerhaus” invite you to an evening together.
With the event series “Playing with food”, we are daring to experiment. Over three evenings, we will build a bridge between cuisine and art and talk about the process from the initial idea to the presentation on the plate. Together with an artist or a collective, we will consider how this process can be translated artistically. How can aromas, aesthetics, colour and taste be combined in a culinary and artistic way? After the artist Lennart Cleemann and the duo anima ona, we invite the artist Mona Zeiler to conclude this series.
The artistic process, the exhibition-making and the processes in the restaurant kitchen culminate in the subsequent presentation. The artistic process, the making of the exhibition and the processes in the restaurant kitchen culminate in the subsequent presentation. This is preceded by considerations on arrangements and proportions in the dining room (room/table/plates), on material diversity and its use (ingredients) as well as the design within the social space, which is also always taken into account.
In her artistic work, Mona Zeiler uses sculptural-installative methods to examine elements from our surroundings and living environment: she literally peels out details and thus traces different levels of meaning as well as questions about our perception and what attention we (want to) give them. On the subject of “Presentation”, Mona Zeiler is designing a site-specific setting with ceramic objects for the evening, which will create the framework for the kitchen – unlike usual, steps of preparation and presentation will be shifted to the dining room, to the guests’ table.
The evening will begin with a 3-course meal (vegan), including all drinks. Afterwards there will be a discussion between Sebastian Werning, Konstantin Kuld and Mona Zeiler, before the evening ends in casual conversation with all guests.
Food and drinks will be provided by the restaurant at cost price. The participation costs amount to
49,00 EUR for members and
69,00 EUR for non-members.
In order to be able to make further plans, a binding registration is required by 01 April 2024 at rr@kuenstlerhaus.de.
As the Künstlerhaus wants to offer an evening for everyone and not everyone has the necessary means, we work according to the principle of solidarity: if a member wants to pay more, the money goes into a solidarity pot for those who can pay less. If a member pays less, they can also take part in the evening as soon as there is enough money in the solidarity pot to make up the difference to EUR 49. The principle of “first come first serve” applies.
Duration of the exhibition: April 16 to October 14, 2024
Opening: April 14, 2024, 4 pm
With Marzieh Bashkar, Stephanie Bothe, Marielle Dannenmann, Nicole Eitel, Ute Fischer-Dieter, Anja Fleischhauer, Andreas Nikolaus Franz, Florian Glaubitz, Annika Hartmann, Stephanie Herrmann, Yvy Heußler, Yvette Hoffmann, Christa Knoll, Elke Kühnle, Myriam Kunz, Bernhard Müller, Sarah Naaseh, Le Han Nguyen, Aleksej Nutz, Adrian Rivinius, Jasmin Schädler, Kerstin Schaefer, Ruth Schuhbauer, Linda Weiß, Tina Zeltwanger
For this exhibition, Yvette Hoffmann, product designer and head of the ceramics workshop, is working with the participating artists to develop a way of presenting the delicate and fragile works in a lively environment such as the restaurant Im Künstlerhaus.
The focus is on a collaborative work by 24 users of the ceramics workshop, in which the vase as an object is interpreted individually by each of them. Only one selected clay and one glaze were available to each of them. In total, more than 90 very different ceramics were created, in which the boundary between everyday object and art object is explored. Works by Florian Glaubitz, Yvette Hoffmann and Ute Fischer-Dieter will also be on display.
For the exhibitions in the restaurant, the workshop managers of the Künstlerhaus invite members to present their work in a group exhibition. In 2022, this series started with an exhibition by the screen printing workshop, followed by the photography workshop and currently the lithography workshop.
12:00pm–04:00pm
With Kathrin Jentjens (mediator, Rhineland) and Gerrit Gohlke (mediator, Brandenburg / co-founder of Neue Auftraggeber in Germany and head of regional development during the pilot phase)
This year, the Künstlerhaus Stuttgart begins a new chapter in the history of art in public space in Stuttgart. It will become the new anchor point for an idea that has been changing the relationship between art and society in Europe for a quarter of a century.
Since 1990, the mediation process of the “Neue Auftraggeber” has brought together committed civic groups with artists in hundreds of projects. This has enabled visual art to provide very concrete new answers to urgent social concerns. This offer of participation will now also be available in Stuttgart.
The Künstlerhaus Stuttgart will not formulate its own project ideas. Instead, civil society will play the central role in the Neue Auftraggeber model. Through “mediation”, their wishes, themes and visions become concrete project plans, “commissions” for art, with the help of which locally sustainable solutions are created that serve as an example for other committed individuals.
The projects can take very different forms. Whether music composition, garden design, dance performance, sculpture or computer game – the works always respond to local issues and needs and are supported by the community of citizens.
How does a commissioning process work and how does mediation accompany it? What distinguishes the Neue Auftraggeber from participatory projects? What topics are relevant and what exactly is the role of artists in this process? We will discuss these and many other questions together on April 13. We have invited two experienced mediators who have been working in the Neue Auftraggeber model for many years and have successfully implemented their own projects in urban and rural areas. They will accompany us on this day, present projects and lead a workshop.
