15.1.2012 starting a new position / Neue Position ab 15. Januar 2012

Since January I've been holding the position of a curator for contemporary art at the Wilhelm-Hack-Museum, Ludwigshafen. I'll still be in Berlin on a regular basis and continue my work as freelance writer.
Seit dem 15. Januar arbeite ich als Kuratorin am Wilhelm-Hack-Museum, Ludwigshafen. Ich werde weiter regelmäßig in Berlin sein. Meine Tätigkeit als freie Autorin führe ich fort.


Project 10: There is no Place like Home (or is there?) on 11.11.11 all day at Babusch

Friday, 11.11.11 from 11.11 am to11.11pm
Babusch will be part of EXCHANGE RADICAL MOMENTS, a 1 day art festival in Berlin, Bitola, Chisinau, Linz, Liverpool, London, Paris, Prague, Riga, Slubfurt and Stockholm.

Babusch's guests: Thilo Bock, Eli Cortinas, Tibor Kiss & Solveig Bartusch, Ulla Lenze, Alexej Meschtschanow, Regine Müller-Waldeck, Mathias Ortmann et al. - detailed programme here

Babusch, Kopenhagener Str. 33 (I), Berlin-Prenzlauer Berg, space@babusch.org


Project 9 at Babusch, Berlin: Eli Cortiñas - New Work

Thursday, 6 October, 7.30 pm
Screening and artist talk with Eli Cortiñas 
at Babusch, Berlin

RSVP here or here 
Video programme
Recent works by Eli Cortiñas 

Confessions with an open curtain, 2011 (1 channel video, 5´30´´/ loop) 
FIN (END), 2010  (1 channel video, 4´/ loop) 
Vogel, Kirsche, Geliebte (Bird, Cherry, Lover), 2010 (2 channel video, 8´/ loop)

image: Vogel, Kirsche, Geliebte (Bird, Cherry, Lover), 2 channel video, 8´/ loop, 2010 (video still) (c) Eli Cortiñas


BURNING HOT. Recent observations on ceramics in contemporary art

As attentive visitor of contemporary art exhibitions you might already have noticed it: pottery seems to be everywhere at the moment – as plate, delicate structure or lump, colourfully glazed, monochrome or raw, figurative, abstract or non-objective, in shows at galleries and museums ceramic is appearing in all kind of ways these days.

For a long time, ceramics as a medium used to belong to the arts and crafts rather than to the fine arts. Sure, Picasso’s delicate plates are famous and beloved, and artists like Thomas Schütte, Tony Cragg, Rosemarie Trockel, Miquel Barceló and especially Asian artists like Ai Weiwei or Leiko Ikemura have worked with pottery for years now, thus holding somewhat exceptional positions within the field of contemporary art. But just recently they got good company: the younger generation finally has discovered pottery too – the ceramic mania seems to spread out quickly. It’s always difficult, if not impossible, to explain a phenomenon like this – why is it that artists suddenly become aware of a certain medium or technique? (...)

image: Caroline Achaintre, Whalf, 2011 (ceramic, leather, installation view at Timothy Taylor, London), courtesy:  the artist


Finissage Project 8: Based around Babusch @ Babusch, Berlin

Saturday, 27 August, 4 pm 
Finissage + Barbecue
The exhibition will be open until 8, the barbecue grill probably much longer (if the weather allows it!). Bring food and beer for the barbecue if you like.
Participating artists: Stefka Ammon, Eli Cortiñas, Henrike Daum, Wiebke Elzel, Anne Gathmann, Emanuel Geisser, Kerstin Gottschalk, Stef Heidhues, Tina Isabella Hild, Christian Hückstädt, Yuki Jungesblut, Jan Koch, Marlena Kudlicka, Alexej Meschtschanow, Rebecca Michaelis, Jana Müller, Regine Müller-Waldeck, Katja Pudor, Inken Reinert, Arne Schreiber, Alexandra Schumacher, Alina Shmukler, Natalia Stachon, Sven Stuckenschmidt, Lars Teichmann, Linda Weiss, Claudia Wieser, Andrea Winkler
Please klick here for the list of works
and here for more information on Babusch and the show: babusch.org


