In den Zonen des Zwielichts / Amid the Zones of Twilight, in: Katharina Kohl. Personalbefragung. Innere Sicherheit: Personnel Survey. Homeland Security / dt./engl.

Autor*innen: Michael Behn, Belinda Grace Gardner, Dagrun Hintze, Manfred J. Holler, Elfriede Jelinek [und weitere], Berlin: Revolver Publishing, 2020, S. 106–117.


Annette Meincke-Nagy. Touchable / dt./engl.

Autorin: Belinda Grace Gardner, Interfaces innerer Verfassungen / Interfaces of Inner States, Bielefeld: Kerber Verlag, 2020, 

S. 5–9 / S. 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.

Belinda Grace Gardner: Nachtflug – Achim Hoopsʼ helldunkle Schau-Plätze des modernen Lebens, in: Achim Hoops. Display, Ausst.-Kat. (Galerie im Marstall, Ahrensburg: 2018), hrsg. v. Sparkassen-Kulturstiftung Stormarn, Hamburg 2018, S. 11. 

Belinda Grace Gardner

Transitorisch: Strategien gegen die Vergänglichkeit

Gestaltgebungen des Ephemeren in der Gegenwartskunst von Meret Oppenheim bis Christian Boltanski


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):


  • Im Ausnahmezustand. Die Kunst entwickelt neue Aktionsräume / In a State of Exception. Art Is Developing New Spaces for Action (Sprint 2020)
  • Social Interventions. Kunst in öffentlichen Räumen heute / Art in Public Spaces Today (Spring 2019)
  • Störungen im System. Die 10. Berlin Biennale richtet sich gegen Hierarchien der Macht / Subverting the System. The 10th Berlin Biennale Counters Hierarchies of Power (Spring 2018)
  • Picturing Reality. (Bild-) Konstruktionen der Wirklichkeit / Pictorial Constructions of Reality (Spring 2017)
  • The Art of Intervention. Kunst in öffentlichen Räumen heute / Art in Public Spaces Today (Fall 2015/2016)
  • (Ge-)Schichten der Stadt. Die 8. Berlin Biennale 2014 als Brennspiegel historischer Prozesse / (Hi)stories of the City. The 8th Berlin Biennale 2014 as a Refracting Mirror of Historical Processes (Spring 2014)
  • Shaping the Ephemeral. Strategies of Representing the Intangible in Contemporary Art (in Engl. / Fall 2013/2014)
  • TRASH. 'Low Culture' als ästhetischer Katalysator in der Kunst der Gegenwart / ‘Low culture’ as an Aesthetic Catalyst in Contemporary Art (Spring 2013)
  •  Politics. Die Kunst der Einmischung / The Art of Interference /project seminar, in cooperation, among others with the artist and initiator of the international artists’ network Galerie für Landschaftskunst Till Krause (Fall 2012/2013)
  • Zwischen Höhle und Raumschiff: (Rück)Blick auf die dOCUMENTA (13) /           Between Cave and Spaceship: (Re-) Viewing dOCUMENTA (13) (Spring 2012)
  • (post-)SURreal. die Kunst der anderen Realitäten / The Art of Creating Alternative Realities (Fall 2011/2012) 

Field trips (selection): 


10th Berlin Biennale (2018;) 8th Berlin Biennale (2014); dOCUMENTA (13) (2012).



Hamburg University of Fine Arts (HFBK) (2009–2017):


  • POST-TRUTH. Reassessing Un/Realities in Current Art (SoSe 2017)
  • HI/STORIES. The Art of Recollection (WiSe 2016/2017)
  • NON/SENSE. Strategies of the Subversive from DADA to (Cyber) Punk (SoSe 2016)
  • Re/writing Reality. Constructions of Reality (WiSe 2015/2016)
  • Under Construction. Imag(in)ing Identity (SoSe 2015)
  • Beyond Boundaries. New Concepts of Identity, Territory, and Place (WiSe 2014/2015)
  • Danger Zones. Reflecting States of Emergency in Art Today (SoSe 2014)
  • Enigmatic Systems. Tracing the Mysterious, Magical, and Intangible in Art through the Ages (WiSE 2013/2014)
  • The Aesthetics of Failure (SoSe 2013)
  • Trash Culture – from Duchamp to Jeremy Deller (WiSe 2012/2013)

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




Ill.: Discovery of the Gluon, 1979, 3-Jet-Kollisionsereignis, gemessen im JADE-Detektor, DESY





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




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:





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