OSTRALE Biennale O17


28.7. - 01.10.2017
57 days
164 artists
25 nationalities
29,000 visitors

OSTRALE – Biennale is the third largest exhibition for contemporary art in Germany. It is not a sales exhibition per se, which gives us the freedom to discuss socially relevant issues apart from the market development. OSTRALE's guiding principles, such as peaceful coexistence, acceptance of the stranger / unknown, respect for each other, religious diversity and internationality, are reflected in the exhibitions.

There is close cooperation with Dresden institutions, collectors and galleries as well as with international curators, biennials and cultural institutions. This is how new ways and possibilities are opened up to go abroad. Among other things, we will be in the European Capital of Culture in Valletta (Malta) in 2018.

Furthermore, we maintain good contacts with Saxon schools, which use the OSTRALE for educational purposes. 9,300 pupils and students were at the OSTRALE in 2016 alone. In addition to the exhibition, we offer an extensive framework program (music, dance, performance, etc.). The barrier-free infrastructure, a blind and hearing-impaired app, as well as targeted workshops with special target group participation, enable socio-cultural participation.

By definition a reform is a systematic and non-violent change of existing conditions without ignoring the essential intellectual and cultural foundations. The aim of a reform is improvement. Contemporary Art can ask questions and generate solution approaches in a nessecary re_form-process. The guiding theme „re_form" deals especially with the question of organised change of existing cultural policy and cultural systems in Europe, Germany and particularly in our town, that is preparing to apply as „European Capital of Culture 2025".

Ideas for a re_form concerning ourselves
By switching from an annual exhibition to a Biennale-concept OSTRALE itself is in a state of re_form. Furthermore, the special exhibition space of OSTRALE in the heritage protected buildings of the outstanding architect Hans Erlwein have to be rehabilitated after the exhibition in order to enable a further use.

 re_form in Art
re_form is a basic element of Art and essential feature of creativity and artistic work. The pieces of Art function as mediators. Unlike the times of the Avantgardes it seems today that statements of novelty in Art are mostly based on rediscovery and forerunnership. What moves artists to turn increasingly to role models and how do the associated homages, references, quotations and appropriations reveal in the respective piece of Art? Which prospects emerge for the future from studying the past?

re_form: A question of identity
The 11th edition of OSTRALE will take up an essential topic of the European Capitals of Culture: We raise the questions about human identity and new spaces in light of the refugee and migration movements in past and present, an amplified tendency toward nationalism as well as the dissolution of the European community of values (e.g. „Brexit"). Could Art in its materiality be a bridge between different identities, that overlap but don't merge?

Outlook 2017
– New invitation process
– Development of new European partnerships (cooperation projects)
– Support of new EU projects and European exchange
– School programs in light of artistic mediation and education policy
– Artist in Residency programs
– Discussions, expert panels

Further topics that move us in 2017
A) Theory of the „creative class"
If cities brand themselves as creative, economic growth will follow. This was stated by Richard Florida. The american economist saw a correlation between the economical strength of an urban region and the relation between highly industrialized workers, artists, musicians and homosexual people. Florida's theory found its way into urbanism and city planning. But: Who will profit from the generated prosperity? Frequently „creative professional groups" form a complete city zone and make it more attractive just to watch a following, ruthless economic takeover!

B) A pilgrim's path to Art or why opening urban spaces is so important
Travelling to Art places, especially if they are out-of-town and in relatively unknown areas, can touch, amuse, influence or even change humans as strongly as Art itself. The journey creates new ways of thinking. It is important to show Art even on hard-to-reach locations. The involved voyage is a meaningful effort, physically and mentally.

C) re_form & reformation, Luther, Reformator, 500 years
The placarding of the 95 propositions 500 years ago paved the way for a new and free, independent thinking and the freedom of conscience concerning faith and Christian doctrine. The human being has a free will – especially making seperate choices concerning religious matters. What do we think about this issue today?

Exhibition venues: the Western and Eastern feeding stalls in the historical Erlwein slaughterhouse of Dresden, Messe Dresden

Curators: Mykola Dzhychka/Ukraine, Oliver Kratz, Detlef Schweiger, Holger Wendland, Antka Hofmann, Andrea Hilger

OUT of OSTRALE O18: In the context of the new Biennale Concept of the OSTRALE, we will be involved in the European Capital of Culture Valletta 2018 at the Museum St. James Cavalier, at the German Maltese Circle and at Valletta Contamporary in Malta from May to July 2018.

OSTRALE-AudioGuide „AllSense“ for visually impaired people

For the first time, the OSTRALE gives blind and visually impaired people access to art by means of a specially programmed, free application.

„The AllSense app is an audio guide. It allows us to present a cross-section of 25 selected works of the exhibition and to introduce them via audiodescriptions. Works of art and other locations on the exhibition grounds, such as restaurants, toilets etc., are equipped with so-called Bluetooth beacons. If the user of the app approaches these beacons, the audio description is played", explains Dr. Jan Blüher, who is himself blind and programmed the application commissioned by OSTRALE with his company visorApps.

In addition to the app, a visual and tactile guidance system will provide orientation for the visually impaired and blind. The app is available for both iOS and Android devices, and is available on the Play Store, App Store and with devices that can be borrowed on site.

Download the AllSense flyer with detailed information here (pdf)

Who is the AllSense project aimed at?

The project is particularly aimed at people with visual and hearing impairments. The AllSense application is intended to make it easier for them to access the exhibition or to experience each exhibit.

The activities within the exhibition are aimed at all visitors. The aim is to make art equally accessible to all and to convey different perspectives on creative spaces / works of art.

How many visitors can be engaged with AllSense?

The offers and activities (workshops, symposia, festival/finissage, etc.) are designed for up to 200 participants during the project period. The AllSense application is available to every visitor of the exhibition. The All-Sense-Guides can be used by 20 people at the same time.

funded by

Artists and Curators

Die OSTRALE - Biennale is marked for the first time as pure Exhibition of Invitations.
The 164 invited Artists from 25 Nationen present in total 1.118 Art Works and Work Groups.


  • Faig Ahmed

    Faig Ahmed * 1982


    Faig Ahmed (Baku, 1982) lives and works in Baku, Azerbaijan. He graduated from the sculpture department of the Azerbaijan State Academy of Fine Art in 2004. He represented Azerbaijan at that nation's inaugural pavilion at the Venice Biennale in 2007 and has exhibited his works worldwide including group and solo exhibitions in New York, Paris, London, Rome, Berlin, Dubai, Moscow and the UAE. His works can be found in public and private collections all over the world.