Crisscrossing Realities: A Conversation with Libia Castro and Ólafur Ólafsson

conducted in April 2011 for Art Pulse, New York (summer issue 2011) 
The Spanish-Icelandic artist duo Libia Castro (born 1969 in Madrid) and Ólafur Ólafsson (born 1973 in Reykjavik) are representing Iceland at the 54th Venice Biennale 2011, which opened in June. We met the artists in the middle of the production of their new video and performance works for this occasion. The interview was conducted between Berlin, Germany, and Hafnarfjörour, Iceland, via Skype in April 2011.
Barbara J. Scheuermann: Before we start talking about your plans for the Icelandic pavilion at this year’s Venice Biennale, I first would like to ask you to give me a picture of where you are and what you are occupied with at the moment.
Libia Castro and Olafur Olafsson: For the last couple of months we have been in Iceland, on a residency at Hafnarborg Arts Center, which is based in the outskirts of Reykjavik. With them and RÚV-a national Icelandic TV channel-we produced the piece Constitution of the Republic of Iceland for the Biennale. From May on we are in Venice, where we will do the last part of the production of the work, Your Country Doesn’t Exist, and a new iteration of the project that has been developed since 2003. (...)
Photo credit: Video-still from Il Tuo Paese Non Esiste, 2011, exhibited at the Pavilion of Iceland at the 54th International Art Exhibition of the Venice Biennale. Photo: Lilja Gunnarsdóttir


On Victor Alimpiev's paintings (dt./engl.)

Von gespannter Unbewegtheit. Einige Gedanken zu den Gemälden von Victor Alimpiev
veröffentlicht in: Victor Alimpiev - Malerei, Mönchengladbach 2011
Victor Alimpiev ist nicht nur der Schöpfer von inzwischen weithin bekannten, poetisch-verrätselten Videoarbeiten, sondern auch ausgebildeter Maler. Unschwer ist dies an der präzisen Komposition und der spezifischen Farbigkeit seiner Videos ist zu erkennen: Hier schafft ein Maler wohldurchdachte Bilder, die sich mit den für die Malerei charakteristischen Fragen nach dem Verhältnis von Farbe, Form, Bildträger und Betrachter auseinandersetzen. So ist es keineswegs überraschend, dass wiederum in den Gemälden Alimpievs – bei allen Unterschieden zwischen den Medien – dieselben Aspekte und Phänomene von Bedeutung sind wie in seinen Videos: skulptural erscheinende Figuren, eine dezidierte Auseinandersetzung mit Raum und Zeit, die Isolierung von Gesten und Bewegung, die Verwendung von Rhythmik und lyrischen Mitteln. (...)


Project 8: BASED AROUND BABUSCH opened last Thursday

Thanks to everyone for coming and making it a great opening party!

Images are online HERE
List of works (incl prices) online HERE

until 18 August, 2011
open on Thursday from 6 to 8pm and by appointment


Beauty, Pessimism, Hope - on 2 video art exhibitions in Istanbul and Düsseldorf

published in RES (Istanbul), June 2011, p. 122-124

(...) “'...the disordered and damaged state of the environment today has been (…) under our very eyes in the most flagrant way all the time', says Colombo in his introduction to the catalogue, and Calikoglu seconds him by writing in his own catalogue essay that the 'rational planning, which was sustained for the sake of a livable future, a safe urban life, and a modern level of comfort, has pitted nature against culture. We still have not found a way to coexist with nature.' Well, that might be a bit thick, given that worldwide millions of people live in peaceful coexistence with their natural surroundings and other thousands of people dedicate their whole lives to develop alternative ways of generation of energy and of benefitting from natural resources without eventuelly anihilating them. But no doubt, Calikoglu and Colombo have a point (...)"
read the full text here
image: Doug Aitken, Migration (production still), 2008, (c) 303 Gallery, NY, and the artist 