Program
Saturday, April 13, 2024 12 – 4 pm, 2nd floor, Künstlerhaus Stuttgart
12:00 pm
“New Patrons” at the Künstlerhaus Stuttgart
Welcome and kick-off
12:15 pm
What is “New Patrons” (and what is it not)
The history of a rebellious idea
12:30 pm
Two project examples (urban + rural)
1:15 pm
Coffee break
1:45 pm
Workshop
Mediation on a case study with the participants
3:15 pm
Coffee break
3:30 pm
Practical discussion on Stuttgart topics
Further information on the new clients can be found here
In the 31st Tuesday workshop, anima ona, a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas and studio holders of the Künstlerhaus, will open the studio on the 3rd floor. They will give a deeper insight into their work and the processes behind it by means of two to three projects.
Freia Achenbach and June Fàbregas will talk about what motivates them, the means they use to give residual materials a new value and the role the process plays in their work.
The duo studied at the Stuttgart State Academy of Fine Arts.
Following a transdisciplinary and collaborative approach, they have been developing self-initiated projects and realising commissioned works since 2018, working on the border between design, research and art.
Their diverse works are united by the search for previously unexploited resources and opportunities to reuse materials, which they pursue through experimental approaches and an examination of the cultural significance of objects.
Afterwards there will be an invitation to a joint discussion and exchange.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
02:00pm–10:00pm
We, the fellows of Künstlerhaus Stuttgart, invite you for an extended hang-out session on the 3rd and 4th floor of the KHS building as we open our ateliers and share work-in-progress. Join a social gathering with a studio visit marathon, artistic exchanges, a community dinner, and a very open jam.
Upon arrival on the studio floor, you are greeted by a silent presence with impeccable style, while next door wondrous sounds and mindful movements gradually take over the space. In another dimension, you can immerse yourself in electro-acoustic experiments that dissolve the boundaries between VR workout and interactive music. Before you indulge in the latest Künstlerhaus gossip, the studio at the end of the common room is the ideal place to wind down from a VR frenzy. The research-intensive material samples demonstrate how urban building and waste materials regain value in a new circular economy, presented as artefacts that move between sculptural works and everyday objects. Meanwhile, the music enthusiasts among you will gather to discuss resistant music at the margins of our perception. On the top floor of the Künstlerhaus, you can then indulge in a more reflective mood as you wander among larger-than-life paintings, installations and objects that document stories of belonging and foreignness. Those who stay until the end are welcome to break bread and clink glasses with old and new acquaintances.
Don’t miss out on exploring the upstairs spaces for a more contemplative experience, walking amidst larger-than-life installations, paintings and objects that document tales of belonging somewhere yet nowhere at the same time. If you hang around long enough, you are welcome to sit down and break bread together with strangers and new friends.
You might wonder: Is this a performative dinner or a culinary community-based choreography? Drop the Artspeak, grab a drink or two and get freaky in an open jam for karaoke masters, electronic amateurs and YouTube-DJs. Come early, stay late!
We look forward to spending the day with you!
Eva Dörr & Lena Meinhardt
Freia Achenbach & June Fàbregas (anima ona)
Kateryna Surhutanova
Lambert Mousseka
Marcela Majchrzak
Theo Ferreira Gomes
Program
14:00 Open
14:30 Music Sharing Circle
Participate in an informal sonic hangout. We will share music, field recordings, texts, and other sound-related material that defy the status quo. This is the kick-off of »the sonic and the void«, a series of exchange formats, centered on critical sound practices and experimental music. The group is hosted by Kosmas Dinh & Theo Ferreira Gomes.
16:30 Studio Visit Marathon
The Atelier-Fellows of Künstlerhaus Stuttgart guide you on an energetic tour through their studios. Every 30 minutes, another workplace is introduced while work-in-progress is shared in an informal setting. With: Kate, Lambert, Eva & Lena, Anima Ona, Theo, Marcela
19:00 Breaking Bread – Common Dinner
Break Bread with the Künstlerhaus community and join for a communal dinner free of charge. All food will be vegetarian and vegan. Prepared with love by Marcela & co.
20:30 Open Jam
Feel free to contribute or listen in on an open jam on the 3rd floor of KHS. Some instruments and microphones are provided by Eva & Lena. You are welcome to bring your instrument of choice, but also your favourite poems or meme captions that will definitely get stuck in your head.
22:00 End
In the 30th Tuesday Workshop, Georg Ozory, artist and workshop manager of the etching workshop at the Künstlerhaus, will provide insights into his artistic work and invite visitors to view his pictures.
The Künstlerhaus Stuttgart has been part of Georg Ozory’s sphere of activity since its foundation. After immigrating to Austria, the Hungarian-born artist obtained his diploma in graphic design in Vienna and continued his artistic career in Stuttgart from 1977. In addition to his art education activities, Georg Ozory works in printmaking and painting.
