studios, photo: Frank Kleinbach
Marlon Lanziner & Valentino Biagio
Stadtlücken, Visualisierung Kooperativer Stadtraum Österreichischer Platz, Courtesy Stadtlücken
Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
Lennart Cleemann, My Dear Friends (One of Them is a Dramaqueen), 2020, photo: Lennart Cleemann

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

2024
Yara Richter

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.

Activation/Invocation Performance at The Power of Tropical Plants by Astrid S. Klein at the Württembergischer Kunstverein, 2022 (c) Daniela Wolf
MFA (Master of Filthy Arts) performance in the Turn Around Rundgang exhibition at the Württembergischer Kunstverein Stuttgart, 2021 (c) Nadine Bracht
Yara Richter, Untitled movement study, 2024
Listening session by black noise x Bad Cannstatt at the Open School of Künstlerhaus Stuttgart, 2023 (c) Jochen Detscher
Yara Sara Goldini for black noise at the MFA final presentation, Experimentierbühne Heusteigviertel, 2023
black noise final presentation, experimental stage Heusteigviertel, 2023
clits akimbo noise session with Kai Krämer in the group exhibition of the MFA KTPP at the Rundgang of ABK Stuttgart, 2022
seep Performance with Toni Böckle in the Conditions of a Necessity exhibition, Staatliche Kunsthalle Baden-Baden, 2022
2024
anima ona

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:

www.animaona.com

www.freia-achenbach.com

www.junefabregas.com

anima ona, das Stumme spricht
anima ona, Masonry Bench
anima ona, In Situ
anima ona, Bruch Stool
2024
Marcela Majchrzak

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.

Marcela Majchrzak, Open Studios, Photo: Jan Hottmann
Open Studios KH, Photo: Jan Hottmann
Marcela Majchrzak, Hügeln (still), 2023
Exhibition view "hügeln"
Exhibition view "hügeln"
Marcela Majchrzak, MV-Aktion "Community, Chaos, Care and Cooking", Theater Rampe 2023
2024
Mizi Lee

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

www.mizilee.com

Mizi Lee, Photo: Nadine Bracht
2024
Lambert Mousseka

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.

Lambert Mousseka
Lambert Mousseka
Lambert Mousseka
2024
Paco Ladrón de Guevara Rodríguez

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).

Paco Ladrón de Guevara Rodríguez, Photo: Vira Dumke
Paco Ladrón de Guevara Rodríguez, Photo: Ester Bega
2024
Theo Ferreira Gomes

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.

Theo Ferreira Gomes, screening „Academy of Fireflies“ Neda Kovinic, part of conference Shared Spaces Mar. 2023 at LAF project space, photo: Kosmas Dinh
Theo Ferreira Gomes, cartographic study, part of seminar „Countermapping“ with LAF e.V. and University Pforzheim, 2021, photo: Kosmas Dinh
Theo Ferreira Gomes, exhibition view „Electric Animal“ by Desiree Kabis, part of group exhibition „Ecotopia“, 2021 at LAF project space, photo: Tanja Meissner
Theo Ferreira Gomes, exhibition view Sonia Chawla „Evolutionary Potential“, 2022 at Hidden Traces Sommerfest 2022 of Akademie Schloss Solitude, photo: Frank Kleinbach
Theo Ferreira Gomes, exhibition view Lucia Mattes „everyone’s a normie“, 2022 at LAF project space, photo: courtesy of the artist
Theo Ferreira Gomes, podium „Value Architectures“, part of conference Shared Spaces, Mar. 2023 at LAF project space, photo: Kosmas Dinh
2023
Yara Richter

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.

seep Performance with Toni Böckle in the Conditions of a Necessity exhibition, Staatliche Kunsthalle Baden-Baden, 2022
MFA (Master of Filthy Arts) performance in the Turn Around Rundgang exhibition at the Württembergischer Kunstverein Stuttgart, 2021 (c) Nadine Bracht
Yara Richter, Untitled movement study, 2024
Listening session by black noise x Bad Cannstatt at the Open School of Künstlerhaus Stuttgart, 2023 (c) Jochen Detscher
Yara Sara Goldini for black noise at the MFA final presentation, Experimentierbühne Heusteigviertel, 2023
black noise final presentation, experimental stage Heusteigviertel, 2023
Activation/Invocation Performance at The Power of Tropical Plants by Astrid S. Klein at the Württembergischer Kunstverein, 2022 (c) Daniela Wolf
clits akimbo noise session with Kai Krämer in the group exhibition of the MFA KTPP at the Rundgang of ABK Stuttgart, 2022
2023
Irem Gunaydin

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.

Irem Gunaydin, Exhibition view from the “Salad Cake” 2020, The Pill | Istanbul
Irem Gunaydin, Exhibition view from the {iniş çıkış yukarı aşağı} 2016, Moda | Istanbul
Irem Gunaydin, “A Proposal for a Future Exhibition: Scripted Expanded Molded I” exhibition view, 2022, 400x118, Istanbul
Irem Gunaydin, “Fourth Table Also Known As the Bastard,” 2022 Quartz sand, 650 x 533 cm
Irem Gunaydin, “Scripted Expanded Molded I” exhibition view, 2022, Istanbul
Irem Gunaydin, Exhibition view from the “Salad Cake” 2020, The Pill| Istanbul
2023
Marcela Majchrzak

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.