    Gara - a new work by the artist - creates the illusion of a black substance pouring over an intricate carpet, dripping down the wall. The work makes reference to the role of oil in the region, a role responsible for both the renaissance and destruction of Azerbaijan. As in many of his a works, the artist constantly pushes boundaries and goes beyond restrictions in search of a greater personal and cultural freedom. His dramatic innovations in the traditional craft of carpet-making lie in his digitally created designs, while the execution remains unchanged: the unique works are handmade with wool natural dyed by weavers in his workshop outside Baku.

  • Marleen Andreev

    Marleen Andreev * 1981


    981 born in Dresden. Lives and works in Dresden
    2012 Master of Fine Arts under Prof Ralf Kerbach, Academy of Fine Arts Dresden
    2006 Bachelor Degree in Fine Arts, Academy of Fine Arts Dresden
    2005 Erasmus Scholarship, Accademia di Belle Arti di Brera, Milano (Italy)
    EDITION CCL - graduates from the graphic workshops of the HfBK Dresden, Kulturrathaus, Dresden
    EVERYBODY BODYMAP, workshop and exhibition, geh8 Kunstraum und Ateliers e.V. Dresden
    NEMSKA RABOTA, Vaska Emanouilova Gallery, Sofia (Bulgaria)
    BULGARSKA RABOTA, geh8 Kunstraum and Ateliers e.V. Dresden
    MOON VOYAGE 36, Institute of Performance and Theory, GA, Fridge, Sofia (Bulgaria)
    ECOLOGY OF MEMORY, GA, Bulart Gallery, Varna (BG)
    SUPERMERCATO IN NEVERLAND, participation with Bulart Gallery, Bolzano (Italy)
    EDELWEISS, solo show at the opening of the German week in Bulgaria, Radio Varna (Bulgaria)

    Marleen Andreev uses various media and methods such as performance, photography, painting and installation. She plays with them while mixing new techniques and while using the interactions which result. With her experiments relating to physical space, she developed the idea of a participatory performance with the visitors to her exhibitions. She makes these participatory performances at her exhibition openings as a contact drawing actions two of which she named "100" (Leipzig) and "80" (Dresden).

  • Paolo Assenza

    Paolo Assenza * 1974


    Born in Rome in 1974, Paolo Assenza graduated in Scene Design from the Rome Academy of Fine Art and was among the founders of the Spazio Y, Experimental art space in Rome 2014.
    Solo Exhibition
    DEL CORPO SENZA PESO TraleVolte, 2015 Rome
    HODOEPORICON Interno 14, 2015 Rome
    VENTINOVEGIORNI Spazio Menexa, 2014 Rome
    Group Show
    EQUINOZIO D'AUTUNNO Rivara Castle 2016 Rivara
    TOWER OF BABEL Schema Project Gallery New York 2016
    AUTO/PORTRAITS Galerie Jeune Création, 2010 Paris

    The work represents an idealised 'Scala Coeli', deprived of its body and drawn in emptiness through its essential lines. These lines push the viewer's gaze upwards in an intimate space for reflection, creating a condition that is likely analogous to the symbolic value of the rite codified in a believer's climbing the stairs on their knees. With these kinds of believers' acts of deep contemplation of the consciousness of pain, many religions have constructed beliefs and rituals through the millennia where pain is the presence of flesh. This presence refers to the very knowledge of limits as a way of going beyond the body. Being emptied of its sacred meanings, the work appears as a simulacrum of the inability to cross the passage to the beyond with the weight of the body. By ignoring the material component, the stairs become symbolic and return in the vision of the experience of human being stripped of the weight of flesh and existence.

  • Bence Bakonyi

    Bence Bakonyi * 1991


    Bence Bakonyi was born in 1991 in Keszthely, Hungary. During his high school years he studied photography as an autodidact. After graduation he was accepted at Moholy-Nagy University of Art and Design. His initial works were highly influenced by the works of Marina Gadonneix and Mathieu Bernard Reymond. Early in his twenties he lived in China, and travelled around Asia where his previous staged photography was complemented with documentary photography, often made in the spirit of planned photography. Bence Bakonyi has participated in many exhibitions and art fairs and is represented by many galleries around the world. His works were included in group exhibitions organised by the Ludwig Museum and the Hall of Art in Budapest, in Costa Rica, and in Toronto, organised by the Nicholas Metivier Gallery. He also had solo exhibitions organised by the Hong Kong based Artify Gallery and the Xuhui Art Museum in Shanghai. His works were included in selections by The Guardian, Wired, Blink, Étapes Magazin and The Red List. The photographic work of Bence Bakonyi represents symbols of freedom, airiness and transubstantiation.

    hroughout my one year stay in China, I tried to feel at home in a world unknown to me. Since home can be where you find yourself, these photographs can also be seen as self-portraits projected onto China. Without assistance it was hard for me to communicate with people. Therefore I focused on the people's environments instead. In the first part of my journey, I had been wandering through the countryside. After some time, I found myself in ever larger cities. In my journey's second part, it was increasingly challenging to avoid the portrayal of humans. The series follows the development of my voyage, as I gradually approached the man-made world starting from rural existence.

  • Till Ansgar Baumhauer

    Till Ansgar Baumhauer * 1972


    1994-2000 Studies Fine Arts/Graphics/Interdisciplinary Artwork at UdK Berlin and HfBK Dresden
    2000-2002 Master Scholar at HfBK Dresden
    2009-2011 Archaeological draftsman and exhibition designer in Herat (Afghanistan)
    2009-2015 Artistic Ph.D. studies at Bauhaus-University Weimar, degree: summa cum laude
    since 2017 Postdoc Scholar at Bauhaus University, Weimar
    lives and works as freelance artist, curator and publicist in Dresden
    Prizes / Grants:
    2014 2. Friese art prize, Kirschau (Sachsen)
    2016-2017 Postdoc scholarship of Bauhaus University, Weimar
    Solo shows (Selection):
    2017 "Conquista Reloaded", Museo Municipal de Arte Moderno, Cuenca (Ecuador)
    2015 "Kollateralschaden 30+", Eigenheim Gallery, Weimar
    2012 "collateral creativity", Organ Kritischer Kunst, Berlin
    2010 "total burnout (kunduz version)", Glashaus Düsseldorf
    Group shows (selection):
    2016 "Orient meets Okzident", Schweinfurt
    "Ostrale goes Oder", Wroclaw
    2015-2016 "RE:BELLION RE:LIGION RE:FORM. Artists act in times of change", Kunstsammlungen Zwickau and Spendhaus Reutlingen
    2015 "WARTIFACTS. Violence and its effigy in long-term wars", ACC Gallery Weimar
    2012 "Augenblick Afghanistan", Museum Five Continents Munich
    Lectures and teachings a.o. at HfBK Dresden, the universities of Osnabrück and Hildesheim, at Technical University Dortmund and University for Applied Arts Vienna

    The works of Till Ansgar Baumhauer discuss the impact of war on cultural memory and the crossbreeding of different visual cultures in times of martial conflicts as well as in times of global economic and cultural homogenization. Therefore, he works with historical artifacts which he uses for his installations. In his work, he also reflects the difficulties and possibilities of intercultural dialogue on the basis or visual cultures. "Study on Disappearance" refers to the series on "Un-Knottings" that Baumhauer has realized since 2010. By removing knots from Afghan carpets, he creates new motifs appearing on the surface of the textile where the blank underlying waving becomes visible. In his first works of the series, he used military symbols of the ISAF troops in Afghanistan to overwrite traditional carpet patterns. "Study on Disappearance" shows the process of removing big parts of the carpet until the time when only a text of colored wool knots remains: A tombstone poem of German baroque poet Andreas Gryphius for his niece, that died due to the Thirty Years War in Central Europe.