As a sensitive person, he cannot escape the responsibility of reacting to the current world situation and putting the possibilities of contemporary panel painting to the test.
In conversation with visitors, Ozory would like to discuss, among other things, the symbolism of colour and the acceptance of the panel painting.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
In the first Tuesday workshop of the year, Cindy Cordt will provide insights into her artistic work and introduce the format Paarungszeit.
Cindy Cordt is a performance artist who studied in Weimar and Leipzig and taught at the State Academy of Fine Arts in Stuttgart.
As a performer, she is sensitive to the tension of the viewer. She almost provokes the desire to intervene in her performances, thus creating a connection with the viewers, who then become part of a work of art in the making, demonstrating that we are all part of a social organism and that action is a way of participating in society.
Afterwards, we invite you to join us for a discussion and exchange.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Tamarind Rossetti and Stephen Wright, the new Artistic Directors, or rather the new Usership Coordinators, are invited to give members an insight into their ideas for the next few years at the Künstlerhaus. Of course, there will be also a discussion in German and English.
We are looking forward to this exciting new look at the Künstlerhaus, the eco-systemic approach of the two, who also want to work with and through the users of the Künstlerhaus. Or in their own words:
„We are excited to get together with you all, to learn about your projects and experience, to begin conversations and see where our interests connect. Looking forward to working with you over the coming months as we welcome new possibilities in 2024. Let’s get gardening!“
Künstlerhaus Stuttgart is closed from 22 December 2023 up to and including 2 January 2024.
Heba Y. Amin, artist and Professor at the State Academy of Fine Arts Stuttgart (Staatliche Akademie der Bildenden Künste / ABK-Stuttgart), and Füsun Türetken architect, artist, and Professor at Karlsruhe University of Arts and Design (Staatliche Hochschule für Gestaltung / Karlsruhe HfG) convene a series of seminars at the Künstlerhaus Stuttgart to work with students in developing site-responsive interventions and methods of futurity that contend with ongoing histories of trauma.
To convene these seminars onsite at the Künstlerhaus Stuttgart is to necessarily grapple with an immediate site of trauma—to contend with the Künstlerhaus Stuttgart’s historical legacy as an art institution located in a building that was acquired in 1935 by means of Nazi dispossession. It is well known that art institutions are often deeply contaminated sites that collect, present, and embody the living histories, symbolic systems, and operative structures of state violence. How can these sites in the art sector be occupied by other means and repurposed towards other futures? What specific methodologies may be developed and applied towards reparative futures, towards reparations? What contributions can art practitioners make to the longstanding project of reparations and reparations discourses?
As Zoé Samudzi has written: “Reparations discourses articulate a grammar of futurity: not simply a world that does not exist, but one that could be fabricated through attempts to repair historical harm and trauma.” (Zoé Samudzi, “Reparative Futurities: Thinking from the Ovaherero and Nama Colonial Genocide,” The Funambulist, Issue 50, https://thefunambulist.net/magazine/redefining-our-terms)
This series of seminars at the Künstlerhaus Stuttgart has been organized as a creative unfolding reparations project. Within this project, the concept of “futurity” operates as a technique of ontological reconstruction—challenging historically settled expectations, while enacting a future that is unresigned and unreconciled. This technique activates the telling and the realization of the past—through texts, images, interventions, and situations—as an ongoing critical project that must always be actualized and manifest in the present. Through these seminars, students develop consequential methodologies of futurity and their own “grammars of futurity” in confronting the freighted history of the Künstlerhaus Stuttgart. Looking to how artists advance site-responsive methodologies, these seminars are in conversation with two works by the artist Maria Eichhorn. In October of this year the seminar students worked onsite in Venice, responding to Eichhorn’s project at the German Pavilion for the Venice Biennale. And subsequently in November, the students began working at the Künstlerhaus Stuttgart, responding to Eichhorn’s in-process work that examines the Künstlerhaus Stuttgart’s ongoing history of property relations. While contending with the history and continued usage of this particular property, these series of seminars and public presentations on December 19th imagine future reparative possibilities that extend to other sites within and beyond the German context.
Onsite Seminars:
Tuesday, November 7
Tuesday, November 21
Tuesday, December 5
Tuesday, December 19
Public Presentations by Seminar Students at Künstlerhaus Stuttgart:
December 19, 2023 at 7pm (19.00)
In cooperation with ABK Stuttgart and HFG Karlsruhe
In the last Tuesday Workshop of the year, artist and stage designer Barbara Ehnes will use visual material and video recordings to report on her debut in the dual role of opera director and stage designer at Theater Luzern in 2023.
In her production of George Frideric Handel’s baroque opera, Ehnes creates a kaleidoscope of intertwining world views that are both real and magical.
The virtuoso play with gender roles – as well as the effective use of stage mechanics, which seems to turn the laws of physics upside down – on the one hand draws on baroque operatic traditions and on the other hand questions the present in terms of its utopias.