 

Marcela Majchrzak, MV-Aktion "Community, Chaos, Care and Cooking", Theater Rampe 2023
Marcela Majchrzak, Hügeln (still), 2023
Marcela Majchrzak, Hügeln (still), 2023
Installation by Marcela Majchrzak, Veronika Schneider, Mo Langmuir & Sam Collins, Meeting Points, 2023
2023
Mona Zeiler

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.

Mona Zeiler, landscape of support, four fragments (Detail), 2022
Mona Zeiler, landscape of support, four fragments (Detail), 2022
Mona Zeiler, ruedefiguer/exterieur, 2021/22
Mona Zeiler, ruedefiguer/exterieur (Detail), 2021/22
Mona Zeiler, ruedefiguer/exterieur (Detail), 2021/22
2023
Theo Ferreira Gomes

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.

Theo Ferreira Gomes, cartographic study, part of seminar „Countermapping“ with LAF e.V. and University Pforzheim, 2021, photo: Kosmas Dinh
Theo Ferreira Gomes, exhibition view „Electric Animal“ by Desiree Kabis, part of group exhibition „Ecotopia“, 2021 at LAF project space, photo: Tanja Meissner
Theo Ferreira Gomes, exhibition view Sonia Chawla „Evolutionary Potential“, 2022 at Hidden Traces Sommerfest 2022 of Akademie Schloss Solitude, photo: Frank Kleinbach
Theo Ferreira Gomes, exhibition view Lucia Mattes „everyone’s a normie“, 2022 at LAF project space, photo: courtesy of the artist
Theo Ferreira Gomes, podium „Value Architectures“, part of conference Shared Spaces, Mar. 2023 at LAF project space, photo: Kosmas Dinh
Theo Ferreira Gomes, screening „Academy of Fireflies“ Neda Kovinic, part of conference Shared Spaces Mar. 2023 at LAF project space, photo: Kosmas Dinh
2023
Lena Meinhardt & Eva Dörr

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.

Eva Dörr & Lena Meinhardt, Abelka
Eva Dörr & Lena Meinhardt, Ralentir
Eva Dörr & Lena Meinhardt, Ralentir
Eva Dörr & Lena Meinhardt, Good Morning Midnight – , photo: Florian Model
Eva Dörr & Lena Meinhardt, Good Morning Midnight – , photo: Florian Model
2023
Lambert Mousseka

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.

 

Lambert Mousseka, untitled, 2022
Lambert Mousseka, untitled, 2022
Lambert Mousseka, untitled, 2022
Lambert Mousseka, 2022
Lambert Mousseka, 2022
Lambert Mousseka, untitled, 2022
2023
anima ona

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

anima ona, In Fülle, 2022, photo: anima ona
anima ona, Erdraum, 2022, 360 x 360 x 260 cm, photo: Phillipp Schell
Freia Achenbach, June Fàbregas und Carlo Kurth, Das Stumme Spricht, 2020, photo: anima ona
June Fàbregas, Bruch, 2020, 40 x 40 x 40 cm, photo: anima ona
anima ona, Teile 01 - 04, 2021, photo: anima ona
June Fàbregas, Laternen, 2018, 60 x 60 x 310 cm, photo: anima ona
anima ona, Erdbild, 2023, 1380 x 260 x 3 cm, photo: Bernhard Kahrmann
anima ona, Dolmen Table, 2022, 130 x 130 x 90 cm, photo: anima ona
Freia Achenbach, Big Spectator, 2020, 230 x 200 x 30 cm, photo: Freia Achenbach
2022
Alba Frenzel

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?

 

2022
Lena Meinhardt & Eva Dörr

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.

 

photo: Lena Meinhardt & Eva Dörr
2022
Lennart Cleemann

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.

 

studio Nov 24th 2021, Künstlerhaus Stuttgart, photo: Lennart Cleemann
squeak, 2021, Künstlerhaus Stuttgart, photo: Lennart Cleemann
in the studio, Künstlerhaus Stuttgart, photo: Lennart Cleemann
2022
Janis Eckhardt

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

Janis Eckhardt, video still
2022
Mona Zeiler

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.

Mona Zeiler, postures & fragments (detail), 2019
Mona Zeiler, coat, 2019
Mona Zeiler, postures & fragments (detail), 2019
Mona Zeiler, postures & fragments (detail), 2019
Mona Zeiler, pad, 2019
Mona Zeiler, depending on the displayed layer setting, 2017
2022
Lambert Mousseka

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.

 

 

2021
Eva Dörr & Lena Meinhardt

Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.

 

Lena Meinhardt was a contact student in computer music at the Stuttgart University of Music and Performing Arts.  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.

Eva Dörr & Lena Meinhardt, ABELKA
2021
Lennart Cleemann

Lennart Cleemann (*1990) has a background in architecture. He studied in Hanover, Aarhus and Stuttgart. Before joining the Kunsthochschule in Stuttgart, he did an internship at Buchner Bründler Architekten in Basel (Switzerland). This time shaped his way of thinking and working attitude regarding what he calls “poetic pragmatism”. It was in Reto Boller’s art class that he discovered his affinity for direct contact with material and its emotional potency.