  • Nathalie Bertrams

    Nathalie Bertrams * 1968


    Nathalie Bertrams (born 1968) is a visual artist and documentary photographer who focuses on topics occurring around identity, migration and statelessness. She studied Fine Arts in Maastricht, San Francisco and Düsseldorf, graduating with a Master's degree in 2002. She is a 2017 grantee of the Pulitzer Center on Crisis Reporting and in 2016, she received the Lorenzo Natali Media Prize of the European Commission. Her work has been published in magazines, newspapers and books and has been shown internationally in exhibitions.

    Lebanon is the country with the highest worldwide per-capita concentration of refugees. Next to over a million Syrians, an estimated 450.000 stateless Palestinians live in Lebanon. They are descendants of the refugees who were seeking shelter from the 1948 Arab-Israeli war and Syrian-Palestinians who have been forced again into exile. They constitute one of the world's most long-established refugee populations and have remained in a form of limbo for almost 70 years. Unable to gain Lebanese citizenship, they are denied basic rights and are subject to much discrimination. As unrecognised citizens, Palestinians face restrictions to legal employment; they have no right to housing, and limited access to public social services, health care or education. Their children are born into a situation where some are not even officially registered. Their statelessness means a life without prospects or hope.

  • Peter Blase (NSK STAAT)

    Peter Blase (NSK STAAT) * 1965


    Born 1965, Wermelskirchen, Germany.
    Peter Blase is free artist, working as interior designer, worked for architects and worked for different furniture designers based out of Germany. He is influenced by the work of Joseph Beuys and the work of Neue Slowenische Kunst.
    Community exhibition, NSK FOLK ART, at 10th Biennale Taipei 2010
    Community exhibition, NSK FOLK ART, the global contemporary art worlds after of 1989 ZKM Karlsruhe 2011-2012
    Community exhibition, IRWIN + NSK FOLK ART, Calvert22 Gallery London 2012
    Collective exhibition, International MAIL ART Project "ORIENT EXPRESS", Malkasten Düsseldorf, 2016

    The double sided oil and acrylic painting 1914/1944/1984/2014 combines the dates of the first and second world war with the dates of the foundation of the art collective NEUE SLOWENISCHE KUNST. A black cross is painted on the front concealing a view from a window over the city and castle of Ljubljana. For Peter Blase the NEUE SLOWENISCHE KUNST was the beginning of an alternative art movement in Yugoslavia which attempted not only to open a relationship between the art scenes of Yugoslavia and West Germany, but also brought with it the art ideas of the Eastern Block, throwing a critical view over the block system of that time. With the foundation of the NSK STAAT a further step was made towards a spiritual and intellectual opening!

  • Recycle Group

    Recycle Group * 1987/1985


    Recycle Group was formed by Andrey Blokhin & Georgy Kuznetsov
    Andrey Blokhin
    Born in 1987 in Krasnodar, Russia
    2004 Graduated from the lyceum of the Academy of Industrial Art in Krasnodar
    2010 Graduated from the Academy of Industrial Art in Krasnodar
    Georgy Kuznetsov
    Born in 1985 in Stavropol, Russia
    2005 Graduated from Stavropol Art College, Stavropol, Russia
    2011 Graduated from the Academy of Industrial Art in Krasnodar, Russia

    'The archeo-modernist approach in Recycle Group's work is visible in their historical consciousness where modernity is shown, not as linear continuity, but instead as the sum of aborted and successful experiences, clairvoyance and technological leaps and ideological impasses, a temporal condensation. (...) Archeo-modernism, as a strategy of visual communication in Recycle Group's oeuvre, turns rubber into decaying stone, plastic into antiquated marble."
    Ekaterina Scherbakova

  • Yuriy Borynets

    Yuriy Borynets * 1975


    Born 1975 in Kalush, Ukraine
    Lives and works in Nadvirna, Ivano-Frankivks region
    1997 graduated from Vasyl Stefanyk National University of Ivano-Frankivsk, department of Fine Art.
    Main exhibitions:
    electricity, synthetics, archaic, Gallery Marginesy, Ivano-Frankivsk
    Chacha, Bunkermuz, Ternopil
    Museum of ideas, Lviv
    Museum of Fine Arts, Chernivci

    The paintings of Yuriy Borynets are full of expression and emotion and cannot be assigned to a certain style or flow. The artist admits that he never plans a work of art, but that it all depends on his mood. A theme does not seem to matter for the pictures of Yuriy. Rather an expression of his individual graphic gesture is most important to the painter along with posters, minimalism and expressiveness, all combined with a fascinating compositional rhythms limited in colour but without a shaded background.

  • Kerstin Junker

    Kerstin Junker * 1989


    1989 born in Dresden
    2015 Degree in Fine Arts, Academy of Fine Arts, Dresden
    since 2014 has been studying Scene Painting at Academy of Fine Arts, Dresden
    2009–2015 studied Fine Arts at Academy of Fine Arts, Dresden

    Strange and artificial scenery often appears more human and more real to me than what the world presents to us as reality. I want to scratch the limits of my imagination in order to create my own truth in my work. For me light resembles an energy (source), a gleaming from inside that wants to be lured out of the darkness of the unconscious.

  • kamarade.A (NSK STAAT)

    kamarade.A (NSK STAAT) * 1980


    Citizen and member of the Neue Slowenische Kunst.

    I am a citizen of the NSK, a virtual, utopian State without borders. As with any state, it has passports and it counts among its citizens a diplomatic corps, an administration. As a state it builds its image and its identity, it deconstructs and reconstructs its mythology by drawing on a common European story. Fed by Russian constructivism and Soviet propaganda, I participate in this effort. As in any propaganda, the question of good and evil is central. The object of any propaganda is to legitimise the thoughts and actions of the state. The NSK is just a mirror which is stretched out in front of us. And what do we see in this mirror? Exactly what we want to see.