Science and imagination, technology and deception, interweaving and dissolution are recurring motifs that are reflected in the microcosm and macrocosm.
We look forward to an exciting exchange with Barbara Ehnes about her work at the interface of opera, stage design and visual arts.
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!
Concert installation evening
08.12.2023
Admission: 19:00
Start: 20:00
studio floor (3rd floor)
Find a comfortable position.
Immerse yourself in the music.
Let yourself drift.
The series “Coroa des flores” is inspired by flowers. The sound forms in this composition correspond to natural proportions and create an organic structure. Sound grows and develops. Everyday noises from machines, birds and voices overlap and intertwine. Dissolve.
Rosa beggeriana, Coroa des flores IV, 2018/2019
4 – Channel – Electroacoustic composition
Rosa stellata, Coroa des flores V 2019
4 – Channel – Electroacoustic composition
Rosa pendula Coroa des flores VI, 2019
2 – channel – electroacoustic composition
Rosa (world premiere), 2023
4 – Channel – Electroacoustic composition
Das abschließende Treffen der Gesprächsreihe „Kunstverein(e) der Zukunft“ findet am 4. Dezember um 19 Uhr im Böblinger Kunstverein statt. Vor einem Jahr war das Vierte Organ bereits beim Böblinger Kunstverein zu Gast und nun sollen gemeinsam die Entwicklungen und Ereignisse der letzten 12 Monate reflektiert und ein Blick in die Zukunft geworfen werden. Im Fokus wird der deutliche Umbruch stehen, den der Böblinger Kunstverein in dieser Zeit erlebt hat: Welchen Herausforderungen und Überraschungen sah man sich gegenüber, welche positiven wie negativen Erfahrungen wurden gemacht? Und vor allem: Mit welchen Ideen, Prozessen und Maßnahmen wappnet man sich für eine weiterhin erfolgreiche Arbeit als engagierter Kunstverein? Dabei werden auch die Perspektiven der anderen Kunstvereine beleuchtet. Eingeladen sind Oberwelt e.V., Kunstverein Neuhausen, Kunstraum34, Künstlerhaus Stuttgart und anorak.
Kunstverein Böblingen
Schloßberg 11, 71032 Böblingen
www.kunstvereinbb.de
On May 1, 2024, the Künstlerhaus Stuttgart will award up to seven studios for a period of twelve months as part of its studio program. Six of the workspaces are approx. 25 square meters each, one approx. 15 square meters. A large space is accessible for all recipients. Additionally, stipendiaries have free access to all workshops of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.
It is possible to extend the studio grant through ap
plying for another year. This option can be used not more than twice, so a maximum period of three years is possible.
Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.
Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome. Students are unfortunately not eligible to apply.
Application
Please include with your application the following documents:
– CV
– documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
– a written description how you want to use your studio at Künstlerhaus Stuttgart
Please send us your application via email, please send one pdf file only, latest by January 31st 2024:
Contact Person: Romy Range
Email: info@kuenstlerhaus.de
Subject line: Studio application
The jury, which consists of members of the board, will meet in the beginning of March and all applicants will be informed about the decisions as soon as possible.
Please note that these are working studios and that the scholarship is not linked to remuneration or accommodation. International applications are generally accepted, provided that applicants make their own arrangements for a visa and accommodation.
In the 27th Tuesday Workshop, Pablo Berman and Aleksej Nutz present their new film “One Day” at Künstlerhaus Stuttgart.
Conceived as docu-fiction, the short film shows a day in the life of Miguel, who loses himself in his disordered but passionate thoughts as he wanders through the city of Stuttgart, observing the dynamics of the city, the people in it and his own life.
What seems at first glance to be a gloomy sequence of thoughts is, for many, everyday life. Topics such as migration, integration, depression, relationships, love and retrospectives on one’s own life are summarised here in a monologue that uses the technique of the “stream of consciousness”.
Following the screening, we invite you to a discussion.
________
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
On November 04 the next Fourth Organ will take place, already at 4 pm. We welcome Daniel Neubacher (Board Künstlerhaus Bremen e. V.) and Nadja Quante (Künstlerische Leitung Künstlerhaus Bremen e. V.) to this meeting. They will report about the renaming process to KH Künstler:innenhaus Bremen e. V., which took several years, as well as about the way to get there and the changes that are coming up now.
We are looking forward to an exciting exchange of experiences and to new impulses for our own discussion of a renaming.
Since the late 1980s, Maria Eichhorn has achieved renown for works that critically analyze institutional structures and consequentially act on situational-specific conditions of social, legal, and economic authority. Eichhorn’s exhibition project, Reuchlinstraße 4 b, 70178 Stuttgart (2023—) is constituted by processes and actions that respond to the ongoing history of property relations specific to the building at Reuchlinstraße 4 b, which the City of Stuttgart has owned since 1936 and which the Künstlerhaus Stuttgart has rented since its founding in 1978. Through research of State archives and legal casework, this site-specific exhibition project revisits how the building’s acquisition was achieved by means of coercive foreclosure. In doing so, Eichhorn’s work challenges the City’s ownership rights over the property while laying bare crucial questions about continued use of the property by the Künstlerhaus Stuttgart.