 

His work deals primarily with themes of oneness and togetherness, as well as themes of sexual desire and consumption. Liberation from a felt helplessness in the face of socially and intellectually entrenched structures is a goal of his work. He has an affinity for raw, untreated materials, which are often the starting point of his work. These are often combined with found objects from the street and construction sites and put into context with each other.

He applied to Künstlerhaus Stuttgart with the intention of using the studio provided as a test space for installations, in the sense of a dystopian apartment. The idea stems primarily from his exploration of the motif of the bed as a place of retreat, lethargy, but also intimacy and joy.

 

He explores emotional and relational contexts that occupy him in his everyday life. The test room can also be seen as a kind of construction site that is in constant flux. Life and death, beauty, destruction and decay have an equal right to exist here.

Lennart Cleemann, My Dear Friends (One of Them is a Dramaqueen), 2020, photo: Lennart Cleemann
Lennart Cleemann, Urlaub in Italien, 2020, fabric, latex, pigment, Adiletten, 144 x 76 x 5 cm
Lennart Cleemann, Bumpy Grumpy, 2020, concrete, steel, plastic remainder, 205 x 113 x 11 cm + 307 x 47 x 11 cm
Lennart Cleemann, Whoops!, 2018, Isolieranstrich, clothes, Farbreste, 5 x 43 x 190 cm
2021
Janis Eckhardt

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

Janis Eckhardt, Video Still
2021
Alba Frenzel

Alba Frenzel studied at the Academy of Visual Arts in Leipzig. During her studies, she focused on photography in the field of contemporary art. After receiving her diploma in the summer of 2017, she exhibited her work Fotopapier, Licht, Ei together with other prize winners as part of the photography competition gute aussichten – junge deutsche fotografie at the Deichtorhallen Hamburg. In spring 2021 her first publication Kreatur o.T. will be published by Vexer Verlag.

In her artistic-research work, she is interested in how “living art” is created. In her current research, she came across “liverwurst tree” by chance, which is on the same page as “life” in the Duden dictionary. “My work is large-scale research, dealing with the liverwurst tree as if it were art, or with art as if it were a liverwurst tree. The qualities that can be 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.”

Alba Frenzel, Trennblätterbefreiung, 2018
2021
Marlon Lanziner & Valentino Berndt

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.

MAVA studio, photo: MAVA
MAVA, The Speed of the Earth, 2020
MAVA. Erosionen
2021
n.n.n. collective

n.n.n. collective was founded by Jasmin Schädler, Julia Schäfer, and Susanne Brendel in 2014. Schädler studied theater directing at the Akademie für Darstellende Kunst Baden-Württemberg (2016) and art praxis at the Dutch Art Institute (2019). Schäfer graduated with a degree in fine arts from the Staatliche Akademie der Bildenden Künste Stuttgart (2020) and Brendel studied stage and costume design and visual arts at the Staatliche Akademie der Bildenden Künste Stuttgart (2021).

Together, they develop formats grounded in both the visual and performing arts. Their content engages with literary and theoretical texts in equal measure as well as their potential to activate scenic processes. Their works have been shown in venues including the project space at the Kunstverein Wagenhalle, the Schauspiel Stuttgart, and the Theater Rampe. With the aid of a publication grant from the Ministry of Science, Research and the Arts of Baden-Württemberg, their book vom Aufgang der Sonne (From the Rising of the Sun) will be released in 2021. It will present texts and artistic works within the context of a critical examination of Hegel’s lectures on the philosophy of world history.

 

© n.n.n. collective
© n.n.n. collective
2021
Helen Weber

Helen Weber (*1994) studied fine arts in Stuttgart and Istanbul. She works individually and collectively between interior and exterior space, and is part of the Schwäbischer Online-Albverein, kollektiv_mitteperformance, and ROSANNAWIDUKIND. Weber throws herself into different contexts with a field-research approach, resulting in actions, sculptures, texts, video installations and various forms of documentation. For some time now, she has been interested in the contradictions of the “German Forest,” an ideological playground between survival, woodland solitude*, folklore, protest, ticks, nature and climate protection.
*In July 2020, the “Black Forest Rambo” Y. Rausch disarmed four police officers during a call-out to his garden hut and subsequently found shelter from police helicopters in his native Black Forest during a six-day manhunt. In a video, a local resident describes the situation: “I was busy in the garden and on my way down I was looking along the street—because you just kind of glance around then for a moment—when I saw a young man in camouflage walking down the street with a long walking stick. He was walking like a hiker.”

Helen Weber, RAMBO 2020, photo: Julia Schäfer
2020
Stadtlücken

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.

 

Stadtlücken. current members: Natalie Brehmer, Sascha Bauer, Ania Corcilius, Mark Julien Hahn, Lena Engelfried, Sebastian Klawiter, Carolin Lahode, Martin Mannweiler, Hanna Noller, Dominik Schultheiß, Christine von Raven, Jens-Holger Streck, Valerie Rehle, Jonas Wansing, Elisabeth Schaumann, Marco Zörn, Dagmar Staiger, Felicitas Straka, Sarah Ann Sutter, Courtesy Stadtlücken
Stadtlücken-Installation in the exhibtion "Visionäre Räume“, Kunstverein Neuhausen, 2019, Courtesy Stadtlücken
Stadtlücken, Visualisierung Kooperativer Stadtraum Österreichischer Platz, Courtesy Stadtlücken
2020
Ülkü Süngün

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.

Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
Ülkü Süngün, zeitraumexit, photo: Ülkü Süngün
2020
Lennart Cleemann

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.

Lennart Cleemann, My Dear Friends (One of Them is a Dramaqueen), garden chairs, dimensions variable, 2020
Lennart Cleemann, Urlaub in Italien, 2020, fabric, latex, pigment, Adiletten, 144 x 76 x 5 cm
Lennart Cleemann, An almost fancy Sofa, 2020, former sofa bed, dimensions variable
Lennart Cleemann,I Used to Hate our Living Room Table Now He is Impractical, 2020, concrete, hard foam, Silikon, 60 x 60 x 42 cm
Lennart Cleemann, Bumpy Grumpy, 2020, concrete, steel, plastic remainder, 205 x 113 x 11 cm + 307 x 47 x 11 cm
Lennart Cleemann, Whoops!, 2018, Isolieranstrich, clothes, Farbreste, 5 x 43 x 190 cm
2020
Alba Frenzel

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.

Alba Frenzel, Trennblätterbefreiung, 2018
Alba Frenzel, Salome Vissèr, Meine Insel in Afrika (2014), 2020, Taschenbuch, Tipp-Ex Korrekturband 5mm, photo: Alba Frenzel
Alba Frenzel, Endoplasmatisches Retikulum, silkscreen (work in progress), on 80 g woodfree paper, 2020, 119 x 168 cm, photo: Alba Frenzel
Alba Frenzel, Konstruktionsholz vor und zurück, 2019, wood and peg, 20 x 60 x 10 cm, photo: Alba Frenzel
2020
Jasmin Schädler

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.

 

 

photo: Julia Schäfer
Jasmin Schädler, photo: Anastasia Diavasti
Jasmin Schädler, photo: Ivan Syrov
Jasmin Schädler, photo: Johana Gómez
2020
Marlon Lanziner and Valentino Berndt (MAVA)

As the artist group MAVA, Marlon Lanziner and Valentino Berndt have been working on the sculptural elaboration of environmental phenomenasince 2014. In their project the rain brings the color, they demonstrate how copper’s weathering processes create streaks of color on a white marble staircase as it reacts with rainwater and how this transforms the staircase’s appearance.

Marlon Lanziner (born 1989) and Valentino Berndt (born 1988) studied fine arts at the State Academy of Fine Arts in Stuttgart from 2010 to 2018. In 2019 Marlon Lanziner designed the first edition of miniature Vadonna sculptures with Eva-Marie Holzner. The unique, individually colored bronze sculptures refer on the one hand to the classic representation of the Virgin Mary as the Madonna, and on the other to the female sex.The sculptures unite both of these aspects.

studio MAVA, photo: Marlon Lanziner & Valentino Berndt
Marlon Lanziner in his studio, photo: Marlon Lanziner & Valentino Berndt
photo: Marlon Lanziner & Valentino Berndt
2020
Amiko Li

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.

Amiko Li, The Purpose of Disease, Performance documentation at University of Georgia, 2020
Amiko Li, The Purpose of Disease, installation view at University of Georgia, 2020
Amiko Li, Meditations in an Emergency, installation view at UCCA Center for Contemporary Arts, 2020
2020
Veronika Schneider

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.

Veronika Schneider, Wir feiern das Leben!, 2020, workshop and performance in cooperation with WKV and JES
2019
Mahsa Saloor (Residency)

June 2019 until August 2019

2019
anorak

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

A GRIN WITHOUT A CAT — THE VERY TALE von Katharina Jabs, Filmpremiere und Launch von Gemini
2019
LOWLAND

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.

 

Lowland

Damaris Wurster

Christiana Teufel

Anne Pflug

 

Magazine Lowland 3
2019
Ülkü Süngün
2019
Marlon Lanziner und Valentino Biagio (MAVA)
Erosionsrinnen, photo: Marlon Lanziner & Valentino Biagio
2019
Jasmin Schädler
forever apocalyptic – die apokalyptischen tänzer*innen, Stadtbibliothek Stuttgart, photo: Susanne Brendel
2019
Stadtlücken
2019
Sophie Innmann (Residency)

March 2019 until May 2019

 

Website: https://sophieinnmann.com

 

Current exhibition “Wände | Walls” at Kunstmuseum Stuttgart

 

2018
Ulrike Buck (Residency)

September 2018 until February 2019

2018
Sören Hiob

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.

2018
Anna Romanenko & Björn Kühn

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.”

2018
Katharina Jabs

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.

Katharina Jabs, MAKAVA, 2015, Courtesy Katharina Jabs
2018
anorak

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.

anorak, 2016 (from left to right: Johanna Markert, Florian Model, Lukas Ludwig)
2018
LOWLAND
2018
Marie Raffn (Residency)

January 2018 until April 2018

2017
Guy Königstein (Residency)

August 2017 until October 2017

2017
Maximilian Bauer
2017
Sören Hiob
2017
LOWLAND
2017
Anna Romanenko & Björn Kühn
2017
Gruppe Staub
2017
Minyoung Paik (Residency)

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.

