Lisa Rosenmeier. Blaalys / Blue Light / Blaues Licht
Into the Blue / Ins Blaue hinein, in: Lisa Rosenmeier. Blaalys / Blue Light / Blaues Licht, Exhib. cat., Dan./Engl./Ger., Künstlerhaus Bethanien, 2023. Dortmund: Verlag Kettler, 2024, pp. 95–102.
https://www.lisarosenmeier.info/blue-light-blaues-licht-bla-lys/
https://www.bethanien.de/wp-content/uploads/2023/06/PM_Lisa-Rosenmeier_DE_EN_neu.pdf
Friedrich Einhoff – 100+
Auf der Durchreise zwischen Entwicklung und Auflösung. Friedrich Einhoffs Vagabunden des Seins / In Transit between Emergence and Dissolution. Friedrich Einhoff's. Friedrich Einhoff's Vagabonds of Existence, in: Friedrich Einhoff – 100+. Hrsg. v. LEVY Galerie. Bielefeld: Kerber Verlag, 2023, pp. 5–9; 11–15.
https://www.kerberverlag.com/de/2060/friedrich-einhoff
Mariella Mosler – must d'avantgarde
Rapport von Blüten und Stacheldraht. Mariella Moslers verzweigte Muster transkultureller Verstrickungen / Rapport of Blossoms and
Barbed Wire. Mariella Mosler's intricate patterns of transcultural entanglements, in: Mariella Mosler – must
d'avantgarde. Exhib. cat., ed. by Sparkassen-Kulturstiftung Stormarn, Barmstedt: Cord-Hayen Oltmanns Verlag,2022, s/p..
https://www.galerie-im-marstall.de/ausstellungen/vorschau//view/15055
Wegkreuzung Gleichgesinnter in einer absurden Welt: Tomi Ungerer zu Gast in der Sammlung Falkenberg / Crossing Paths in an Absurd World—Tomi Ungerer at the Falkenberg Collection, in: Tomi Ungerer. It's all about freedom. Exhib. cat., Ger./Engl. (Falckenberg Collection / Deichtorhallen Hamburg: 27.11.2021–24.04.2022). ed. by Dirk Luckow; Harald Falkenberg. Berlin: Hatje Cantz Verlag, 2021, pp. 277–233/ pp. 250–254.
https://www.deichtorhallen.de/ausstellung/tomi-ungerer
In den Zonen des Zwielichts / Amid the Zones of Twilight, in: Katharina Kohl. Personalbefragung. Innere Sicherheit: Personnel Survey. Homeland Security / Ger./Engl.
Authors: Michael Behn, Belinda Grace Gardner, Dagrun Hintze, Manfred J. Holler, Elfriede Jelinek [et al.], Berlin: Revolver Publishing, 2020, pp. 106–117.
Annette Meincke-Nagy. Touchable / dt./engl.
Autorin: Belinda Grace Gardner, Interfaces innerer Verfassungen / Interfaces of Inner States, Bielefeld: Kerber Verlag, 2020,
pp. 5–9 / pp. 13–16.
Akute Explosionsgefahr / Explosion Hazard, in: Counter Culture: 25 years Sammlung Falckenberg: objects and installations / Deichtorhallen Hamburg ; Dirk Luckow, Goesta Diercks; German/Engl.
Authors: Harald Falckenberg, Belinda Grace Gardner, Dirk Luckow, Stephanie Regenbrecht,
Cologne: Snoeck Verlagsgesellschaft, 2020, pp. 170–174.
Nachbilder einer erweiterten Wirklichkeit / Afterimages of an Extended Reality, in: Im Sprung. Elisabeth Wagner;
Texts, German/Engl.: Belinda Grace Gardner, Michael Hübl
Freiburg i. Br.: modo verlag, 2020, s.p.
PDF unter: http://achimhoops.de/vita/
As an essential dynamic of our human existence and of our fundamentally ephemeral time, the TRANSITORY becomes manifest in contemporary art. The publication explores the work of 14 international artists who in shaping the ephemeral are imbuing it with varying degrees of permanence. Central themes running through their aesthetic approaches are a keen engagement with the human condition and existential figurations of the ephemeral and the transitory, in which both the cycles of life and evanescence and the transcendent energies of empathy, love, and collective participation are activated.
Bielefeld: transcript Verlag, 2017,
312 pages, cart., num. ill. in b/w and color (language: German).
