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
I explore the relationship between text and image and how words and images circulate between the discursive and pictorial realms, investigating the objecthood of language and the grammar of images. My practice is often generated through writing and unfolds as installations gather print and sculptural elements while writing functions as a fulcrum. My inspiration comes from philosophy, literature, culinary arts, and an edge of an apple. Within and around my work, I’m interested in perforating the tightly knit textures of art history, the entirety texture of the self, and the fetish of authenticity and originality. This attitude allows me to think without establishing a new center, an origin, or a truth. I don’t care about the purpose of a medium; instead, I use what’s there (it could be originally not meant for) to get a particular job done. I don’t worry about the coherence of my words or ideas. I act like a bricoleur in that sense. My written material connotes how the “I” as a portrait of an artist is diagnosed and what the symptoms might be for mild, moderate, or severe. Therefore, writing is a way to celebrate my symptoms as an artist! I split myself into multiples and became a spectator of one another. The difficulty of recognizing art-making as labor and the economic realities of life as an artist are both addressed in my written work.
Irem Gunaydin (born in 1989, Istanbul/Turkey) holds a Foundation diploma from Chelsea College of Art and Design (2011) and her BA in Fine Art from Central Saint Martins, London (2014). She lives and works in Istanbul.
Marcela Majchrzak (*1993) is an artist, art mediator and mother. In her projects, she is interested in the (dis)functionality of structures and their justification mechanisms around the themes of identity, work and culture. Her work often has an exploratory, performative character and likes to realise itself in different formats of coming together. She is currently researching a monument in the place where she spent parts of her childhood, revealing its social and national entanglements, but also her own personal ones. As a founding member of the Matriarchale Volksküche, which is an artists’ collective, she realises various kitchen, dinner and discourse events, repeatedly asking herself how an artistic/activist group structure can be open and sustainable. Together with interdisciplinary actors, she thinks about new perspectives on the future of art education.
She studied philosophy and fine arts in Stuttgart and Warsaw and graduated in the class of Heba Y. Amin and Ülkü Süngün.
Mona Zeiler’s works trace the levels of meaning of things and establish links between the materials and forms used in terms of their content and aesthetic attributions. Metal constructions, glass and wooden elements meet ceramic objects, moulds made of plaster or elements made of stone.
By working with different materials, it is also a question of letting something emerge that is negotiated through the material experience in the space on and with things and brings forth a knowledge that language cannot formulate. Within these arrangements, the human being appears merely as an ordering (invisible) point of reference.
The studio in the Künstlerhaus is a place for developing further tools and methods – a spatial container, so to speak, for the artistic process, for adding and taking away, in that points of reference within this system are constantly dissolving and forming anew.
The work “rue de figuier / extérieur” (2021/22), the first parts of which were created during her scholarship residency at the Cité Internationale des Arts, Paris 2021, uses moulded pieces of tree bark to look at interfaces between inside and outside, as separating or connecting elements and moments of transition, and explores concepts such as permeability, envelope, protection and demarcation.
The forms developed for “landscape of support, four fragments” (2022), emerge from objects intended to provide support for parts of the body. Ergonomic wrist rests, for example, briefly become a kind of support when used, a ‘supporting structure’ for a particular position. Detached from their original context, the objects become fragmentary connecting links that suggest different postures and, like artefacts, still hint at their function.
Theo Ferreira Gomes (b. 1993, Niterói/Brazil) is a post-disciplinary curator, designer and DJ. He follows an interest in informal social economies and how different currencies have the ability to produce or mediate (im)personal relations.
Since June 2022, he is curatorial fellow at ORNAMENTA, a reactivated cultural program exploring updated regionalism in the Northern Black Forest region. ORNAMENTA will take place for the second time from July to October 2024 since its first edition in 1989. In a series of site-specific exhibitions and event formats, the thematic neighbourhoods Bad Databrunn, Zum Eros, Schmutzige Ecke, Inhalatorium, and Solartal will be prototyped and presented to the public, in collaboration with societal, artistic, and entrepreneurial perspectives.
From April 2022 – May 2023 he was a coordination fellow for art, science & business at Akademie Schloss Solitude. He was involved in coordinating the Field Trip Residency, an ongoing collaboration between the Department for Ecology of Animal Societies at the Max Planck Institute for Animal Behavior in Konstanz and the art, science & business program at Akademie Schloss Solitude. He furthermore was involved in the Namibia exchange program and the Under Utopia fellowship.
From November 2019 – February 2023 he was board member at Leerstand als Freiraum e.V. (LAF), a collectively run, independent art space in Pforzheim. LAF e.V. stands up for cultural spaces in Pforzheim and initiates projects situated within the fields of art, urbanism and society.
2018, he completed a BA in fashion design at University Pforzheim. During his studies he received a project stipend from AsaPreneurs. Goal of the project was to co-develop design methods in collaboration with workers at a factory in Tirrupur (South India) which use and reduce textile waste.
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
In Lena Meinhardt’s compositions, recordings of places, objects or texts take on a life of their own through dense syntheses of sound. Together with Eva Dörr, whose focus is on installation and new media, interdisciplinary and context-related works are created.
“Good morning midnight – ” is a 4-channel composition for electronics, percussion and bass-baritone.
It was premiered in 2022 with Pascal Zurek (vocals) at the exhibition opening of “Nachtstücke – unterwegs in der Dunkelheit”. The composition interlocks patterns of machine recordings, a machine percussion and polyphonic and discordant overlapping vocal loops.
“Ralentir” is a video-sound work that was created during the scholarship at the Künstlerhaus. It consists of image and sound material that the duo recorded in the Paris metro. The camera was held up to the window of the metro. City views, tunnels, platforms and waiting passengers pass by. Image and sound material were strongly assembled.
Through the transformation of the sound material and extreme montage in the image, these levels and the temporal structures within them become intertwined.
Lambert Mousseka, (born in Katanga, Democratic Republic of Congo) has been questioning the origin, spirit and state of matter since his youth. These questions led to various studies and researches and still influence his artistic work today.
In the same rhythm as matter, Lambert Mousseka tries to oscillate, not only to find a form, but also to bring forth an expression, a language, thus creating a dialogue between the creator, the audience and the work of art.
After studying art, he set himself the goal of experimenting with different materials and their application in artistic practice. Material here means a global vision. The said and unsaid thoughts, the text and the spirit are the link to the vision. Thus, it cannot be decided whether the material precedes the concept or vice versa.
To be able to enter into a dialogue with the artworks, openness and humour help.
anima ona is a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas. The duo studied at the Staatliche Akademie der Bildenden Künste Stuttgart. Following a transdisciplinary and collaborative approach, they have been developing self-initiated projects and realising commissioned works since 2018, straddling the line between design, research and art. Their diverse body of work is united by a search for previously untapped resources and ways to reuse material, which they pursue through experimental approaches and an exploration of the cultural significance of objects.
Exhibitions/Presentations/Awards
2023 Solid Transitions, group exhibition, Rohbauhallen Stuttgart 21, Stuttgart
2022 Expert discussion “sustainable and innovative building materials”, parliamentary group Die Grünen, Haus der Abgeordneten, Stuttgart
2022 Archaeology of a city mine, solo exhibition, project space Kunst()Klima, Stuttgart
2022 Zum Abgang eines Sonderlings, group exhibition, Akku Stuttgart
2022 Escapism, exhibition, Collectible Fair, Brussels
2022 In Fülle…Transformation to Geopolymere, Hospitalhof Stuttgart
2021 Outer Space, group exhibition, Kernweine Gallery, Stuttgart
2021 Atelier Ecru x Objects with Narratives, group exhibition, Aterlie Ecru, Ghent
2021 brahha, with Ann-Kathrin Müller + Julia Schäfer, Weissenhofmuseum Stuttgart / Current Festival Stuttgart
2021 The Makers Show, Salone del Mobile, Milan
2020-2021 Places to be, exhibition with anima ona, Fondation d ́entreprise Martell, Cognac
My project is a large-scale research in which the liverwurst tree is dealt with as if it were art or with art as if it were a liverwurst tree. The qualities of the tree that can be rethought to the qualities of art are selected. In this way, art grounds itself and we get to know the liverwurst tree.
I am working on a format between studio and exhibition, where I am active and present as an artist with photography, sculpture, text, text images, with sung and spoken quotes that I encounter in the course of the research, performative elements, readings and lectures.
One of the most important questions of this research is how close I can get to the tree using found material.
For indeed, thanks to the many possibilities of Internet research, I can investigate something that I have never seen in reality. But what does the virtual experience of the liverwurst tree do to me?
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
In Lena Meinhardt’s compositions, recordings of places, objects or texts take on a life of their own through powerful syntheses of sound. Together with Eva Dörr, they create interdisciplinary and context-related works. Eva Dörr’s artistic focus is on (sound) installation and video. She focuses on the acoustic perception of mostly marginal spaces and places.
Both met at the Stuttgart University of Music and Performing Arts. There, Lena Meinhardt was a contact student in computer music with Prof. Piet Johan Meyer, while Eva Dörr was a guest student in the electronic music studio after completing her teaching degree in art and mathematics.
Ralentir is a video and sound work created during the fellowship at the Künstlerhaus. It consists of video and sound footage recorded by the duo in the Paris Metro. The camera was held up to the window of the metro. City views, tunnels, platforms and waiting passengers pass by. Visual and sound material were heavily montaged.
Through the transformation of the sound material and extreme montage in the image, these layers and the temporal structures within them become intertwined.
The work ABELKA is part of the self-organized exhibition project “Kehrmaschine”. Synchronized with other works in the exhibition, the 8-channel sound installation mixes the hall’s ventilation system with a 60-minute composition that takes spatial memory as its theme, filling the hall with sounds and their reflections.
Similarly, image and sound evolve in a loop that intertwines exterior and interior views of the city. As the different levels rush past and into each other, the patterns of time and sense of time continuously dissolve.
Lennart Cleemann (*1990) studied architecture (Hanover, Aarhus, Basel and Stuttgart). At the ABK Stuttgart he was part of Reto Boller’s art class and thus found his way into artistic practice.
At the Künstlerhaus he explores ideas and notions of “home”. He works with space and material. Through the construction and abstraction of rooms, furniture and playground equipment, he explores his environment and attempts to gain an understanding of its processes. In this process, the studio has become a place of necessity. It becomes a physical arena of the interior, absorbing whimsy, dust and sweat. The daily change of this intimate space and its observation serves the exploration of the self.
On his process he writes:
My work takes place in physical space.
I act and react.
I do not know what I want.
I act.
Material guides me.
I try not to think.
Does not work.
Tidying up, making order, discovering connections.
Satisfied with the stupid simplicity of the process.
Going for a walk.
Finding things.
Dragging to the studio.
Cluttering up.
Letting go.
Piss.
Janis Eckhardt’s (*1994) working method combines personal fascinations with contemporary social circumstances through the lens of constellations and objects. His works are mostly the result of a casual momentum that emerges from these accumulated materials. Performative aspects as well as the reutilization of his own and other material—plus its history, distribution and recontextualization—are the mechanisms running through his work. He is consequently always in search of a form of reproduction and representation that is not merely symbolic but rather an intervention that produces and perpetuates ambiguity.
In Mona Zeiler’s works we encounter common materials and forms that refer to the familiar. They are part of our environment, but rarely the focus of our perception. Combining analog and digital working techniques, Zeiler develops sculptural installations that engage with the three-dimensional components of our living environment.
In her collage-like carefully arranged constellations, Zeiler combines artificial materials with natural materials and those that imitate natural properties.
She detaches structures and objects from their original context, brings them onto a plane, and relates them anew to further processed surfaces and materials. Metal constructions, glass and wood elements, digitally processed image material, printed plastic tarpaulins meet ceramic objects, molds made of plaster or elements made of stone. The boundaries between the industrially produced and the manually processed merge and blur.
Her works trace the levels of meaning of things and establish links between the materials and forms used and concepts such as inside and outside, support, protection, permeability and demarcation. Within these arrangements, the human being appears merely as an order-giving (invisible) point of reference.
With these juxtapositions, Mona Zeiler examines the relationship between the forms and their textures for their aesthetic and content-related attributions and challenges the viewer to new associations and contextualizations.
Mona Zeiler (*1989 in Ellwangen) studied Fine Arts in the Department of Sculpture as well as Intermedial Design at the State Academy of Fine Arts Stuttgart, where she graduated in 2017. In 2019, Zeiler received the Peter Hans Hofschneider Prize of the Kunststiftung Baden-Württemberg and in 2021 the residency scholarship at the Cité internationale des arts in Paris of the Ministry of Science, Research and the Arts, Baden-Württemberg. She has exhibited at Kunsthalle Baden-Baden, Kunstraum Riehen, and Kunstverein Freiburg, among others.
Lambert Mousseka betrachtet sein Leben als eine Reise. Als Künstler begann er als Schauspieler, dann Figurenspieler. 2001 studierte er Marketing an der Wirtschaft Hochschule (Institut Supérieur de Commerce Kinshasa). 2013 schloss er sein Kunststudium an der Staatliche Akademie der Bildenden Künste Stuttgart ab.
Seitdem arbeitet er im Bereich Malerei und Keramik und gibt Workshops im Bereich Figurentheater und Keramik in Deutschland und im Kongo. Seine Arbeit basiert auf Malerei und Keramik.
In den vergangenen Jahren nahm er u.a. an folgenden Gruppenausstellungen teil: Gemeinschaft Jetzt (Stadtkirche Schorndorf), Disturbance Wich (Zitadelle Spandau Berlin), Es dauert, es ist Zerbrechlich, es bleibt womöglich für immer (Bahnhof Museum Rolands Eck), Prêt-à-Partager (Ifa, Stuttgart), Couture Commune (Künstlerhaus Stuttgart) und Kinoserie – Briller et s’envoler (Institut Français Kinshasa).
Er hat verschiedene Kunststipendien und Residenzen für Keramik und Recherche erhalten, unter anderen Schloss Balmoral, EKWC – Sunday Morning, und Institut Français Kinshasa.
Lambert Mousseka versucht eine Zusammensetzung von Konzepten, Texten und Formen, Mode, Politik und Religion, Ökonomie und Ritualen, Philosophie und Design etc. herzustellen.
Lena Meinhardt and Eva Dörr have been working together as an artist duo since 2019. Their works meet in the field of sound installation.
Lena Meinhardt was a contact student in computer music at the Stuttgart University of Music and Performing Arts. In her compositions, recordings of places, objects or texts take on a life of their own through powerful syntheses of sound. Together with Eva Dörr, who studied fine arts and mathematics at KIT Karlsruhe and the State Academy of Fine Arts Stuttgart, among others, she creates location- or context-related works. Eva Dörr’s artistic focus is on (sound) installation and video. She focuses on the acoustic perception of mostly marginal spaces and places.
The work ABELKA is part of the self-organized exhibition project “Kehrmaschine”. Synchronized with other works in the exhibition, the 8-channel sound installation mixes the hall’s ventilation system with a 60-minute composition that takes spatial memory as its theme, filling the hall with sounds and their reflections.
Lennart Cleemann (*1990) has a background in architecture. He studied in Hanover, Aarhus and Stuttgart. Before joining the Kunsthochschule in Stuttgart, he did an internship at Buchner Bründler Architekten in Basel (Switzerland). This time shaped his way of thinking and working attitude regarding what he calls “poetic pragmatism”. It was in Reto Boller’s art class that he discovered his affinity for direct contact with material and its emotional potency.
His work deals primarily with themes of oneness and togetherness, as well as themes of sexual desire and consumption. Liberation from a felt helplessness in the face of socially and intellectually entrenched structures is a goal of his work. He has an affinity for raw, untreated materials, which are often the starting point of his work. These are often combined with found objects from the street and construction sites and put into context with each other.
He applied to Künstlerhaus Stuttgart with the intention of using the studio provided as a test space for installations, in the sense of a dystopian apartment. The idea stems primarily from his exploration of the motif of the bed as a place of retreat, lethargy, but also intimacy and joy.
He explores emotional and relational contexts that occupy him in his everyday life. The test room can also be seen as a kind of construction site that is in constant flux. Life and death, beauty, destruction and decay have an equal right to exist here.