2016
Maximilian Bauer
2016
Sören Hiob
2016
Min-Seob Ji
2016
Anna Romanenko & Björn Kühn
2016
Gruppe Staub
2016
Ahram Kwon (Residency)
2015
Nana Hülsewig & Fender Schrade
2015
Min-Seob Ji
2015
Studio Soleils
2015
Maximilian Bauer
2015
Gruppe Staub
2015
Grażyna Roguski (Residency)
2014
Juliane Otterbach
2014
Nana Hülsewig & Fender Schrade
2014
Min-Seob Ji
2014
Studio Soleils
2014
Demian Bern
2014
Humberto Duque (Residency)
2013
Juliane Otterbach
2013
Demian Bern
2013
Nana Hülsewig
2013
Manuel Krumrain
2012
Florian Klette
2012
Melanie Mohren & Bernhard Herbordt
2012
Juliane Otterbach
2012
Matthias Megyeri
2011
Bernhard Kahrmann
2011
Karima Klasen
2011
Matthias Megyeri
2011
Eva Schmeckenbecher
2011
JAK (Jangyoung Jung, Andreas Geisselhardt & Kestutis Svirnelis)
2010
Bernhard Kahrmann
2010
Sebastian Klemm
2010
Matthias Megyeri
2010
JAK (Jangyoung Jung, Andreas Geisselhardt & Kestutis Svirnelis)
2009
Fergus Feehily
2009
Bernhard Kahrmann
2009
Sebastian Klemm
2009
JAK (Jangyoung Jung, Andreas Geisselhardt & Kestutis Svirnelis)
2008
Yildiz Aslandogan & Lukas Hofer
2008
Fergus Feehily
2008
Benjamin Fischer & Monika Schlachter
2007
Eva Paulitsch & Uta Weyrich
2007
Laurenz Theinert, Wolf Helzle & Matthias Siegert
2007
Yildiz Aslandogan & Lukas Hofer
2007
Mareike Hofmann & Jan Löchte
2007
Fergus Feehily
2006
Ronald Kolb & Volker Schartner
2006
Laurenz Theinert, Wolf Helzle & Matthias Siegert
2006
Mirja Wellmann
2006
Ilka Götz
2005
Julia Wenz & Katrin Kinsler
2005
Ronald Kolb & Volker Schartner
2005
Mirja Wellmann
2005
Michael Dreyer
2004
Julia Wenz & Katrin Kinsler
2004
Rock und Bluse
2004
Sylvia Winkler & Stephan Köperl
2003
Ashok Kapur
2003
Wendelien van Oldenborgh
2003
Astrid S. Klein
2003
Sylvia Winkler & Stephan Köperl
2003
Ashok Kapur
2002
Monika Nuber
2002
Alexander Frangenheim
2002
Ilka Götz
2000
Ute Zeller
2000
Christine Embert
2000
Julia Lenzmann
2000
Stef Stagel
2000
Ralph Künzler
1999
Petra Mihm
1999
Hannes Trüjen & Kathrin Wörwag
1999
Charlotte Wilde & Michael Vogel
1999
Johannes Kiefer & Sintgund Seif
1999
Stefanie Bollinger & Kim Zieschang
All
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Publications
2024 28.07.2024
Film Screening
Katherine Ball
Events
28.07.2024
2024 09.07.–14.07.2024
Paul's Kimchi Café
Paul Sullivan
Events
09.07.–14.07.2024
2024 07.07.2024
Kimchi Workshop
Paul Sullivan
Events
07.07.2024
2024 04.07.2024, 06:00pm
Hay Stack
Events
04.07.2024, 06:00pm
2024 22.06.2024, 07:00pm
Dialectics of Mycelium: A Banquet
SPORA
Events
22.06.2024, 07:00pm
Curated by:
Tamarind Rossetti & Stephen Wright

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.

 

 

Photo: Jochen Detscher
2024 11.06.2024, 07:00pm
Tuesday-Workshop XXXIII: Thora Gerstner
Thora Gerstner
Events
11.06.2024, 07:00pm

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!

 

Thora Gerstner
2024 08.06.2024
08:00am–12:00pm
Scything Workshop
Bernhard Lehr
Events
08.06.2024
08:00am–12:00pm
Scything as art practice
Curated by:
Tamarind Rossetti & Stephen Wright

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

Image credit: Julien Dupré, La Faneuse (1890s).
2024 03.06.2024, 06:30pm
Kathrin Böhm: Art on the Scale of Life
Kathrin Böhm
Discussion
Events
03.06.2024, 06:30pm
Farm_Compatible Conversation Series
Curated by:
Tamarind Rossetti & Stephen Wright

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?

2024 15.05.2024
06:00pm–08:30pm
Kimchi Keramik
Yvette Hoffmann
Events
15.05.2024
06:00pm–08:30pm
A kimchi bowl-making workshop proposed by ceramics maker and designer Yvette Hoffmann

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)

Image Credit: Künstlerhaus Stuttgart, 2024.
2024 14.05.2024, 07:00pm
Tuesday-Workshop XXXII: Ralph Gaukel "Klangzauber"
Events
14.05.2024, 07:00pm
Staircase concert

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!

Ralph Gaukel
2024 04.05.2024, 04:30pm
Fourth organ: Cooking and eating together
Events
04.05.2024, 04:30pm

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.

