On May 1, 2025, 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 2025:
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.

Am Samstag, den 30.11. und Sonntag, den 01.12.2024 öffnet das Künstlerhaus Stuttgart in der Reuchlinstraße seine Türen und lädt ein zu einem umfangreichen Programm mit offenen Werkstätten und Ateliers, Kunstmarkt, Lesung, Workshop & Filmvorführungen, Open Jam sowie Food & Drinks. Der Eintritt ist kostenfrei!

Programm

Samstag, 30. November 2024, 11 bis 20 Uhr

Galerie (2. Stock)

11 bis 20 Uhr: Kunstmarkt, Leseecke, Kinderecke, Lounge, Food & Drinks

Beteiligte Künstler*innen: Marzieh Bashkar, Marleine Chedraoui, Disasterland Design, Dagmar Feuerstein, Ute Fischer-Dieter, Marla Fischinger, Florian Glaubitz, Yvette Hoffmann, Leonie Klöpfer, Jan Kopp, Adam Ortega, Kateryna Surhutanova, Julia Wenz, Fritz Winter

11 bis 12 Uhr: Little Ciné – Stories of the Water, Stories of the Rain, Animationsfilm Screening für Kinder und Erwachsene, kuratiert von Tamarind Rossetti & Stephen Wright (Dauer: ca. 60 Min., ohne Altersbeschränkung)

13 bis 16 Uhr: Filmprogramm aus dem Künstlerhaus-Archiv

17 bis 20 Uhr: Open Jam

Macht mit oder hört zu, bei einer offenen Jam-Session im 2. OG des Künstlerhauses. Einige Instrumente und Mikrofone werden bereitgestellt. Bringt gerne die Instrumente und Geräte eurer Wahl mit oder auch Gedichte und Meme-Captions mit Ohrwurmpotential.

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Ateliers (3. Stock)
11 bis 20 Uhr: Offene Ateliers mit Lambert Mousseka, Theo Ferreira Gomes, Paco Ladrón de Guevara, anima ona, Marcela Majchrzak, Yara Richter, Mizi Lee

15 bis 16:30 Uhr: Paco Ladrón de Guevara: “Orange. Rollin into”, Workshop (Teilnahme ab 16 Jahre, in englischer Sprache), Anmeldung unter info@kuenstlerhaus.de

“ORANGE. Rolling into“ ist ein 1,5-stündiger Workshop, der Werkzeuge für Improvisation, Bewegungskoordination und Choreografie im Tanz erforscht. Inspiriert von Paco Ladrón de Guevaras neuester Kreation YAGA werden die Teilnehmer*innen mit Orangen als zentralem Element spielen, um ihr sensorisches Bewusstsein zu vertiefen. Durch Geruch, Berührung und Geschmack werden wir erforschen, wie der Körper Sinneseindrücke verarbeitet und in Bewegung umsetzt. Dieser Workshop richtet sich an alle Interessierten ab 16 Jahren.

17 bis 18:30 Uhr: Yara Richter: Szenische Lesung

Yara Richters szenische Lesung ist sensationell ist sinnlich ist Lärm ist pingelig ist Black radical tradition ist spirituell ist Chaos ist zensiert ist Optimismus ist Zerstörung ist notwendig ist langwierig ist exotisch ist gigantisch ist brutal ist amüsant ist aufregend ist fantastisch ist bekömmlich ist romantisch ist hart ist Kritik ist kreativ ist reaktiv ist restruktiv ist Yara Richters szenische Lesung.

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Galerie (4. Stock)
11 bis 20 Uhr: Atmosphäre Brian Holmes: Rivermaps & Casa Rio: Die Lehren der Flut

15 Uhr: Kurator*innenführung (in englischer Sprache)

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Werkstätten (EG & 1. Stock)
11 bis 20 Uhr: Offene Werkstätten (Lithografie, Medien, Tonstudio, Keramik, Radierung, Fotografie, Siebdruck)

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Treppenhaus
13 bis 14:30 Uhr: Kateryna Surhutanova: Artist Talk & Tape Art Workshop (in englischer Sprache)
14:30 bis 20 Uhr: Tape Art zum Mitmachen (ohne Altersbeschränkung, keine Anmeldung erforderlich)

Sonntag, 01. Dezember 2024, 11 bis 18 Uhr

Galerie (2. Stock)
11 bis 18 Uhr: Kunstmarkt, Filmprogramm, Leseecke, Kinderecke, Lounge, Food & Drinks

Beteiligte Künstler*innen: Marzieh Bashkar, Marleine Chedraoui, Disasterland Design, Dagmar Feuerstein, Ute Fischer-Dieter, Marla Fischinger, Florian Glaubitz, Yvette Hoffmann, Leonie Klöpfer, Jan Kopp, Adam Ortega, Kateryna Surhutanova, Julia Wenz, Fritz Winter

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Ateliers (3. Stock)
11 bis 18 Uhr: Offene Ateliers mit Lambert Mousseka, Theo Ferreira Gomes, Paco Ladrón de Guevara, anima ona, Marcela Majchrzak, Yara Richter, Mizi Lee

______________________________________________________________________________________________________________________

Galerie (4. Stock)

11 bis 18 Uhr: Atmosphäre Brian Holmes: Rivermaps & Casa Rio: Die Lehren der Flut

15 Uhr: Kurator*innenführung (in englischer Sprache)

______________________________________________________________________________________________________________________

Werkstätten (EG & 1. Stock)
11 bis 18 Uhr: Offene Werkstätten (Lithografie, Medien, Tonstudio, Keramik, Radierung, Fotografie, Siebdruck)

13 bis 17 Uhr: Chris Mennel: Brandgravur

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Treppenhaus
11 bis 14 Uhr: Tape Art zum Mitmachen
15 bis 16 Uhr: Kateryna Surhutanova: Eine Diskussion mit der Künstlerin. Vergleich der Ergebnisse (in englischer Sprache)

Das vollständige Programm im Überblick finden Sie hier

The idea that change is often stimulated by encounters and that different perspectives emerge after an interaction is the basis for the concept of the Paarungszeit event series at Kunstraum 34. Cindy Cordt regularly invites artists who work with different media to engage with each other using their bodies as well as audiovisual or sculptural means and to perform together in front of an audience. This edition takes place in cooperation with Künstlerhaus Stuttgart. Partner of the artistic process is Lena Meinhardt, head of the audio workshop of the Künstlerhaus, who will connect with the performer with her sound spectrum. On November 23 at 7 pm, interested parties can view the fruits of the encounter and take part in the final performance.

Lena Meinhardt brings together synthetic sounds and field recordings. In doing so, she explores the composition of the sound itself and loves to zoom in as if with a magnifying glass; and how sounds behave and what effects arise on a psychological level when they are reassembled, superimposed, transposed, …. Her works have been shown at the Kunstmuseum Stuttgart, the ZKM as part of the next_generation festival and at IRCAM Paris, among others. From 2021 to 2024 she was a studio fellow at Künstlerhaus Stuttgart together with Eva Dörr. She now heads the audio workshop there. This year she is a fellow of the Kunststiftung Baden-Württemberg.

As a performance artist, Cindy Cordt has been testing various materials in live actions in front of an audience for many years, creating networks between narratives, sculptural moments and experiences. She studied media art at the Bauhaus University in Weimar and at the HGB in Leipzig. She taught for several years at the State Academy of Fine Arts in Stuttgart. She works internationally and realizes art projects, performances and video works.

Performance

November 23, 7pm

Künstlerhaus Stuttgart, 2nd floor

In the 37th Tuesday Workshop, Eva Dörr and Lena Meinhardt invite you to gain deeper insights into the core of their work.
Programming environments are essential in the construction, realization and composition of their works. Both use different software in which sound syntheses and sound controls are programmed.

At the Tuesday workshop, they will talk about various “patches” and show sounds in different stages.
Lena Meinhardt will present the process from the unprocessed field recording to the finished mosaic building block in different compositions and Eva Dörr will talk about the various control algorithms and generative programming, which she mostly realizes in the MAX/MSP software.