Opening of Project 8 at Babusch on 30 June, 2011

Project 8: Based around Babusch
Stefka Ammon, Eli Cortiñas, Henrike Daum, Wiebke Elzel, Emanuel Geisser, Kerstin Gottschalk, Stef Heidhues, Christian Hückstädt, Marlena Kudlicka, Alexej Meschtschanow, Rebecca Michaelis, Jana Müller, Regine Müller-Waldeck, Katja Pudor, Inken Reinert, Arne Schreiber, Alexandra Schumacher, Natalia Stachon, Sven Stuckenschmidt, Lars Teichmann, Claudia Wieser, Andrea Winkler et al.
After seven projects focussing on "elsewhere", for Project 8 Babusch will focus on artists of its own district. This is to represent the quality and variety of the artistic production in only a small area of Berlin (mainly Prenzlauer Berg, partly Wedding, Pankow and Mitte) of which Babusch is the (geographical) center. And it's also a charity event: the artworks will be on sale, the revenues will support the artists and Babusch's non-profit art programme which has been realised without fundings so far.

Think global, act local!

Henrike Daum's Cabinet of Curiosities

published in: Depart, Dhaka, spring 2011, p. 76-79
Entering Henrike Daum’s studio in Berlin’s hip district Mitte is like entering a cabinet of curiosities: the light is dimmed, and while adjusting the eyes to the darkness, one catches first glimpses of moving images, shimmering objects and other, not immediately ascertainable, sensations in the twilight. When you step closer you may identify jellyfishes glowing in jam jars, a ladybird making its way around the edge of a glass or shiny mountains with luminous spots dancing over them.
The artist is fascinated by light in its manifold aspects, by materials and objects that reflect, radiate and illuminate. So it has come only naturally that Henrike Daum (born 1972 in Gütersloh (Germany), lives and works in Berlin), during her studies at the art academy in Münster (Germany) and in her becoming an artist, has been turning towards video as the ideal medium for her artistic investigations. Yet it’s not actually the medium or material itself which Daum wants to explore – it’s rather that light and motion are used for examinations of all kind of phenomena, usually linked to science or natural sensations in general. (...)

click here for the full text


Pre-report on the Venice Biennial 2011, in: (H)Art #80, April 2011

Biennial Venice 2011 
Shedding a light on Illuminations
"No doubt, the Venice Bienniale – the mother of all art biennials – is still one of the most important and eagerly-anticipated events in the art world, not least because of the often discussed national pavilions which seem a bit outdated nowadays but still give the biennial this special edge. The expectations for the curated main exhibition in the Central Pavilion and in the Arsenale are high, and one can imagine that the position of the respective curator is not an easy one, overexposed to public pressure and criticism. After all the Biennale is regarded as being the most comprehensive and influential contemporary art exhibition in Europe. The respective curator usually plays a very prominent role, (...)"

Please click on the image above to read the full article.


Opening on 29 April 2011 at Hopstreet, Brussels

Ayse Erkmen
Markus Karstiess
Anne Neukamp
Bernd Ribbeck
Claudia Wieser

29 April 2011 - 11 June 2011
HOPSTREET, Hopstraat 7 rue du Houblon, 1000 Brussels, www.hopstreet.be
The show proposes to look at abstract shapes as forms that are animate. Despite their often rather austere appearance, abstract artworks can embody hints of fguration, motion, even narration. So this show brings together works by artists who work on the thin line between abstraction and figuration, respectively are inclined to blur this line – through concept, composition and colour life is breathed into forms and shapes .
image (c) Claudia Wieser 2011


Review Liverpool Biennial 2010: Touched

in: ARTPULSE, Spring 2011, Vol. 2 No. 3
"People tend to complain about the high prevalence of video works on recent biennials and other major exhibitions. If you were already somewhat dizzy of all the videos on the most recent Berlin biennial, then this year’s Liverpool biennial will probably cause some headaches. Its programme means strain, even for passionate video art lovers, but it’s worth the effort. 
For example the video „Grand Organ“ by Düsseldorf-based artist Danica Dakić: Placed in a tower of the Liverpool Cathedral, it amalgates the organ, a children’s choir, and Liverpool’s impressive St. George’s Hall to captivating images about innocence, guilt, the individual and the collective, accompanied by a most exquisite sound.
Within walking distance – right next to the “Black-E”-building where Belgian artist Kris Martin has installed a gigantic sword hanging from the ceiling – lies the vacant “Europleasure Hotel”. Here Alfredo Jaar’s very moving 3-channel-video „We wish to inform you that we didn’t know“ is projected for the first time. It’s about the genocide in Ruanda in the nineties and so saddening that, after having seen it, one doesn’t feel like seeing anything else at all (...)"