2024 02.05.–21.06.2024
Rotting Hegel
SPORA
Atmosphere
02.05.–21.06.2024
Myceliating Hegel: An introductory mycelium workshop:
Thu, 02.05.2024
06:00pm
Farming the Library
Curated by:
Tamarind Rossetti & Stephen Wright

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.

 

Image credit: SPORA, 2024.
2024 02.05.2024
06:00pm–09:00pm
Myceliating Hegel: An introductory mycelium workshop
SPORA
Events
Talk
02.05.2024
06:00pm–09:00pm
Curated by:
Tamarind Rossetti & Stephen Wright

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

2024 01.05.2024
New Künstlerhaus Stuttgart Studio Grant Recipients 2024/25
News
Studios
01.05.2024

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.

Yara Richter, Untitled movement study, 2024
Mizi Lee, Photo: Nadine Bracht
Paco Ladrón de Guevara Rodríguez, Photo: Vira Dumke
Marcela Majchrzak, Open Studios, Photo: Jan Hottmann
anima ona, In Situ
Lambert Mousseka
Theo Ferreira Gomes, exhibition view „Electric Animal“ by Desiree Kabis, part of group exhibition „Ecotopia“, 2021 at LAF project space, photo: Tanja Meissner
2024 27.04.2024
02:00pm–06:00pm
Wine Bottling Day
Hannah Liya und Mira Simon
Events
27.04.2024
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

2024 16.04.2024
Farm Everything! Program Preview by the New Artistic Directors
Tamarind Rossetti and Stephen Wright
News

“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.

Image credit: 1) Vineyards of Hannah Liya and Mira Simon, Ludwigsburg, Germany. Photo: Tamarind Rossetti. 2) Spora Studioo, oyster mushrooms. Photo: Charlotte Janis. 3) Ferme au Sauvage, field with onions, potatoes, currants. Photo: Stephen Wright. 4) Brian Holmes, Living Rivers. Map: Brian Holmes. [Image description: The cover picture is a combination of four different image sections. The first section on the left side shows grape vines growing on a steep hill with straw on the ground, the Neckar River winding in the distance. The next section pictures close-up of gills of light beige oyster mushrooms. The third section shows rows of onion greens, potato plants, currant bushes on a farm in the late afternoon sun. And the last image section on the right side is a map of river systems with green and ochre land, turquoise rivers, and dark blue stars.]
2024 15.04.2024, 07:00pm
Playing with food #3: Presentation
Mona Zeiler
Events
15.04.2024, 07:00pm
A cooperation between the restaurant "Im Künstlerhaus" and the Künstlerhaus Stuttgart

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.

Mona Zeiler, untitled (rue de figuier/extérieur), detail, 2022
Playing with food #3, Mona Zeiler
Playing with food #3, Mona Zeiler
Playing with food #3, Mona Zeiler
Playing with food #3, Mona Zeiler
2024 14.04.2024, 04:00pm
Ceramics workshop as a guest at the restaurant Im Künstlerhaus
Events
Workshops
14.04.2024, 04:00pm

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.

 

2024 13.04.2024
12:00pm–04:00pm
Neue Auftraggeber - Citizen-Commissoned Art
Events
13.04.2024
12:00pm–04:00pm
Gespräch und Workshop

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

Ruth Buchanan: Ein Garten mit Brücken. Ein Projekt für die Neuen Auftraggeber von Mönchengladbach, Eröffnungsfeier 2023, Foto: Florian Wagner
2024 09.04.2024, 07:00pm
Tuesday Workshop XXXI: anima ona
Events
Studios
09.04.2024, 07:00pm

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!

anima ona, In Situ
anima ona, Bruch Stool
anima ona, Masonry Bench
anima ona, das Stumme spricht
2024 06.04.2024
02:00pm–10:00pm
Open Studios
Eva Dörr & Lena Meinhardt, Freia Achenbach & June Fàbregas (anima ona), Kateryna Surhutanova, Lambert Mousseka, Marcela Majchrzak, Theo Ferreira Gomes
Events
Studios
06.04.2024
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

Flyer, Open Studios
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Marcela Majchrzak, Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
Open Studios, Photo: Jan Hottmann
2024 12.03.2024, 07:00pm
Tuesday Workshop XXX: Georg Ozory
Discussion
Events
12.03.2024, 07:00pm

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!

Georg Ozory, Vorherrschaften, 2024
2024 13.02.2024, 07:00pm
Tuesday Workshop XXIX: Cindy Cordt
Events
13.02.2024, 07:00pm

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!

Photo: Lili Weiss
Photo: Gordon Below
2024 04.02.2024, 04:00pm
Fourth Organ with the new Artistic Directors
Events
Membership
04.02.2024, 04:00pm

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!“

 

 

 

 

2023 22.12.2023–02.01.2024
Opening hours during public holidays
News
22.12.2023–02.01.2024

Künstlerhaus Stuttgart is closed from 22 December 2023 up to and including 2 January 2024.