The insights into the artists’ artistic practice and the technical handling of the software are intended to give a feeling for the points at which technical parameters become artistic decisions.
Afterwards, there will be space for discussion and questions.

The two artists Lena Meinhardt and Eva Dörr have been working together as a duo since 2019, developing interdisciplinary works that take place between the fields of composition, installation and new media. They explore techniques of electronic sound production and thematize the character of different places and occasions through installative interventions.
The two artists also pursue their respective focal points individually: Lena Meinhardt combines synthetic sounds and field recordings to create compositions. Eva Dörr focuses on audiovisual formats in which temporal and rhythmic aspects are set apart.
Her works have been performed at the Kunstmuseum Stuttgart as part of the Lange Nacht der Übergänge”, at the “Estonian Music Days in Tallinn”, Estonia, at the “Luigini Nono Award” in Fermo, Italy, and at the ZKM Karlsruhe as part of the “nextgeneration Festival”.
From 2021 to 2024, they were joint scholarship holders at Künstlerhaus Stuttgart. This year they are scholarship holders of the Kunststiftung Baden-Württemberg.

Tuesday-Workshop

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

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

In the 36th Tuesday workshop, we welcome Yara Richter – artist and current scholarship holder. On Tuesday, October 8, 2024, Richter will provide deeper insights into her multifaceted artistic practice as part of a staged reading.

Yara Richter’s works are characterized by an intensive examination of epistemological identities, constructivist spatial illusions and the dynamic configurations of social formations. By combining performance, sound and text, dey questions established perceptions and opens up new perspectives that range from everyday reality to cosmological and multidimensional levels of human existence. Richter thus creates access to the complex network of quantum realities and multiversal dimensions, the perception of which is essential for holistic and sustainable cultural development.

The staged reading promises to be not only intellectually enriching, but also an intense, sensual experience that brings the nexus between theory, artistic staging and aesthetic didactics to life. Text is born, while the scenic design unfolds an extraordinary symbiosis between artistic expression and depth of content that directly implicates the audience. In this lively dialog, Richter takes the audience on a journey to the enigmatic sources of their artistic creation and encourages deep reflection along the way.

Text: Yara Richter

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!

Please join us for yoga at the Künstlerhaus on Tuesday mornings 7-8:30 am and Wednesday evenings from 7:30-9 pm. The class will be led by artist and yoga practitioner Lennart Cleeman.

In this class, we will practice asanas (yoga poses), pranayama (breathwork), savasana (deep relaxation) and meditation. In addition to basic introductions to yogic topics, he will share connections between yoga and practicing art, with examples from his own art practice. We are excited for you to join us!

“As an artist, I often deal with heavy things mentally and physically. Discovering sculpture and investigating space often took me into states that I would now describe as meditative (Dharana). To create space and take care of the self, a practice for the body and mind was desperately needed. Unconsciously, I turned to physical yoga practices. My yoga journey has now led me to become a hatha and kundalini yoga teacher. At the Künstlerhaus Stuttgart, where I have grown as an artist in this community, I now have the opportunity to give something back and share with you what I’ve found.” – Lennart Cleemann

Lennart has been a member of the Künstlerhaus since 2020 and was a Künstlerhaus studio-holder from 2020-2023. He came to yoga during his time as an artist, in 2021, and has been teaching yoga since 2024.

Yoga mats are available. Please bring your own pillow and blanket.

Morning classes will be activating, giving you energy for the day, while the evening classes will be calmer and provide an intellectual framework for the practice.

Sign up via Eventbrite (also for individual sessions).

7 euros per session

Tuesday Mornings 7:00-8:30am

Wednesday Evenings 7:30-9:00pm

Join Brian Holmes for a hands-on introduction to rivermapping. In this session we’ll find out how to use his custom-built application, and how to design a map for community engagement with the local environment. Participants will learn to navigate the map, sign in, add an icon, make a post, and edit various file types. A brief look under the hood will reveal more advanced functions for those who might like to dive deeper. Most importantly, we will discuss the composition of the future Neckar River map: how it could look, what kinds of features it will display, how to make it valuable for people in Stuttgart and beyond. The aim is to produce a beautiful, functional and information-rich map by springtime. No previous experience with mapmaking or GIS is required, but all capabilities and specialties are welcome.

Please bring a laptop computer (preferred) or mobile phone (also works).

Free registration via Eventbrite

From 13 – 16 September, Künstlerhaus Stuttgart hosts the 2024 edition of the aR convention, a self-organized meeting of artists focusing exclusively on unexhibitable projects.

Co-organized over the past decade in rural France in a variety of alternative settings, this year’s aR convention will bring together some 30 artists from 13 to 16 September.

The aR convention is a self-organized moment of gathering and exchange between artists brought together through cooptation around unexibitable projects. The aR convention provides a context of sociability where artists developing practices outside exhibition have the opportunity to share their experiences. The aR convention abjures the medium of ‘exhibition’, now hegemonic and historically determined by the institutional market, notwithstanding its experimental qualities, its critical claims, its scenographic inventiveness or the transgressive ingenuity of its devices and conceits. But ‘outside exhibition’ does not mean invisible or still less asocial, quite the contrary.

The term convention was adopted by analogy to amateur practice. Conventions are selective gatherings of those passionately dedicated to a hobby or activity (sci-fi, anime, origami…). The name aR is written with a ‘little a’ (for an art indifferent to the artistic status — with a capital A — of its propositions) and for a ‘big R’ (a weekend of recreation, often in a rural setting, far from artworld institutions and the art market). As the Künstlerhaus Stuttgart repositions itself within the ecosystem of contemporary artworlds, adopting a perma-artistic approach to transforming the institutional landscape, it seemed an ideal atmosphere to host this year’s aR convention.

The aR convention is not public but nor is it private or secret and its doors remain open. The usership of the Künstlerhaus Stuttgart is invited to an exchange with the co-organizers and participants on Saturday 14 October at 3:00 pm.

aR convention

Friday, September 13, starting in the afternoon

Saturday and Sunday, September 14-15, all day

Monday, September 16, mornings

Open exchange

Saturday, September 14, 3:00 p.m.

The event will be held in English, French and German.

In the 35th Tuesday Workshop, visual artist, researcher and art educator Lejla Dendić invites us to consider art as a counter-hegemonic instrument. With her multidisciplinary approach, she explores the intersections of visual politics, subjectivity and resistance, creating works that question established norms and power structures.
Lejla will present selected works that deal intensively with memory, narratives, collective identity, colonialism and healing. Her works analyse these themes in a constant continuum, considering the notion of continuum as a surface on which time and space are inextricably linked. This perspective makes it possible to understand time not as a linear sequence of past, present and future, but as a curved surface on which these dimensions exist simultaneously. This perspective creates bridges between geographies, temporalities and humans and emphasises the need to use these connections for solidarity and transformative change.

Lejla Dendić (*1997) studied at the State Academy of Fine Arts Stuttgart and completed her artistic education there. She currently lives and works in Stuttgart, where she is furthering her artistic practice.

Following the presentation, everyone is invited to join the discussion and exchange to delve deeper into these topics.

Tuesday Workshop

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

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

In 1946, Shoa survivor Shmuel Dancyger is shot dead by a Stuttgart police officer during a raid in Reinsburgstraße. The crime remains unsolved. Today, a plaque commemorates him and the more than one thousand Polish Jewish displaced persons who were housed in Stuttgart-West from 1945 to 1949. Less is told about the self-organised everyday life: In addition to various educational institutions and cultural events, Reinsburgstraße had a synagogue, a mikvah, its own football club, a kosher kitchen, the “Café-Klub Tel Aviv” as well as an infirmary and its own police department. A newspaper was also published. Today, this is largely invisible, with only the buildings remaining as silent witnesses.