Within the public space of the City of Stuttgart, a major component of Eichhorn’s exhibition project is a plaque affixed to the facade of the building at Reuchlinstraße 4 b. In addition to establishing legal protections and restrictions that complicate future ownership rights over the building, this plaque also presents an informational text—a damning report that weaves together a family biography with an interrelated history of banking practices, confiscatory laws, and discriminatory statecraft.
Reuchlinstraße 4 b, 70178 Stuttgart (2023—) is a project of the Rose Valland Institute, founded by Maria Eichhorn in 2017 on the occasion of documenta 14.
Please join us on Wednesday May 8th at 11am for the public unveiling of this plaque at the Künstlerhaus Stuttgart.
Anna Schiefer, deputy chairwoman of the Künstlerhaus Stuttgart board, Eric Golo Stone, former artistic director of the Künstlerhaus Stuttgart, and Marc Gegenfurtner, head of the Stuttgart Cultural Office, give introductory remarks on the exhibition. Adam Szymczyk, artistic director of documenta 14 talks about Rose Valland Institute.
The plaque text is reproduced within the exhibition pamphlet, here as follows: Exhibition pamphlet
Realized with public funding from the City of Stuttgart
The second chapter of a series of exhibitions by studio fellow Lambert Mousseka.
Opening: Saturday October 21, 2023, 7 p.m.
on the 4th floor of the Künstlerhaus Stuttgart.
SAPE – Société des Artistes et de personnes Elégantes (Society for Artists* and Elegant Persons).
Sapologie is the philosophy and Sapologue is the practitioner.
In the universe there is an infinite variety of colors. Each color represents a vibration, a state of mind. Through painting and ceramics, Lambert Mousseka presents the philosophy of the sapeur, the search for perfection, his attitude and, moreover, the relationship with the body and colors. “Trilogy of finished and unfinished colors” is a strict rule for a sapeur.
An inspiration for artists* is to create harmonious color combinations and try to respect the sapological codes and philosophy. One should dress conspicuously, like a flower adorning itself and the garden.
Link to Kapitel 1: 243 – Ohne Maske
Lambert Mousseka (born in Katanga, Democratic Republic of the Congo) has been questioning the creation, origin, spirit and state of matter since his youth. These questions led to various studies and researches and still influence his artistic work today
In the context of the exhibition »Sieh Dir die Menschen an! Das neusachliche Typenporträt in der Weimarer Zeit« at Kunstmuseum Stuttgart, »Arts of the Working Class« invites art and cultural workers to the “Art Workers’ Summit” online and at the Künstlerhaus Stuttgart on October 13 and 14, 2023.
During workshops with keynotes and panels we will discuss the challenges for art and culture workers: Who are the culture and art workers of today, What are they confronted with? What do they represent? How can art and cultural workers imagine spaces of representation that enable interdependent practices? How can institutions support and be part of self-organization in the cultural field?
The results of the exchange will become part of the upcoming issue of the Street Newspaper (Issue 29). The newspaper will be available to take away free of charge with the opening of the exhibition »Sieh Dir die Menschen an!« on December 2, 2023 at the Kunstmuseum Stuttgart.
To take part in the Art Workers’ Summit, please register at fuehrung@kunstmuseum-stuttgart.de. Participation is free of charge.
Fore more information direct here.
Friday, 13.10.2023, 14:30-18:00
Location: Online via Zoom, access code: Unions
14:30
Welcome by the cooperation partners Arts of the Working Class, Kunstmuseum Stuttgart, Kulturamt Stuttgart, Künstlerhaus Stuttgart
15:00
Opening (in German and English language)
What remains of the activists’ work, as exemplified by L’Union des Refusés, by the founders of Arts of the Working Class.
15:30-16:30
Keynote on the Solidarity Trinity (in English language)
Yin Aiwen will share the concept and theorization of The Solidarity Trinity, a research thread from her gamification-as-research project “The Alchemy of Commons” with educator and community activist Yiren ZHAO. The Solidarity Trinity suggests Labour, Relationship, and Space are integral to the making of solidarity in a collective environment. In the talk, Aiwen will share study examples in the cultural fields where the intended solidarity fails, offering analysis and action points to form resilient, diverse, and inclusive togetherness.
16:45 – 17:45
Keynote on the Organization of Art Workers within Museums (in English language)
Dana Kopel’s keynote is pushing against the common framing of art workers’ labor as not labor at all. The input takes a look at the organizing efforts that have taken place in museums and art institutions in the past years and insists on a critique of the role of art and the art world within racial capitalism.