For the full text please click twice on the image on the left.


Soeben erschienen: Katalog "Alke Reeh. so oder so", Kulturforum/Alte Post, Neuss 2011

Alke Reeh. When Analysis Becomes Form
In der Bildhauerei spielt die negative Form – der Raum, der eine Skulptur umgibt beziehungsweise sie durchdringt – eine ebenso große Rolle wie die positive Form, also die körperliche Substanz der Plastik. Häufig sind es gerade die negativen Räume, zum Beispiel Löcher, Spalten, Schlitze, Zwischenräume aller Art, die eine Skulptur erst zum räumlich erfahrbaren Ding machen, das den vorhandenen Raum durchdringt und formt. Im Werk von Alke Reeh ist dieses Bewusstsein für positive und negative Räume und ihre genaue Erforschung zentral.  
Seit langem interessiert sich Alke Reeh für die „Analyse von Formen“, wie sie es selbst nennt: Wie entsteht eine Form? Wie verhalten sich verschiedene Formen zueinander? Innerhalb welcher Strukturen entstehen Formen, und ab wann nimmt man mehrere Formen als Struktur wahr? (...)


13.3. Eröffnung: "Alke Reeh: so oder so" @ Alte Post, Neuss

Alke Reeh: so oder so 
13. März bis 19. April 2011
Alte Post / Städtische Galerie, Neuss
Eröffnung am Sonntag, 13.3., um 11:30 Uhr
Begrüßung: Klaus Richter
Einführung: Barbara J. Scheuermann

Zur Ausstellung erscheinen ein Katalog und eine Edition.


Künstlergespräch mit Martin Werthmann am 27.2. in Kassel

"Der Kasseler Kunstverein lädt am Sonntag, 27.2., ab 17 Uhr ein zur Finissage seiner Ausstellung „undoubtedly/unzweifelhaft“ – Slawomir Elsner / Martin Werthmann. 
Sie beginnt mit einer kurzen Führung durch den Kurator Bernhard Balkenhol.
Anschließend wird Dr. Barbara J. Scheuermann, Kunstwissenschaftlerin und freie Kuratorin aus Berlin, ein Künstlergespräch mit Martin Werthmann führen.
Zum Abschluss zeigen wir einen Animationsfilm, der von der Trickfilmklasse der Kunsthochschule Kassel unter Leitung der neuen Professorin Martina Bramkamp in der Ausstellung gedreht wurde."

Mehr Informationen hier


Die Codes der Dinge: Belá Kolárová und Lucie Stahl in der Stadtgalerie Schwaz

erschienen in: Missy Magazine 01/11, S.95 
"Mit Belá Kolářová & Lucie Stahl zeigt die Stadtgalerie Schwaz zur Zeit die erste Ausstellung unter der neuen künstlerischen Leitung von Cosima Rainer. Seit Sommer 2010 ist die Wiener Kuratorin Leiterin des kleinen Ausstellungshauses in der Nähe von Innsbruck, und es ist als Statement zu lesen, dass gleich ihre erste Ausstellung explizit einen Beitrag zum feministischen Kunstdiskurs leisten will. Hierfür hat sie eine aktuelle und eine historische – womöglich nicht minder „aktuelle“ – Position ausgewählt: die in Wien lebende Künstlerin Lucie Stahl (1977 geboren n Berlin) und die tschechische Neokonstruktivistin Belá Kolářová (1923 geboren in Terezíně)..." für den vollständigen Text bitte hier oder links klicken