During the Summer School, the site-specific history will be recalled in the context of current artistic and cultural discourses. In addition, German remembrance culture will be discussed against the background of anti-Semitic, racist and right-wing extremist continuities in Germany. A city walk leads in two stages from Bad Cannstatt to Reinsburgstraße in Stuttgart-West. With talks, guided tours, workshops and lectures by Hannah Peaceman, Monty Ott, Ruben Gerczikow, Juliane Bischoff, Avi Palvari, Tamar Lewinsky, Josefine Geib, Günter Riederer, Martin Ulmer, Karin Autenrieth and others. With films by Chantal Akerman, Hito Steyerl, Maya Schweizer, Arkadij Khaet and Mikey Paatzsch as well as Cana Bilir-Meier, a book by Judith Coffey and Vivien Laumann and an exhibition in the shopwindow of Achim Lesnisse’s insurance office.

The full program you can find here

As places at the Summer School are limited, we kindly ask for registration.
Please register by 25 August 2024 at info@stuttgart-reinsburgerstrasse.de with the following details:

• Name and pronouns
• Place of residence
• 1 sentence about your motivation to take part in the Summer School

If you have any questions about the programme, please contact us at 

info@stuttgart-reinsburgerstrasse.de

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¹ “STUTTGART, Reinsburgerstraße . . Do gefint zich einer fun di greste jidisze lagern in der Amerikaner zone” is written in Yiddish with Latin letters on the title page of the Stuttgart DP camp album as a caption under a black and white photograph. Together with photographer Alexander Fiedel, we look down Reinsburgstraße from a traffic island. The album is now in the United States Holocaust Memorial Museum in Washington. There it is labelled as follows: “Title page of the Stuttgart Jewish DP camp album with a photograph of the Reinsburgerstrasse. The Yiddish caption reads, ‘Stuttgart, Reinsburgerstrasse . . . on which is located the greatest Jewish camp in the American zone.'” Reinsburgstrasse, which is located in Stuttgart’s West district, leads from the Rotebühl and Feuersee neighbourhoods up to the Hasenberg and ends just below the Westbahnhof.

*The ‘Queer Forest Creatures’ bring the forest around Stuttgart into the Kessel and you to the forest within you*

Join us on a journey of self-exploration and expression in the forests of Stuttgart! Lingering, listening, breathing, sounding, dancing, performing, fantasising and writing stories in the forest – this is how we want to encounter the parts of ourselves that are marginalised and suppressed in urban spaces and can therefore rarely be felt and lived. Our two-day workshop invites us to bring the queer forest beings within us to life, to embody them and let them shine outwards.

Where and when:

Workshop: 24 – 25 August 2024
24 August UTOPIA Kiosk
25 August Künstlerhaus Stuttgart

Exhibition: 19-29 September 2024 at the UTOPIA Kiosk
19 September Vernissage with reading and presentation/performance, music
28 September Finissage with zine workshop

The workshop is aimed at people who are affected by heterosexism and/or queer hostility.
No previous knowledge is necessary. As we are going into the forest, the workshop is unfortunately not completely barrier-free. It is possible to choose a place in the forest that is easily accessible by train and on forest paths, but the ground will not be completely flat. Please bring clothes that you can move around in and that can get dirty, as well as sun and mosquito protection, water to drink and a few snacks. Breakfast and lunch will be provided. The event will be held in German and English.

Registrations and questions by mail to lu.kenntner@vlsp.de. Participation is free of charge.
More information: utopiakiosk.100mensch.de

At the general meeting of the Künstlerhaus on July 13th 2024, the  representatives on the board and advisory board were re-elected for a three-year term.

The Board is made up of Ania Corcilius (1st Chairperson) and Christoph Schwerdtfeger (Treasurer), who were confirmed in their respective positions, as well as Jochen Detscher, the new 2nd Chairperson.
Julian Bogenfeld, Stephanie Bollinger, Eva Dörr, Björn Kühn, Lena Meinhardt and Jasmin Schädler were elected to the Advisory Board.

We would like to thank the outgoing members of the Board and Advisory Board – Anna Schiefer, Monika Nuber, Florian Model, Alexander Sowa and Yvette Hoffmann – for their voluntary work and for the important impetus that each of them has given the Künstlerhaus in recent years.

We would like to thank the membership for their trust in our work and look forward to accompanying the Künstlerhaus in its current metamorphosis under the artistic direction of Tamarind Rossetti and Stephen Wright. In addition, the launch of the Neue Auftraggeber program this year also marks the beginning of a new chapter in the history of the Künstlerhaus, which continues to develop into the urban space and the region.

Join us Sunday July 21st in the hay at 11am for a fun family morning of animated short films! Come sit in the haystacks, have some popcorn, and watch these beautiful, unique films made for kids and great for all ages! Come on a journey through the fruits of the clouds, into a forest with magical foliage, on an adventure with a tiny fox, a day on the farm wandering the fields as small animals prepare for the changing season.

The Fruits of the Clouds – Kateřina Karhánková – 2017 – 11 minutes

Miscellaneous – Anne-Lise King – 2010- 4 minutes

The Tiny Fox – Aline Quertain, Sylwia Szkiladz – 2015 – 9 minutes

Boriya – Min Sung Ah – 2019 – 17 minutes

November – Marjolaine Perreten – 2015 – 4 minutes

Free

Screening on the 2nd floor (side entrance to the right of the building)

Total screening time: 45 minutes

All films are accessible for all languages. There is a music soundtrack and little or no dialogue.

For all ages.

Program:

The Fruits of the Clouds – Kateřina Karhánková – 2017 – 11 minutes

In the heart of a dark forest, live seven small harmless, hungry and very, very cute beings. They live in a clearing that they never leave. But when food is running out, the bravest of them ventures into the forest.

Miscellanées – Anne-Lise King – 2010- 4 minutes

The evening falls on the mountains of Queyras. A strange being appears in the forest and plants a seed that gives birth to a tree with magical foliage. When the day rises, one of the small leaves then begins a journey that will animate the whole valley.

The Tiny Fox – Aline Quertain, Sylwia Szkiladz – 2015 – 9 minutes

In the middle of a teeming garden, a tiny fox meets an intrepid child who grows giant plants! By a joyful chance, they discover that they can grow objects, it will give ideas to the little cunners…

Boriya – Min Sung Ah – 2019 – 17 minutes

One summer, in the Korean countryside. Bori, a 7-year-old girl, is bored on the family farm. Everyone is busy, except her, because it’s the harvest season. She is desperately looking for someone to play with… but nothing happens as she had imagined.

November – Marjolaine Perreten – 2015 – 4 minutes

Autumn settled on the banks of the stream. Small animals are active to prepare for the great winter season.

In the exhibition OK BYE, Surja Ahmed, Marla Fischinger, Leonie Klöpfer, Clarissa Kassai, Veronika Schneider and Josephine Boger meet not only as artists and colleagues, but also as this year’s graduates in Fine Arts from the ABK Stuttgart.

The diploma works will be presented on the fourth floor of the Künstlerhaus Stuttgart. The interactions of the Self and the space as well as their structures, power relations and healing processes are examined in installations and objects.

The opening will take place on 18 July 2024 at 7 pm on the fourth floor of Künstlerhaus Stuttgart with a welcome by Anike Joyce Sadiq. There will be sparkling wine, snacks and drinks.

The exhibition runs from 18 July to 28 July 2024, open Tuesday to Sunday from 2 pm to 7 pm.

Auf einem Bauernhof gibt es keine Sonntage.
There are no Sundays at ranch.
(Harvest Moon – Back to Nature, 1999)

Digital farms and farming simulations are among the most successful video game genres of all time. Players can build their own farm, cultivate fields, breed animals, harvest crops or simply enjoy the virtual rural idyll. These games depict a range of narratives, from romanticised simplification, such as in ‘Stardew Valley’ (2016), to the most realistic economic simulation possible, such as in ‘Farming Simulator’ (since 2008). The appeal of such games lies in their reassuring routine, allowing us to escape our everyday lives and immerse ourselves in a virtual world. However, these are games in which we almost exclusively work.