2023 19.12.2023, 07:00pm
Reparative Futurities
Constanze Bahlo, Arianna Ballin, Pierre-Eric Baumann, Antonia Maria Christl, Marta Frasson, Lukas Klein, Rosa Klingelhöfer, Jannik Lang, Suwon Lee, Lasse Peters, Dario Schmid, Carolina Lara Simunovic, Xy June Li, Hanna Araujo Ulmer
Events
19.12.2023, 07:00pm

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

Image Credit: Courtesy Künstlerhaus Stuttgart, 2023 [Image description: a black suitcase with brown trim, brown handle, and silver locking buckles lies flat on a grey concrete floor]
2023 12.12.2023, 07:00pm
Tuesday Workshop XXVIII: Barbara Ehnes
Barbara Ehnes
Events
12.12.2023, 07:00pm

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

 

https://barbaraehnes.com

 

 

Tuesday Workshop

 

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

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

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

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

Concert installation evening

 

08.12.2023
Admission: 19:00
Start: 20:00

studio floor (3rd floor)

 

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

2023 17.11.2023
Deadline January 31, 2024: Call for applications Studio grants 2024/2025
News
Studios
17.11.2023

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

It is possible to extend the studio grant through ap

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

 

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

 

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

 

Application

Please include with your application the following documents:

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

 

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

 

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

 

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

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

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

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

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

Following the screening, we invite you to a discussion.

 

________

 

Tuesday Workshop

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

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

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

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

 

2023 2023 —
Reuchlinstraße 4b, 70178 Stuttgart (2023 — )
Maria Eichhorn
Exhibition
Curated by:
Eric Golo Stone

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

Image credit: Maria Eichhorn. "Reuchlinstraße 4 b, 70178 Stuttgart" (2023—). Detail: Real property at Reuchlinstraße 4 b, 70178 Stuttgart. Photo: Frank Kleinbach. Image description: The front facade of a large five story building with terracotta roof tiles and sandstone brick columns is shown. A large vertically mounted lightbox sign on one side of the facade with black text reads: "Künstlerhaus Stuttgart,” and a smaller horizontally mounted lightbox sign with black text that reads "Künstlerhaus Stuttgart,” is located above the center door entrance facing the sidewalk on the ground floor.
2023 21.10.–23.10.2023
Kapitel 2: Trilogie der fertigen und unvollendeten Farben
Lambert Mousseka
Exhibition
Studios
21.10.–23.10.2023
Eröffnung:
Sat, 21.10.2023
07:00pm
Un Sapeur doit briller comme Mille Soleils/Ein Sapeur muss wie tausend Sonnen leuchten
Curated by:
Ein Projekt des Atelierstipendiaten Lambert Mousseka

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

 

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

 

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

 

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

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

 

Link to Kapitel 1: 243 – Ohne Maske

 

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

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

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

 

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

 

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

 

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

 

Fore more information direct here.

 

 

Friday, 13.10.2023, 14:30-18:00

Location: Online via Zoom, access code: Unions

 

14:30

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

 

15:00

Opening (in German and English language)

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

 

15:30-16:30

Keynote on the Solidarity Trinity (in English language)

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

 

16:45 – 17:45

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

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

 

 

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

 

14:00-16:00

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

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

 

17:00-18:30

Participatory Conversation (in English)

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

 

19:00

Get together: Drinks and soup

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

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

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

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

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

 

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

 

 

Programme

 

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

 

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

 

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

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

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

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

 

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

 

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

 

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

 

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

 

Valentin Hennig „business as usual”

 

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

 

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

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

 

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

 

About the artists

 

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

 

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

 

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

 

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

 

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

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

 

Realised thanks to the generous support of the Wüstenrot Foundation.

 

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

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

 

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

 

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

 

________

 

Tuesday Workshop

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

2023 23.07.2023
Alumni meeting of the studio holders
News
Studios
23.07.2023

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

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

Many thanks to all scholarship holders for the wonderful day.

 

Photos: Jochen Detscher

 

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

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

 

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

____

 

Tuesday Workshop

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

 

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

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

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

 

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

 

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

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

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

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

 

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

 

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

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

 

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

 

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

It is a joint project for the Künstlerhaus community.

 

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

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

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

 

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

www.oberwelt.de

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

Das erste Kapitel einer Ausstellungsreihe des Atelierstipendiaten Lambert Mousseka

 

Eröffnung: Freitag, 30. Juni 2023, 19 Uhr

auf der Atelieretage (3. OG) des Künstlerhaus Stuttgart

 

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

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

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

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

 

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

 

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

 

 

Saturday, June 24, 2023 (3 – 5pm)

 

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

 

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

 

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

 

Sunday, June 25, 2023 (1 – 3pm)

 

Information session and workshop with representatives from Legal Café.

 

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

 

Sunday, June 25, 2023 (3 – 4pm)

 

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

 

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

 

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

 

 

Further information may be found in the pamphlet.