  • Carsten Busse (NSK Staat)

    Carsten Busse (NSK Staat) * 1965


    Born 1965, freelance since 1994. Since 1987 numerous exhibitions, art projects and art activities in Germany and abroad. From 1991 to 2004 member of the artist group soliaire factory. Various work and project grants (e.g. Sächsische Kulturstiftung, Kulturamt Leipzig, Kunstfonds Bonn). Numerous works are in public and private collections.

    My work is multi-media, exploring issues of cultural identity. It includes installation, object art, collage, painting and photography. Many aspects of my work deal with ideology, history and art history. In the context of NSK, I am part of a collective that deals with parallels between Slovenian and Sorbian history and their present.

  • Fernando Sánchez Castillo

    Fernando Sánchez Castillo * 1970

    Born 1970 Madrid
    Fernando Sanchez Castillo became well known through his film, sculptures, installations and performances in which he investigates the affective power of history and collective memory. He lives and works in Madrid.

    2005-2006 Residency, The Rijksakademie of Fine Arts, Amsterdam, Netherlands
    2000 Investigation program, ENSBA, Paris, France
    1995 Philosophy and Aesthetics, Universidad Autonomy, Madrid, Spain
    1993 Bachelors in Fine Arts, Universidad Complutense, Madrid, Spain

    The Berlin wall fell twenty five years ago and now no one needs to jump over it. Around five thousand people tried to flee East Berlin by jumping over the wall. Conrad Schumann was the first. A very daring and peace-minded deed, which changed his live as well as those of many others. To construct a model, Castillo has scanned a Live-Model with genuine uniforms and weapons and has studied the anatomy of original photos and films of the time of the escape attempts. He has constructed a nine centimetre prototype that was made from the injection of artificial materials.

  • Christian Chrobok (NSK STAAT)

    Christian Chrobok (NSK STAAT) * 1969


    Christian Chrobok (born 1969) is a German painter, installation and performance artist. He graduated from the University of Münster, Germany in 1997. Trained in philosophy, cultural theory and economics, he appropriates in his practise the language of the museum and of other cultural archives. Since 1995 Chrobok has been working on a long-term project entitled Institute for Cultural Cassation (ICC) (Institut für Kulturelle Kassation). Presentations of this work include: Burren, Leipzig, London, Ljubljana and Teipei.

    The Institute for Cultural Cassation (ICC) looks at art history, art and modernism through the lenses of anthropology and ethnography. Cultural Cassation is the basic method of this archival apparatus, based on cultural memory as a tool for manoeuvring the transformation of modern temporal ontology. The ICC has no permanent location and has manifested itself since its foundation in 1995 in projects, installations and exhibitions in various places such as art museums and galleries. It is the inner logic of the production and presentation of the objects, exhibits and projects which creates the very body of the ICC. Incorporated into the art system, this structure functions as an anthropological laboratory, re-contextualising the triad of art, art history and the art museum.

  • COOP

  • Kevin Cooley

    Kevin Cooley * 1975


    In his multidisciplinary art practice, Kevin Cooley works with elemental forces of nature to question systems of knowledge as they relate to our perceptions and experience of everyday life. Using photography, video, and installation, he creates frameworks though which to observe experimental and performative gestures to decipher our complex, evolving relationships to nature, to technology, and ultimately to each other.

    Skyward is a video installation portraying Los Angeles' manufactured landscape and its complex relationship to the natural world. Using the quintessential Los Angeles experience of driving as allegory, the video takes the point of view of a passenger gazing upward through an open-top convertible or sunroof, while riding throughout the city. What begins as realism subtly veers into the realm of fantastical daydream, transcending the routine activity of commuting by car, and rising above the gridlock at street level to a pristine blue sky saturated with limitless possibility

  • Elisa D'Urbano

    Elisa D'Urbano * 1994


    Elisa D'Urbano was born in Tivoli in 1994. She officially started her artistic studies at Rome University of Fine Arts, attending the painting course. Her artistic research starts with the manipulation and deformation of the human figure as a reflection on identity, the perception of our own body and the space in which we are placed. It evolves into a study of the external and internal aesthetic experience.

    These works aim to produce a critical reaction to the contradictions of our age and to focus on details often ignored or easily forgotten.

  • Klasse Deggeller

    Klasse Deggeller * 1954

    Professor Marc Deggeller, School of Visual Arts, Dresden
    Project Mentor for the artistic Auteur Class

    * born in 1954, in Schaffhausen, Switzerland
    Since 1977: studies at the UdK (University of Arts) Berlin with Prof. Achim Freyer, Karl-Ernst Herrmann and Emmett Williams.
    Since 1984: production design (set and costumes) at diverse opera houses, theatres, and festival theatres; amongst others in: Berlin, Hamburg, FfM, München, Leipzig, Dresden, Bern, Basel, Zurich, Athens, London, Reykjavik, Yaoundée, Abidjan.
    Film sets, video and object installations, and exhibitions.
    Since 1990: lecturer at University of Hildesheim/ Schiller National Museum Marbach, Bauhaus Dessau/Bauhausbühne, FH Hannover, scenography-costumes.
    Since 2001: professorship at the HfBK (Academy of Fine Art)

    outside the frame' - a spatial video installation.
    This project was developed and constructed up until the summer of 2017 from studies by members of Deggeller's interdisciplinary class as well as from work with cameraman and video artist David Campesino. The title 'outside the frame' is programmatic. Philosophically speaking, it means everything that is not visible outside the picture's contents; artistically, it means that which remains transparent underneath the surface. Things in our reality with respect to this theme - selected spaces or objects - are captured with the static camera and develop in the installation an ensemble of discoveries like lines of time from a completely different place, all newly defined. In front of this large projection there is a dinner table with benches from which you can look on or on which you can eat, or on which you can write your individual perceptions.

  • abitalbero

    abitalbero * 1970


    Born 1970 in Rome, where he started architecture. In 1996 he moved to Aachen, Germany, where in 2002 he finished studying at the RWTH-Aachen. During his studies he worked in different architecture offices in Rome and Aachen. 2002 till 2005 he worked as Assistant to the Architectural History Chairman, Professor Jan Pieper. From 2005 he was visiting Professor at the CAAD with Professor Peter Russell, and he worked as a freelance architect. 2006 he founded the lacasasullalbero architecture - design atelier in Rome, specialising in sustainable architecture and the conception and construction of tree houses. In 2010 the studio changed its name to "abitalbero" and he began to work as an installation artist in exhibitions and land art festivals. He lives in Belgium and Rome.

    White lines draws the empty volume of the archetypical living place of the human being. A home that cannot contain a human, but inserts itself in a forest, the primordial living place. Home and forest are both living places that play host, giving space to human kind. They meet coexisting together with the likeness of a utopia or a chimera.