Based on her own video game biography and her experiences as a digital farmer and virtual hunter, Juli Gebhardt will give an insight into her artistic practice in the next Tuesday workshop. By interweaving work, corporate, gaming and net culture, she attempts to break through established routines and narratives that determine the realities of our lives in her works.

The starting point for Juli Gebhardt’s expansive installations is the dissolution of boundaries between leisure and work in the neoliberal, digital age. She places the individual, who is at the mercy of the interactions and entanglements of the analogue and digital world of work, as well as the question of how community can be constantly formed in the digital space, at the centre of her discussions. While reflecting on the loss of traditional work structures and the emergence of new forms of self-exploitation, she questions the compatibility of personal fulfilment and economic pressure. In her work, she thus constantly takes a critical look at the effects of this dissolution of boundaries on the individual.

Before Juli Gebhardt completed her art studies at the ABK Stuttgart in the installation class of Prof Birgit Brenner and !Mediengruppe Bitnik, she first studied business administration in Karlsruhe. In addition to periods at Burg Giebichenstein in Halle, the University of Derby (UK) and the Angewandte in Vienna, she took part in a residency scholarship at the EIGEN+ART Lab gallery in Berlin in 2018. In 2021, Gebhardt was also awarded the ABK Stuttgart Academy Prize. After graduating as a Meisterschülerin of Prof. Heba Amin and Prof. Antonia Low, Gebhardt was a fellow of the Cité internationale des arts residency programme in Paris from November 2023 to April 2024. In addition to her own artistic practice, she has been working as a curatorial assistant at Künstlerhaus Stuttgart since 2021 and has been director of the Kunstverein Kunstraum 34 in Stuttgart, which focuses on time-based art and experimental music, since 2022.

Dienstags-Werkstatt

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

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

From Tuesday 9 July to Sunday 14 July, everyday from noon to nine, Paul’s Kimchi Café, a popup eatery and artists café, will set up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients. And of course a selection of hot and icy cold beverages.

***

Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)

On Sunday 7 July and July 14 from 10 am to 1 pm, kimchi artist Paul Sullivan will be leading a kimchi-making workshop. Join Paul and other fermenters for this atmosphere of collective fermentation, learn the art of lacto-metabolizing with the summery flair of local seasonal produce. Please bring an air tight container/jar to take your kimchi home. The workshops are by registration here.

From Tuesday 9 July to Sunday 14 July, everyday from noon to nine, Paul’s Kimchi Café, a popup eatery and artists café, will set up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients. And of course a selection of hot and icy cold beverages.

***

Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)

Talking Hay is an invitation to join us in the local hay we harvested to riff on hay and all it means and reveals. Haystacks are one of the icons of agrarianism and come in an astonishing variety of shapes, sizes and makeups. They are often expertly crafted objects — vernacularly engineered rural architecture — made up of layers and layers of desiccated grasses and plants, which store the transformed energy of the sun for the darker months. We will think about what goes into a haystack — what grasses and flowers, but also what embedded knowledge. Stacking hay in the second storey of the Künstlerhaus makes a haystack at once a shifter, between art-historical conventions of representation the countryside, and a signifier — like a sculpture — through which we can question what artists Kathrin Böhm and Wapke Feenstra call the ‘rural undercurrents’ of urban communities.

We won’t just talk hay though, we’ll try and get a better look, smelling it and drawing it — being in it. Followed by a light supper.

Künstlerhaus Stuttgart

Thursday, 4 July 2024

6pm – 9 pm.

For the final moment of Rotting Hegel, Künstlerhaus Stuttgart is hosting Dialectics of Mycelium: A Banquet, where guests will enjoy a tasting menu featuring the oyster mushrooms cultivated in the pages of Hegel’s complete works. Join us in eating the mushrooms that ate Hegel…

In early May of this year, Paris-based SPORA — a collective of human and mycelium artists and agents — set up a library-laboratory on the Künstlerhaus Stuttgart’s fourth floor, hosting a Hegel-myceliation workshop. After inoculating dozens of volumes of the Hegel library with mushroom spores and allowing them to incubate for several weeks in the dark pages of the great human philosopher, fructification began in early June as mushrooms began sprouting out from the books on the shelves with baroque abandon.

Materially speaking, the cellulose of the books’ pages provided an ideal substrate for the fungi to flourish, yielding a phenomenal harvest of magnificent oyster mushrooms, nourished on an exclusively Hegelian diet. However, farming philosophy in this way leads to unexpected insights. Mycelium, it seems, has discerning tastes and no lack of wit — and apparently it did not take to all of the enlightenment thinker’s musings indiscriminately, and found the pages on Absolute Knowledge positively unpalatable.

‘A philosopher doesn’t just sprout up like a mushroom from the earth,’ wrote Hegel famously, no doubt thinking of his own lofty world-historical mission, while showing unconcealed scorn for a life form he considered only marginally more than mineral. Today, in a dialectical inversion that Hegel could not fail to recognize, though could not have foreseen, we might note that mushrooms are indeed sprouting up like philosophers from a library. Certainly it may be said that all libraries are slowly rotting; this particular one just a little faster than others. If the Rotting Hegel project can be seen as laboratory of dialectical exchange between the unreconciled energies of the most powerful philosophical system of modernity and those of one of the Earth’s oldest, most resilient — and for humans — most cryptic life forms, how can the act of devouring the outcome of that encounter be understood? Perhaps as an opportunity to literally digest and assimilate Hegel by digesting and assimilating the mushrooms that digested and assimilated his works…

A project by SPORA.

Info

Saturday, June 22, 2024, 7 pm

in the Künstlerhaus, 4th floor

vegetarian 5-course menu

including wine accompaniment and non-alcoholic drinks

with speeches on Hegel und mycelia

contribution towards expenses 39 euros

Seating is limited. Reservation is necessary. RSVP at Eventbrite.

In the 33rd Tuesday workshop, artist Thora Gerstner will provide an insight into the broad spectrum of her artistic work.

In addition to combining free graphics with the material glass, her fields of research include the artistic reworking of historical patterns. Recurring rhythms, pattern structures and typographic forms can be found in her individual visual language. She studied at the State Academy of Fine Arts in Stuttgart and at Listaháskóli Íslands in Reykjavík.

She currently teaches at the State Academy of Fine Arts in Stuttgart and, in addition to a guest lectureship in Beijing, China, has held teaching positions at the University of Tübingen, the Augsburg University of Art and Design and the Pforzheim University of Applied Sciences.

For years, her drawing work focused on the gold plates from Tutankhamun’s tomb, the documentation of which completes Julia Bertsch’s written doctorate.

Since 2021, she has curated a permanently accessible exhibition space at Stuttgart Central Station, together with the artist collective ATELIER TRANSLUZENT, which she founded.

Tuesday Workshop

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

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

The Künstlerhaus is making hay!

Join us first thing in the morning on Saturday 08 June for a scything workshop led by scything expert Bernhard Lehr in association with Bienenschutz Stuttgart. Scythes, all equipment and transportation to and from the meadow will be provided. Participants will learn the technique and process of scything (including blade peening and deburring, handle making), understood as an integral part of the careful usership of landscape. The workshop is suitable for both novice and advanced mowers, but places are limited, so sign up early!

The outcome of the workshop will be a haystack on Floor 2 of the Künstlerhaus, to be used as a user-friendly atmosphere for meetings, screenings and conversations. Scything and haymaking are amongst a series of activities where artistic and agricultural agency converge to produce a common atmosphere, which will be explored through workshop formats in the coming months.

To register: info@kuenstlerhaus.de

Please join us on Monday 3 June for the first in our once-monthly series of _Compatible Conversations (farm_compatible, art_compatible, bazaar_compatible, research_compatible…). For this first conversation, we will be talking with artist and author Kathrin Böhm on the occasion of the release of her new book Art on the Scale of Life.