 

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

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

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

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

 

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

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

 

____

 

Tuesday Workshop

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

 

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

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

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

 

More informations:

annagohmert.de

IG: @annagohmert

 

____

 

Tuesday Workshop

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

 

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

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

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

 

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

 

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

 

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

 

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

 

 

Program

 

05/06/2023 (7pm)

Opening reception

 

06/24/2023 (3-5pm)

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

 

06/25/2023 (3-4pm)

Information session and workshop with representatives from Legal Café

 

06/25/2023 (3-4pm)

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

 

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

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

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

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

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

33 Träume (Dreams)

Book presentation and talk with Chris Mennel

 

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

 

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

 

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

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

 

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

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

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

 

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

 

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

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

 

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

 

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

 

 

Schedule:

 

Friday March 31

7pm – 9pm

Working Group Reader Launch

Food and drink

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

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

Spoken word performance by Allison Akootchook Warden

 

Saturday April 1

1pm – 2:30pm

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

Working Group Session 1

2:30 – 2:45pm

Break

2:45 – 4pm

Working Group Session 2

 

Sunday April 2

Fourth Floor Gallery

12 – 12:45pm

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

Second Floor Gallery

1 – 2:30pm

Working Group Session 3

2:30 – 2:45pm

Break

2:45 – 4pm

Working Group Session 4

5pm

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

 

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

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

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

 

1st floor and workshops on the ground floor:

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

 

2nd floor:

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

 

3rd floor:

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

 

4th floor:

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

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

 

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

 

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

 

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

 

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

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

Algorithm-based camera surveillance

 

Film screening and talk
with Martin Mannweiler

 

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

 

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

 

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

 

 

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

 

Film and talk in German language

 

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

 

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

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

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

 

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

 

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

 

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

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

 

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

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

 

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

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

 

What the position requires

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

 

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

 

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

 

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

 

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

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

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

 

Detailed information about the project can be found here.

 

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

 

All workshops are free of charge.

 

 

Journal Workshop for Teenagers

with Thora Gerstner

February 26 (3-5 p.m.)

 

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

 

 

Jewelry Workshop for Children

with Thora Gerstner

March 2 (2-4 p.m.)

 

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

 

 

BPoC Creative Empowerment Workshop

with Yara Richter

March 4 (3-6pm)

 

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

 

 

Weaving with Paper: Rethinking History and Space

with Lejla Dendic

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

 

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

 

 

Working with Clay: Rethinking the Collective Self

with Lejla Dendic

March 11 (2pm-3:30pm)

 

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

 

 

Udu Making with Ceramics

with Ludgi Porto

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

 

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

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

 

 

Artist Talk
with Ludgi Porto

March 18 (3:30pm)

 

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

The artist talk will be held in English language.

 

 

 

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

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

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

 

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

 

About the project series Sleep over

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

 

 

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

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

 

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

 

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

 

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

 

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

 

 

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

February 17 – April 2, 2023

 

Document collection on view:

February 17 – April 2, 2023

 

KHS Educators programs:

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

 

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

 

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

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

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

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

 

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

 

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

 

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

 

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

 

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

 

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

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

 

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

 

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

____

 

Tuesday Workshop

 

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

 

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

 

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

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

 

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

 

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

 

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

 

Application
Please include with your application the following documents:

  • CV

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

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

     

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

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

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

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

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

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

 

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

 

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

 

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

 

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

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

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

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

 

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

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

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

 

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

 

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

 

 

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

 

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

 

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

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

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

Tuesday Workshop XVIII presents: Lis Klein

 

November 8th 2022, 7pm

 

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

____

 

Tuesday Workshop

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

 

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

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

A project by studio holder Lennart Cleemann

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

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

Tuesday Workshop XVII presents:

 

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

 

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

 

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

 

 

_____

 

Tuesday Workshop

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

 

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

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

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

 

Ekaterina Surgutanova

 

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

 

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

 

 

Elena Trutieva

 

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

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

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

Education programme September / October

 

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

 

Educated Hope – Shadow theatre Workshop with Lejla Dendic

 

September 24th, 2022, 2-5pm

September 28th, 2022, 3-6pm

 

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

 

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

 

Registration at info@kuenstlerhaus.de

 

 

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

 

September 30th, 2022, 3pm

October 8th, 2022, 3pm

 

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

 

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

 

Registration at info@kuenstlerhaus.de

 

 

Creative Empowerment Workshop for BPoC, with Yara Richter

 

1st October, 3-6pm

 

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

 

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

 

Registration at info@kuenstlerhaus.de

 

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

For our 16th Tuesday Workshop we invite Lennart Cleemann.

 

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

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

 

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

 

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

 

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

 

_______

Tuesday Workshop

 

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

 

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

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

Eine Veranstaltung des Vierten Organs

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

 

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

 

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

 

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

 

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

 

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

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

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

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

Mit freundlicher Unterstützung der Landeshauptstadt Stuttgart

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

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

 

Dienstag, 14. Juni 2022, 19 Uhr

Die Veranstaltung wird im 3. Stock im Künstlerhaus stattfinden.

 

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

 

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

 

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

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

 

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

Christian Diaz Orejarena,

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

 

_____

 

Dienstags-Werkstatt

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

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

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

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

 

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

 

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

 

Meeting ID: 826 9058 5857
ID code: 236881

 

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

 

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

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

 

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

Mehr Infos unter www.fuksweb.blogspot.com

 

 

Es entsteht ein kleiner Film ab 14 Uhr.

 

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

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

 

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

 

 

 

Schedule of Programs:

 

21/05/2022 (8pm)

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

 

10/06/2022 (6.30pm)

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

 

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

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

 

19/06/2022 (3pm)

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

 

Wed/Thu/Fri/Sat/Sun (12—6pm)

Künstlerhaus educators lead public discussions of the exhibition

 

 

 

 

 

 

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

 

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

 

 

 

 

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

 

Realized with public funding from the city of Stuttgart

 

With the generous support of the Stiftung Kunstfonds

 

In collaboration with the Akademie Schloss Solitude