Janis Eckhardt’s (*1994) working method combines personal fascinations with contemporary social circumstances through the lens of constellations and objects. His works are mostly the result of a casual momentum that emerges from these accumulated materials. Performative aspects as well as the reutilization of his own and other material—plus its history, distribution and recontextualization—are the mechanisms running through his work. He is consequently always in search of a form of reproduction and representation that is not merely symbolic but rather an intervention that produces and perpetuates ambiguity.
Alba Frenzel studied at the Academy of Visual Arts in Leipzig. During her studies, she focused on photography in the field of contemporary art. After receiving her diploma in the summer of 2017, she exhibited her work Fotopapier, Licht, Ei together with other prize winners as part of the photography competition gute aussichten – junge deutsche fotografie at the Deichtorhallen Hamburg. In spring 2021 her first publication Kreatur o.T. will be published by Vexer Verlag.
In her artistic-research work, she is interested in how “living art” is created. In her current research, she came across “liverwurst tree” by chance, which is on the same page as “life” in the Duden dictionary. “My work is large-scale research, dealing with the liverwurst tree as if it were art, or with art as if it were a liverwurst tree. The qualities that can be rethought to the properties of art are selected in the process.
The heterogeneous material I have collected on the tree, originally native to West Africa, comes from a variety of found sources: Images, catalog texts, videos, professional essays, and internet search results.”
As the artist group MAVA, Marlon Lanziner and Valentino Berndt have been working on the sculptural elaboration of environmental phenomenasince 2014. In their project the rain brings the color, they demonstrate how copper’s weathering processes create streaks of color on a white marble staircase as it reacts with rainwater and how this transforms the staircase’s appearance.
Marlon Lanziner (born 1989) and Valentino Berndt (born 1988) studied fine arts at the State Academy of Fine Arts in Stuttgart from 2010 to 2018.
In 2019 Marlon Lanziner designed the first edition of miniature Vadonna sculptures with Eva-Marie Holzner. The unique, individually colored bronze sculptures refer on the one hand to the classic representation of the Virgin Mary as the Madonna, and on the other to the female sex. The sculptures unite both of these aspects.
In 2020 Marlon Lanziner and Valentino Berndt published the MAVA art book The Speed of the Earth, which summarizes the artistic projects from 2014 – 2020. In the following year 2021 they plan to publish the book in the context of an exhibition.
n.n.n. collective was founded by Jasmin Schädler, Julia Schäfer, and Susanne Brendel in 2014. Schädler studied theater directing at the Akademie für Darstellende Kunst Baden-Württemberg (2016) and art praxis at the Dutch Art Institute (2019). Schäfer graduated with a degree in fine arts from the Staatliche Akademie der Bildenden Künste Stuttgart (2020) and Brendel studied stage and costume design and visual arts at the Staatliche Akademie der Bildenden Künste Stuttgart (2021).
Together, they develop formats grounded in both the visual and performing arts. Their content engages with literary and theoretical texts in equal measure as well as their potential to activate scenic processes. Their works have been shown in venues including the project space at the Kunstverein Wagenhalle, the Schauspiel Stuttgart, and the Theater Rampe. With the aid of a publication grant from the Ministry of Science, Research and the Arts of Baden-Württemberg, their book vom Aufgang der Sonne (From the Rising of the Sun) will be released in 2021. It will present texts and artistic works within the context of a critical examination of Hegel’s lectures on the philosophy of world history.
Helen Weber (*1994) studied fine arts in Stuttgart and Istanbul. She works individually and collectively between interior and exterior space, and is part of the Schwäbischer Online-Albverein, kollektiv_mitteperformance, and ROSANNAWIDUKIND. Weber throws herself into different contexts with a field-research approach, resulting in actions, sculptures, texts, video installations and various forms of documentation. For some time now, she has been interested in the contradictions of the “German Forest,” an ideological playground between survival, woodland solitude*, folklore, protest, ticks, nature and climate protection.
*In July 2020, the “Black Forest Rambo” Y. Rausch disarmed four police officers during a call-out to his garden hut and subsequently found shelter from police helicopters in his native Black Forest during a six-day manhunt. In a video, a local resident describes the situation: “I was busy in the garden and on my way down I was looking along the street—because you just kind of glance around then for a moment—when I saw a young man in camouflage walking down the street with a long walking stick. He was walking like a hiker.”
Stadtlücken e.V. is a group of designers from various disciplines who seek to make us more aware of public space and the urban experience and to encourage a digital-analogue network for the collaborative development of a livable city. A livable city offers non-commercial public spaces in which different people can meet and help to shape urban structures. The urban space that is to be shaped here is not only to be understood in terms of urban planning; it encompasses legal and knowledge spaces, as well as buildings and infrastructure, which must be accessible to all.
Regular discussion events such as Einmal im Monat—Wem gehört die Stadt? (Once a month—To whom does the city belong?) promote interaction and offer initiatives and interested citizens the opportunity to network further. Together they discuss urban issues such as “What is participation?”, “Where do homeless people actually live?”, or “How does cooperation work?”. Through this network, the right to the city in Stuttgart is assessed, put to the test, developed further, and implemented as a basic principle.
Stadtlücken is also working on the development of a cooperative urban space at Österreichischer Platz and on a concept for an interface between politics, administration, and citizens in the form of the Office for Public Space, which will open at the Architekturgalerie am Weißenhof in summer 2020.
Ülkü Süngün studied sculpture at the State Academy of Fine Arts. Using various media such as photography, installation, sculpture, and lecture performances, she critically examines migration and identity (politics) and memory in her work, and also carries out artistic research with her process-oriented and collaborative approach. As a lecturer at the Merz Akademie and the State Academy of Fine Arts in Stuttgart, she also explores questions of emancipation in her teaching.
Her project Institut für Künstlerische Migrationsforschung (IKMF; Institute for Artistic Migration Research) is currently being realized at the Künstlerhaus. Founded in 2017, her association enables her to make her previous artistic and sociocritical practice structurally visible and also to use spaces nomadically. As part of this project, the event series ACTIVIST ACADEMY. VISUAL STRATEGIES I was held at the Künstlerhaus in the spring of 2019, along with with several open workshops. She also had a residency with IKMF at zeitraumexit in Mannheim in 2019: GEMEINGUT JUNGBUSCH. She investigated the functions of migration and cultural institutions in the context of gentrificationin the Jungbusch neighborhood. The short film series KANAKINO with Belit Sag and Cana Bilir-Meier was the main element of this residency.
Lennart Cleemann (born 1990) studied architecture at the University of Hanover, the Aarhus School of Architecture (Denmark), and the State Academy of Fine Arts Stuttgart, graduating with bachelor’s and master’s degrees. Before coming to the art academy in Stuttgart, he completed an internship at Buchner Bründler Architects in Basel (Switzerland). This period shaped his way of thinking and his approach to work with regard to what he refers to as “poetic pragmatism.”
In his work, he mainly focuses on themes of loneliness and togetherness, as well as sexual desire and consumption. One of the aims of his work is also the liberation from perceived helplessness in the face of firmly entrenched social and conceptual structures. He applied to the Künstlerhaus Stuttgart with the desire to use the studio provided as a test space for installations—a kind of dystopian bedroom. This idea originates primarily from his interpretation of the bed as a place of retreat and lethargy, but also intimacy and joy.
Through these Betonbetten (Concrete Beds) he explores the emotional and relational connections that hold his attention in everyday life. The test space can also be viewed as a kind of construction site in a state of constant change. Death and life both find their raison d’être here.
Alba Frenzel (born 1984) has lived in Leipzig since studying at the Academy of Fine Arts. During her studies she focused on photography in the context of contemporary art. In summer 2017, after her degree, her work Fotopapier, Licht, Ei (Photo Paper, Light, Egg), was exhibited alongside other prizewinners as part of the photography competition gute aussichten—junge deutsche fotografie at the Deichtorhallen in Hamburg. The pictures we real l created in a darkroom solely by means of the interaction between photographic paper and light. She used hen’s eggs in various physical states to create her images, which resulted indifferent shapes of varying intensity. In 2019 she began a residency at the Künstlerhaus Salzwedel.
In her photographic work Aus erdgeschichtlicher Sicht (From a Geological Perspective), she photographed ice cream counters in ice cream parlors. Due to the angle and coloration of the shot, they took on the appearance of natural rock, lava, or mud formations.
Her current work explores the creation of a living art through the lens of the Leberwurstbaum.
Jasmin Schädler is a director and visual artist. After her bachelor’s degree in physics and cultural studies, she studied theatre direction under Christof Nel at the Academy of Performing Arts Baden-Württemberg and completed a master’s degree in art practice at the Dutch Art Institute. Her artistic focus lies in the dissection of contexts and etymologies; technology and perception are currently her central concerns. Her work on the interaction between humans and algorithms is a longer-term artistic research project. She recently gave a lecture performance on this topic at Silent Green (Berlin) in May 2019.
For the festival Die irritierte Stadt (The Confused City) in 2020, she is currently creating a work with Bongile Gorata Lecoge-Zulu that deals with the performative diversity of the perception of urban space. As part of the collective die apokalyptischen tänzer*innen (www.apocalyptic.dance) she develops performances in close cooperation with Theater Rampe and also as part of Freischwimmen, a platform for young talent.
As the artist group MAVA, Marlon Lanziner and Valentino Berndt have been working on the sculptural elaboration of environmental phenomenasince 2014. In their project the rain brings the color, they demonstrate how copper’s weathering processes create streaks of color on a white marble staircase as it reacts with rainwater and how this transforms the staircase’s appearance.
Marlon Lanziner (born 1989) and Valentino Berndt (born 1988) studied fine arts at the State Academy of Fine Arts in Stuttgart from 2010 to 2018. In 2019 Marlon Lanziner designed the first edition of miniature Vadonna sculptures with Eva-Marie Holzner. The unique, individually colored bronze sculptures refer on the one hand to the classic representation of the Virgin Mary as the Madonna, and on the other to the female sex.The sculptures unite both of these aspects.
Amiko Li (born 1993) is a visual artist who works in the fields of photography, text, and video. His works investigate the paradox of intimacy and distance. Through strategies of reenactment, exchange, and mistranslation, his works explore an aleatory approach to nuances in the cultural and social system, as well as the ethics of language and representation. He is currently working on a text-based project that draws from sources such as acupuncture, palmistry, the induction of psychogenic diseases, tetrachromacyin birds, evolution, value systems, and bodily autonomy.
Due to the pandemic, Amiko Li is currently not able to enter Germany, so his scholarship will be postponed accordingly.
After studying design in Bolzano, Veronika Schneider (born 1991 in Berlin) moved to Stuttgart, where she has been studying art and art education at the State Academy of Fine Arts since 2016. She studied under Rainer Ganahl, discoteca flaming star, and is currently completing her bachelor’s degree under the supervision of Antonia Low. Through museum workshops and self-initiated art programs, she interrogates the moment in which art is created. Veronika Schneider is interested in the open state of unknowing. It is to do with the human body, which is influenced by architecture, art, or other forms of symbolic violence, and is in constant contact with cold and smooth surfaces. The contrast between hard facts and intuitive knowledge is also the focus of her sculptural exploration of glass as a material.
Veronika Schneider is currently using Amiko Li’s studio, but she is not a Künstlerhaus Stuttgart scholarship holder.
June 2019 until August 2019
anorak is a curatorial trio consisting of Lukas Ludwig, Johanna Markert, and Florian Model. Their work focuses on the collaborative process and the conviction that a collaborative working method opens up possibilities that go far beyond their individual approaches. The starting point for anorak’s projects is their interest in other artistic positions, and the projects are created in close collaboration with young local and international artists and cultural workers. For anorak, creating exhibitions means developing venues for serious mutual exchange and a dialogue between young artists.
Since 2016 the trio has been running the non-profit art association Anorak e.V. with the aim of creating an institutional infrastructure that enables young artists and cultural workers to realize their works and create a discussion around them. In the first year of their studio scholarship anorak realized the exhibition project Gemini (2018/19) in cooperation with Künstlerhaus Stuttgart, Akademie Schloss Solitude, and the Delphi Cinema. Starting from the figure of the double as an other in itself, Gemini posed the question as to what extent forms of preconceived narratives—myths, fate, and history—trigger identification processes and form contemporary subjectivities within them.
The multi-part project, which began in autumn with the film premiere of A GRIN WITHOUT A CAT—THE VERY TALE by Katharina Jabs, involved an online and print magazine, an events program, and two exhibition chapters.
anorak’s studio at Künstlerhaus Stuttgart is a workspace, the headquarters of their association, a meeting place, and a starting point for new projects all at once. anorak is currently working on freelance curatorial projects, including an exhibition at Villa Merkel that will be realized in 2020 as part of the Bahnwärter scholarship.
More information can be found here: anorakanorak.com
Lowland provides a space for exchanging ideas about different artistic positions and realities. It combines a magazine with a changing interdisciplinary group of artists. During each cycle of exchange, the participating artists are given the opportunity to open up their artistic positions to each other. The founders are Anne Pflug, Christiana Teufel, and Damaris Wurster.
March 2019 until May 2019
Website: https://sophieinnmann.com
Current exhibition “Wände | Walls” at Kunstmuseum Stuttgart
September 2018 until February 2019
Sören Hiob studied at the State Academy of Fine Arts Stuttgart with Christian Jankowski and Mike Bouchet. He works across boundaries in several fields of contemporary artistic production: from painting, sculpting and installation to his main focus on performance and video. As far as content is concerned, he increasingly tries to develop perspectives that are independent and institutionally unaffiliated. With his works Hiob has been part of numerous group exhibitions – at several places in Stuttgart, of course, but also across Europe in Wrocław, Warsaw, Vaduz, London, Edinburgh, Basel, or Rome.
Anna Romanenko (born in Moscow in 1983) initially studied theatre directing at the Theaterakademie Hamburg followed by architecture, New Media and Sculpting at the State Academy of Fine Arts Stuttgart. She “designs objects with operative capacities as well as processes, which occur by means of objects.” Together with Björn Kühn she co-founded the performance collective Punch and Jude and the Verlag für Handbücher.
Björn Kühn (born in 1987) studied Fine Arts at the State Academy of Fine Arts Stuttgart as well as at Goldsmiths, University of London. In addition to diverse exhibition, performance and lecture activities and well as the collaborations with Anna Romanenko mentioned above, Kühn also co-founded the magazine Copter. In their artistic practice, Romanenko and Kühn deal with “inventing new mechanisms between humans, objects and their surroundings, describing them and designing tools for those mechanisms.”
Katharina Jabs, born 1986 in Kazakhstan, is an artist and filmmaker. She studied fine art at the Staatlichen Akademie der Bildenden Künste Stuttgart, documentary film at the Filmakademie Baden-Württemberg, and new media at the Kyushu Sangyo University in Japan on an exchange program.
From 2016 to 2017, she was the recipient of a state postgraduate scholarship for the artistic-scientific research project Ein Grinsen ohne Katze, which drew on the methods of the Japanese documentary film avant-garde in the sixties as well contemporary film-aesthetic theories on the topic “OFF.” The shooting of her current film, Ein Grinsen ohne Katze – THE VERY TALE, has been funded by the DAAD in Japan.
In her films, Katharina Jabs works with various states of absence. An essential criterium for her filmic practice is an engagement with the materials of the “OFF” (hors-champ, off-screen space), film’s imagina-ry space that exists/insists beyond the image frame that is staged and conceived through the camera and mise en scène.
In 2017 her film TERRY JO WANTED received the “Link 2 Future” prize of Zürich’s psychoanalytic society.
anorak is a trio made up of Lukas Ludwig, Johanna Markert, and Florian Model. The collaborative process lies at the heart of their work, along with the conviction that communal working methods open up possibilities far exceeding those enabled by an individual approach. Anorak’s projects start with an interest in other artistic positions and develop in close collaboration with young local and international artists and cultural producers. In their experiments with formats like exhibitions, dinners, conversations, and film screenings, anorak tries to develop spaces for earnest, reciprocal exchange and dialogue between young artists. Since 2016 the trio has run the non-profit Kunstverein Anorak e.V. Their recent exhibition and event projects include Mixed Feelings (2016), in collaboration with the Künstlerhaus Stuttgart and Palermo Galerie, as well as In a Room (2017) at Leopoldstr. 2 in Karlsruhe.