Since the mid-1990s, Kathrin Böhm has expanded the terms of socially engaged ways of working to what she calls the ‘scale of life’, seeking common ground between the fields of art and farming, cross-pollinating their vocabularies, spaces, economies and practices, through such collective projects as Myvillages (ongoing since 2003), The Centre for Plausible Economies (since 2018), Company Drinks (since 2014) and the Rural School of Economics (with Wapke Feenstra since 2019). Her new book comes in the wake of a two-part exhibition project, COMPOST. Kathrin Böhm: Turning the Heap and COMPOST: For Future Use, and seeks to show how the joyful visual methods and languages, tactics, tools, concepts and strategies that serve a socially transformative art practice have been usefully deployed in rural and farming settings far from the usual sites of the contemporary artworld, even as art has merged with agriculture. If art has now ramped up from the ‘scale of art’ to the ‘scale of life’, what does that look like? What indeed is the scale of life? And what is to be gained, and what forsaken, in this scalar shift?

Beginning in June, Künstlerhaus Stuttgart will host kimchi artist Paul Sullivan to lead a series of public kimchi-making workshops as part of Paul’s Kimchi Café, a popup eatery that will be setting up shop on the 2nd floor, serving both Korean and Swabian kimchi and lightly fermented homemade noodles from locally sourced cabbage and other seasonal ingredients.

In preparation for this atmosphere of collaborative fermentation, you are invited to join Paul and others for a Kimchi Keramik workshop led by pottery maker and designer Yvette Hoffmann, in order to produce ceramic kimchi bowls to be used in Paul’s Kimchi Café and shared among workshop users: one for you, one for the café, one for you, one for the café…

The workshop is free of charge, and open to a maximum of 10 participants who will learn how to make bowls of different sizes using an over-moulding technique. Participants can make as many bowls as the time allows: typically between 4-5 bowls in the course of the evening. Drying, glazing and firing will be done subsequently by Yvette Hoffmann. The glaze firing will be done at 1240° C, making the bowls suitable for dishwasher. All materials, glazing and firing are free of charge. The course will be in both German and English and is suitable for beginners as well as for advanced potters. To register: info@kuenstlerhaus.de

Registration for the workshop is closed.

***

Yvette Hoffmann is a designer and maker. She creates and makes to explore the boundary between product and object and to discover the nature of material, process and form, in a spirit of understanding by doing and using. ‘It’s less about owning’, she says, ‘and more that you intuitively like to use it. Things you like to use, you don’t throw away so quickly. That is also a form of sustainability.’ Since founding her studio in 2011, she has worked on numerous experimental solo projects and collaborates regularly with artists and practitioners from other domains, and is currently developing a longterm wild clay harvesting project with artist Linda Weiss. She is also the Ceramics Workshop manager at Künstlerhaus Stuttgart. https://www.yvettehoffmann.com/

Paul Sullivan is a Liverpool-based architect and kimchi chef. He is founding director of the Static Complex, Liverpool (www.staticcomplex.com), a gallery/multi-use space that houses exhibitions, symposiums/debates, music gigs and film shoots, a kimchi bar and ten studio spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme. After travelling to South Korea in 2006, he founded Paul’s Kimchi Co to introduce Korean cuisine and Kimchi to Merseyside via a small pop-up Noodle Bar at Static Gallery. His company KIMCHI Human is dedicated to making the perfect Kimchi (www.kimchihuman.com)

The staircase as a concert space – Ralph Gaukel uses the special acoustics for his sound and overtone instruments, deliberately avoiding electronic amplification.
The primeval sounds of the Australian didgeridoo can be heard, as well as the unspeakably light tones of the traditional Slovakian shepherd’s recorder Fujara and the rhythms of the dancing hands on the Swiss musical instrument “Hang”.
The ancient art of overtone singing can also be heard, as well as jew’s harps and the warm sound of the kalimba sansula.
A sonorous, even meditative experience.
The steps serve as seating, so please bring a seat cushion.

Tuesday Workshop

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

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

The Fourth Organ invites you to cook and eat together in May.

The Fourth Organ is a place for, with and by the membership of the Künstlerhaus. It can be and become many things. At the next meeting, we want to devote ourselves to the aesthetic practice of cooking.

Some say that the simplest of all soups is vegetable soup/minestrone.

The quality of the food is always important. They are the focus and have an influence on the taste and the result.

So on Saturday, May 4, 2024, from 4.30 p.m., we want to chop and cook together on the 3rd floor and then eat, exchange ideas and feel good in a convivial get-together. The ingredients will be bought fresh from the Stuttgart weekly market on Saturday.

Please register by Sunday, April 28, 2024 at info@kuenstlerhaus.de.

Rotting Hegel is a multi-phased operative installation proposed by SPORA in collaboration with other mycelial agents at the Künstlerhaus Stuttgart, during which fungal hyphae will entangle themselves in the pages of the human philosopher, feeding on the cellulose impregnated with words and concepts. Fungi have the power to transform dead matter into new fruit — but what of the spirit of Hegel’s corpus? As the fungi farm fructifies on the shelves of the library, which passages will prove most fruitful?

Fungi are known for their wry and unpredictable humour: stop by to see which concepts the mushrooms find nourishing, and which distasteful. It is well known, too, that in his Aesthetics, Hegel declared the death of art — ‘in its highest destiny’ wrote the harbinger of philosophical modernity, ‘art is a thing of the past’, mapping the way to the advent of conceptual art. Two centuries on, it feels urgent, and useful, to metabolize the great dialectician in an atmosphere of rot.

Rotting Hegel will culminate with a communal meal of a phenomenal mushroom risotto, in the library-farm where they grew, allowing diners to immediately assimilate Hegel.

Rotting Hegel Library Hours: Saturdays 12 pm to 6 pm

Myceliating Hegel: An introductory mycelium workshop

May 2, 6 pm – 9 pm

On 2 May, to launch Rotting Hegel, its operative installation at Künstlerhaus Stuttgart, SPORA has chosen a collective and user-friendly methodology, through a workshop introducing participants to the techniques of home-grown mycology and small-scale mushroom farming. In this case, the substrate will be the complete works of Hegel. Using nature’s largest decomposer, this workshop invites participants to myceliate the pages of Stuttgart’s philosopher-monument. From the pages of Hegel’s work, clusters of oyster mushrooms will fructify over the following weeks to be incorporated into a collective meal. Rather than a philosophy of mycelium — with which Hegel’s thought abounds — SPORA proposes a myceliation of philosophy.

In this 3-hour workshop, you will learn the basic theory and practice of cultivating fungi — everything you need to know to turn your home library (or woodshed)  into a mushroom farm!

No previous fungal knowledge necessary. F

ree of charge for beginners or advanced Hegelians of all ages.

Registration required: info@kuenstlerhaus.de

About the collective SPORA

SPORA is an extradisciplinary project driven by the concept of mycelium as a methodology and observation tool of the almost invisible. Co-created in 2021 by Charlotte Janis (artist) and Roberto Dell’Orco (artist, landscaper, and architect), SPORA is based at the artist-run space Les Ateliers Wonder in Bobigny (France). Over the past three years, SPORA has initiated, joined, and connected research-based actions including exhibitions, participatory workshops, hybrid installations and performances, forest walks, public space landscape interventions and academic research programs. On each of these occasions, interactions with participants spanning different generations create a rhizomatic aspect facilitating new possibilities and transdisciplinary collaborations, all centred around exploring the intricacies of the fungal world. Viewing mycelium as the message fosters a deepened understanding of living organisms, soils, and the interconnections between humans and non-humans, depicting these interdisciplinary dialogues as unifying narratives of science-friction.

On 2 May, to launch Rotting Hegel, its operative installation at Künstlerhaus Stuttgart, SPORA has chosen a collective and user-friendly methodology, through a workshop introducing participants to the techniques of home-grown mycology and small-scale mushroom farming. In this case, the substrate will be the complete works of Hegel. Using nature’s largest decomposer, this workshop invites participants to myceliate the pages of Stuttgart’s philosopher-monument. From the pages of Hegel’s work, clusters of oyster mushrooms will fructify over the following weeks to be incorporated into a collective meal. Rather than a philosophy of mycelium — with which Hegel’s thought abounds — SPORA proposes a myceliation of philosophy.