  • Henri Deparade

    Henri Deparade * 1951


    1977 Degree in Panting and Graphic Art from the Academy for Art and Design in Halle
    From 1977 Established a painting and graphic studio in Halle, including exhibitions for and membership to the Society for Visual Artists.
    1983-1985 Masterclass with Professor Willi Sitte
    1988 'Proposal for a Permanent Escape from the DDR' led to the artist's receiving an exhibition ban
    1995 - Established a painting and graphic studio in Dresden
    1992 - 2017 Professor of Drawing/Painting and Foundation for elementary Forms at the Dresden University of Applied Sciences

    '... the painter Henri Deparade doesn't merely tell old stories. He uses ancient myths like reservoir, like a highly charged battery. At the basis is a pure energy, something from 'Agamemnon' and 'Cassandra', from 'Jason' and 'Medea', 'Dionysos' and 'Marsyas', from 'Odysseus' and 'Penelope' is retained throughout. They are all-purpose names for all of us, names which stand for the point of no return, for extreme situations, for the Theatre of Cruelty, for the fathomless, bottomless truths.'
    Hans-Joachim Müller, Art Historian, Freiburg/ Berlin, 2015

  • Constanze Deutsch

    Constanze Deutsch * 1980

    Born 1980 in Dresden
    2022-2009 Studied painting and graphics at The Academy of Fine Arts in Dresden
    2009-2015 Masters Degree at The Academy of Fine Arts in Dresden

  • Said Dokins & Leonardo Luna

    Said Dokins & Leonardo Luna * 1983


    Said Dokins' work relates to calligraphy and graffiti, to intermediate practices of inscription and tracing, twisting symbolic orders as a place of political enunciation. Dokins lives and works in Mexico City. His cultural practice takes on contemporary art, research and cultural management. He has put on curatorial projects related to urban arts and a number of political issues happening in his country. His work takes up and combines the economy of medieval calligraphy, the energy and expressiveness of Japanese calligraphy creating a poetic based on pre-phonetic writing. For Dokins every experience is a trace, a psychic impression that creates a texture in our symbolic universe. In that sense, calligraphy and graffiti don't just appear on paper and ink, on walls and in spray, but are also on every event in our existence.

    Leonardo Luna is a photographer who works and lives in Mexico City. His approach to photography started at a young age as he learnt from his father in the family studio. His work has moved through different styles from commercial advertising to the documentation of different urban and artistic scenes like those of graffiti, underground hip hop, electronic music and performance. He is interested in the way collaboration between artists leads to new ways of creation.

    'Heleographies of memory" is a project that consists of a series of photographic records of actions occurring within the public sphere, in places such as public plazas, abandoned buildings or monuments in several cities in Mexico, Germany and France. This series uses calligraphy and light painting as iconic-textual ephemeral, noninvasive, invisible actions, which can be captured only by long exposure photography. These visual registers are related to the encounters of the inhabitants of the city to the historical and symbolic value of each spot, disturbing the notion of collective memory construction, and re-signifying the architectonic emblems of the city. The concepts of history and death, of the instant and the long lasting, of the visible and the invisible, of inscription and effacement, operate as allegorical objects addressing the evanescence of time in a site, as the secret of our human condition and our individual historical development.

  • Heinz Bert Dreckmann

    Heinz Bert Dreckmann * 1948


    Born 1948 in Cologne
    1965 - 1971 study wall- and experimental painting at the Kölner Werkkunstschulen
    Since 1972 lives as an artist in Cologne, Berlin and Falkensee
    exhibitions (selection)
    2016 „TOOLS - WERKZEUG IST KUNST" Spektrale7, Luckau
    2015 „Brandenburgischer Kunstpreis" Schloss Neuhardenberg
    2014 „OSTRALE" international exhibition of contemporary art Dresden

    Industrial products serve as starting material for my work. Detached from their function and value, using their constructive features and possibilities, they are transformed into new objects. A single module is the basis. The change is handled purely, it shows itself to the observer in the finished object as playful and self-evident . The repetitive order, the shine of the material and the harmony of the complete object create a rhythmic, ornamental form composition. The works investigate fundamental questions concerning the definition and delimitation of the object and the definition and delimitation of art that may be traced back to the ready-mades of Marcel Duchamp.

  • Diamante Faraldo

    Diamante Faraldo * 1962


    Born 1962 in Aversa. He attended the Accademia di Belle Arti in Naples until 1984 and then presented his first solo exhibitions in Naples and Grenoble. In 1986, he moved to Berlin to further studies in art. On returning from Germany he moved to Milan, where he lives today.

    A nord del futuro (To the north of the future), from a verse by Paul Celan, has a wooden planisphere covered with the inner tube as a visual horizon. In its tactile dimension, the artwork amounts to spatial loss, in which geopolitics mocks itself, since the continents are reproduced in an inverse position to their real ones, as if reflected by a body of water. A memory map is also expressed by the inner tube consumption, by the serial codes that they carry on their "skin" and by a lonely polyhedron that, in its geometric perfection, is a symbolic reference to the entire route of the western culture.

  • Viola Fátyol

    Viola Fátyol * 1983


    Born in Debrecen in 1983, Viola Fátyol is a Hungarian artist, living and working in Budapest. She studied photography at Moholy-Nagy University of Art and Design, where she is currently working on her Phd in Multimedia Art. She deals with several topics in her artistic work that are strongly based on her personal experiences, childhood memories, or actual life events. Being a member of a community is always in the forefront of her interest,. Therefore, she tries to approach these kinds of memberships from different aspects and study the question of individual and community identity. She has had several solo and group exhibitions in Hungary and Europe, has been invited to exhibit in the Ludwig Museum's collection show, Budapest, the Fotogalerie Wien, the Kunstverein Düsseldorf, among others. She won the Robert Capa Grand Prize Hungary in 2016.

    The ongoing series entitled 'Ne pas en mon nom' deals with the questions relating to the processing of terror attacks in Europe. The work was started in Paris directly after the attack of the office of Charlie Hebdo magazine in January 2015. I documented the ephemeral memorials formed by the people who tried to express their grief and confused feelings, and took many photos of the shocked city. After that I used these images as an archive to which I have come back again and again to rethink, rearrange, retouch and form again. With these later actions taken on the images, I try to weather and transform them into symbolic signs which summarising the questions for our new, more and more pressing and frustrated reality.