Saturday, October 14, 2023, 14:00-19:30
Location: Künstlerhaus Stuttgart (Reuchlinstraße 4b, 70178 Stuttgart)
14:00-16:00
Workshop about the role of commissioners in cultural production (in German)
In his contribution, Alexander Koch talks about the New Commissioners [orig. die neuen Auftraggeber], a model that creates new relationships between artists, communities, and audiences. When local citizens’ initiatives – accompanied by mediators – commission artists with works that change something locally, the usual roles of all participants also change. Ecosystems are created for a community-oriented art that can succeed in many ways but also faces great challenges.
17:00-18:30
Participatory Conversation (in English)
How can our tears shed over politics lead to actual structural change? What concrete measures need to be taken, and how? The tedious writing of contracts is often swept under the carpet and leads to invisible work. But struggles that are to be impactful in the long term must find a written form. How can this work emerge from obscurity and improve labor conditions in the arts? Two organizations run by cultural workers meet an allied institution. Zoë Claire Miller is an artist and one of the two spokespersons of the Artists Association Berufsverband Bildender künstler*innen Berlin, which has a long and turbulent history. Art Workers Italia, an autonomous and non-partisan association, was established recently and is represented for the occasion by artist Alice Pedroletti. Eric Golo Stone introduces an institutional perspective and the specific situation of the Künstlerhaus Stuttgart. Among other shapes of exchange, the fundamental meaning of contract-making and policy work will take the form of an incantation as guided meditation.
19:00
Get together: Drinks and soup
Participative Performance by Dina El Kaisy Friemuth as collective Check-out
With the support of and in collaboration with Kunstmuseum Stuttgart, Künstlerhaus Stuttgart, Stadt Stuttgart, and Staatliche Kunsthalle Baden-Baden.
Living together, producing together, learning from each other – these are not only the cornerstones of the Künstlerhaus, they also form the core of the idea of OPEN SCHOOL Cannstatt.
We have invited the artists Valentin Hennig, Yara Richter, Lilith Becker & Liv Rahel Schwenk to work together in tandem with Bad Cannstatt’s tradespeople, associations, craftspeople, institutions or citizens and to develop a public offer.
This free offer ranges from performative walks to film art workshops. The aim is to enter into an exchange, build relationships, work together and learn from each other.
Künstlerhaus Stuttgart presents OPEN SCHOOL Cannstatt, which takes place as part of the festival CURRENT – KUNST UND URBANER RAUM.
The “classroom”, where information about the programme will be provided for the duration of OPEN SCHOOL Cannstatt, is located in the former Schwabenbräu-Passage in Bad Cannstatt.
Programme
Liv Rahel Schwenk and Lilith Becker “Wassergosch – Performing the Fountains”
19 September 2023, 10 am to 2:30 pm -Workshop
20 September 2023, 10 am to 2:30 pm – Workshop
Participants: max. 10 persons
Please register at info@kuenstlerhaus.de by 18.09.2023.
Meeting place: Kellerbrunnen, Brunnenstr. 19, 70372 Stuttgart, Germany
The workshop “Wassergosch – Performing the Fountains” will lead us along Bad Cannstatt’s drinking fountains which carry water from the area’s mineral springs. We will approach these fountains, their properties, and histories with a performance mindset. This means that over the course of the two days, we will experiment with strategies of “input” and “output”.
Collecting impressions and material in the form of audio recordings, water samples, drawings, words, sounds, and movement will expand our understanding of the fountains. The process of collecting will be complemented by encounters with people who live or work in Bad Cannstatt and share their knowledge with us. A native Bad Cannstatt tour guide will tell us about a myth surrounding one of the old town’s fountains, we will learn about the chemical composition of the water and the maintenance of the fountains, and if we’re lucky, a local Yoga teacher will guide us through a water meditation.
In a second step, we will transform the collected material and impressions into micro-performances which we will perform for each other. The participants will be led in simple structured prompts which will help organize the material and encourage experimentation.
The workshop is a space to safely explore performance whether it’s part of your practice or you’re completely new to it. Everyone is welcome.
Bring pen and paper and any other note taking device you like using, comfortable clothes, a water bottle, and anything else you’d like to bring.
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“
Wednesday, 20 September 2023, 5 p.m. – Safer Space, office of the Black Community Foundation in the former Schwabenbräu-Passage, Bad Cannstatt.
Participants: max. 12 persons, prerequisite: Black/African German identity.
Please register at info@kuenstlerhaus.de
Thursday, 21 September 2023, during the day – open editing in the sound studio, Künstlerhaus Stuttgart, public, open to all
Thursday, 21 September 2023, 7:30 p.m. – audio screening followed by a discussion, Schwabenbräu-Passage Bad Cannstatt, public, open to all
This Safer Space event is aimed at Black and Afro-German people.