The anorak studio at Künstlerhaus Stuttgart is simultaneously a work space, meeting place, and starting point for new projects. Anorak is currently working on a multi-part exhibition and event project titled Gemini, which will open early in the summer of 2018. Gemini will be realized in cooperation with the Akademie Schloss Solitude, among others.
January 2018 until April 2018
August 2017 until October 2017
February 2017 until April 2017
South Korean artist Minyoung Paik, born in 1983, studied textile design at Konkuk University, Seoul, South Korea, graduating in 2008. Subsequently, she studied sculpting at the State Academy of Fine Arts Munich under Magdalena Jetelová. In 2015 she became Meisterschülerin with Gregor Schneider and gained a diploma, for which she was awarded the DAAD prize. The artist has lived and worked in Munich since 2008. Her installations, objects and photographs are concerned with the cultural and political structures in her home country and the mechanisms of contemporary art.
In the last Tuesday Workshop of the year, artist and stage designer Barbara Ehnes will use visual material and video recordings to report on her debut in the dual role of opera director and stage designer at Theater Luzern in 2023.
In her production of George Frideric Handel’s baroque opera, Ehnes creates a kaleidoscope of intertwining world views that are both real and magical.
The virtuoso play with gender roles – as well as the effective use of stage mechanics, which seems to turn the laws of physics upside down – on the one hand draws on baroque operatic traditions and on the other hand questions the present in terms of its utopias.
Science and imagination, technology and deception, interweaving and dissolution are recurring motifs that are reflected in the microcosm and macrocosm.
We look forward to an exciting exchange with Barbara Ehnes about her work at the interface of opera, stage design and visual arts.
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Concert installation evening
08.12.2023
Admission: 19:00
Start: 20:00
studio floor (3rd floor)
Find a comfortable position.
Immerse yourself in the music.
Let yourself drift.
The series “Coroa des flores” is inspired by flowers. The sound forms in this composition correspond to natural proportions and create an organic structure. Sound grows and develops. Everyday noises from machines, birds and voices overlap and intertwine. Dissolve.
Rosa beggeriana, Coroa des flores IV, 2018/2019
4 – Channel – Electroacoustic composition
Rosa stellata, Coroa des flores V 2019
4 – Channel – Electroacoustic composition
Rosa pendula Coroa des flores VI, 2019
2 – channel – electroacoustic composition
Rosa (world premiere), 2023
4 – Channel – Electroacoustic composition
Das abschließende Treffen der Gesprächsreihe „Kunstverein(e) der Zukunft“ findet am 4. Dezember um 19 Uhr im Böblinger Kunstverein statt. Vor einem Jahr war das Vierte Organ bereits beim Böblinger Kunstverein zu Gast und nun sollen gemeinsam die Entwicklungen und Ereignisse der letzten 12 Monate reflektiert und ein Blick in die Zukunft geworfen werden. Im Fokus wird der deutliche Umbruch stehen, den der Böblinger Kunstverein in dieser Zeit erlebt hat: Welchen Herausforderungen und Überraschungen sah man sich gegenüber, welche positiven wie negativen Erfahrungen wurden gemacht? Und vor allem: Mit welchen Ideen, Prozessen und Maßnahmen wappnet man sich für eine weiterhin erfolgreiche Arbeit als engagierter Kunstverein? Dabei werden auch die Perspektiven der anderen Kunstvereine beleuchtet. Eingeladen sind Oberwelt e.V., Kunstverein Neuhausen, Kunstraum34, Künstlerhaus Stuttgart und anorak.
Kunstverein Böblingen
Schloßberg 11, 71032 Böblingen
www.kunstvereinbb.de
On May 1, 2024, the Künstlerhaus Stuttgart will award up to seven studios for a period of twelve months as part of its studio program. Six of the workspaces are approx. 25 square meters each, one approx. 15 square meters. A large space is accessible for all recipients. Additionally, stipendiaries have free access to all workshops of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.
It is possible to extend the studio grant through ap
plying for another year. This option can be used not more than twice, so a maximum period of three years is possible.
Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.
Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome. Students are unfortunately not eligible to apply.
Application
Please include with your application the following documents:
– CV
– documentation of your artistic work, such as portfolio, catalogues (max. 2 books), images etc.
– a written description how you want to use your studio at Künstlerhaus Stuttgart
Please send us your application via email, please send one pdf file only, latest by January 31st 2024:
Contact Person: Romy Range
Email: info@kuenstlerhaus.de
Subject line: Studio application
The jury, which consists of members of the board, will meet in the beginning of March and all applicants will be informed about the decisions as soon as possible.
Please note that these are working studios and that the scholarship is not linked to remuneration or accommodation. International applications are generally accepted, provided that applicants make their own arrangements for a visa and accommodation.
In the 27th Tuesday Workshop, Pablo Berman and Aleksej Nutz present their new film “One Day” at Künstlerhaus Stuttgart.
Conceived as docu-fiction, the short film shows a day in the life of Miguel, who loses himself in his disordered but passionate thoughts as he wanders through the city of Stuttgart, observing the dynamics of the city, the people in it and his own life.
What seems at first glance to be a gloomy sequence of thoughts is, for many, everyday life. Topics such as migration, integration, depression, relationships, love and retrospectives on one’s own life are summarised here in a monologue that uses the technique of the “stream of consciousness”.
Following the screening, we invite you to a discussion.
________
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
On November 04 the next Fourth Organ will take place, already at 4 pm. We welcome Daniel Neubacher (Board Künstlerhaus Bremen e. V.) and Nadja Quante (Künstlerische Leitung Künstlerhaus Bremen e. V.) to this meeting. They will report about the renaming process to KH Künstler:innenhaus Bremen e. V., which took several years, as well as about the way to get there and the changes that are coming up now.
We are looking forward to an exciting exchange of experiences and to new impulses for our own discussion of a renaming.
The second chapter of a series of exhibitions by studio fellow Lambert Mousseka.
Opening: Saturday October 21, 2023, 7 p.m.
on the 4th floor of the Künstlerhaus Stuttgart.
SAPE – Société des Artistes et de personnes Elégantes (Society for Artists* and Elegant Persons).
Sapologie is the philosophy and Sapologue is the practitioner.
In the universe there is an infinite variety of colors. Each color represents a vibration, a state of mind. Through painting and ceramics, Lambert Mousseka presents the philosophy of the sapeur, the search for perfection, his attitude and, moreover, the relationship with the body and colors. “Trilogy of finished and unfinished colors” is a strict rule for a sapeur.
An inspiration for artists* is to create harmonious color combinations and try to respect the sapological codes and philosophy. One should dress conspicuously, like a flower adorning itself and the garden.
Link to Kapitel 1: 243 – Ohne Maske
Lambert Mousseka (born in Katanga, Democratic Republic of the Congo) has been questioning the creation, origin, spirit and state of matter since his youth. These questions led to various studies and researches and still influence his artistic work today
In the context of the exhibition »Sieh Dir die Menschen an! Das neusachliche Typenporträt in der Weimarer Zeit« at Kunstmuseum Stuttgart, »Arts of the Working Class« invites art and cultural workers to the “Art Workers’ Summit” online and at the Künstlerhaus Stuttgart on October 13 and 14, 2023.
During workshops with keynotes and panels we will discuss the challenges for art and culture workers: Who are the culture and art workers of today, What are they confronted with? What do they represent? How can art and cultural workers imagine spaces of representation that enable interdependent practices? How can institutions support and be part of self-organization in the cultural field?
The results of the exchange will become part of the upcoming issue of the Street Newspaper (Issue 29). The newspaper will be available to take away free of charge with the opening of the exhibition »Sieh Dir die Menschen an!« on December 2, 2023 at the Kunstmuseum Stuttgart.
To take part in the Art Workers’ Summit, please register at fuehrung@kunstmuseum-stuttgart.de. Participation is free of charge.
Fore more information direct here.
Friday, 13.10.2023, 14:30-18:00
Location: Online via Zoom, access code: Unions
14:30
Welcome by the cooperation partners Arts of the Working Class, Kunstmuseum Stuttgart, Kulturamt Stuttgart, Künstlerhaus Stuttgart
15:00
Opening (in German and English language)
What remains of the activists’ work, as exemplified by L’Union des Refusés, by the founders of Arts of the Working Class.
15:30-16:30
Keynote on the Solidarity Trinity (in English language)
Yin Aiwen will share the concept and theorization of The Solidarity Trinity, a research thread from her gamification-as-research project “The Alchemy of Commons” with educator and community activist Yiren ZHAO. The Solidarity Trinity suggests Labour, Relationship, and Space are integral to the making of solidarity in a collective environment. In the talk, Aiwen will share study examples in the cultural fields where the intended solidarity fails, offering analysis and action points to form resilient, diverse, and inclusive togetherness.
16:45 – 17:45
Keynote on the Organization of Art Workers within Museums (in English language)
Dana Kopel’s keynote is pushing against the common framing of art workers’ labor as not labor at all. The input takes a look at the organizing efforts that have taken place in museums and art institutions in the past years and insists on a critique of the role of art and the art world within racial capitalism.
Saturday, October 14, 2023, 14:00-19:30
Location: Künstlerhaus Stuttgart (Reuchlinstraße 4b, 70178 Stuttgart)
14:00-16:00
Workshop about the role of commissioners in cultural production (in German)
In his contribution, Alexander Koch talks about the New Commissioners [orig. die neuen Auftraggeber], a model that creates new relationships between artists, communities, and audiences. When local citizens’ initiatives – accompanied by mediators – commission artists with works that change something locally, the usual roles of all participants also change. Ecosystems are created for a community-oriented art that can succeed in many ways but also faces great challenges.
17:00-18:30
Participatory Conversation (in English)
How can our tears shed over politics lead to actual structural change? What concrete measures need to be taken, and how? The tedious writing of contracts is often swept under the carpet and leads to invisible work. But struggles that are to be impactful in the long term must find a written form. How can this work emerge from obscurity and improve labor conditions in the arts? Two organizations run by cultural workers meet an allied institution. Zoë Claire Miller is an artist and one of the two spokespersons of the Artists Association Berufsverband Bildender künstler*innen Berlin, which has a long and turbulent history. Art Workers Italia, an autonomous and non-partisan association, was established recently and is represented for the occasion by artist Alice Pedroletti. Eric Golo Stone introduces an institutional perspective and the specific situation of the Künstlerhaus Stuttgart. Among other shapes of exchange, the fundamental meaning of contract-making and policy work will take the form of an incantation as guided meditation.
19:00
Get together: Drinks and soup
Participative Performance by Dina El Kaisy Friemuth as collective Check-out
With the support of and in collaboration with Kunstmuseum Stuttgart, Künstlerhaus Stuttgart, Stadt Stuttgart, and Staatliche Kunsthalle Baden-Baden.
Living together, producing together, learning from each other – these are not only the cornerstones of the Künstlerhaus, they also form the core of the idea of OPEN SCHOOL Cannstatt.
We have invited the artists Valentin Hennig, Yara Richter, Lilith Becker & Liv Rahel Schwenk to work together in tandem with Bad Cannstatt’s tradespeople, associations, craftspeople, institutions or citizens and to develop a public offer.
This free offer ranges from performative walks to film art workshops. The aim is to enter into an exchange, build relationships, work together and learn from each other.
Künstlerhaus Stuttgart presents OPEN SCHOOL Cannstatt, which takes place as part of the festival CURRENT – KUNST UND URBANER RAUM.
The “classroom”, where information about the programme will be provided for the duration of OPEN SCHOOL Cannstatt, is located in the former Schwabenbräu-Passage in Bad Cannstatt.
Programme
Liv Rahel Schwenk and Lilith Becker “Wassergosch – Performing the Fountains”
19 September 2023, 10 am to 2:30 pm -Workshop
20 September 2023, 10 am to 2:30 pm – Workshop
Participants: max. 10 persons
Please register at info@kuenstlerhaus.de by 18.09.2023.
Meeting place: Kellerbrunnen, Brunnenstr. 19, 70372 Stuttgart, Germany
The workshop “Wassergosch – Performing the Fountains” will lead us along Bad Cannstatt’s drinking fountains which carry water from the area’s mineral springs. We will approach these fountains, their properties, and histories with a performance mindset. This means that over the course of the two days, we will experiment with strategies of “input” and “output”.
Collecting impressions and material in the form of audio recordings, water samples, drawings, words, sounds, and movement will expand our understanding of the fountains. The process of collecting will be complemented by encounters with people who live or work in Bad Cannstatt and share their knowledge with us. A native Bad Cannstatt tour guide will tell us about a myth surrounding one of the old town’s fountains, we will learn about the chemical composition of the water and the maintenance of the fountains, and if we’re lucky, a local Yoga teacher will guide us through a water meditation.
In a second step, we will transform the collected material and impressions into micro-performances which we will perform for each other. The participants will be led in simple structured prompts which will help organize the material and encourage experimentation.
The workshop is a space to safely explore performance whether it’s part of your practice or you’re completely new to it. Everyone is welcome.
Bring pen and paper and any other note taking device you like using, comfortable clothes, a water bottle, and anything else you’d like to bring.
Yara Richter „black noise x Bad Cannstatt – Community Walk für Schwarze Menschen“
Wednesday, 20 September 2023, 5 p.m. – Safer Space, office of the Black Community Foundation in the former Schwabenbräu-Passage, Bad Cannstatt.
Participants: max. 12 persons, prerequisite: Black/African German identity.
Please register at info@kuenstlerhaus.de
Thursday, 21 September 2023, during the day – open editing in the sound studio, Künstlerhaus Stuttgart, public, open to all
Thursday, 21 September 2023, 7:30 p.m. – audio screening followed by a discussion, Schwabenbräu-Passage Bad Cannstatt, public, open to all
This Safer Space event is aimed at Black and Afro-German people.
Together with the participants, Yara Richter will discuss and explore with creative methods what being Black in public space has to do with noise and silence. They will first meet in a closed room where the artist Yara Richter will give an interactive input on creative writing and working with sound. Afterwards, the group will walk through Bad Cannstatt together and make a sound recording in the meantime. In conversation, they want to learn from each other how to appropriate public spaces. They ask themselves questions like: How do you find a sense of security in public spaces? Which public spaces do people seek out/avoid and why? How does being black in public space influence the way you do self and community care? The participants themselves decide which texts, sounds, words and moments of noise or silence they want to include in the recording. The sound recording will be available to all participants for further use after the event.
The following day, Yara Richter will edit the recording into a podcast, and participants are welcome to join. In the evening, there will be a screening of the podcast with an open discussion, to which the public and all participants are welcome.
(Awareness persons will be present).
Valentin Hennig „business as usual”
Friday, 22 September 2023, 7 p.m. – Screening, former Schwabenbräu Passage, Bad Cannstatt
In his OPEN SCHOOL “business as ususal”, Valentin Hennig will work together with the millinery store H + M Schmid-Rupp, the Asian snack bar Chan’s Kitchen and the Greek hairdressing salon-café Haarstudio Exis, which as meeting points and hubs reflect the social life and cultural diversity of Bad Cannstatt. The aim is to develop and realise a joint film that aims at a different communication than that of goods or services: It is about the location’s own history, social and cultural significance and enabling the clientele of this place to live their own identity publicly.
In the process, Valentin Hennig will learn what it means to run a “business”, to produce and distribute goods and to build a strong bond with the customer. In return, the filmmaker will impart his practical knowledge to his partners to learn about all areas of visual and especially cinematic design and to independently create images and moving pictures.
Afterwards, they will invite all partners to a public screening so that a cross-cultural dialogue between the partners can take place in Bad-Cannstatt. The resulting works will also be presented at the respective places of origin.
About the artists
Lilith Becker makes sculpture, installation, video and performance art. As a musician, she plays solo as well as in various band and theatre projects. After graduating from the Berufskolleg für Design Schmuck und Gerät, Pforzheim in 2009, she studied fine arts at the Staatliche Akademie der Bildenden Künste, Stuttgart. In 2018, she was awarded the master student title of the Weißenhof Programme. Her manual on spontaneous self-ignition is published by Verlag für Handbücher in 2019. The music video “Oh Ewigkeit” (directed by Martina Wegener) with music by Nero Feuerherdt aka Lilith Becker was awarded the Buggles Award in 2023.