ISBN 978-3-8376-3767-0 http://www.transcript-verlag.de/978-3-8376-3767-0/transitorisch-strategien-gegen-die-vergaenglichkeit
transmediale festival Berlin, Feb. 2017: lounge at the HKW with participants of the seminar: HI/STORIES. The Art of Recollection,
(fall 2016/2017, HFBK Hamburg)
Leuphana University, Lüneburg
(Complimentary Studies,
Perspective: Art and Aesthetics)
Seminar topics (selection):
https://www.forumbaukulturlueneburg.de/archiv-2022
Field trips (selection):
10th Berlin Biennale (2018;) 8th Berlin Biennale (2014); dOCUMENTA (13) (2012).
Hamburg University of Fine Arts (HFBK) (2009–2017):
Collaborative exhibitions with students in the context of HFBK seminars:
IMAG(IN)ING IDENTITY: Juni 2015; THE LOGIC OF MAGIC: Feb. 2014; TRASH / HSART. Crossover-Strategies in Current Art: Feb. 2013; SHIFTED REALITIES. (Post-)Surreal Art Today: Feb. 2012. (All: Frappant Galerie, Hamburg).
Field trips (selection):
documenta 14, Kassel (2017); Manifesta 11, Zurich (2016); transmediale-Festival, Berlin (2016/2017); 8th Berlin Biennale (2014); 7. Berlin Biennale (2012); 4th Bucharest Biennale (2010).
Amna Elhassan, Jump Higher, 2023
Politics of Love
Nov. 11, 2024—Feb. 2, 2025
Participating artists: Amna Elhassan, Anna Ehrenstein, Dan Petermann, Hiwa K, Isaac Chong Wai, Óstov Collective, Soyon Jung
We’re all against war. But what are we for? Peace, we say. What is peace?
Highlighting this key question, the Art-of-Peace Biennale was launched in 1985 on the initiative of Fluxus artist Robert Filliou at the Kunsthaus Hamburg and Kunstverein in Hamburg. Today, some 40 years later, in our time of mounting global crises, war violence, and massive suffering, this question remains highly acute. While national and individual divisions are increasing, essential visions for joint solutions and coalitions of action, from which new concepts of networking and collaboration might take shape, are vanishing.
The international group exhibition Politics of Love counters the sharply defined contours of delimitations and power conflicts with many-voiced expressions of togetherness and inclusion. Taking Michael Hardt’s thesis of a socially engaged “politics of love” as a starting point, it addresses the diversity of intimacy, the common good, and the richness of multi-perspectival experience. As a transformative power, love is the basis for coexistence in solidarity that connects us in our differences and multiplicities. Politics of Love conjoins works of emerging and established international artists, including retrospective encounters with participatory projects as well as current practices of collective processes, which open up perspectives for a collectively created, more peaceful future.
Curated by Dr. Belinda Grace Gardner and Anna Nowak
https://kunsthaushamburg.de/en/politics-of-love/#
Ill.: Discovery of the Gluon, 1979, 3-Jet-Kollisionsereignis, gemessen im JADE-Detektor, DESY
FORCES OF ATTRACTION
[ARTSCIENCELAB, Hamburg]
The energies of gravitation that pervade the entire universe are at the center of the exhibition FORCES OF ATTRACTION. Conceived for spaces at the DESY research center in Hamburg, it takes shape from mutiple interconnections between art and science that manifest themselves in a media-spanning spectrum of works comprised of video projections, spatial installations, photography, painting, sculptures, and prints. It was realized in the context of ARTSCIENCELAB, Hamburg: a new, independent platform for interdisciplinary exchange and knowledge transfer.
Curated by Dr. Belinda Grace Gardner (art theorist, Hamburg) in cooperation with Prof. Dr. Christian Schwanenberger (University of Hamburg/ DESY).
Participating artists:
Marc Einsiedel, Marcel Große, Tanja Hehmann, Simone Kessler, Julia Münstermann, Jana Schumacher
Opening: 1. Science City Day, Samstag, 1. Juni 2024, 11:00-19:00.
Finissage: Donnerstag, 6. Juni, 2024, DESY-Campus Geb. 26 (DAF), 18 h.