Künstlergespräch / artist talk: Anja Ciupka & Barbara J. Scheuermann

Donnerstag, 17. Februar, 19 Uhr / Thursday, February 17th, 7pm

Schaafenstrasse 10
Cologne, Germany


Dates to save Winter/Spring 2011

29.01. Opening of Hopstreet, Brussels
03.02. Opening of Project 7: Pawel Jaszczuk at Babusch, Berlin
10.02. Introducing the new exhibition series "Couples" on occasion of the opening of the show "Sean Scully and Liliane Tomasko" at Haus am Lützowplatz, Berlin
17.02. Artist talk with Anja Ciupka at Galerie Marion Scharmann, Cologne
27.02. Artist talk with Martin Werthmann at Kasseler Kunstverein, Kassel
13.03. Introduction to Alke Reeh's work at Kulturforum Alte Post, Neuss
29.04. Opening of "The Secret Life of Abstract Forms" at Hopstreet, Brussels

image: Anja Ciupka, The Butterfly Effect, 2010 (c) the artist


Jury-Sitzung für den Förderpreis der Arthur Boskamp-Stiftung

Die Arthur Boskamp-Stiftung M. 1 in Hohenlockstedt vergibt für das Jahr 2011 zwei Förderpreise in der Sparte „Interdisziplinäre Konzepte“. Die Ausschreibung richtet sich an bildende Künstler, deren künstlerische Arbeit von einer interdisziplinären Herangehensweise geprägt ist. Die Förderpreise sind mit je 2.000 EUR dotiert. Zusätzlich zum Förderpreis können die stiftungseigene möblierte Wohnung und ein Atelier für drei Monate kostenlos genutzt werden. Mit dem Förderpreis sind eine Publikation und eine Ausstellung im M.1 verbunden. Über die Vergabe des Preises entscheidet am 12.2.11 eine Fachjury. Mitglieder der Jury sind: Dr. Ulrike Boskamp, Dr. Brigitte Kölle, Dr. Barbara J. Scheuermann, Pia Witzmann.


Liliane Tomasko und Sean Scully: the shadow of the corner of the wall

11. Februar – 3. April 2011
Eröffnung am Donnerstag, 10.2.11, ab 19 Uhr
Begrüßung: Karin Pott
Kurze Einführung in die neue Ausstellungsreihe "Künstlerpaare": Barbara J. Scheuermann
Einführung in das Werk der Künstler: Armin Zweite
Bild: Sean Scully, 6.21.09, 2009, Pastel on paper, 40.6 x 59.8” (103 x 152 cm), (SS1008) / M340, (c) the artist


Opening of Project 7 at Babusch on Thursday, 3.2., at 7 pm

Project 7: Pawel Jaszczuk

3.2. - 4.3.11 
Opening on Thursday, 3 February, 7 pm
Kopenhagener Str. 33/I, Berlin-Prenzlauer Berg
in cooperation with Photo Edition Berlin

------- images of the opening -------

image (c) Pawel Jaszczuk


"Man kann sich hier nicht einfach rausschleichen"

In der aktuellen "Brigitte Woman" (02/2011), S.84 ff.:

Artikel von Silke Stuck über Babusch, 18m und die Bibliothekswohnung:

"Wo war hier noch mal die Galerie?"

Bei der Ausstellung, auf die hier Bezug genommen wird, handelt es sich um 


Soeben erschienen: Katalog zur Ausstellung "Update - Die Welt als Modell"

Montag Stiftung Bildende Kunst (Hg.)
Hardcover, 136 Seiten, ca. 100 farbige Abbildungen, DVD mit Videopodcasts, Verlag für moderne Kunst Nürnberg, ISBN 978-3-941185-93-7. Mit Beiträgen von Ulrich Dirks, Oliver Elser, Kiron Khosla, Roland Meyer, Florence Ostende, Stefan Rasche, Ingrid Raschke-Stuwe, Barbara J. Scheuermann (über Susanne Kutter) und Ludwig Seyfarth.
"Vom 4. September bis zum 31. Oktober 2010 präsentierte die Montag Stiftung Bildende Kunst in den kabinettartigen Räumen eines leer stehenden Bonner Bürogebäudes aus den 1950er-Jahren die Ausstellung. Inzwischen ist der Katalog zu der von Ingrid Raschke-Stuwe kuratierten Schau im Verlag für moderne Kunst Nürnberg erschienen. Er dokumentiert auf 136 Seiten und mit mehr als 100 Fotos die eigens für "update" geschaffenen Arbeiten
Modelle sind faszinierend und unverzichtbar. Sie sind Werkzeuge für unser Denken, Erkennen und Handeln. Acht Künstlerinnen und Künstler aus Deutschland, den Niederlanden und Lettland hatten sich das Thema zu Eigen gemacht: Stefan Eberstadt, Clemens Botho Goldbach, Susanne Kutter, Miks Mitrevics, Maurice van Tellingen, Ina Weber, Markus Zimmermann und Edwin Zwakman. Für die Ausstellung entwickelten sie Installationen, drehten Videos, verwandelten längst verwaiste Amtsstuben in Wunderkammern.
Der Katalog greift mit einem übergeordneten Aufsatz das vielschichtige Thema des Projektes auf. Das deutsch-englische Buch wird ergänzt durch eine DVD mit Künstlergesprächen und Atelierbesuchen."