Valentin Hennig is a visual artist and filmmaker. In addition to his freelance artistic work, he leads workshops at the Staatsgalerie Stuttgart, the Kunstmuseum Stuttgart, the Künstlerhaus Stuttgart and for the LKJ Baden-Württemberg.
Since the winter semester of 2022, he has been a lecturer for video art and experimental film at the State Academy of Fine Arts Stuttgart, where he studied art education with Prof.in Silvia Bächli and Prof.in Corinne Wasmuth from 2007 to 2013. In 2010, he spent a semester as a guest student at the HfbK Dresden with Prof. Hans-Peter Adamski. He then completed the postgraduate course “Intermedial Design” with Prof. Wolfgang Mayer and Prof. Christina Gomez-Barrio (Discoteca Flaming Star) at the Staatliche Akademie der Bildenden Künste Stuttgart in 2014. In 2016, he was awarded the title of master student of the Weißenhof Programme at the ABK Stuttgart. He lives and works in Stuttgart.
Yara Richter moves between art, activism, art education and motherhood. From an Afro-German, intersectional ecofeminist perspective, she is currently exploring black noise as a framework to imagine and create decolonised art and cultural practices. In 2023, Yara Richter completed her Master’s degree in “Body, Theory and Poetics of the Performative” at the State Academy of Fine Arts Stuttgart with “black noise”. In the years before, she showed, among others, the collaborative durational performance “seep” (2022 with Toni Böckle, part of the group exhibition Conditions of a Necessity at the Staatliche Kunsthalle Baden-Baden) and “MFA (Master of Filthy Arts)” (2021, part of the TURN AROUND Rundgang group exhibition at the Württembergischer Kunstverein Stuttgart). She lives and works in Stuttgart.
Liv Rahel Schwenk is a German-American artist working with performance, video, drawing and choreographic methods. She studied at Bard College Berlin and at the Kunstakademie Düsseldorf, where she graduated with a Meisterschüler-Brief in 2012. In 2014, she went to New York on a DAAD scholarship to deepen her interest in dance and choreography in conjunction with her algorithmic drawings. Most recently she has shown projects at Simultanhalle in Cologne and mhProject and Putty’s Coronation in New York. This year she is working with the collective “Unpleasant Affairs” on a performance as part of the Spielart Festival in Munich. She lives and works in Stuttgart and NYC.
Locations:
Former Schwabenbräu-Passage, Bahnhofstraße 14-18, 70372 Stuttgart
Kellerbrunnen, Brunnenstraße 19, 70372 Stuttgart
Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart
In cooperation with the CURRENT – KUNST UND URBANER RAUM festival.
Realised thanks to the generous support of the Wüstenrot Foundation.
At the 26th Tuesday Workshop, Julia Wirsching presents her new film “Es gibt noch einiges zu tun” at the Künstlerhaus Stuttgart.
For over two years, Julia Wirsching accompanied her uncle’s men’s circle in their discussions on the subject of “being a man”. How did they become men? What does it mean to be a man today? What gives them orientation? Some of them critically examined faith and its institutions in their role-finding process. Topics such as just parenthood, the search for the father or turning away from old role patterns towards more self-determination occupy the men between the ages of 40 and 75 in the most diverse ways.
The video captures these processes of reflection as well as the men’s beard care rituals. The seven men provide insights into a sensual examination of their own bodies and tell their personal stories of being a man.
Following the screening, we invite you to a conversation with the artist.
________
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Produced in the context of Niloufar Emamifar’s exhibition Ex gratia at the Künstlerhaus Stuttgart, the lawyers, Nora Ebeling and Viktor Riad, have drafted a guidelines document to aid artists and art institutions in navigating the complexities of migration law in Germany.
When artists facing barriers to cross-border migration are contracted by art institutions it is too often done on an individuated case-by-case basis without providing the artist transparent guidelines, shared policies, or protective standards. This newly released guidelines document aims to be a practicable resource which responds to this pervasive problem field where legal-economic resources are inadequate and inaccessible for visa-applicant, migrant, displaced, asylum-seeking, and refugee-status artists.
This bilingual document entitled, Guidelines on migration law for cooperation between artists and art associations in Germany, is now available here as a free and openly distributable PDF.
The guidelines document is co-authored by Nora Ebeling and Viktor Riad, with input from Niloufar Emamifar. The document was translated by Kathleen Parker, and designed by Studio Terhedebrügge.
Nora Ebeling works a freelance lawyer with a focus on migration law at the House of Democracy and Human Rights in Berlin. She represents not only internationally active artists but also all other people who need support in their residence matters or in the asylum process.
Viktor Riad, is a lawyer based in Berlin who founded a law firm which emphasizes migration law, asserting rights for refugees, and residence law proceedings for internationally active artists.
Realized with the generous support of Stiftung Kunstfonds NEUSTART KULTUR and the Institut für Auslandsbeziehungen. Additionally, this project was supported by Callie’s, Berlin, in the form of a production residency.
On January 1, 2024, a turnover of Artistic Directors is due. In a three-stage process, a search committee consisting of the Board of Directors, the Advisory Board, and representatives of the Cultural Office and the City of Stuttgart’s Municipal Council out of 57 submissions, decided on the application of Tamarind Rossetti & Stephen Wright, who have presented themselves as a team to lead the exhibition program until the end of 2026.
With its decision, the commission acknowledged that Rossetti & Wright have presented a concept that is not based on a conventional curatorial model, but rather develops an experimental, ‘eco-systemic’ form of curating. With their self-understanding as “usership coordinators,” Rossetti & Wright make it clear that their work focuses on the usership of the Künstlerhaus and that they regard workshops and studios as the Künstlerhaus’s key organs.
Künstlerhaus Stuttgart Reuchlinstraße e. V. was founded in 1978 by artists for artists. It houses seven studios, which are given to artists of all disciplines for a limited period of time, and ten workshops, which can be used by all members and guest artists.
A special characteristic of the Künstlerhaus is the model of the artistic director, who is engaged for three to four years and conveys the latest practices and discourses with experimental approaches to the exhibition, distribution and perception of art at Künstlerhaus. The clear time constraint promotes the diversity of artistic positions and allows each tenure to be approached as a multi-year project. The institution’s evolving history is marked by the critical, interrelational, and infrastructural transformations that each Artistic Direction brings.
Tamarind Rossetti, born 1976 in Ojai (California, USA), is a trained artist and teaches at the École supérieure d’art et de design TALM-Angers.
Stephen Wright was born in Vancouver (British Columbia, Canada) in 1963 and has been a permanent resident of France for nearly 30 years, teaching theory and practice at the European School of Visual Arts in France. From 2017 to 2021, he was also co-director of the postgraduate program in artistic research called Document & Contemporary Art.
In 2018, Rossetti and Wright founded a 1:1 scale agroecological test site called Ferme au Sauvage for growing organic fruits and vegetables, where they offered farm-to-table meals and farm-to-panel workshops (called “ideaseeding”), ran a farm store in the studio, and documented the project through art. Currently they are operating a permaculture farm and research project in Corrèze, France.
The new Artistic Directors see their role as “an opportunity to implement ideas gleaned over the years from usology and permaculture, from art education, publishing and exhibition making, in an ‘extradisciplinary’ environment.”
We look forward to welcoming Tamarind and Stephen in the coming year and to viewing the Künstlerhaus with them through the prism of permaculture, making it a fruitful artistic living space.
On 23 July 2023, the first alumni meeting of all former and current studio holders of the last 25 years took place at Künstlerhaus Stuttgart.
A meeting and reunion, accompanied by artistic contributions and good conversations.
Many thanks to all scholarship holders for the wonderful day.
Photos: Jochen Detscher
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!
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.
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 €.
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
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.
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).
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.
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!
Anna Gohmert is interested in finding a formal language for intimacy without theorising the personal and losing the tenderness or rawness of the private.
Her work is about social justice, challenges of a health nature, generational conflicts and dealing with self-efficacy and powerlessness.
She assigns her artistic practice to the genre of autofiction and engages in personal conversations to delve deeper into the subject matter. She brings together these different aspects, by which she means individual spaces of experience as well as scientific findings, with heterogeneous media as a spatial installation.
Despite the various sources, materials and people, the work is held together by an invisible text that she has penned.
Anna Gohmert will present the current works, which were created in the context of the exhibition Gescheite(rte) Familienplanung, as well as give an insight into the upcoming exhibition Das ist (ja) voll mein Ding.
Participation and accessibility play a role in both groups of works.
The focus of this evening will be on accessibility of art and culture. Gohmert will share her experiences of how costly but also rewarding it is to ask one’s own artwork whether it is accessible in a barrier-free way and how it can be translated into a barrier-free format.
More informations:
IG: @annagohmert
____
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
For the artist’s debut exhibition in Germany, Niloufar Emamifar presents a newly produced body of work across both main gallery floors of the Künstlerhaus Stuttgart. Drawing from her study of architecture and consistent attention to the psychosocial dynamics of built space, Emamifar’s exhibition, EX GRATIA, emphasizes site-specific demands on structural capacity in responding to the needs of lived relations. This emphasis on material conditions—the insistence on operative structures—when considering interpersonal experience is a crucial aspect of Emamifar’s ongoing approach to exhibition-making. Her work carefully examines the causative relationships between site, situation, and subjectivity. For Emamifar, while living beings are not determined, they are extremely porous, thereby susceptible to the constructed systems they presently occupy and embody. The artist’s exhibition at the Künstlerhaus Stuttgart is attuned to this vulnerability—the artist leans into the work of exposure within surrounding circumstances, while also recognizing how individuated experience is not ultimately separate from the oppressive structural realities shouldered by many. The conditions encountered by Emamifar in producing EX GRATIA necessitated efforts by the artist to develop lasting structures that could be applicable for future artists working at the Künstlerhaus Stuttgart and at other art sector institutions in the German context.
In contracting Emamifar to produce an exhibition at the Künstlerhaus Stuttgart (KHS), it became apparent that the KHS does not have legal-economic infrastructure in place to be accessible to visa-applicant, migrant, displaced, and refugee status artists/workers. Provisions such as legal counsel support, annual earmarked funds, or staff training devoted to the needs of such contracted workers have not been established at this forty-five-year-old institution. Like many art institutions in the German context and beyond, artists facing barriers to cross-border migration are contracted on a case-by-case basis at the KHS, with no institutional guidelines, protocols, or procedures established in coordination with state laws. In responding to the systemic inadequacies and under-resourced infrastructure at the KHS, Emamifar allocated a portion of her exhibition budget to hiring legal counsel to produce a legal feasibility assessment and draft a set of practicable guidances for the KHS to be capable of working with visa-applicant, migrant, displaced, and refugee status artists.
Rather than solely drawing up an individual work contract, Emamifar tasked legal counsel with producing a shared policy document that could be implemented institution-wide for all future instances when the KHS contracts an artist to come work in Stuttgart, Germany on an exhibition, program, or other limited-term work. Legal counsel organized this proposed framework as a set of modules to anticipate distinct cases where artists are contracted by the KHS, with the emphasis on project-based work rather than full-time employment. While recognizing that jurisdictionally-specific law must account for situational-specificities in different cases, advocates for legal rights also recognize the need for standards of regulation and protection. It is well known how certain doctrines often codify, legitimize, and enforce individual rights at the expense of collective struggles to achieve systemic change. Equitable hiring practices increasingly call for transparent standards, rather than approaching a worker’s contract on an individualized case-by-case basis which often reduces efforts against structural oppression to isolated individual grievances and remediations. In working with potential governance arrangements and legal aid infrastructure, Emamifar’s exhibition grapples with the law as a largely inaccessible system, which has also been shaped by ongoing histories of immigration law, poverty law, labor law and other advocates for greater accessibility and the asserting of rights within a legal order that too often merely codifies what dominant economic authority has qualified as justice. And of course, the law is not a neutral framework of conduct. It is defined.
While committed to effectively redefining foundational and underlying structures, Emamifar is ambivalent about the role of artists as short-term workers who engage in capacity-building for the long-term prospect of an art institution. There is real danger for artists as project-based laborers when they intervene in governance structures of hosting institutions. Artists are left economically destitute, foreclosed upon, or discarded, when they operate beyond their expected role by attempting to intervene in institutional administration. This danger is precisely why Emamifar has brought in key collaborators—legal counsel—to take on a substantial behind-the-scenes and public-facing role in engaging with the structural conditions of the institution. Emamifar’s exhibition includes a built stage where representative legal counsel, Nora Ebeling, will give a public presentation on the practicable legal-economic guidances for the KHS to utilize when contracting visa-applicant, migrant, displaced, and refugee status artists. Emamifar’s decision to construct a platform for Ebeling’s public presentation of this proposed legal-economic infrastructure underscores vital interrelated questions for the artist: What are the risks of visibility and platforming—of representation— when seeking to actualize lived political realities? What does it mean for Emamifar to assign Ebeling with the public-facing work of exposure and education in confronting audiences with the structural imperatives for visa-applicant, migrant, displaced, and refugee status workers? To what extent will this legal-economic framework serve as both an internal and outward facing policy, offering everyday considerations that are specific to the KHS, as well as reproducible models of institutional conduct that challenge the inequitable, exclusionary, and discriminatory hiring practices so prevalent in the art sector at large?
The title of Emamifar’s exhibition, Ex gratia, refers to the term as used in a legal context for a payment that is made not out of legal obligation but because the circumstances justify it. It is a kind of standard practice recognized by the law that is irregular, a legally recognized consideration that is extra-legal. Ex gratia payments are morally justified but legally unsanctioned—that is, they are a means of recourse potentially more exacting than those mandated by law. Emamifar’s exhibition includes a fully executed agreement between the artist and KHS that governs the storage of materials owned by the artist within a safe deposit box located on the fourth floor of the KHS for as long as KHS rents the building at its current location. A key provision of this agreement is that Emamifar may grant an assignee access to any of the many safe deposit boxes the artist has made available. In the event that the artist grants an assignee access to a safe deposit box, all terms and conditions of the agreement apply to the assignee just as they do to the artist. This signed agreement is included in the exhibition pamphlet.
Program
05/06/2023 (7pm)
Opening reception
06/24/2023 (3-5pm)
Nora Ebeling, legal counsel, public presentation and workshop at the Künstlerhaus Stuttgart
06/25/2023 (3-4pm)
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.
The next meeting of the Fourth Organ will take place on 4 May.
At this meeting there will be no dedicated topic focus, but we will get together for a casual exchange over a few drinks.
The meeting point is in the Künstlerhaus on the 2nd floor at 7 pm.
33 Träume (Dreams)
Book presentation and talk with Chris Mennel
In the Tuesday workshop, Chris Mennel talks about events that have taken place around his book “33 Träume” – the project idea, the affection for his own homepage, the remoteness of Instagram and Facebook, the book trade, marketing goals and wilful naivety in book sales.
“33 Träume” is an art book that includes texts and poems by the artist as well as photo paintings he has created, and is now cause to go on a promotional tour, because the books cannot be ordered on Amazon, but only from the artist himself.
At the beginning of 2022, Chris Mennel discovered a box of darkroom pictures from the last 20 years and presented them on camera. These images can also be found in the book, together with an imaginary 33rd, a black image and texts that were created to accompany the images.
On the one hand, the small print run of the book combines the joy of having an art book printed in a small edition at a fair price; on the other hand, it also goes hand in hand with a distance to museum shops and bookstore chains and thus less attention from the press.
To get around this, social networks are served by Mennel through a chatbot and populated with content and the artist’s name. The chatbot draws on seasonally appropriate photos from recent years and thus repositions what was already posted years ago.
The art book is accompanied by the domain 33träume.de.
The Tuesday workshop is moderated by Florian Model, artist, member of the advisory board and head of the video workshop.
The topic for the next meeting of the Fourth Organ is the Guideline for Dealing with Discrimination, Harassment and Violence, which a working group consisting of parts of the Board, Advisory Board and staff of the Künstlerhaus have developed over the last two years.
On Tuesday, April 04, 2023 at 7 p.m., the Advisory Board will present the guideline to members on the 2nd floor.
Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.
The program will be held in English. If needed, Juliane Gebhardt, curatorial assistant at Künstlerhaus Stuttgart, will translate into German.
All events take place on the second floor of Künstlerhaus Stuttgart.
Schedule:
Friday March 31
7pm – 9pm
Working Group Reader Launch
Food and drink
“Never Settle: The Program” video work by New Red Order on view
Welcome remarks from Eric Golo Stone (Künstlerhaus Stuttgart), Lulani Arquette and Reuben Tomás Roqueñi (The Center for Native Arts and Cultures)
Spoken word performance by Allison Akootchook Warden
Saturday April 1
1pm – 2:30pm
Introductory remarks by Eric Golo Stone and Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum (Editor of Working Group Reader and Organizer of Working Group)
Working Group Session 1
2:30 – 2:45pm
Break
2:45 – 4pm
Working Group Session 2
Sunday April 2
Fourth Floor Gallery
12 – 12:45pm
Flint Jamison public tour of the artist’s exhibition, “Masterworks on Loan, 2020, 2022″
Second Floor Gallery
1 – 2:30pm
Working Group Session 3
2:30 – 2:45pm
Break
2:45 – 4pm
Working Group Session 4
5pm
Closing performance by Tiokasin Ghosthorse (musical piece and unlearning colonization work)
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg.
On Saturday 25 March 2023 from 6 pm – 1 am there will be the opportunity to take part in various events on the four floors of the Künstlerhaus:
1st floor and workshops on the ground floor:
6 pm – 1 am Hourly percussion performance by studio scholarship holder Eva Dörr in the sound studio.
6 pm – 1 am Open workshops (ceramics, screen printing, etching, lithography, relief printing)
2nd floor:
6 pm – 1 am Hourly video screening Never Settle: The Program by New Red Order in the exhibition Convenings on Land Reclamation by The Center of Native Arts and Cultures (Oregon, USA).
3rd floor:
6 pm – 1 am The studio holders Florian Glaubitz, Alba Frenzel, Lambert Mousseka, Mona Zeiler, Lennart Cleemann, Janis Eckhardt, Lena Meinhardt, Ekaterina Surgutanova and Elena Trutieva show artistic works and performances in the studios, the staircase and the common room of the studio floor.
4th floor:
8 pm and 10 pm Curatorial tours in German and English through the exhibition Masterworks on Loan, 2020, 2022 by Flint Jamison.
Tickets cost 22 €, concessions (trainees, students, pupils) 16 €, children up to 6 years have free admission.
Advance ticket sales for the Long Night of the Museums will take place from 24 February at
www.lange-nacht.de, under the ticket hotline 0711/601717 30 and at all advance booking offices in Stuttgart and the region.
Box office tickets are available at all participating houses. Pre-sale tickets will be converted into a ticket band at the box office the first time you visit a house.
The Long Night Ticket entitles you to free use of all trams, S-Bahns and buses in the VVS network from 12 noon.
More information at www.lange-nacht.de, the information and ticket hotline 0711/601717 30 and at the information stand on Schlossplatz between Landesmuseum/Altes Schloss and Alter Kanzlei (from 25.03., 3 pm).
Algorithm-based camera surveillance
Film screening and talk
with Martin Mannweiler
Documenting a video surveillance project by the Mannheim police – a pilot project introduced in 2017 to monitor public spaces. The monitored areas of Mannheim are considered criminal hotspots. Cameras are intended to defuse the situation by ensuring rapid police intervention when criminal acts are observed. Work is currently underway to enable algorithms to recognize specific movement patterns and signal possible criminal acts.
In addition to the analytical presentation of the surveillance project in Mannheim, the following topics will be addressed on a general level: criminal hotspots and threat situations, panoptical surveillance, private generation and public provision of image data, security and fear, global crises and the associated need to control the local. Likewise, other cities that rely on camera surveillance projects are exemplified – including Stuttgart.
By looking at the initial stages of camera surveillance projects, can considerations be formulated that will prevent or curb rampant mass surveillance of public spaces in European metropolises such as London or Paris in the future?
Film: Martin Mannweiler
Graphics: Mark Julien Hahn / Stereo Typefaces
Music: Björn Castillano
Film and talk in German language
Gefördert von
Stadtlücken, Stuttgart
Mofa – Mannheim´s Ort für Architektur
Kulturamt, Stadt Stuttgart
Ministerium für Wissenschaft, Forschung und Kunst Baden Württemberg
Danke für die Freundliche Unterstützung
ato.vision, Württembergischer Kunstverein, Kunsthalle Mannheim, Stadtzimmer der Kunsthalle Mannheim, Rimini Protokoll, Künstlerhaus Stuttgart
Saturday, March 4th 2023, 7pm
Kunstraum Atelierhaus Filderstraße 34 e.V., Filderstraße 34, 70180 Stuttgart
The second meeting on the topic “Kunstverein(e) der Zukunft” took place on December 4 at the Kunstverein Böblingen. With numerous guests and representatives of different Kunstvereine, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes, which have often developed over years and decades, must be questioned, further developed and possibly reinvented in order to be able to continue to do successful artistically committed association work in the future. The representatives of the various Kunstvereine reported on their own concrete experiences, problems and approaches to solutions. Based on the different perspectives and contexts, an open, multifaceted and fruitful discussion resulted for all participants. It also became clear that this was not the end of the discussion and that we would like to use this impulse to promote further exchange and networking between the art associations.
In doing so, we would like to take the opportunity to visit the various Kunstvereine and get to know them better: the host of our next meeting on March 4 at 7 pm will therefore be Kunstraum34 in Stuttgart. Invited to the meeting are Kunstverein Neuhausen, Kunstverein Böblingen, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.
The position of artistic director at Künstlerhaus Stuttgart is to be filled as of January 1st, 2024.
Künstlerhaus Stuttgart was founded in 1978 by artists to promote practical working conditions, theoretical engagement with art, and cross-disciplinary exchange among artists. By giving space to social and political demands while addressing the most current artistic practices and discourses, Künstlerhaus Stuttgart is today an institution of local and international significance.
Künstlerhaus Stuttgart houses exhibition spaces, workshops and seven artists’ studios with changing fellows. We are looking for a director who will build on this structure to develop an artistic program that brings local communities and international agents into exchange.
As a Verein, we have a strong interest in alternative models of presenting and communicating art, as well as experimental formats.
Within the structure of the Künstlerhaus, the artistic director is responsible for
– the independent development and implementation of an artistic program
– the logistical and budgetary preparation and realization of the developed program, as well as related events
– project financing and the associated acquisition of third-party funding
– the conception of the education program within the framework of the Artistic program for which the artistic director is responsible
– the documentation of the projects, as well as the conception and realization of publications, if applicable
– press and public relations work
What the position requires
– very good knowledge of contemporary cultural production
initiative and a high degree of personal responsibility in combination with a strong ability to work in a team
– strong communication and organizational skills
– full professional proficiency in German and/or English
– proven experience in project financing and cultivating third-party funding
– experience in public speaking and excellent verbal communication skills with members, visitors, colleagues, and staff as well as the press and politicians
– willingness to make Stuttgart your main place of residence for the duration of your tenure
At Künstlerhaus Stuttgart, the Artistic Director works closely with a dedicated team consisting of a full-time managing director, an accountant, a technical manager, and volunteer members on the board, advisory board, and workshops.
The appointment of the Artistic Director is for three years with the option of a one-year extension. The Artistic Director is offered an assistant to the extent of half a position.
If necessary, Künstlerhaus offers help in finding an accommodation and supports a German language course.
Please send us your application (cover letter, curriculum vitae without photo and an overview of your previous work qualifying you for the artistic direction) as well as a forward-looking concept for the artistic direction (max. 1 Din A4 page) as one PDF-file (max. 10 MB) only by Email no later than May 1, 2023 to:
Ania Corcilius, Chairwoman of the Board
Künstlerhaus Stuttgart e.V.
Reuchlinstraße 4b, 70178 Stuttgart
Email: bewerbung@kuenstlerhaus.de
Applications from teams or groups will also be accepted. All applications will be treated confidentially.
Together with Künstlerhaus Stuttgart, the Center for Native Arts and Cultures (Portland, USA) is organizing a two-day open working group to review the land reclamation process that led to its founding. These working groups will be accompanied by a reader, a new video work titled “Never Settle: The Program” by New Red Order, performances by Tiokasin Ghosthorse and Allison Akootchook Warden, a collection of documents, and by a program organized by educators from Künstlerhaus Stuttgart.
Detailed information about the project can be found here.
Please register for the educational program by sending an e-mail to education@kuenstlerhaus.de.
All workshops are free of charge.
Journal Workshop for Teenagers
with Thora Gerstner
February 26 (3-5 p.m.)
Where do we collect memories? In a bookbinding class, we will make our own sketchbooks, calendars, or blanks for journal entries, drawings, collages, or notes to create a gathering place for memories. Historical bookbinding techniques will form the basis for independent production. The cover can be designed with worn-out clothing brought along.
Jewelry Workshop for Children
with Thora Gerstner
March 2 (2-4 p.m.)
Jewelry can hold memories. We will combine found and brought materials and assemble them into a variety of unique jewelry pieces to find new and old, real or made-up memories in our jewelry.
BPoC Creative Empowerment Workshop
with Yara Richter
March 4 (3-6pm)
Developing and providing an ongoing space for the work of the BPoC community will be consistently pursued in this workshop. In the context of an educational, research, and discursive space focused on decolonial practices, cultivating and growing a BPoC community over time is really important and represents a specific approach to what a public education program can do.
Weaving with Paper: Rethinking History and Space
with Lejla Dendic
March 5 (3-4:30 p.m.)
In this workshop we will learn together how to weave with paper. We will gain a better understanding of this world and its interconnectedness with us humans through the physical process of weaving. Using Masao Adachi’s landscape theory fúkeiron, we will try to identify and analyze global and communal structures and spaces together and process them through weaving. Weaving serves to overcome the blockages of seemingly broken connections and to connect people and visions of a world that works for all.
Working with Clay: Rethinking the Collective Self
with Lejla Dendic
March 11 (2pm-3:30pm)
Together we creatively explore the possibilities and symbolism of clay. What does identity, culture and violence mean? Clay symbolically represents ideas of renewal, as it can be endlessly reshaped in its raw state by controlling moisture content. The material thus holds infinite possibilities and the ability to start over again and again. We focus on what it means to create and foster a shared understanding of our impact in this world and what could be.
Udu Making with Ceramics
with Ludgi Porto
March 17-19 (2pm-6pm each day)
As part of the workshop, participants* will be invited to make their own Udu. The Udu is a Nigerian ceramic drum that came to Brazil in the Afro-diaspora. In the Nigerian context, the ceramic drum is traditionally made and played by women, and the voice of the udu is considered the voice of the ancestors. In the Brazilian context, however, the instrument has detached itself from its spiritual origins and found its place in Brazilian popular music. Together we reflect on different questions: What does it mean to produce in the European context an instrument of Nigerian origin that was kidnapped to America in the course of colonization? What am I really doing when I make this instrument? Is this instrument a body? How do I relate to it? Where and how can this body exist? In the decolonial process, what would be the process of restitution? Does this restitution take place on the cultural level? To what extent is restitution possible?
Basic knowledge of ceramics is desirable. The workshop will be held in English language.
Artist Talk
with Ludgi Porto
March 18 (3:30pm)
As part of the workshop program Ludgi Porto will hold an artist talk about her research with the Udu drums. She will briefly talk about the origins of the instrument, including its kidnapping and the kidnapping of its peoples; describe the complex social and racial context involved in her relation with the Udus, while sharing her own discovery as a person of color beyond the South American limits. Along with these topics she will present texts’ excerpts, drawings, paintings and documentations of the developed work throughout the research.
The artist talk will be held in English language.
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg
We invite you to an evening with wax, candles and light
Shallow flames and the thermals of architecture
Fine movements
Flickering
Hissing
Steam and smoke
Soot
Tea
Soup, warm
Wax wanders
Performative objects
The event starts at 6 p.m.
on the studio floor (3rd floor) of the Künstlerhaus Stuttgart
About the project series Sleep over
In the ongoing project series Sleep over, Lennart Cleemann invites artists*, designers* and architects to explore settling in, playing, exhibiting and sleeping together. Every three months a pop-up event takes place. New ideas and works emerge from the coming together of different artistic positions. What are we interested in? What do we want to explore together? There is no set goal or theme, but the search for an open, fluid process in togetherness is the focus. The studio floor of the Künstlerhaus Stuttgart serves as the location for this. There you will find Cleemann’s studio and a 150 sqm large common room, which will be shared by the fellows.
Organized by the Center for Native Arts and Cultures in collaboration with the Künstlerhaus Stuttgart, this project convenes a two-day open working group to reflect on a process of land reclamation that led to the creation of the Center for Native Arts and Cultures, and to envision how from this process the Center will advance a commitment to mobilizing networks of Indigenous artists, culture bearers, and Native-led arts organizations. These in-person group discussions are supported by an accompanying reader, a video work entitled Never Settle: The Program by New Red Order, live performance works by Tiokasin Ghosthorse and Allison Akootchook Warden, a document collection and archive presentation, as well as supplemental programs organized by Künstlerhaus Stuttgart Educators.
The Center for Native Arts and Cultures was founded in 2021 as the headquarters of the non-profit Native Arts and Cultures Foundation after taking up the transfer of ownership of the historically registered Yale Union Laundry Building, a two-story commercial structure and surrounding land parcel, in the city of Portland, Oregon, which was previously owned by an artist-run space called Yale Union. This working group serves as a contribution to a larger series of internal focus groups currently being convened by the Center for Native Arts and Cultures to gather input on its organizational capacity and structural conditions as it situates operations, exhibitions, and educational programs in the newly acquired building. While acknowledging the land that this particular building sits on, working responsibly in various local level contexts to reflect the history of previous Native tribes and peoples who inhabited the land for the purposes of use rather than ownership has always been crucial to the Native Arts and Cultures Foundation. Additionally, efforts around the transfer of Yale Union to the Native Arts and Cultures Foundation reflect a broader movement to address ongoing historical inequities stemming from land ownership and property in the US and beyond.
This inter-institutional collaborative project is consistent with the ethos of the Künstlerhaus Stuttgart, which was founded by artists in 1978 as a place where producers from around the world convene to discuss their conditions of artistic production. Its foundational structure situates artistic interests and institutional capacity as closely interrelated. The Künstlerhaus Stuttgart seeks to engage in knowledge sharing with respect to the Center for Native Arts and Cultures’ specific interests in Indigenous approaches to artistic production, organizational capacity, and governance arrangements, as well as decolonial education that includes learning in water rights, reparations, and land use justice. Germany is yet another site from which these discussions must necessarily take place. There is little question that current German land law has been shaped through German colonial empire and its patrician city-state colonial encounters in the global context. Germany has a long complex history of implementing laws to seize property and assert land ownership. This confiscatory history of legal-economic structures ratified by Germany and the broader European colonial venture has fundamentally altered the management of land and related resources globally. And it must be recognized how these fundamental changes extend to the lived social relations, economic conditions, and cultural practices imbricated with Indigenous and existing forms of land use. This project focuses on a specific set of lived questions and material challenges that the Native Arts and Cultures Foundation and its Center for Native Arts and Cultures is confronting, but which are also part of the research, education, and outreach efforts today that emphasize rebuilding, restitution, and reparations efforts of Indigenous peoples worldwide as they seek to strengthen internal governance capacities and realize political, economic, and community development objectives.
Contributors include: Maile Andrade, Natalie Diaz, Healoha Johnston, Tiokasin Ghosthorse, Joy Harjo, Flint Jamison, Brandy Nālani McDougall, New Red Order, and Allison Akootchook Warden. With representatives from the Center for Native Arts and Cultures: Lulani Arquette, Reuben Tomás Roqueñi, and Gabriella Tagliacozzo.
The working group and accompanying reader are organized and edited by Healoha Johnston, Director of Cultural Resources, and Curator for Hawaiʻi and Pacific Arts and Culture at the Bernice Pauahi Bishop Museum, with Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart.