Together with the participants, Yara Richter will discuss and explore with creative methods what being Black in public space has to do with noise and silence. They will first meet in a closed room where the artist Yara Richter will give an interactive input on creative writing and working with sound. Afterwards, the group will walk through Bad Cannstatt together and make a sound recording in the meantime. In conversation, they want to learn from each other how to appropriate public spaces. They ask themselves questions like: How do you find a sense of security in public spaces? Which public spaces do people seek out/avoid and why? How does being black in public space influence the way you do self and community care? The participants themselves decide which texts, sounds, words and moments of noise or silence they want to include in the recording. The sound recording will be available to all participants for further use after the event.
The following day, Yara Richter will edit the recording into a podcast, and participants are welcome to join. In the evening, there will be a screening of the podcast with an open discussion, to which the public and all participants are welcome.
(Awareness persons will be present).
Valentin Hennig „business as usual”
Friday, 22 September 2023, 7 p.m. – Screening, former Schwabenbräu Passage, Bad Cannstatt
In his OPEN SCHOOL “business as ususal”, Valentin Hennig will work together with the millinery store H + M Schmid-Rupp, the Asian snack bar Chan’s Kitchen and the Greek hairdressing salon-café Haarstudio Exis, which as meeting points and hubs reflect the social life and cultural diversity of Bad Cannstatt. The aim is to develop and realise a joint film that aims at a different communication than that of goods or services: It is about the location’s own history, social and cultural significance and enabling the clientele of this place to live their own identity publicly.
In the process, Valentin Hennig will learn what it means to run a “business”, to produce and distribute goods and to build a strong bond with the customer. In return, the filmmaker will impart his practical knowledge to his partners to learn about all areas of visual and especially cinematic design and to independently create images and moving pictures.
Afterwards, they will invite all partners to a public screening so that a cross-cultural dialogue between the partners can take place in Bad-Cannstatt. The resulting works will also be presented at the respective places of origin.
About the artists
Lilith Becker makes sculpture, installation, video and performance art. As a musician, she plays solo as well as in various band and theatre projects. After graduating from the Berufskolleg für Design Schmuck und Gerät, Pforzheim in 2009, she studied fine arts at the Staatliche Akademie der Bildenden Künste, Stuttgart. In 2018, she was awarded the master student title of the Weißenhof Programme. Her manual on spontaneous self-ignition is published by Verlag für Handbücher in 2019. The music video “Oh Ewigkeit” (directed by Martina Wegener) with music by Nero Feuerherdt aka Lilith Becker was awarded the Buggles Award in 2023.
Valentin Hennig is a visual artist and filmmaker. In addition to his freelance artistic work, he leads workshops at the Staatsgalerie Stuttgart, the Kunstmuseum Stuttgart, the Künstlerhaus Stuttgart and for the LKJ Baden-Württemberg.
Since the winter semester of 2022, he has been a lecturer for video art and experimental film at the State Academy of Fine Arts Stuttgart, where he studied art education with Prof.in Silvia Bächli and Prof.in Corinne Wasmuth from 2007 to 2013. In 2010, he spent a semester as a guest student at the HfbK Dresden with Prof. Hans-Peter Adamski. He then completed the postgraduate course “Intermedial Design” with Prof. Wolfgang Mayer and Prof. Christina Gomez-Barrio (Discoteca Flaming Star) at the Staatliche Akademie der Bildenden Künste Stuttgart in 2014. In 2016, he was awarded the title of master student of the Weißenhof Programme at the ABK Stuttgart. He lives and works in Stuttgart.
Yara Richter moves between art, activism, art education and motherhood. From an Afro-German, intersectional ecofeminist perspective, she is currently exploring black noise as a framework to imagine and create decolonised art and cultural practices. In 2023, Yara Richter completed her Master’s degree in “Body, Theory and Poetics of the Performative” at the State Academy of Fine Arts Stuttgart with “black noise”. In the years before, she showed, among others, the collaborative durational performance “seep” (2022 with Toni Böckle, part of the group exhibition Conditions of a Necessity at the Staatliche Kunsthalle Baden-Baden) and “MFA (Master of Filthy Arts)” (2021, part of the TURN AROUND Rundgang group exhibition at the Württembergischer Kunstverein Stuttgart). She lives and works in Stuttgart.
Liv Rahel Schwenk is a German-American artist working with performance, video, drawing and choreographic methods. She studied at Bard College Berlin and at the Kunstakademie Düsseldorf, where she graduated with a Meisterschüler-Brief in 2012. In 2014, she went to New York on a DAAD scholarship to deepen her interest in dance and choreography in conjunction with her algorithmic drawings. Most recently she has shown projects at Simultanhalle in Cologne and mhProject and Putty’s Coronation in New York. This year she is working with the collective “Unpleasant Affairs” on a performance as part of the Spielart Festival in Munich. She lives and works in Stuttgart and NYC.
Locations:
Former Schwabenbräu-Passage, Bahnhofstraße 14-18, 70372 Stuttgart
Kellerbrunnen, Brunnenstraße 19, 70372 Stuttgart
Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart
In cooperation with the CURRENT – KUNST UND URBANER RAUM festival.
Realised thanks to the generous support of the Wüstenrot Foundation.