Mehr hier und hier


Review: Jeanne Susplugas @ Think 21 Gallery, Brussels, in: Art Pulse, December 2010, p. 84

Champagne in the Morning
"It’s a wide range of media which Jeanne Susplugas covers not only in her recent show at Think 21 Gallery in Brussels but in her whole work. The French artist (born 1974 in Montpellier, lives and works in Paris) is not afraid of using diverse techniques and different formal approaches – drawing, video, installation, photography, stage design, sound pieces, etc. etc. – to pursue the matters she has been interested in for quite a while now. Thus she belongs to the happy few artists who owe the freedom to cross the media without restraint and without the fear of not being recognized for formal reasons. Her work is about content and ideas and it’s a pleasure to follow the artist through the wide field of her investigations of aspects of living in our contemporary society and our entanglements with anxieties and seductions. (...)"

Click on the image (and once again) to enlarge.
For more information on the artist (and the correct spelling of her name) please see here: www.susplugas.com


WHERE AM I? opening on 12.11. @ Experimenter, Kolkata

Where am I?
Group show with Anja Ciupka, Stefan Panhans, Sebastian Stumpf and Claudia Wieser
curated by Barbara J. Scheuermann
opening 12 November 2010
at Experimenter, Kolkata (India)
Where Am I? brings together four artists from Germany, each of whom negotiates the nuances and contradictions of contemporary practice within increasingly liberal and permissive societies.
Not restricting itself to location in the literal, but also in the figurative, Where am I? explores where one is located in life and in their respective environment. In their artistic practice Anja Ciupka, Stefan Panhans, Sebastian Stumpf & Claudia Wieser investigate their own positions within given parameters using a diverse range of media and formal approaches.
Claudia Wieser changes the existing space of the gallery by covering the gallery wall with black/white-copies of 19th-century-photographs of Belgian interiors, thus creating an imagined new space, which serves as a non-logical, expansion of the “real” space. The installation is accompanied by her drawings that dwell on aspects of form and landscape.
Stefan Panhans’ new video Sorry shows, in one frame people in a modern train cabin, a transit space in motion, overburdened with luggage, squeezing their way through the aisle with no obvious intention. It appears as if all of them are star-look-alikes, trying to play a role different from the one their normal life provides for them. His photographs seem to picture the traces of these attempts to live life defined by a new set of parameters.
In Anja Ciupka’s formally austere text work, Me, she takes personal relationships as indicators of her own position, demonstrating the diversity of roles and functions people naturally take over in life. Petanque balls float around in the gallery space in Butterfly Effect and can be playfully moved by the visitors forming unique groups, pairs and compositions and thereby throw open possibilities of innumerable new spaces and relationships.
Sebastian Stumpf’s interventions explore the relation between his own body in public interior and exterior spaces. His actions which are presented on slides, video or photographs usually evolve from a small sidestep or an unexpected action, like climbing a tree, standing in narrow spaces between urban buildings, or lying on the floor of a museum. By changing his position, the artist not only change his but also our perspective on familiar spaces and surroundings.
Where Am I? provides an insight into the shifting values of today’s society & comments on our position within the dynamic reality of boundaries that we define our lives by.