Never Settle: The Program by New Red Order, on view:
February 17 – April 2, 2023
Document collection on view:
February 17 – April 2, 2023
KHS Educators programs:
Thora Gerstner: February 26 (3pm – 5pm) and March 2 (2pm –4pm)
Yara Richter: March 4 (3pm – 6pm)
Lejla Dendic: March 5 (3 – 4:30pm) and March 11 (2pm – 3:30pm)
Ludgi Porto: March 17, 18, and 19 (2pm – 6pm)
Detailed information about each of the programs by the Educators may be found on the Künstlerhaus Stuttgart website.
Working Group Reader Launch and Performance by Tiokasin Ghosthorse: March 31, 7pm
Working Group Session 1: April 1, 1pm – 4pm
Working Group Session 2: April 2, 1pm – 4pm
Performance by Allison Akootchook Warden: April 2, 5pm
This project is supported by an Innovationsfond grant from the culture ministry of the regional government of Baden-Württemberg
At the 20th Tuesday Workshop, ak interspace will present the booklet series “Hefte zur Haltung” in the form of a lecture performance.
The booklet series deals with a critical practice of artistic-social making and asks for an attitude between doing and not doing, between theory and practice, between us and me.
The booklets bundle memes, texts, questions, tasks, images and quotes. Playfully and fragmentarily – without providing answers – they give impulses for working on one’s own conditions, which are often challenging in the context of mediation and beyond. The booklets are not intended to be a best practice example of mediation, instruction or a collection of methods, but rather to facilitate a little playful searching.
Afterwards, there will be room for discussion with the visitors about the form and content of the booklets. The booklets will be for sale for a donation.
As ak interspace, Miriam Trostorf, Christian Limber and Lara Dade are part of the rampe:aktion group.
The group works together on a mediation practice that transcends disciplines and is located at the intersections of visual art, social work, film, art education, activism and curating.
As part of the one-year Fellowship for Art Mediation 2021/22 of the Städtische Galerie Wolfsburg, the booklet series “Hefte zur Haltung” was created.
Website: https://rampecollective.org/
Instagram: rampe_aktion
Contact: mail@rampecollective.org
Midissage Sunday, 05 February 4 pm
in the Restaurant Im Künstlerhaus
In the Restaurant Im Künstlerhaus we show works by seven artists who dedicate themselves to the medium of photography, some of which were created in the darkroom of the Künstlerhaus.
The artists present a wide variety of photographic techniques such as cyanotype, digital prints or black and white hand prints, thus demonstrating not only the diversity of photography but also the diversity of artistic positions.
For the exhibitions in the restaurant, the workshop directors of the ten Künstlerhaus workshops invite members to present their work together in a group exhibition. In 2022, this series started with an exhibition of the screen printing workshop with workshop director Jochen Detscher.
We invite you to sparkling wine and coffee & cake. The artists will be present.
In the first Fourth Organ of 2023, we will dedicate ourselves to the call for proposals for the next Artistic Director and its selection process. All members are invited to discuss this on Saturday, February 04, 2023 7pm.
Tuesday Workshop XIX presents: Andrés Baron
December 13 2022, 7pm
Two persons watching a sunset, a woman sleeping at night, the ending of a song: Andrés Baron dislocates and transfers actions in short 5 to 10-minute films. Then, he frees the moving images from the duty to narrate and make sense: attending to the tactility of the image, the plays of perception, and the evocative force of sound. Along the way, the viewers are transported into mistaking the object for its representation, or stillness for movement. (Jade Barget)
Andrés Baron is born in Bogotá, Colombia and lives and works in Paris. Graduated from l’École nationale supérieure des Arts Décoratifs in Paris, his work has been presented in various places and exhibitions, including the International Film Festival Rotterdam (NL), la Fondation d’enterprise Hermès (FR) the Edinburgh International Film Festival Edinburgh (UK), Anthology Films Archives, New York (USA), LA Film Forum, Los Angeles (USA), Images Festival, Toronto (CA), EMAF, Osnabrück (DE), Le Bal, Paris (FR), La Cité des Arts in Paris (FR), the FRAC Franche-Comté (FR), among others.
____
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Künstlerhaus Stuttgart is offering 7 studio residencies for a period of 12 months, starting May 1st 2023. Each individual studio is approx. 25 sqm. A large recreation room is accessible for all recipients. Additionally, stipendiaries have free access to all technical facilities of Künstlerhaus Stuttgart. The studios are free of rent, but a membership at Künstlerhaus Stuttgart will be necessary.
It is possible to extend the studio grant through applying for another year. This option can be used not more than twice, so a maximum period of three years is possible.
Künstlerhaus Stuttgart was founded in 1978 as an initiative of local artists. Since then it has developed into one of the most distinguished institutions for contemporary art nationally and internationally. In addition to the exhibition program and complementary series of lectures, screenings and discussions, Künstlerhaus Stuttgart hosts production workshops including audio-visual media, various printing techniques, ceramics, and a separate workshop for children.
Künstlerhaus invites applications from the fields of art, architecture, theory and design, that involve ideas and projects to which the specific infrastructure of Künstlerhaus Stuttgart can serve as a helpful context. Applications of groups and single applications are both welcome.
Application
Please include with your application the following documents:
-
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.
Künstlerhaus Stuttgart congratulates Bernhard Herbordt and Melanie Mohren on being awarded the theatre prize DER FAUST in the category Genrespringer.
The jury explained their selection: “With their ‘Schaudepot’, Herbordt/Mohren have created a place that points beyond itself and has an impact. On the one hand, it is a small shop with open doors on the outskirts of Stuttgart; lovingly and very elaborately thought out down to the last detail. But above all, it is also a construction kit, a principle, an invitation, a thought that is taken out to the villages and the World Wide Web, that can be applied and, as if in passing, raises the question of the social significance of theatre. It is a very serious – with emphasis and great consistency – research. On-going and in the very best sense: transdisciplinary!”
Bernhard Herbordt and Melanie Mohren were studio fellows at Künstlerhaus Stuttgart in 2012. Schaudepot can be found online at https://www.das-schaudepot.org/ and is located at Altenbergstraße 10 in Stuttgart-Süd.
DER FAUST has been awarded as a national theatre prize since 2006 and is sponsored by Deutscher Bühnenverein, Kulturstiftung der Länder, Deutsche Akademie der Darstellenden Künste and this year the state of North Rhine-Westphalia (source: Wikipedia).
The event will take place at Kunstverein Böblingen, Schloßberg 11, 71032 Böblingen.
Our first meeting on the topic of “Art Association(s) of the Future” took place on 4 October at the Künstlerhaus Stuttgart. With numerous guests and representatives of various art associations, we discussed problems and challenges that some established art associations are facing. Structures, processes, ideas and themes that have often developed over years and decades need to be questioned, further developed and possibly reinvented in order to be able to continue to do successful, artistically committed association work in the future. The representatives of the various art associations reported on their own concrete experiences, problems and approaches to solutions. The different perspectives and contexts resulted in an open, diverse and fruitful discussion for all participants. It also became clear that this was not the end of the story and that we would like to use this initial impulse to promote further exchange and networking between the art associations.
In doing so, we would like to take the opportunity to visit the various art associations and get to know them better: the host of our next meeting on 4 December at 7 pm will therefore be Kunstverein Böblingen. Invited to the meeting are Kunstverein Neuhausen, Kunstraum34, Oberwelt, Künstlerhaus Stuttgart, anorak and Kunstverein Nürtingen.
On Friday 25 and Saturday 26 November, das Bündnis invites you to a two-day event with workshops at Künstlerhaus Stuttgart. After months of online meetings, it is time to meet, encounter and, above all, exchange analogue and in presence.
The two days are meant to be used for a reunion with long-time members as well as for getting to know new members.
Friday, 25 November, 5 pm
“Diversity Development” with Markues Aviv from the BBK Berlin
On Friday 25.11.2022 at 5 pm Markues Aviv will report on the activities of the BBK Berlin in recent years. Markues Aviv is a board member of the professional association, which pursues the structural promotion of all visual artists. In addition, the BKK is active in cultural policy and advocates for open and permeable art businesses. It is precisely the diversity developments of organisations that Markues Aviv will focus on in his workshop: What are the basic figures and strategies for diversity development in cultural associations? And what transfer can the alliance draw from the experiences of the BKK for their future work? This is to be found out in a joint discussion.
Afterwards, the room will remain open for lingering. Drinks and small snacks invite us to enter into conversation and to continue networking.
Saturday, 26 November, 3 pm
“Abuse of power and the independent scene in Baden-Württemberg” with Paula Kohlmann and Frederik Zeugke.
Cooperation with FTTS, PZ and Theater Rampe
On Saturday 26.11.2022 at 3 pm we will deal with questions on how to deal with discrimination, assaults or abuse of power with Paula Kohlmann and Frederik Zeugke as a cooperation with FTTS, PZ and Theater Rampe. Even the art scene in Baden-Württemberg is not free of these issues. It is seldom spoken about, and consequences follow even more rarely. This should change! As artists and employees of institutions, we have recently been coming together to gather knowledge, to exchange ideas internally and to talk to the administration and politicians in order to develop strategies and measures. A change in thinking and acting is needed. On an individual, institutional and political level. Abuse of power is not an individual problem, but a structural one. In this workshop, we will gather different perspectives of those involved, discuss current priorities, focus on necessary goals, prepare very concrete next steps for action.
Doors open on Saturday at 2:30 pm, the workshop will start promptly at 3 pm.
For both workshops, please register by email to praesenz@dasbuendnis.net.
Bridge, football, fox, ping-pong table, handkerchief, numbers, pole, clock, butterfly, LOOK.
These are keywords from the series that have been created over the last 18 years. They are connected in the background one by one. But how and why?
In this event he will present how he developed his artistic approach in Chigasaki, Leipzig, Zurich, Rome, Tokyo and London in the period from 2004 to now.
Hayahisa Tomiyasu (1982, Kanagawa, Japan) studied photography at Tokyo Polytechnic University (BA) and at the Hochschule für Grafik und Buchkunst / Academy of Visual Arts Leipzig (Dipl. and MA). He taught at the Zurich University of the Arts (ZHdK) in the Department of Fine Arts in the Bachelor’s program. In 2018, he won the MACK First Book Award with his work TTP. This series is part of the Art Collection Deutsche Börse Photography Foundation.
Flint Jamison’s exhibition at the Künstlerhaus Stuttgart investigates a tax-incentivized art loan program called “Masterworks on Loan,” which was established in 2015 at the Jordan Schnitzer Museum of Art (JSMA), a collecting museum on the campus of the public state University of Oregon, in Eugene, USA. Jamison’s exhibition of newly commissioned work presents a damaging account of this museum loan program during the onset of the COVID-19 pandemic. Ultimately, Jamison reconsiders to what extent the JSMA settles the terms that define the museum’s obligation to serve a public who supports the institution through tax deductions, and for whose benefit it exists as a charitable organization. This reconsideration extends from the seemingly small and localized case of the JSMA, to the broader role art sector institutions have in conceptualizing, legitimizing, and implementing tax laws that facilitate divestment of public interests through extraction and exploitation.
Jamison’s exhibition at the Künstlerhaus Stuttgart builds on his previous work exposing the lived politics of tax law, and it draws from a broad spectrum of literature relied upon by journalists investigating tax law and by critical tax theorists. Critical tax theory is a field of groundbreaking legal scholarship that examines the political and discriminatory aspects of tax law. It is an intellectual discipline that seeks to recognize how deeply consequential tax law is in managing property ownership, vast income inequalities, disproportionate exemptions, inherited advantages, disincentives, and indebtedness. Challenging historical claims that tax law is neutral or unbiased, critical tax theory intersects with other fields studying the ongoing impact of tax laws that have been ratified in the service of colonialism, class oppression, and racial-economic subordination. Significantly, critical tax theory has also long insisted that a complete study of the political dynamics of tax law would require an understanding of specific cultural contexts in which the tax laws operate.
Tax laws increasingly determine the operative structure of art institutions. The expansion of arts patronage globally is inextricably bound to the preferential tax laws that wealthy individuals, foundations, and corporations aggressively lobby for at the city, regional, and federal level. Consequently, the art sector has become dedicated to inventing and upholding legal-economic structures that reduce tax liability for high-net-worth individuals. This legal-economic bias mobilized through art is evidenced today by artworks as tax-exempt assets, art philanthropy as system of tax avoidance, and art workers as a freelance labor force that shifts the tax burden away from employers and onto the worker. Of course, it must be recognized that tax-avoidance laws are not solely distant legal permissions advocated for by the wealthy—these are laws that the broader art field routinely promotes as beneficial to artists, art institutions, art audiences, and the public at large.
Künstlerhaus educators engage visitors in conversation about the exhibition: Wed–Sun 12–6pm
Eric Golo Stone, artistic director of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in English): November 20, 2022 (3pm)
Juliane Gebhardt, assistant curator of the Künstlerhaus Stuttgart, gives a tour of the exhibition (in German): December 11, 2022 (3pm)
This exhibition has been realized with public funding from the city of Stuttgart and was also supported with a donation by Galerie Max Mayer.
Tuesday Workshop XVIII presents: Lis Klein
November 8th 2022, 7pm
The basis for her work is the preoccupation with found material, which either originates from already existing collections or for which her own archival structures and documentary means are developed. Starting from this, she integrates and transfers objects into her own expression to create works.
The current pivot of her work is her engagement with nature, primarily with the world of insects, plants and fungi. Lis Klein gives insights into her collections, working methods and shows works in different stages.
Lis Klein studied fine arts at the State Academy of Fine Arts Stuttgart. She lives and works in Stuttgart.
____
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
For the exhibition “The Hunt” Moritz Berg and Lennart Cleemann went stalking in the Kräherwald. An approach of two artists and their practice with nature. Close to earth, approaching the supposedly dead. From spring to autumn. The conduct becomes hunting, thoughtfully, outside the usual sense of time. The ritual constitutes the change. The trophy perpetuates decay and consolidates our time.
Tuesday Workshop XVII presents:
Judith Engel, Katharina Jabs and Ann-Kathrin Müller: The view has been hazy for days. 35‘ 14‘‘
The film circles around the scene of a seismological station and negotiates which traces and cracks can be found in our thinking along the history of earthquakes. Starting from the physical uncertainty principle, the film examines the obsession of sharply viewing the world without distortion, and how that relates to the history of science and culture. The filmic montage of analogue photographs and essayistic text fragments creates a never-ending reel of still images that transports the film along its narrative. In this way, an associative access to reality is formulated that cannot rely on a certain that-has-been but recognises uncertainty and blurriness itself as conditions of experience and thus questions a principle of photographic and cinematic evidence.
The film accompanies the book „Das Signal“, published by Edition Taube in 2022.
_____
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
This year, Künstlerhaus Stuttgart has awarded two working grants to Ukrainian artists who fled the war and are now based in Stuttgart and the surrounding area: Ekaterina Surgutanova and Elena Trutieva.
Both artists will be provided with a workspace on the studio floor until further notice. They also receive a monthly financial allowance to enable their artistic practice.
Ekaterina Surgutanova
Ekaterina Surgutanova was born in Ukraine in 1995 and lived in Slavutich, Kiev and Lviv. From 2010 to 2012 she studied at the School of Culture and Art in Slavutich at the Faculty of Fine Arts.
2012 to 2018 Surhutanova studied at the National University of Civil Engineering and Architecture in Kiev, specialising in urban planning and architecture and landscape architecture.
She worked as an architect. However, she started painting murals indoors and outdoors. The focus of her work is on detailing objects, emphasising shapes and playing with colours so that the painting becomes one with the environment it is in, using acrylic paint.
In her paintings she explores the transformation of authentic images through colour and varied composition, while retaining the graphic strokes of academic drawing.
In her latest series, the artist tries to capture the emotional context of a nation confronted with the problem of the expulsion of people from their country through the prism of their individual feelings and experiences. She uses the example of the Ukrainian nation to which she herself belongs. In doing so, she touches on themes such as self-identity in society, personal and collective memory, experience and reflection.
For her works, the artist uses photographs of real people or her memory of people she met on the street when she and her child had to seek safety.
Elena Trutieva
Elena Trutieva was born in Odessa, Ukraine in 1980.