At the 26th Tuesday Workshop, Julia Wirsching presents her new film “Es gibt noch einiges zu tun” at the Künstlerhaus Stuttgart.
For over two years, Julia Wirsching accompanied her uncle’s men’s circle in their discussions on the subject of “being a man”. How did they become men? What does it mean to be a man today? What gives them orientation? Some of them critically examined faith and its institutions in their role-finding process. Topics such as just parenthood, the search for the father or turning away from old role patterns towards more self-determination occupy the men between the ages of 40 and 75 in the most diverse ways.
The video captures these processes of reflection as well as the men’s beard care rituals. The seven men provide insights into a sensual examination of their own bodies and tell their personal stories of being a man.
Following the screening, we invite you to a conversation with the artist.
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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!
Produced in the context of Niloufar Emamifar’s exhibition Ex gratia at the Künstlerhaus Stuttgart, the lawyers, Nora Ebeling and Viktor Riad, have drafted a guidelines document to aid artists and art institutions in navigating the complexities of migration law in Germany.
When artists facing barriers to cross-border migration are contracted by art institutions it is too often done on an individuated case-by-case basis without providing the artist transparent guidelines, shared policies, or protective standards. This newly released guidelines document aims to be a practicable resource which responds to this pervasive problem field where legal-economic resources are inadequate and inaccessible for visa-applicant, migrant, displaced, asylum-seeking, and refugee-status artists.
This bilingual document entitled, Guidelines on migration law for cooperation between artists and art associations in Germany, is now available here as a free and openly distributable PDF.
The guidelines document is co-authored by Nora Ebeling and Viktor Riad, with input from Niloufar Emamifar. The document was translated by Kathleen Parker, and designed by Studio Terhedebrügge.
Nora Ebeling works a freelance lawyer with a focus on migration law at the House of Democracy and Human Rights in Berlin. She represents not only internationally active artists but also all other people who need support in their residence matters or in the asylum process.
Viktor Riad, is a lawyer based in Berlin who founded a law firm which emphasizes migration law, asserting rights for refugees, and residence law proceedings for internationally active artists.
Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. Additionally, this project was supported by Callie’s, Berlin, in the form of a production residency.
On January 1, 2024, a turnover of Artistic Directors is due. In a three-stage process, a search committee consisting of the Board of Directors, the Advisory Board, and representatives of the Cultural Office and the City of Stuttgart’s Municipal Council out of 57 submissions, decided on the application of Tamarind Rossetti & Stephen Wright, who have presented themselves as a team to lead the exhibition program until the end of 2026.
With its decision, the commission acknowledged that Rossetti & Wright have presented a concept that is not based on a conventional curatorial model, but rather develops an experimental, ‘eco-systemic’ form of curating. With their self-understanding as “usership coordinators,” Rossetti & Wright make it clear that their work focuses on the usership of the Künstlerhaus and that they regard workshops and studios as the Künstlerhaus’s key organs.
Künstlerhaus Stuttgart Reuchlinstraße e. V. was founded in 1978 by artists for artists. It houses seven studios, which are given to artists of all disciplines for a limited period of time, and ten workshops, which can be used by all members and guest artists.
A special characteristic of the Künstlerhaus is the model of the artistic director, who is engaged for three to four years and conveys the latest practices and discourses with experimental approaches to the exhibition, distribution and perception of art at Künstlerhaus. The clear time constraint promotes the diversity of artistic positions and allows each tenure to be approached as a multi-year project. The institution’s evolving history is marked by the critical, interrelational, and infrastructural transformations that each Artistic Direction brings.
Tamarind Rossetti, born 1976 in Ojai (California, USA), is a trained artist and teaches at the École supérieure d’art et de design TALM-Angers.
Stephen Wright was born in Vancouver (British Columbia, Canada) in 1963 and has been a permanent resident of France for nearly 30 years, teaching theory and practice at the European School of Visual Arts in France. From 2017 to 2021, he was also co-director of the postgraduate program in artistic research called Document & Contemporary Art.
In 2018, Rossetti and Wright founded a 1:1 scale agroecological test site called Ferme au Sauvage for growing organic fruits and vegetables, where they offered farm-to-table meals and farm-to-panel workshops (called “ideaseeding”), ran a farm store in the studio, and documented the project through art. Currently they are operating a permaculture farm and research project in Corrèze, France.
The new Artistic Directors see their role as “an opportunity to implement ideas gleaned over the years from usology and permaculture, from art education, publishing and exhibition making, in an ‘extradisciplinary’ environment.”
We look forward to welcoming Tamarind and Stephen in the coming year and to viewing the Künstlerhaus with them through the prism of permaculture, making it a fruitful artistic living space.
On 23 July 2023, the first alumni meeting of all former and current studio holders of the last 25 years took place at Künstlerhaus Stuttgart.
A meeting and reunion, accompanied by artistic contributions and good conversations.
Many thanks to all scholarship holders for the wonderful day.
Photos: Jochen Detscher