In this 3-hour workshop, you will learn the basic theory and practice of cultivating fungi — everything you need to know to turn your home library (or woodshed)  into a mushroom farm!

No previous fungal knowledge necessary.

Free of charge for beginners or advanced Hegelians of all ages.

Registration required: info@kuenstlerhaus.de

The Künstlerhaus Stuttgart is delighted to announce the new studio grant recipients for 2024/25, who will move into their studios at the Künstlerhaus on 1 May 2024. As in previous years, the Künstlerhaus will offer workspaces to seven outstanding artists, artist groups, or collectives for a period of one year.
We are delighted to welcome Mizi Lee and Paco Ladrón de Guevara Rodríguez.
Lambert Mousseka, anima ona, Marcela Majchrzak, Theo Ferreira Gomes, and Yara Richter have all had their grants extended for another year.

Mizi Lee

(b. 1990, Changwon, South Korea) uses various forms of media and transcends disciplinary boundaries to produce a unique experience. This might involve establishing a fake supermarket to print brochures full of artworks, or screaming in a punk band at the Kulturbrauerei in Berlin or in old train carriages at the Nordbahnhof in Stuttgart. She adopts an interdisciplinary and collective approach because she believes that art requires more than just a single artist. In 2022, she founded the punk band Horizontaler Gentransfer; together with the other members, she has created a series of projects that lie at the intersection of visual art, performance, and theatre.

Paco Ladrón de Guevara Rodríguez

(b. 1997, Granada) focuses on the fields of performance and visual arts in his artistic research and uses a variety of different media such as installation, drawing, and dance to realize his projects.
He works as a freelance artist in Stuttgart, where he specializes in sculptural research and choreography and also has opportunities to work as a performer for other choreographers internationally as well as creating his own pieces. In recent years, he has regularly undertaken his own transdisciplinary projects in the form of exhibitions and performances and taught workshops in contemporary drawing and movement research.

Marcela Majchrzak

(b. 1993) is an artist, art mediator, and mother whose projects deal with themes relating to identity, culture and work. She is particularly interested in the (dis)functionality of structures and their justification mechanisms. Her works often have an exploratory, performative character and are frequently realized through various formats of coming together. As a founding member of the Matriarchale Volksküche (MV) artist collective, she stages various kitchen-, meal-, and discourse-based events. She lives and works in Stuttgart.

Theo Ferreira Gomes

(b. 1993, Niterói, Brazil) is a post-disciplinary curator, designer, and DJ. He is particularly interested in informal social economies and how different currencies can create personal or impersonal communities.
Since June 2022, he has been a curatorial fellow at ORNAMENTA, a reactivated cultural programme in the Northern Black Forest that explores modern regionalism and is taking place—for the second time since 1989—from July to October 2024.
Theo Ferreira Gomes was also a coordination fellow for art, science, and business at Akademie Schloss Solitude and a board member of Leerstand als Freiraum e.V. (LAF), a collectively run association with a project space in the centre of Pforzheim. In 2018, he completed his degree in fashion design at Pforzheim University.

anima ona

is a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas. The duo studied industrial design at the Stuttgart State Academy of Art and Design.
Following a transdisciplinary and collaborative approach, they have been developing their own projects and realizing commissioned works since 2018, straddling the border between design, research, and art.
Their diverse works are united by their search for previously untapped resources and opportunities to reuse materials, which they explore by adopting experimental strategies and examining the cultural significance of objects.

Yara Richter

(b. 1996) oscillates between art, cultural work, and motherhood. With a focus on decolonial and collective processes, Richter also works as a facilitator, speaker, and educational consultant specializing in Black identities, intersectional feminism, and institutional critique alongside her artistic practice.
Since 2022, Yara has been researching Black noise using sound, text, video, and performance as a starting point to imagine and create decolonized art and cultural practices. This creative process is a multifaceted, deeply political dance in which ecofeminism, queerness, altra egos, and historiographies merge with a non-linear understanding of time, psychosomatics, and spaces of possibility for marginalized bodies.

Lambert Mousseka

(born in Katanga, Democratic Republic of Congo) has developed the concept “Stuttgart Akt” for the final year of his studio grant at the Künstlerhaus Stuttgart.
This includes three publications covering his entire time at the Künstlerhaus on the subject of La Sape—Sapologie.
The plan is to collaborate with a fashion school and two or three tailors from Kinshasa, one of whom is a member of the Bakoko collective, which makes clothes from natural materials. This revolutionary collective refuses to make clothes from fabric, instead taking inspiration from nature.

The first KHS house wine is being bottled! Join local artist-winemakers Hannah Liya and Mira Simon at the Künstlerhaus on Saturday, April 27th, where some 350 litres of their wine will make the next step on the journey to becoming a true vintage – from the fermentation tank into the bottle!

Grown on steep terraced hills above the Neckar river, these century old Trollinger vines produced half a ton of grapes, harvested by hand by Hannah, Mira, and a few friends. The grapes were then pressed and aged for 18 months on fine yeast in ceramic barrels in an earthen cellar located below the vineyards.

In just about the same year as the vines were being planted on the hillside, Marcel Duchamp repurposed a bottle-dryer as his first readymade (as he would come to describe it), withdrawing it from the realm of winemaking into the performative frame of art. A century on, the readymade is ready for winemaking, and the wine ready for bottling.

Together, we will make labels, and, repurposing a readymade as a bottle-dryer, fill and cork bottles, taking the final steps in the long process of making the first KHS Vintage House Wine. And of course, there will be a tasting!

April 27th 2-6pm

“It is not a question of imagining art as a relationship to the earth and to its metamorphoses. Rather, it is about thinking of every interspecific relationship — what we understand as the concept of ecosystem — as an art form, even when performed by non-human subjects.

Thinking of the identity of art and agriculture in a landscape means thinking of the landscape as a work of art conceived by each living creature who composes it.”

Emanuele Coccia, The Sower

Since taking up their position as Artistic Directors of Künstlerhaus Stuttgart on January 1, 2024, Tamarind Rossetti and Stephen Wright have been doing what farmers do in late winter and early spring: preparing the soil for seeding and succession planting, getting into sync with the other users of a common ecosystem. That is, getting to know the usership of the house.

For Rossetti and Wright, one of the key curatorial challenges of the coming decade is to acknowledge and make way for the artistic and aesthetic agency of other-than-human agents – plants, non-human animal species, perhaps even geophysical agents, including river and soil systems. This is an exciting and dynamic field within contemporary art and beyond, as theorists and practitioners envision political or diplomatic alliances with other life forms and geophysical forces, rethinking the modernist and anthropocentric paradigm, often reaffirming ancient connections with animism. Rossetti and Wright’s approach, while akin to these initiatives, is fundamentally different in that it is framed through the unifying lens of one usership: All life forms make use of environments and ecosystems, and in this respect they, together, inseparably, fashion those landscapes and produce an atmosphere. Their hypothesis is that usership is the common mode of relationality of all agency — this is how beings relate to their environment; the outcome is an atmosphere.

To test, challenge and enhance this hypothesis, Rossetti and Wright have conceived an artistic program for the Künstlerhaus Stuttgart which involves incorporating usership in this broadest sense, turning towards artists and art-compatible practitioners who are collaborating with plant and animal species as full-fledged artistic agents.

As an alternative to isolated exhibitions and event-based ideology, what Rossetti and Wright refer to as atmospheres provide the conditions for the intensification, amplification and sharing of aesthetic experience — precisely what might be described as farming an atmosphere. In this integrated ecosystem, artistic contributions function like plants in a constantly morphing garden, each of which needs a habitat and at the same time provides a habitat for others. Künstlerhaus Stuttgart is imagined here as a collective farm, an urban garden for the cultivation of art, based not on intensive cultivation methods but rather on a more extensive vision characterized by succession planting and institutional permaculture.