From 1998 to 2002 she studied at the M. B. Grekov School of Art at the Ukrainian National Technical University in Odessa. She graduated with distinction.
From 2002 to 2008 she studied at the NAOMA National Academy of Fine Arts and Architecture, specialising in graphic design. From 2007 to 2022 she worked as an interior designer, designing private and public interiors.
From 2015 to 2017 she worked in Kalamata, Greece, designing cafés, hotels and restaurants.
In the interiors she always tried to use painting, painting walls and ceilings and finding interesting artistic solutions.
When she moved to Greece in 2015, she started painting on sea stones, which has become a very important artistic work.
She is currently working on a series of works that deal with her memories of the war. She spent 15 days with her family in occupation by Russian troops near Gostomel. On social media, she detailed what they experienced during this time and shared her story with the world. This story quickly spread worldwide and is now on display at the Austrian Historical Museum in Vienna. She started with three paintings – a portrait of her mother, one of her friend and a self-portrait. She now wants to draw all the people who were with her these 15 days and who were involved in her rescue. For her, they are not simple portraits, but shots of events with emotions frozen in people’s faces. In these works, she wants to show what they have endured and survived, and the special role of each person in that terrible time.
Two finished portraits show the women who helped her in Germany when she had just arrived.
The monthly financial support is possible thanks to the generosity of private donors.
For our 16th Tuesday Workshop we invite Lennart Cleemann.
Tuesday, September 13, 2022, 7 p.m.
The event will take place on the third floor, in the studio of the artist.
“In einem Raum werde ich reden
mein Atelier
meine Arbeit
in Enge
umgeben von Charakteren
physisch manifestierte Momente
forcierte materielle Intimität
unausweichlicher Terror
existentielle reelle
subjektiv die Brust
ein bisschen Ruhe
ein bisschen Lust”
Lennart Cleemann (*1990) studied architecture (Hanover, Aarhus, Basel and Stuttgart). At the ABK Stuttgart he was part of Reto Boller’s art class and thus found his way into artistic practice.
At the Künstlerhaus he explores ideas and notions of “home”. He works with space and material. Through the construction and abstraction of rooms, furniture and playground equipment, he explores his environment and attempts to gain an understanding of its processes. In this process, the studio has become a place of necessity. It becomes a physical arena of the interior, absorbing whimsy, dust and sweat. The daily change of this intimate space and its observation serves the exploration of the self.
_______
Tuesday Workshop
The Künstlerhaus invites an artist or a collective—meaning any artists or cultural workers from any field or discipline—to talk about their working methods as well as their backgrounds and approaches. We want to establish a platform for a more in-depth interaction with regard to artistic practice, and in doing so to create a network, show solidarity, and mutually strengthen one other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists either living in Stuttgart and the surrounding area or just traveling through, all cultural workers, art mediators, curators, etc., and is open to everyone!
Sonntag, 4. September 2022, 14 bis 18 Uhr
im Künstlerhaus Stuttgart, Reuchlinstraße 4b, 70178 Stuttgart, 4. Stock
Seit Jahren verliert die Berichterstattung über Kultur (Feuilleton), sowohl örtlich wie auch darüber hinaus gehend, merkbar an Bedeutung und Qualität in den Lokalblättern Stuttgarts – Stuttgarter Zeitung und Stuttgarter Nachrichten. Nicht zuletzt der massive Personalabbau in den Redaktionen beider Zeitungen hat dies bewirkt.
Es zeigt sich, dass der Umfang des täglichen Feuilletons in der Regel zwei Seiten umfasst, deren Beiträge zum größten Teil Agenturmeldungen mit keinem örtlichen Bezug sind. Durch diese Einschränkungen erlangen besonders örtliche, durch Tagesaktualität bestimmte Anliegen in der täglichen Kultur-Berichterstattung in Stuttgart nachrangige bis minimale Bedeutung; dazu gehören Kritiken, Reportagen, Ankündigungen von Ereignissen, Personalien … Das monatlich erscheinende Buch „Kulturreport Stuttgart“ vermag das beschriebene Defizit nur begrenzt aufzufangen. So verbleibt den im Kulturbereich Tätigen keine redaktionell ernstzunehmende, mediale Plattform mehr.
Vor diesem Hintergrund lädt die Basisinitiative des Künstlerhauses, das „Vierte Organ“, zu einer öffentlichen Diskussionsveranstaltung ein. Wir fragen:
• Wie kann kritische Kulturberichterstattung im lokalen Kontext aussehen?
• Was sind aktuell die wichtigsten Themen in der lokalen Kunst und Kulturpolitik?
• Wie erreicht man diverse Öffentlichkeiten?
• Was erwarten Künstler*innen, Kritiker*innen, Kulturinstitutionen und -verwaltung von Kulturberichterstattung und -kritik?
• Welche Formate wünschen wir uns?
• Wie lässt sich unabhängige Kulturberichterstattung finanzieren?
Lokale Pressevertreter*innen, Kunstkritiker*innen, Künstler*innen und freie Journalist*innen werden ihre Perspektiven darstellen und in einer moderierten Diskussion mit den Besucher*innen des Symposions ins Gespräch kommen.
Referent*innen sind:
• Adrienne Braun, freie Journalistin und Autorin, u.a. Stuttgarter Zeitung, Stuttgarter Nachrichten, Süddeutsche Zeitung, Themenschwerpunkt Kunst und Theater;
• Dr. Dietrich Heißenbüttel, Kunsthistoriker, freier Journalist und Autor, Kontext Wochenzeitung, Themen: Kunst, Architektur und Stadtplanung;
• Alexa Dobelmann, Mitbegründerin von Frame[Less], digitales Magazin für Kunst in Theorie und Praxis;
• Judith Engel, freie Kulturjournalistin und Autorin, Dozentin für Kulturtheorie an der Merz-Akademie Hochschule für Gestaltung Kunst und Medien Stuttgart
Anschließend möchten wir in Workshops konkrete Maßnahmen erarbeiten, mit denen wir dem diagnostizierten Mangel begegnen können.
Das Ziel ist es, eine neue Plattform für Kritik & Kulturjournalismus zu schaffen, wofür wir Mitstreiter*innen und Unterstützer*innen suchen, die durch ihr Wissen und ihre Expertise bei diesem Projekt helfen können. Wir laden Sie deshalb auch ein, um gemeinsam über die Anforderungen und die daraus resultierende Struktur dieses neuen Formates nachzudenken.
Für die Teilnahme an dem Symposium bitten wir um Anmeldung unter info@kuenstlerhaus.de
After two years of forced break due to corona, an exhibition will take place again this year in Stuttgart’s city hall. For this, the Künstlerhaus invited its artist members via Open Call to participate and submit works on this year’s theme of the exhibition “Island”.
21 artists have been selected and will again provide an insight into their current work in the 6th edition of the city hall exhibition. The artists not only draw on different media, but also approach the theme of the exhibition in different ways in terms of content and concept.
The cross-generational group exhibition once again impressively demonstrates the role of Künstlerhaus Stuttgart as a place of exchange as well as artistic production, and it also represents the cross-section of Stuttgart’s artistic diversity.
Mit freundlicher Unterstützung der Landeshauptstadt Stuttgart
Zu unserer 15. Dienstags-Werkstatt laden wir Christian Diaz Orejarena ein.
Dienstag, 14. Juni 2022, 19 Uhr
Die Veranstaltung wird im 3. Stock im Künstlerhaus stattfinden.
Ein Comic, der sich mit der deutschen Kolonialgeschichte in Kolumbien beschäftigt. Im Rahmen eines Stipendiums bewegt sich Christian Diaz Orejarena auf den sogenannten »Lengerke Wegen« im Nordosten Kolumbiens, die von einem deutschen Unternehmer im 19. Jahrhundert angelegt wurden. Dort stößt er auf Heldengeschichten über skrupellose Kaufleute, Mythen und Geschichten rund um Ausbeutung und Größenwahn und wirtschaftliche Mechanismen, die sich bis heute fortsetzen. Auf verschlungenen Pfaden, Wegen und Gedanken folgen wir der Familiengeschichte des Autors, treffen auf aufklärerische Karnevalsmasken, den zum Leben erwachten Walking Man aus München und indigene Widerständler:innen.
Experimentell, lustig und abgedreht nähert sich Christian Diaz Orejarena in Otras Rayas – Andere Linien einem Thema an, das im deutschsprachigen Raum noch nicht viel Beachtung erfahren hat und das, obwohl es sehr enge Verbindungen nicht nur zwischen Kolumbien und Kaufleuten aus den hiesigen Hansestädten gab.
Infos zum Buch OTRAS RAYAS – ANDERE LINIEN https://christiandiaz.net/otraraya/index.html
https://thegoldenpress.org/produkt/otras-rayas%E2%80%89-%E2%80%89andere-linien/
Teaser der Performance: https://vimeo.com/662773781?embedded=true&source=vimeo_logo&owner=497281
Christian Diaz Orejarena,
in München geboren und aufgewachsen, studierte in Berlin und Wien Konzept- und Medienkunst. Er arbeitet an recherchebasierten und interdisziplinären Projekten, die oft in kollektivem Zusammenhang entstehen. In seiner künstlerischen Arbeit erzählt er selbstironische und persönliche Geschichten über seine postmigrantische Biografie und konstruiert darüber einen dokufiktiven Blick auf sozio-politische, ökonomische und ästhetische Verbindungen zwischen Kolumbien und Deutschland. Den eigenen Wahnsinn vor Augen, hält er durch seine künstlerische Praxis der Gesellschaft den Spiegel vor die Nase und baut Zeichnungen, Videos und Aktionen ins Leben zurück, die von unangepassten Dingen, widerständigen Menschen und antikolonialen Traumwesen berichten. Seit er mit dem Kollektiv rampe:aktion zusammen arbeitet, motiviert er auch andere sich mittels Zeichnung, Film und Poesie eine undisziplinierte Welt zu erkämpfen.
_____
Dienstags-Werkstatt
Mit der Dienstags-Werkstatt lädt das Künstlerhaus Künstler:innen oder Kollektive ein, über ihre Arbeitsweisen, Hintergründe und Vorgehensweisen zu sprechen. Wir wollen eine Plattform etablieren, in der sich intensiver zur künstlerischen Praxis ausgetauscht wird und uns so vernetzen, solidarisieren und gegenseitig stärken.
Die Reihe richtet sich an alle Mitglieder des Künstlerhaus Stuttgart, an Künstler:innen aus Stuttgart und Umgebung, oder auf der Durchreise, an alle Kunstvermittler:innen, Kurator:innen, Kulturschaffende usw. und ist offen für alle!
On Saturday, June 4 at 7 p.m., the next session of the Fourth Organ will be held at the current exhibition “It has nothing to do with happiness” by Anike Joyce Sadiq.
It is also possible to participate via Zoom at the following link:
https://us02web.zoom.us/j/82690585857?pwd=MHJxUmo2UE5BcUNnYzFRL2VBSFdXZz09
Meeting ID: 826 9058 5857
ID code: 236881
We want to deal with two topics at this meeting:
– on the one hand with the survey from Anike Joyce Sadiq, which she sent out to all members at the end of last week
– secondly, we want to discuss possible formats & events that can take place during the exhibition
Die Stuttgarter Künstler:innen Kerstin Schaefer und Christa Munkert – die als FUKS Freie Unabhängige Künstlerinnen Stuttgart seit 2010 kollaborative und partzipative Installationen und Aktionen im öffentlichen Raum durchführen in unterschiedlichsten Konstellationen mit Künstlerkolleg:innen und Publikum – an Kunstorten oder in neuen, aufregenden Spaces…sind am Sonntag, dem 22. Mai 2022 von 11-16:00 Uhr im KÜNSTLERHAUS STUTTGART zu Gast.
Im Rahmen des inklusiven Kulturfestivals „FUNKELN inklusive“ realisieren Sie gemeinsam mit dem Stuttgarter Künstler Kurt Grunow und den Gästen Ihre Malerei-Lichtskulptur 1000 X LEUCHTEN/ TAUSENDSCHÖN. Dabei werden auf durchsichtigen Materialien Bilder gemalt, welche zu einer transluzenten Rauminstallation zusammengefügt werden.
Mehr Infos unter www.fuksweb.blogspot.com
Es entsteht ein kleiner Film ab 14 Uhr.
The work of Anike Joyce Sadiq consistently reconsiders the extent to which social dynamics, intersectionality, and perspectives of difference are negotiated within institutional structures. Sadiq’s exhibition projects often produce scenographic spaces with installation works that activate a social-situational awareness of the immediate institutional context. The artist creates mechanisms and platforms for attentiveness to one’s social surroundings, including the people, their interactions, and their behaviors. Sadiq is interested in how interactive, divergent, and converging lived relations specifically play out within sites of artistic production and reception. The scenographic spaces that Sadiq produces contend with fundamental challenges to social connectivity, recognizing for instance that disclosure and exchange are pursued within art institutional structures that too frequently undermine these pursuits. Informing the planning, construction, and use of these spaces Sadiq creates within institutions, the artist at times takes an active mediating role in communications with representatives of the hosting institution and invited collaborators. Sadiq works as an interlocutor, seeking out other interlocutors and inviting in allies, in order to examine dependencies, reciprocities, differences, and hierarchies within the institutions where the artist works. Taking on this high-risk role of internal mediation in producing her exhibition projects, Sadiq employs a position of critical ambivalence that recognizes how institutions intended to be places of public-facing accessibility and facilitation almost always operate internally by deferral and obstruction.
Anike Joyce Sadiq’s first major monographic exhibition in Stuttgart, Mit Glück hat es nichts zu tun, presents newly produced work that carries forward the artist’s investigations into complex social dynamics through mediated spaces that center perceptions of difference. Sadiq’s exhibition at the Künstlerhaus Stuttgart comprises multiple interrelated pieces situated within a large-scale installation. Sadiq wrote a questionnaire addressed to all association members of the Künstlerhaus Stuttgart.[1] The questionnaire itself and the responses to this multiple-choice survey are presented in the exhibition gallery. Additionally, beyond the artist’s exhibition in Stuttgart, the survey and database of survey results will be maintained indefinitely as an openly accessible online platform, with Sadiq distributing the survey to art institutions globally while updating language and other accessibility features to the website as the platform is more widely distributed. While the survey reflects on the status quo and demographics—the racially- specific, gender-specific, class-specific relations—that currently constitute the Künstlerhaus Stuttgart, Sadiq has created a large-scale installation in the gallery that is devoted to generating critically reflexive discussions about the future potential of the institution. Built from a repurposed scaffolding system, Sadiq’s installation emphasizes contingent relations and conditional infrastructure. Focusing on this critical horizon, Sadiq invited a semi-autonomous organization associated with the Künstlerhaus Stuttgart, named the Fourth Organ, to hold their monthly meetings within the large installation. Sadiq has been actively engaged in the Fourth Organ meetings since the organization’s founding in 2020, at the outset of the pandemic and most recent social justice uprising. The Fourth Organ is intended to offer an open, inclusive, interstitial space within the Künstlerhaus Stuttgart, where individuals and groups can voice their interests for the institution. But the Fourth Organ is not solely a space for voicing open proposals or the politics of protest, the monthly meetings are intended to serve a very specific purpose of developing formal motions to be voted on at the annual membership meeting. For Sadiq, the porousness of the Fourth Organ is consistent with her artistic interests in holding space for contentious social dynamics and dissenting positions within art institutions. Because the Fourth Organ meetings are open to board members, staff members, association members, and non-members alike, safety and discretion are challenged by the authority dynamics present in these gatherings. The final work in Sadiq’s exhibition is an interview text the artist conducted with the writer Andrea Scrima that reflects on their experiences working in art institutions, with specific case-study attention given to recent experiences working within the Villa Romana, a German art institution which oversees a residency program in Florence Italy, and which offers related exhibitions and programming. Sadiq’s and Scrima’s incredibly candid first-person account evidences their experiential research into institutional conduct broadly, while also focusing in on the particularly fraught socio-economic conditions of the Villa Romana.[2]
Schedule of Programs:
21/05/2022 (8pm)
Judith Hamann performs a site-specific sound work within the exhibition installation
10/06/2022 (6.30pm)
Discussion with Anike Joyce Sadiq, Simone Frangi, Justin Randolph Thompson, Lucrezia Cipitelli, Alessandra Ferrini, and Andrea Scrima at the Villa Romana, in Florence, Italy
04/06/22 & 04/07/22 & 04/07/22 (7pm) & 04/09/22 (2-6pm)
Fourth Organ Meetings: Open to all members and anyone who may be considering membership. A space for initiatives, criticisms, and perspectives, while supporting discussions that consider relations between artistic and institutional practices
19/06/2022 (3pm)
Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart
Wed/Thu/Fri/Sat/Sun (12—6pm)
Künstlerhaus educators lead public discussions of the exhibition
[1] Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany. The Künstlerhaus Stuttgart currently has over 500 members.