  • Feng Lu

    Feng Lu * 1979


    2005-2006 Masters at the University of Art, in Berlin
    2005-2007 Burg Giebichenstein Arts Academy, Halle
    Plastik and Jewellry design
    2003-2006 Graduate of the University of Art, Berlin
    2001-2003 Art Academy, Berlin (Weißensee)

    '13 am Tisch' (Thirteen at the table) is a title inspired by the novel 'Thirteen at Dinner' by Agatha Christie. It is a documentary about humankind. All humans search for an identity hoping to find in it which group they belong to. When the group forms, they colour their skin, put on the same uniform and fight with each other, like so many cocks and hens in a cage, all to find out who is the strongest and who will be the best. Every human represents a group and all of them want to make a freedom conference. All of them seem to be like superheroes but they always have in themselves ugly secrets. For instance, the white gorilla politician carried himself in a cool and thoughtfully, and he seems as though he has a solution to, for instance, global warming although actually, in his head, he is thinking about what he ate for lunch and what his excrement would taste like for dinner. Politicians deal in this way with coprophagy, the consumption of excrement: beautifully formulated but stinking speeches are repeated for years almost unchanged and sold by politicians and "eaten" only by other lower politicians. They do not, in fact, result in any benefits for society.

    'Believe Me and God Bless You. A church with an elephants arse as a rear facade is a symbol of religion. For centuries religion has underpinned war, terrorism and other crimes against humanity. If man needs religion or not, in what and in whom humans believe remain open questions. A religion, when it is also a cult, is always born from a rare wonder and a utopian hope and desire. But slowly the system and mechanisms fail and the real world has been worsened by the new religion. This could lead to the final sunset of the end of the world.

  • Parastou Forouhar

    Parastou Forouhar * 1962


    Born 1962 in Tehran, Iran, studied art at the University of Tehran, has lived and worked in Germany since 1991, between 1992 and 1994, Foundation study at the Academy of Design in Offenbach, took part in a number of international exhibitions.

    How do I position myself as an artist in a world which in shot through with the structures of violence. What kind of strategies can I develop in order to bring into images those things which emanate from actual situations? I understand and conceive of my art work as a space that I can open in order to illustrate and exemplify the quandaries alluded to. Perhaps my work is constructed around the coexistence of a beautiful vision and an ugly, cruel reality, around a space in which presence and absence are to be experienced simultaneously. Some aspects of an ornament based visual language enabled me to articulate certain kinds of controversial perceptions and from those perceptions to impart an accruing sense of an impression of the paradoxical. I am concerned about the representation of power structures in which the figures are pushed into roles, and the spiral of violence into which the powerful and the powerless are endlessly forced, trapped together. Here the ornament becomes a labyrinth that the observer looks inside in order to ask the question: where do you stand?

  • Kerstin Franke-Gneuß

    Kerstin Franke-Gneuß * 1959


    1959 born in Meissen/Saxony/DE
    1978-1984 Academy of Fine Arts Dresden
    1989 founder member Dresdner Sezession 89 e.V.
    Since 1995 Studio in Künstlerhaus Dresden Loschwitz
    Numerous national and international exhibitions

    'From every abstract resolution of form, no chaos rules over Franke-Gneuß's Radierungen. Her lines and surfaces have an inner tension, a subordinated direction, as if wind had blown across them and naturally arranged the formation of the picture. Resolution and stasis, movement and direction, freedom and earth all occur together here.' Dr. Carolin Quermann, Curator of the Dresden State Gallery.

  • Michiel Frielink

    Michiel Frielink * 1979


    1979 born in Enschede, the Netherlands
    2011 Bachelor of Fine Art, Paining, Academy of Art and Industry, Enschede
    Lives and works in Leipzig

    In my paintings, I try to come to terms with the past and present, reducing world-changing events to a scale where they can be more easily comprehended. I invent little stories in order to make the larger framework visible. The audience is invited to think up its own narrative while looking at the work. After making rough sketches I use models to stage the scenes. A frozen theatre play emerges which I capture in paint. I research forgotten painting techniques that I re-use in my work. Together with symbolism, myth and legend and art references that can be discovered in my paintings, a new image is created that is rooted in the collective consciousness.

  • Manuel Frolik

    Manuel Frolik * 1979


    Manuel Frolik was born in 1979 and studied art at Dresden Academy of Fine Arts from 2005 to 2011.He joined the master class of Professor Eberhard Bosslet. Among receiving other awards, Frolik was a fellow of Stiftung Kunstfonds in Bonn in 2016 and an awardee of Hegenbarth-Stipendium in Dresden/Germany in 2012. He lives and works in Dresden and Leipzig.

    Manuel Frolik is a master of illusion. In his work he envisions outrageous and unheard-of Moments. which he leads into the possibilities of ''reality-production'' ('Wirklichkeitserzeugung') in the media. The central understanding of authenticity, reality, or truth become scrutinised so that an artistic narrative is subordinated. A narrative from the personal fictions of artists is brought out, which, for the observer, however, stays readily translatable. The illusion is, therefore, in no sense only a malign manipulation. It is first to be understood as a magic tool that takes us with it and destroys or spellbinds.

  • Rao Fu

    Rao Fu * 1978


    2002-08 Studied painting, Academy of Fine Arts, Dresden
    2008-10 Master student of Professor Ralf Kerbach
    2010-12 Studied art therapy, Academy of Fine Arts, Dresden
    Solo Exhibitions:
    2017 Rao Fu - Painting, Heissing Gallery, Lübeck, Germany
    2016 Rao Fu »CHIMERICA«, Projektraum Neue Galerie, City Art Gallery Dresden
    Group Exhibitions:
    2015 "Das muss mann gesehen haben" 10 Jahren Städtische Galerie Dresden -
    Erwerbungen und Schenkungen, Dresden

    Rao Fu's works explore the differences and similarities between Western and Eastern culture; "Chimerika" tries to create a new concept of humanity: Chimerica (a term used to describe the symbiotic relationship between China and the United States of America). The work shows some vague conflicts and internal tension between the protagonists and within the protagonists themselves. One essential focus in Rao Fu's fantasy landscapes is nature, and its exploitation by humankind. The relationship between nature and humankind is characterised by destruction and redevelopment, an endless cycle.

  • Karen Gäbler

    Karen Gäbler * 1975


    1975 born in Dresden
    1998-2003 Studyied at the HfBK Dresden
    since 2014 member of the Dresden Artist Association
    2014 Gallery Grafikladen, Plattleite Dresden
    2015 Altes Wettbüro, Dresden
    2017 Gallery "Galerie am Damm", Körnerplatz, Dresden

    The ape as a substitute for our instinct rests in the midst of Bureaucracy, which is an emblem for our regime, gut instinct and human 'division'.