EXCHANGE! CONGRESS 20 October 2010, Berlin

GLS Campus Berlin, Sprachschule, AULA, Kastanienallee 82, D -10435 Berlin
10:00  PECHA KUCHA BRUNCH with Wolfgang Krause (art boys, Berlin), Joelle Dietrick & Owen Mundy (Florida, USA), Lilia Dragneva (KSA:K, Chisinau, Moldova), Solvita Krese (LCCA, Riga, Latvia), Barbara J. Scheuermann (Babusch, Berlin), Louise Taylor (UK), Andrew Stooke (Oliver Holt Gallery, UK), Jörn J. Burmester (Performer Stammtisch, Berlin), Club Real (Berlin).
14:00  VIDEO SCREENING (Highlights from Attitude Festival Bitola, Macedonia)
14:30  PERFORMANCES (Liverpool Performance Artist and Drag-”Queen of Culture” Mandy Romero, Sound Artist Alex Decoupigny, Performance Artist Dovrat ana Meron)
15:00 ROUND TABLE TALK with Artists and Exchange Radical Moments! Co-organizers
16:00 TEA TABLE TALKS, an encounter scenario with 12 tables and 24 chairs. Come, sit down and talk to artists, curators and organizers.
Free entry! Registration is appreciated. Please send email with name and subject “Exchange! Congress” to moments@fabrikanten.at.



in HART #70, out now

It's usually like this in the art world: the artist gets upset if someone suspects him or her to "work for the market", the art dealer doesn't consider providing educational events as one of his or duties, and the curator must be absolutely incorruptible. If there is only the slightest doubt, then the respective person is in trouble or at least expected to explain what made them cross that distinct line between non-commercial and commercial... (...) more here


Project 6 at Babusch: Ruti Sela & Maayan Amir

Opening at Babusch, Berlin
Thursday, 12 August, at 7 pm
Project 6: Ruti Sela & Maayan Amir, Beyond Guilt
Screenings at 7 and 7.45 pm
Ruti Sela's & Maayan Amir's "Beyond Guilt" (video trilogy 2003-2005, 42 min.) consists of 3 chapters. Chapter 1 was shown on this year's Berlin Biennial (which ends this week). Shot in public toilettes, the video put into focus the interrelations between sexuality, violence and power and leaves an uneasy feeling. This 1st chapter made me so curious that I wanted to see also chapter 2 and 3. I did, and now I want to share them. Here you are.
Further Screenings:
26.8., 2.9., 9.9.: 7 and 7.45 pm
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Soeben bei transcript erschienen: Die fotografische Wirklichkeit. Inszenierung. Fiktion. Narration

Die fotografische Wirklichkeit. Inszenierung. Fiktion. Narration, hg. von Lars Blunck, Bielefeld (transcript) 2010 (Leseprobe)
darin: Barbara J. Scheuermann: Narreme, Unbestimmtheitsstellen, Stimuli - Erzählen im fotografischen Einzelbild, S. 191-206
"Im letzten Jahrzehnt ist das Erzählen zunehmend ins Zentrum künstlerischen Interesses gerückt. Die Auseinandersetzung mit kunstwissenschaftlichen Beiträgen über künstlerische Erzählstrategien aber zeigt, dass der Begriff des Erzählens in der Kunstwissenschaft nicht eindeutig bestimmt ist, ebenso wenig wie ›Erzählung, ›Erzähler und ›narrativ. Damit sind diese Begriffe, wie sie bislang angewendet wurden, als theoretische Termini unbrauchbar geworden. Die im Folgenden vorgenommene neue Festlegung der Terminologie erfolgt auf Grundlage der innerhalb von drei verschiedenen Forschungsbereichen – der Kunstwissenschaft, der literaturtheoretisch begründeten Narratologie und der intermedial orientierten Erzähltheorie – erschienenen Forschungsbeiträge, deren Ergebnisse zu diesem Zwecke zusammengestellt worden sind.  
Eine Untersuchung erzählerischer Strukturen, Strategien und Spuren darf niemals zum Selbstzweck einer narratologischen Betrachtung werden – im Zentrum der kunstwissenschaftlichen Analyse muss immer das Kunstwerk (...) mit seinen sämtlichen formalen, inhaltlichen, stilistischen und über sich selbst hinausweisenden Eigenschaften stehen. (...)"