With this in mind, Rossetti and Wright have devised a 3-season cycle for 2024, punctuated by phases of composting, sowing, cultivation and harvesting. In the first phase, the focus is on processes of metabolizing through fermentation and myceliation (farming is above all about food). The second phase will focus on water, living rivers as landscapes (which are often created by non-human actors). In the third phase, the focus will be on institutional permaculture and its communal conservation and renewal. These three initial phases will be followed by an enquiry into anthrosols (soils co-created by humans).

The highest priority of the new artistic direction at the Künstlerhaus Stuttgart is to break down residual hierarchies between different constituencies of users, notably between the artistic programming and the in-house workshops, in favour of one usership.

On 15 April 2024, Künstlerhaus Stuttgart and the restaurant “Im Künstlerhaus” invite you to an evening together.
With the event series “Playing with food”, we are daring to experiment. Over three evenings, we will build a bridge between cuisine and art and talk about the process from the initial idea to the presentation on the plate. Together with an artist or a collective, we will consider how this process can be translated artistically. How can aromas, aesthetics, colour and taste be combined in a culinary and artistic way? After the artist Lennart Cleemann and the duo anima ona, we invite the artist Mona Zeiler to conclude this series.

The artistic process, the exhibition-making and the processes in the restaurant kitchen culminate in the subsequent presentation. The artistic process, the making of the exhibition and the processes in the restaurant kitchen culminate in the subsequent presentation. This is preceded by considerations on arrangements and proportions in the dining room (room/table/plates), on material diversity and its use (ingredients) as well as the design within the social space, which is also always taken into account.

In her artistic work, Mona Zeiler uses sculptural-installative methods to examine elements from our surroundings and living environment: she literally peels out details and thus traces different levels of meaning as well as questions about our perception and what attention we (want to) give them. On the subject of “Presentation”, Mona Zeiler is designing a site-specific setting with ceramic objects for the evening, which will create the framework for the kitchen – unlike usual, steps of preparation and presentation will be shifted to the dining room, to the guests’ table.

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

Food and drinks will be provided by the restaurant at cost price. The participation costs amount to

49,00 EUR for members and
69,00 EUR for non-members.

In order to be able to make further plans, a binding registration is required by 01 April 2024 at rr@kuenstlerhaus.de.

As the Künstlerhaus wants to offer an evening for everyone and not everyone has the necessary means, we work according to the principle of solidarity: if a member wants to pay more, the money goes into a solidarity pot for those who can pay less. If a member pays less, they can also take part in the evening as soon as there is enough money in the solidarity pot to make up the difference to EUR 49. The principle of “first come first serve” applies.

With Kathrin Jentjens (mediator, Rhineland) and Gerrit Gohlke (mediator, Brandenburg / co-founder of Neue Auftraggeber in Germany and head of regional development during the pilot phase)

This year, the Künstlerhaus Stuttgart begins a new chapter in the history of art in public space in Stuttgart. It will become the new anchor point for an idea that has been changing the relationship between art and society in Europe for a quarter of a century.

Since 1990, the mediation process of the “Neue Auftraggeber” has brought together committed civic groups with artists in hundreds of projects. This has enabled visual art to provide very concrete new answers to urgent social concerns. This offer of participation will now also be available in Stuttgart.

The Künstlerhaus Stuttgart will not formulate its own project ideas. Instead, civil society will play the central role in the Neue Auftraggeber model. Through “mediation”, their wishes, themes and visions become concrete project plans, “commissions” for art, with the help of which locally sustainable solutions are created that serve as an example for other committed individuals.

The projects can take very different forms. Whether music composition, garden design, dance performance, sculpture or computer game – the works always respond to local issues and needs and are supported by the community of citizens.

How does a commissioning process work and how does mediation accompany it? What distinguishes the Neue Auftraggeber from participatory projects? What topics are relevant and what exactly is the role of artists in this process? We will discuss these and many other questions together on April 13. We have invited two experienced mediators who have been working in the Neue Auftraggeber model for many years and have successfully implemented their own projects in urban and rural areas. They will accompany us on this day, present projects and lead a workshop.

Program

Saturday, April 13, 2024 12 – 4 pm, 2nd floor, Künstlerhaus Stuttgart

12:00 pm
“New Patrons” at the Künstlerhaus Stuttgart
Welcome and kick-off

12:15 pm
What is “New Patrons” (and what is it not)
The history of a rebellious idea

12:30 pm
Two project examples (urban + rural)

1:15 pm
Coffee break

1:45 pm
Workshop
Mediation on a case study with the participants

3:15 pm
Coffee break

3:30 pm
Practical discussion on Stuttgart topics

Further information on the new clients can be found here

In the 31st Tuesday workshop, anima ona, a multidisciplinary studio consisting of Freia Achenbach and June Fàbregas and studio holders of the Künstlerhaus, will open the studio on the 3rd floor. They will give a deeper insight into their work and the processes behind it by means of two to three projects.

Freia Achenbach and June Fàbregas will talk about what motivates them, the means they use to give residual materials a new value and the role the process plays in their work.

The duo studied at the Stuttgart State Academy of Fine Arts.

Following a transdisciplinary and collaborative approach, they have been developing self-initiated projects and realising commissioned works since 2018, working on the border between design, research and art.
Their diverse works are united by the search for previously unexploited resources and opportunities to reuse materials, which they pursue through experimental approaches and an examination of the cultural significance of objects.

Afterwards there will be an invitation to a joint discussion and exchange.

Tuesday Workshop

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

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

We, the fellows of Künstlerhaus Stuttgart, invite you for an extended hang-out session on the 3rd and 4th floor of the KHS building as we open our ateliers and share work-in-progress. Join a social gathering with a studio visit marathon, artistic exchanges, a community dinner, and a very open jam.

Upon arrival on the studio floor, you are greeted by a silent presence with impeccable style, while next door wondrous sounds and mindful movements gradually take over the space. In another dimension, you can immerse yourself in electro-acoustic experiments that dissolve the boundaries between VR workout and interactive music. Before you indulge in the latest Künstlerhaus gossip, the studio at the end of the common room is the ideal place to wind down from a VR frenzy. The research-intensive material samples demonstrate how urban building and waste materials regain value in a new circular economy, presented as artefacts that move between sculptural works and everyday objects. Meanwhile, the music enthusiasts among you will gather to discuss resistant music at the margins of our perception. On the top floor of the Künstlerhaus, you can then indulge in a more reflective mood as you wander among larger-than-life paintings, installations and objects that document stories of belonging and foreignness. Those who stay until the end are welcome to break bread and clink glasses with old and new acquaintances.

Don’t miss out on exploring the upstairs spaces for a more contemplative experience, walking amidst larger-than-life installations, paintings and objects that document tales of belonging somewhere yet nowhere at the same time. If you hang around long enough, you are welcome to sit down and break bread together with strangers and new friends.

You might wonder: Is this a performative dinner or a culinary community-based choreography? Drop the Artspeak, grab a drink or two and get freaky in an open jam for karaoke masters, electronic amateurs and YouTube-DJs. Come early, stay late!

We look forward to spending the day with you!

Eva Dörr & Lena Meinhardt
Freia Achenbach & June Fàbregas (anima ona)
Kateryna Surhutanova
Lambert Mousseka
Marcela Majchrzak
Theo Ferreira Gomes

Program

14:00         Open

14:30         Music Sharing Circle

Participate in an informal sonic hangout. We will share music, field recordings, texts, and other sound-related material that defy the status quo. This is the kick-off of »the sonic and the void«, a series of exchange formats, centered on critical sound practices and experimental music. The group is hosted by Kosmas Dinh & Theo Ferreira Gomes.

16:30         Studio Visit Marathon

The Atelier-Fellows of Künstlerhaus Stuttgart guide you on an energetic tour through their studios. Every 30 minutes, another workplace is introduced while work-in-progress is shared in an informal setting. With: Kate, Lambert, Eva & Lena, Anima Ona, Theo, Marcela

19:00         Breaking Bread – Common Dinner

Break Bread with the Künstlerhaus community and join for a communal dinner free of charge. All food will be vegetarian and vegan. Prepared with love by Marcela & co.