  • Giovanni Gaggia

    Giovanni Gaggia * 1977


    Giovanni Gaggia was born in Pergola (Puglia) in 1977 where he currently lives and works. In 2008, he founded Sponge ArteContemporanea, of which he is the artistic director. His work is above all a pursuit of balance, between performance and drawing. Over the years, Gaggia's artistic inspiration and creativity, always cleaved to the human body, have developed in these special places. His artistic production is centred around the image of a heart that is both anatomical and carnal and that has, in fact, become the main character of some very emotional performances. These actions have been followed recently by a more delicate - yet equally powerful - research highlighted by his latest commitment to embroidery. Matters of identity, ritual, self-denial, and sharing are cornerstones to performances that are always intended as an interaction with other human beings. In them, the identities coming into play suffer mutual contamination and call to mind shamanic rites and rituals of initiation through which the deeper corners of the human spirit transforms. The content of the actions and the call to sacrifice can be seen, then, as a metaphor for the liberation and the realisation of the soul.

  • Mavi Garcia

    Mavi Garcia * 1975


    2017 New Art Society, Regensburg
    Alfred Institute, Tel-Aviv
    2016 Schloss Burgau, Düren
    Die Zelle, Aachen
    2015 40grad urbanart Festival, Düsseldorf

    An ape as a substitute for our instinct rests in the midst of a bureaucracy, which is an emblem for our regime, gut instinct and human 'division'.

  • Max Gehlofen

    Max Gehlofen * 1989


    Max Gehlofen was born in 1989 in Würzburg
    October 2010 fine art studies at the Ruhrakademie in Schwerte
    May 2011 groupshow "Rpott" the Ruhrtalmuseum in Schwerte with Award
    October 2014 degree from the Ruhrakademie with Award
    October to November 2015 solo show " Endogener Versuch" in Würzburg at Bürgerbräu
    August 2016 nominated for Bloom Art Award
    September 2016 "Rückertnight " in Schweinfurt, appropriation of a bronze sculpture in public space

    The dualism of human life sits on the brink of the intellectual and the physical spheres. It is to become human by listening to one's inner voice and facing environmental influence. it is to wonder why one cannot exist without the other. Mere subjectivity seems pure. The one that enters shall never rest assured and will doubt indefinitely. Life is seen as a trial, humanity itself as suggestion. Every door is an option, every door is a symbol, symbolising the necessity for change. Human existence is straying, seeking for something, ourselves, our purpose. The only remnant is, after all, a finger print. There are neither good nor bad possibilities, no dualism nor absolute dualism. Everything is possible, each path different in every possible way. I want to get uncomfortably close, obtain whatever it is you try to protect.

  • Julius Georgi

    Julius Georgi * 1985


    Born in 1985 and lived and worked since in Dresden
    1997 German Youth Film Prize, Hannover
    2002 GtA (ebb medien) in Dresden
    2005 Theater Workshop at the Semper Opera, Dresden
    2007 Academy of Fine Arts, Dresden
    2014 Degree (Painting and Graphics) Academy of Fine Arts, Dresden

    Julius Georgi is a painter who gives over the decision to the observer whether to remain within his visual inquiries or whether to formulate answers. He bedazzles and confuses with his cryptic brush strokes and themes. Julius Georgi is a painter who has developed in the course of his work a self-styled mannerism in the course of his work which avoids a more comfortable commercial arbitrariness. He paints pictures that claim from the observer a skilled onlooker's craft, a craft with which the content of meaning in his pictures is made accessible through a kind of patience.

  • Philipp Gloger

    Philipp Gloger * 1983


    2016: Rotterdam / Netherlands
    Residency financed by Goethe Institut, CBK Rotterdam and City of Dresden
    2010 – 2012: Academy of Fine Arts Dresden, Germany
    Study: Academy of Fine Arts, Master's degree in graphics, painting and objects with Professor R. Kerbach
    2003 – 2010: Academy of Fine Arts Dresden, Germany,Study: Fine Arts, degree
    Philipp Gloger now lives and works in Dresden

    In his painting, collage and assemblage Philipp Gloger presents an overcrowded, effective and yet well organised and functioning system. It is about urbanism, progress, information overload and the permanently growing degree of networking in the world. His focus lies in the complexity, and the grey border, of order and chaos in most urban spaces. Often he presents this changing relationship in a playful way. Gloger's attitude towards technical progress is ambivalent: the permanent growth that humankind has from the beginning stamped on the world is a source of wonder that is at the same time examined critically.

  • Marianna Glynska

    Marianna Glynska * 1984


    I was born in Kosiv, a provincial town in the western part of Ukraine. After finishing school in 2001, I entered the V.Stefanyk Precarpathian University in Ivano-Frankivsk to study linguistics and literature. While a student, I started attending courses of photography and since then have been hugely involved in the cultural life of the region. In 2006 I had a solo photo exhibition in the Ivano-Frankivsk regional art museum and participated in different group exhibitions. In 2006 I got a Master's degree in linguistics and literature and took a job as a commercial photographer and an English instructor in the Ivano-Frankivsk medical college. In 2009 I received a Fulbright scholarship to study art in the USA. I attended Texas Tech university (TX, USA) and in 2012 I received a Master's degree in Fine Arts. While in the USA, I started paying much closer attention to my national identity and cultural heritage. In 2012 I returned to Ukraine. I currently live in Ivano-Frankivsk, continue teaching English and participate in art exhibitions, taking part in the cultural and social life of Ukraine.

    While often traveling from one city to another, I caught myself viewing different billboards. I couldn't help but notice them considering their size and the location. Being 'forced' to view them and to read the messages accompanied by certain pictures, at some point I started asking myself questions: how do billboards, particularly politically-saturated ones, influence us? What does it mean to be patriotic? Can death be justified by idealistic notions of freedom, patriotism, and love? Who decides what each individual should do and how each should act? Are we the particles of a big machine and can we really be free? Where is the line between reality and fiction, lie and truth? Considering myself as an artist, I've always tried to stay away from politics, but viewing those billboards, watching people die in an unofficial war that has been going on for more than three years in Ukraine, I've come to understand that this is quite impossible: whether we like it or not, politics influence every area of life

  • Michael Goller

    Michael Goller * 1974


    Born in 1974

    It's like a river. We see everything at the same time: the pebbles at the bottom, the reflection of the clouds and the moon, the floating leaves on the water surface, our inner thoughts, the trees on the river bank, the dust in the sunlight and the blurred shadow of our own eyelashes. But the flowing itself is always clear und visible only by its effects.