[2] For each work within the exhibition, Sadiq engages in the complex messy work of analyzing, embodying, and enacting institutional structures. The work of institutional analysis and critique is frequently dismissed as being easily adopted and neutralized by the institution in question, but this dismissive characterization of institutional work does not account for the hard fought behind-the-scenes efforts by artists and their collaborators. It must not be forgotten that there are real limitations to confronting institutional structures through artistic positions, with artists’ projects being canceled and collaborating institutional representa- tives having their jobs terminated.
Mit Glück hat es nichts zu tun at the Künstlerhaus Stuttgart has been organized in cooperation with Anike Joyce Sadiq’s concurrent presentation of her works “You never Look at Me from the Place from which I See You” (2015), “Papierstück” (2014) and “Berührung” (2008) at the permanent collection of the Kunstmuseum Stuttgart.
Realized with public funding from the city of Stuttgart
With the generous support of the Stiftung Kunstfonds
In collaboration with the Akademie Schloss Solitude
Over the past decade, Bea Schlingelhoff has become increasingly known for producing site-responsive and situationally-specific exhibition projects that test institutional capacity for exposure work. Schlingelhoff’s exhibitions often initiate or accelerate an internal reflexive process of uncovering, divulging, and repairing historical trauma present within the immediate context of exhibiting institutions that hire the artist. For Schlingelhoff, tasking institutional representatives with this behind-the- scenes work of confrontational exposure and reparative justice is an artistic position-taking—a means by which the artist as a short-term contracted worker attempts to maintain safe distance from the deeply unsafe social conditions inherent to all institutions, and particularly with respect to transitional institutions claiming to be committed to structural change. Anticipating real danger when the freighted memory, identity, and legacy of an institution is unsettled, Schlingelhoff calls on institutional representatives to respond to this induced stress test. In doing so, the artist’s exhibitions consistently gauge institutional responsibility by asking: what capacity to respond do representatives have on behalf of their unsettling institutions?
Bea Schlingelhoff’s exhibition, Declined Declinations, proposes a legal institutional name change of the Künstlerhaus Stuttgart. Over the course of a multi-month process that began with an initial site visit in July of 2020, the artist prepared and submitted formal motions to change the gendered institutional name “Künstlerhaus” (“the male artists’ house”), and to change language in the institutional bylaws that reflects this gender-specific bias. The Künstlerhaus Stuttgart was founded by artists in 1978 as a space for artists to produce onsite while also discussing and redefining the onsite production conditions. It is an institutional context that is structurally equipped for reconsiderations of governance and policy-making from the perspective of art producers. This emphasis on the laboring artist who is not external to the art institution is embodied in the name of the “artist’s house,” a widely replicated categorical name of an art institution in the German-speaking context that offers onsite production and residency facilities for artists (i.e., the Künstlerhaus Bremen, the Künstlerhaus Dortmund, the Künstlerhaus Bethanien, etc). Consistent with the kunstverein structure, the Künstlerhaus Stuttgart is constituted by the legal-economic structures of association law in Germany, with bylaws that stipulate association members’ voting rights in governing the institution. The vast majority of members at the Künstlerhaus Stuttgart are artists who pay the requisite annual membership fee of twenty-five euros. Other than this annual membership fee, there are no sanctioned conditions for becoming a member. Immediately upon gaining membership, any new member may submit motions to be voted on by the membership. Members of the Künstlerhaus Stuttgart vote at the general assembly. The general assembly is a legally required body. Every association must hold a general or annual general assembly meeting at the intervals specified in the association’s articles of association. Members at the general assembly may elect members of the board, vote on various resolutions, and vote to change the statutes. Consequently, artists occupy a position that closely interrelates institutional governance arrangements and the immediate conditions of artistic production at the Künstlerhaus Stuttgart. Artistic positions and artistic criteria—rather than purely bureaucratic positions or technocratic criteria—are central to the administrative work of structural governance. And by emphasizing artists as primary contributors to governing decisions, the Künstlerhaus Stuttgart potentially challenges the settled expectation that artists’ work should amount to purely content-related outcomes.
In 2021, Schlingelhoff became a member of the Künstlerhaus Stuttgart and submitted two formal motions that were voted on at the annual general assembly in November of that year. The first motion stipulated a change of name from Künstlerhaus Stuttgart to Künstlerinnenhaus Stuttgart (“the women artists’ house,” or “the female-identifying artists’ house”). This motion was defeated with 10 yes votes, 15 no votes, and 8 abstentions. The second motion stipulated that any language in the bylaws where the generic masculine is used would be changed to the generic feminine. This second motion was defeated with 7 yes votes, 19 no votes, and 4 abstentions. There were three widely expressed reasons for the down votes, which were communicated to Schlingelhoff by fellow members and institutional representatives. Firstly, the membership and institutional administration at large needed more time to become familiarized, informed, and educated on the political imperatives at stake as well as the practical implications of renaming the institution. Secondly, it was expressed that Schlingelhoff’s motion to change the name of the institution was reductive in that it offered only one single name change option selected by one member artist (this point was sometimes taken further to argue against an artist joining the membership to immediately propose structural changes to the institution, while also then presenting these proposed structural changes as material within an exhibition of their work). Lastly, it was expressed that within the context of gender-politics and broader political realities, changing an institutional name and corresponding language of the bylaws is a relatively trivial matter.
To this last point on the relative triviality of language, Schlingelhoff felt the response was obvious. There is of course a necessary correlation between the structures of society and those of language. The biases and exclusions of language are imprinted and internalized every day from a very young age consistently through life. The uncovering of the gendered and racialized nature of many linguistic rules and the unsettling of norms in how the use of language can be analyzed from a feminist viewpoint has proven to be of critical importance. And at this point, the various arguments that have been presented for retaining masculine/generic usage have been thoroughly documented, illustrated, and analyzed. There is a strange contradiction when one so adamantly refutes what one believes to be so trivial.[1] In response to the other expressed points, Schlingelhoff prepared and submitted a new set of motions to be voted on at the annual general assembly in March of 2022. Schlingelhoff submitted nine motions, each offering a different institutional name option. These nine name options were taken directly from widely accessible German language publishing style guidelines on the gender formulation of the phrase “artists’ house.” Schlingelhoff wanted to make sure the maximum number of variations on the gender formulation were represented, while keeping close to the most widely used gender neutral language guidelines and gender diversity teaching manuals (there are no established gender-neutral standard publishing guidelines as of yet in Germany). The only condition Schlingelhoff applied was that a name option could not entirely avoid confronting the gender politics (for instance, with the “Kunsthaus” Stuttgart, “the art house” Stuttgart). The nine name options proposed were as follows: 1.) Künstlerinnenhaus (generic feminine); 2.) Künstler/-innenhaus (forward slash with supplementary dash); 3.) KünstlerInnenhaus (internal capitalized letter “I”); 4.) Künstler:innenhaus (colon); 5.) Künstler*innenhaus (asterisk); 6.) Künstler_innenhaus (underscore); 7.) Künstler•innenhaus (bullet point); 8.) KünstlXhaus (X ending); 9.) Künstlerinnen- und Künstlerhaus (double naming).[2] While there is no conclusively fixed or settled agreement, each of the different typographic conventions used in these name options is recognized within the German publishing context as intended to disrupt the grammatical gender binary that is inherent in the German language.[3]
On March 17th of this year, 2022, the nine motions, and corresponding motions to change the language of the bylaws to mirror each of the nine motions, were up for a vote at the general assembly. These motions had been submitted weeks prior to the assembly so that they could be distributed to the entire membership two weeks in advance of the general assembly. There were meetings leading up to the assembly to provide opportunities for members to discuss the institutional renaming and change to the bylaws, and Schlingelhoff held an information session for the membership a day prior to the assembly. On the day of the general assembly, just before the nine name change motions were to be voted on, a member invoked their right to raise a motion without prior notification—a point of order that did not need to be submitted weeks in advance through the procedure to have a motion entered into the general assembly meeting agenda. This member raised the following point of order for a vote: “Shall the motions to amend the bylaws to change the name of the Künstlerhaus Stuttgart be voted on today?” The resulting vote tally on this member’s point of order was 15 yes votes, 26 no votes, and 5 abstentions.[4] As a result of this sudden foreclosure of the vote on the nine motions to change the name of the institution, Schlingelhoff withdrew the corresponding motions to change the language of the bylaws. It should be mentioned that invoking one’s individual right in order to foreclose a planned vote from even taking place is a longstanding tradition within the history of oppression.
Schedule of Programs:
19/06/2022 (3pm)
Eric Golo Stone, Artistic Director of the Künstlerhaus Stuttgart, gives a tour of the exhibition open to the public at the Künstlerhaus Stuttgart
Wed/Thu/Fri/Sat/Sun (12—6pm)
Künstlerhaus educators lead public discussions of the exhibition
[1] There have been centuries of misogyny consciously and unconsciously attacking and mocking against language movements. They have been well covered, as follows: “(1) the ‘cross- cultural’ arguments; (2) the ‘language is a trivial concern’ arguments; (3) the ‘freedom of speech,/ unjustified coercion’ arguments; (4) the ‘sexist language is not sexist’ arguments; (5) the ‘word- etymology’ arguments; (6) the ‘appeal to authority’ arguments; (7) the `change is too difficult, inconvenient, impractical or whatever’ arguments; and (8) the ‘it would destroy historical authenticity and literary works’ arguments.” For being such ‘a trivial concern’ efforts against language bias have received an inexplicable amount of attention in both academia and the media, and an inordinate degree of resistance to change. Maija S. Blaubergs, “An analysis of classic arguments against changing sexist language,” Women’s Studies International Quarterly, Volume 3, Issues 2–3, 1980, Pages 135–147.
[2] Schlingelhoff’s exhibition project engages with longstanding and ongoing discussions about how unsettled the German language is with respect to gender politics and identity formation. Identity formations and the language for fully recognizing these identity formations is a critical horizon, a process that is unfixed and developing. With respect to this horizon and transformation, it is important to mention that Schlingelhoff is strongly opposed to any project where female identifying individuals and groups are pitted against gender variant or gender non-conforming individuals and groups. To pit these experiences against each other is to neutralize the politics of difference and ultimately adhere to the patriarchal status quo.
[3] There are many available resources for referencing these typographic conventions, gender- neutral language publishing guidelines, and gender diversity teaching manuals in the German context. Please see: Steinhauer, Anja and Diewald, Gabriele, “Richtig gendern: Wie Sie an- gemessen und verständlich schreiben” Berlin: Bibliographisches Institut Duden, (2017). See also: Abbt, Christine und Kammasch, Tim, “Punkt, Punkt, Komma, Strich?: Geste, Gestalt und Bedeutung philosophischer Zeichensetzung,” Edition Moderne Postmoderne, Bielefeld, (2009). For english language readers, please see: Leue, Elisabeth (2000). “Gender and Language In Germany.” Debatte: Journal of Contemporary Central and Eastern Europe. Routledge. 8(2): 163–176. There is also of course comparative research to look at in other language and publishing contexts. For instance, the term “Latinx” has been widely used to disrupt the grammatical gender binary that is inherent in the Spanish language (the gender-neutral 〈-x〉 suffix replaces the 〈-o/-a〉 ending of Latino and Latina that are typical of grammatical gender in Spanish).
[4] This point of order and the vote tally (as with all the numerical outcomes of the general assemblies referred to in this text) are taken directly from the official meeting minutes. The reported meeting minutes of any registered kunstverein in Germany must by law be publicly accessible information.
Realized with public funding from the city of Stuttgart
With the generous support of the Stiftung Kunstfonds NEUSTART KULTUR
For our 14th Tuesday Workshop, we invite Linienscharen to attend.
Tuesday, May 10, 2022, 7 pm.
The event will take place on the 3rd floor.
Linienscharen
was founded in 2012 as a platform for contemporary drawing in Stuttgart and offers a framework for exchange, lectures and presentations. Linienscharen functions as an open forum for artists from Stuttgart and the region who deal with the theme of line in their work.
In the context of the Tuesday Workshop at the Künstlerhaus, Linienscharen would like to look back on past projects and give those who are not yet familiar with Linienscharen an insight into the platform’s activities. On the other hand, Linienscharen will present their current project “How much can a pigeon carry?” as well as the Ukrainian artist Toma Safarova, who will participate in this planned exhibition series.
Afterwards, it would be nice to get into conversation with each other – about the artistic work, the current art production, the discoveries, recollections, new beginnings …
We ask all visitors to bring 1-2 original works to this evening, a drawing, a sketchbook or an expression in another medium, which deals with the theme of the line.
_____
Tuesday Workshop
With the Tuesday Workshop, the Künstlerhaus invites artists or collectives to talk about their working methods, backgrounds and approaches. We want to establish a platform for more intensive exchange on artistic practice and thus network, show solidarity and strengthen each other.
The series is aimed at all members of Künstlerhaus Stuttgart, artists from Stuttgart and the surrounding area, or those passing through, all art mediators, curators, cultural workers, etc. and is open to everyone!
Choose cake display position based on the sun. You wouldn’t want to put your cake table on the sunny side of your tent.
Choose a lighter colour for your cake.
Use a glass cover if your cake is able to fit inside one.
Indoors, the venue should definitely have ample air conditioning.
Consider asking your cake designer about inserting some faux tiers.
Talk to your cake designer and/or wedding planner.
The three-day exhibition “How to protect your wedding cake” by Lennart Cleemann, Lena Meinhardt, Sophia Sadzakov and Eva Dörr is an invitation to stroll – to haptic, audio-visual dreaming. To detach oneself from the ground, via the wind, the rocking, the lullaby, via utopia to the supposedly light emptiness.
On May 4, 2022 at 7pm we will meet for the next meeting of the Fourth Body. This time the meeting will be held at the upcoming exhibition of Anike Joyce Sadiq. It is also possible to attend via Zoom at the following link:
https://us02web.zoom.us/j/82633972299?pwd=QmczZnpPUEkyNVo3Z1ByQ2FXbTkwUT09
Meeting ID: 826 3397 2299
identification code: 757374
Anike Joyce Sadiq offers in her exhibition to the Fourth Organ a place of meeting and exchange. Therefore, at this meeting we would like to discuss with Anike what is possible and what we would like to work on beyond the regular Fourth Body meetings during the exhibition period.
For our 13th Tuesday Workshop we invite Matthias Megyeri.
Tuesday, April 26, 2022, 7 p.m.
The event will take place on the 4th floor in the Künstlerhaus.
Matthias Megyeri
was a studio fellow from 2010 to 2013 and a member of the advisory board at the Künstlerhaus for 10 years.
Matthias Megyeri is an artist and designer.
His work is based on a conceptual approach that aims to be understood as a contribution to the discussion of socially relevant issues – and to have an impact on them. Since 2003, he has been working continuously on an artistic research project on the subject of security in public spaces. More than 140,000 snapshots are now part of his “Living Archive,” which he uses to think visually on a project-by-project basis in his artistic practice. Using the psychological function of objects is one of the strategies with which he succeeds in placing his works in everyday life. In an art-in-architecture commission for the headquarters of a bank in Manhattan, for example, he was asked to design three hundred street bollards. For this, he used the functional aspect of the bollards to simultaneously refer to the question of the proportionality of security measures and their psychological effect.”
Matthias Megyeri has Hungarian roots and was born in Stuttgart in 1973. He has lived and worked mainly in Stuttgart since his fellowship at the Akademie Schloss Solitude in 2008/09.
www.matthiasmegyeri.net
Instagram: @matthiasmegyeri
_____
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!