DESY, Notkestraße 85, 22607 Hamburg
https://artmeetsscience.desy.de/9_forces_of_attraction/information/
Jochen Messer, LKL_kh_47.2, 2024
Oblique. Navigations between Slanted Angles and Shadow Zones
March 16 through April 6, 2024
With: Peter Boué, Lutz Dammbeck, Dorothee Daphi, Forensic Architecture, Kolja Gollub, Ole Henrik Hagen, Anke Herrmann, Achim Hoops, Katharina Kohl, Almut Linde, Filipe Lippe, Michaela Melián, Jochen Messer, Sabine Mohr, Mariella Mosler, Roberto Ohrt, Luka Papić / Branka Majstorović, Katja Pilipenko, Dagmar Rauwald, Aron Sekelj, Youssef Tabti, Knut Wittmaack, Ting Zhang.
The nonstop data flow pervading global capitalist societies in the digital era promises seamless access to vast pools of information, while obscuring reality through an invisible pattern of blind spots and dead angles. The underlying events and crises taking place today are hidden and systematically, ruthlessly distorted behind the smokescreens and false fronts of economic power. Seeking orientation in our increasingly violent, opaque world, we are led to believe that the realities we are inhabiting are ultra-transparent and coherent. And yet we are running up against both material and immaterial barriers that are as disconcerting as they are unfathomable: hermetic obstructions triggering an omnipresent, all-encompassing fear that “both occupies us and preoccupies us.”[1] In this politically driven environment of fear,” [2] nothing is as it seems, and everything is otherwise. As in a hall of mirrors diverting our gaze, it throws back warped reflections that elude our grasp.
OBLIQUE. Navigations between Slanted Angles and Shadow Zones, presented in the exhibition spaces of the independent, artist-run research and project lab 8. Salon in Hamburg, addresses the uncanny and potentially dangerous conditions defining our current socio-political environments as well as our personal and collective emotional spheres. In their works, the participating artists are investigating both that which is concealed and those who seek to conceal, exploring oblique angles and shadow realms in which the secluded and repressed layers of today's reality become manifest and reveal themselves.
[1] Cf. Paul Virilio, The Administration of Fear, with Bertrand Richard, transl. into the Engl. By Ames Hodges, semiotext(e) intervention series 10, Cambridge Mass./London: MIT Press, 2012, p. 14.
[2] Cf. ibid, pp. 14; 45.
8. Salon, Trommelstr. 7, 20359 Hamburg-St. Pauli:
RADICAL TWILIGHT. EXPEDITIONS INTO THE GRAY ZONES OF REALITY
Exhibition: June 2019
Frappant Gallery, Hamburg
The phenomena of dissolution and dissipation that permeate our present-day world form the ephemeral coordinates of RADICAL TWILIGHT. Expeditions into the Gray Zones of Reality. The point of departure is the rapid acceleration of our everyday environment, which is becoming increasingly elusive. The exhibition explores the blind spots beyond the data highways and smooth user interfaces, tracing the hidden realities and truths behind the omnipresent flow of images and words. In the gray zones and parallel dimensions on the edges and undersides of reality, the contours of perception grow sharper: the uncanny, the hidden, the mysterious, and the opaque manifest themselves as sites of reflection and friction that lead to an enhanced state of lucidity.
Participating artists: Maksim Artemiev, Ina Arzensek, Gleb Bas, Sarah-Christina Benthien, Carly May Borgstrom, Peter Boué, Kyung-hwa Choi-ahoi, Dorothee Daphi, Cordula Ditz, Friedrich Einhoff, Christiany Erler, Jasmine Fan, Uli M. Fischer, Jivan Frenster, Thomas Jefferson Gardner, Julia Gröning, Hinrich Gross, Ole Henrik Hagen, Dorothea Heinrich, Anke Herrmann, Achim Hoops, Daniel Jasser, Hannimari Jokinen, Andrija Jovanović, Ralf Jurszo, Naho Kawabe, Katharina Kohl, Joschka Korn, Lumi Lausas, Jochen Lempert, Almut Linde, Filipe Lippe, Marc Lüders, Chantal Maquet, Matthias Meyer, Sabine Mohr, Luka Papić / Branka Majstorovic, Daniel Puiggròs Coll, Thomas Rieck, Alexander Rischer, Diana Sánchez, Susanne Sander, Patrícia Sanhudo, Sylvia Schultes, Jana Schumacher, Aron Sekelj, Silke Silkeborg, Malte Stienen, Klara Stoyanova, Youssef Tabti, Nikos Valsamakis
Curator: Belinda Grace Gardner
https://frappant.org/galerie/ausstellung/news/radical-twilight/