20:30         Open Jam

Feel free to contribute or listen in on an open jam on the 3rd floor of KHS. Some instruments and microphones are provided by Eva & Lena. You are welcome to bring your instrument of choice, but also your favourite poems or meme captions that will definitely get stuck in your head.

22:00         End

In the 30th Tuesday Workshop, Georg Ozory, artist and workshop manager of the etching workshop at the Künstlerhaus, will provide insights into his artistic work and invite visitors to view his pictures.

The Künstlerhaus Stuttgart has been part of Georg Ozory’s sphere of activity since its foundation. After immigrating to Austria, the Hungarian-born artist obtained his diploma in graphic design in Vienna and continued his artistic career in Stuttgart from 1977. In addition to his art education activities, Georg Ozory works in printmaking and painting.
As a sensitive person, he cannot escape the responsibility of reacting to the current world situation and putting the possibilities of contemporary panel painting to the test.

In conversation with visitors, Ozory would like to discuss, among other things, the symbolism of colour and the acceptance of the panel painting.

Tuesday Workshop

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

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

In the first Tuesday workshop of the year, Cindy Cordt will provide insights into her artistic work and introduce the format Paarungszeit.

Cindy Cordt is a performance artist who studied in Weimar and Leipzig and taught at the State Academy of Fine Arts in Stuttgart.
As a performer, she is sensitive to the tension of the viewer. She almost provokes the desire to intervene in her performances, thus creating a connection with the viewers, who then become part of a work of art in the making, demonstrating that we are all part of a social organism and that action is a way of participating in society.

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

Tuesday Workshop

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

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

Tamarind Rossetti and Stephen Wright, the new Artistic Directors, or rather the new Usership Coordinators, are invited to give members an insight into their ideas for the next few years at the Künstlerhaus. Of course, there will be also a discussion in German and English.
We are looking forward to this exciting new look at the Künstlerhaus, the eco-systemic approach of the two, who also want to work with and through the users of the Künstlerhaus. Or in their own words:

„We are excited to get together with you all, to learn about your projects and experience, to begin conversations and see where our interests connect. Looking forward to working with you over the coming months as we welcome new possibilities in 2024. Let’s get gardening!“

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

Heba Y. Amin, artist and Professor at the State Academy of Fine Arts Stuttgart (Staatliche Akademie der Bildenden Künste / ABK-Stuttgart), and Füsun Türetken architect, artist, and Professor at Karlsruhe University of Arts and Design (Staatliche Hochschule für Gestaltung / Karlsruhe HfG) convene a series of seminars at the Künstlerhaus Stuttgart to work with students in developing site-responsive interventions and methods of futurity that contend with ongoing histories of trauma.

To convene these seminars onsite at the Künstlerhaus Stuttgart is to necessarily grapple with an immediate site of trauma—to contend with the Künstlerhaus Stuttgart’s historical legacy as an art institution located in a building that was acquired in 1935 by means of Nazi dispossession. It is well known that art institutions are often deeply contaminated sites that collect, present, and embody the living histories, symbolic systems, and operative structures of state violence. How can these sites in the art sector be occupied by other means and repurposed towards other futures? What specific methodologies may be developed and applied towards reparative futures, towards reparations? What contributions can art practitioners make to the longstanding project of reparations and reparations discourses?

As Zoé Samudzi has written: “Reparations discourses articulate a grammar of futurity: not simply a world that does not exist, but one that could be fabricated through attempts to repair historical harm and trauma.” (Zoé Samudzi, “Reparative Futurities: Thinking from the Ovaherero and Nama Colonial Genocide,” The Funambulist, Issue 50, https://thefunambulist.net/magazine/redefining-our-terms)

This series of seminars at the Künstlerhaus Stuttgart has been organized as a creative unfolding reparations project. Within this project, the concept of “futurity” operates as a technique of ontological reconstruction—challenging historically settled expectations, while enacting a future that is unresigned and unreconciled. This technique activates the telling and the realization of the past—through texts, images, interventions, and situations—as an ongoing critical project that must always be actualized and manifest in the present. Through these seminars, students develop consequential methodologies of futurity and their own “grammars of futurity” in confronting the freighted history of the Künstlerhaus Stuttgart. Looking to how artists advance site-responsive methodologies, these seminars are in conversation with two works by the artist Maria Eichhorn. In October of this year the seminar students worked onsite in Venice, responding to Eichhorn’s project at the German Pavilion for the Venice Biennale. And subsequently in November, the students began working at the Künstlerhaus Stuttgart, responding to Eichhorn’s in-process work that examines the Künstlerhaus Stuttgart’s ongoing history of property relations. While contending with the history and continued usage of this particular property, these series of seminars and public presentations on December 19th imagine future reparative possibilities that extend to other sites within and beyond the German context.

Onsite Seminars:

Tuesday, November 7

Tuesday, November 21

Tuesday, December 5

Tuesday, December 19

Public Presentations by Seminar Students at Künstlerhaus Stuttgart:

December 19, 2023 at 7pm (19.00)

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

https://barbaraehnes.com

Tuesday Workshop

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

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

Concert installation evening

08.12.2023
Admission: 19:00
Start: 20:00

studio floor (3rd floor)

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

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

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

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

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

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

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

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

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

It is possible to extend the studio grant through ap

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

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

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

Application

Please include with your application the following documents:

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

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

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

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

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

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

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

Following the screening, we invite you to a discussion.

________

Tuesday Workshop

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

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

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

Since the late 1980s, Maria Eichhorn has achieved renown for works that critically analyze institutional structures and consequentially act on situational-specific conditions of social, legal, and economic authority. Eichhorn’s exhibition project, Reuchlinstraße 4 b, 70178 Stuttgart (2023—) is constituted by processes and actions that respond to the ongoing history of property relations specific to the building at Reuchlinstraße 4 b, which the City of Stuttgart has owned since 1936 and which the Künstlerhaus Stuttgart has rented since its founding in 1978. Through research of State archives and legal casework, this site-specific exhibition project revisits how the building’s acquisition was achieved by means of coercive foreclosure. In doing so, Eichhorn’s work challenges the City’s ownership rights over the property while laying bare crucial questions about continued use of the property by the Künstlerhaus Stuttgart.

Within the public space of the City of Stuttgart, a major component of Eichhorn’s exhibition project is a plaque affixed to the facade of the building at Reuchlinstraße 4 b. In addition to establishing legal protections and restrictions that complicate future ownership rights over the building, this plaque also presents an informational text—a damning report that weaves together a family biography with an interrelated history of banking practices, confiscatory laws, and discriminatory statecraft.

Reuchlinstraße 4 b, 70178 Stuttgart (2023—) is a project of the Rose Valland Institute, founded by Maria Eichhorn in 2017 on the occasion of documenta 14.

Please join us on Wednesday May 8th at 11am for the public unveiling of this plaque at the Künstlerhaus Stuttgart.

Anna Schiefer, deputy chairwoman of the Künstlerhaus Stuttgart board, Eric Golo Stone, former artistic director of the Künstlerhaus Stuttgart, and Marc Gegenfurtner, head of the Stuttgart Cultural Office, give introductory remarks on the exhibition. Adam Szymczyk, artistic director of documenta 14 talks about Rose Valland Institute.

The plaque text is reproduced within the exhibition pamphlet, here as follows: Exhibition pamphlet

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

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

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

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

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

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Tuesday Workshop

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

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

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

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

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

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

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

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

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.

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Tuesday Workshop

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

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

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

www.oberwelt.de

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.

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

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

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

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

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Tuesday Workshop

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

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

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

More informations:

annagohmert.de

IG: @annagohmert

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Tuesday Workshop

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

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

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

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

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

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

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

Program

05/06/2023 (7pm)

Opening reception

06/24/2023 (3-5pm)

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

06/25/2023 (3-4pm)

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

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)

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.

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

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.

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