  • Yuliya Gomelyak

    Yuliya Gomelyak * 1987

    Born in 1987 in Buchach, Ukraine
    2004-09 Precarpathian Vasyl Stefanyk National University in Ivano-Frankivsk
    Since 2009 Participant of the association Art Youth Formation 'Forums'
    2010-14 Lviv Ivan Franko National University, 'Journalism' qualification
    2013 – Art course at the 'Academy of Photography' in Krakow
    Since 2015 student of Precarpathian Vasyl Stefanyk National University in Ivano-Frankivsk town, 'hospitality', and 'psychology' qualifications
    Since 2016 – a member of the National Photographers Association in Ukraine
    2016 - a scholar in the 'Gaude Polonia' program of the Polish Minister of Culture ;
    December 2016 — personal photo exhibition 'Oh, a weird new world', gallery 'Art na Mur'

    With the help of shop windows and by overlaying multiple images, I intend to present a lay-up of various aspects of a personal 'me'. The anti-utopian work "Brave New World" by Aldous Huxley has become one of the impulses to make this photo project. It reflects the world where people, at first sight, seem to be ideal, and to have ideal lives. Huxley's characters are young, beautiful and happy. They've got no shortcomings, misfortune and adversity, and no reason to worry. They have only today, only the current time of absolute thoughtless joy and endless pleasure. That 'strange new world' was artificially created and the people were also unnatural and fake. The characters of my looking glass are personifications of what is hidden: the thing that makes them not ideal. And the demonstration of these shortcomings and features through a shop windows is something of a challenge.

  • Philine Görnandt

    Philine Görnandt * 1980


    Object artist and art teacher
    Born in 1980 in Jena
    Lives and works in Jena, Fuerth and Apolda
    Exhibitions and participations in Erfurt, Jena, Nuremberg, Linz (A), Munich, Weißenohe,
    Head of über Land e.V. Art Association, Apolda

    Motion is the most important element in human existence. It meets us in many different forms and patterns. Thus the transmission of motion to the world's great gear-wheels of digitalisation and political systems is being initialised. Most important components of human community (like friendship, hope, courage and love) keep them going: an interleaving, interconnecting, flowing network in which each part requires the other.

  • Urban Grünfelder

    Urban Grünfelder * 1967


    Born 1967 in Brixen, Italy
    2017 Academy of Fine Arts Vienna
    2016 Klagenfurt, Kunstverein Kärnten, Ahead of the game
    2015 Dresden, Center for Contemporary Art, Ostrale 2015
    2009 New York, Scope

    Urban Grünfelder's visual language is based on an alphabet of "bold figures" which embody the versatility of human existence. He talks of a register of physical and emotional stirrings displaying men in free fall, at a moment in which survival is at stake. The figures are a reduction to the humanly possible: monochrome and graphic, symmetric und perfect. They are icons variably assigned. Singly they represent the individual, in groups of three they symbolise society. Within the last one and a half years Grünfelder has changed his visual language. The bold figures and monochrome backgrounds (rooms of fate) stayed. What is new are the virtuously painted naturalistic scenes which enter into a dialogue with the bold figures.
    Text Isabel Termini

  • Marlet Heckhoff (NSK STAAT)

    Marlet Heckhoff (NSK STAAT) * 1983


    2009-11 Bauhaus University Weimar
    2011-12 Bezalel Academy of Art, Jerusalem
    2012-15 Academy of Fine Arts, Leipzig
    2015 Diploma
    since 2016 Master-Student at Academy of Fine Arts, Leipzig

    The requirements of her motives drive Marlet Heckoff onto the street as well as into art history. She directs her work through a wide reaching archive of photographic testimonials of urban structures. Her focus lies especially in the disturbances and fractures in the surface of the city. In this way her painting is influenced by the visuality of street art and graffiti as well as by the massive visual aesthetic of science fiction films and computer games. Out of these blended impressions she has developed her own particular visual world. In Heckhoff's work you can find borrowings from Constructivist painting and architecture, however, she goes far beyond the groundless maxims of the original Constructivists (sic!). The source for her often predominantly geometrical structures is urban reality, which, through the materials of her paintings she transforms into her own original visual architecture. In this way, Heckhoff's paintings are simultaneously historical and current, and they shift between fiction and reality.

  • Ulrich Heemann

    Ulrich Heemann * 1951



    born in 1951 in Melle
    lives and works in Melle

    Ulrich Heemann studied free painting, free graphics and photography. These courses of study suggest that the artist is interested in the interaction between painting and photography in his works. The advent of digital photography was to help realise the challenge that had only been partly realised with analogue. Initially very large photos were painted over. After quite some time, and because of gaining experience of working with image processing applications, the scenic elaboration in the work is now almost always on the computer. Heemann now goes so far as to say that he is paying homage to computer painting. In fact, he works on a PC similarly to working on an easel with brush and paint. This is where light enhances depth. Thousands of small steps, later barely perceptible, arise as they have in the last 10 years of photo painting, with particular intensity and uniqueness. The focus is always on humanity in its vulnerability, in its transience, in its dignity. The uniqueness of the individual within the mass, the attentiveness to the seemingly unimportant characterise his entire oeuvre.

  • Daniel Heil

    Daniel Heil * 1988


    Born in 1988 in Düsseldorf
    2010 -2015 Studied at the Staatliche Kunstakademie Düsseldorf

    Exhibitions (selection)
    2014 „Düsseldorf in Weimar", Kunsthaus, Weimar
    2015 „Gruppenausstellung", Kartell Kollektiv, Düsseldorf
    2016 „Crossing Borders", Voss Gallery, Düsseldorf
    2017 „Panoptical Blend #1", Hollerei Galerie, Wien

    The influence of nature is particularly noticeable in the works of Daniel Heil, a painter from Düsseldorf. His works abstract themselves on the basis of tumultuous overlays and they focus on accentuating a vivid abstract form that is nevertheless, at times, also disturbing and fractured. His works constitute an attempt to illustrate the diversity of nature with a perfectly reduced line. The deceptively empty spaces in Heil's works are an invitation to engage in an inner dialogue that, as a starting point for introspection and one's own perceptions, is stimulating. Heil's contribution to artistic architecture in nature can induce onlookers to escape from the way they normally see things and to sensitise the subconscious.

  • EA011665 Jennifer Renee Hoffert (NSK Staat)

    EA011665 Jennifer Renee Hoffert (NSK Staat) * 1977


    Hoffert began working with NSK state themes in 2010, after being introduced to the concept to a great extent at the first citizens' congress. In addition to documenting and providing support to various local and international events EA011665 has served as a consultant to the curation team of the Leipzig city history museum.

    At the 2010 event Towards a Double Consciousness: NSK Passport Project in Lagos, Nigeria, an audience member spoke fondly about the NSK State: 'A friend of mine has a friend who knows somebody who has already been there. He said that it is a beautiful country' How can this be? Can this be? Is it possible to visit a state in time? Is it a beautiful place? During the discussion at the first NSK Citizens' Congress Stevphen Shukaitis offered this possible explanation, '... maybe the people who heard that you can actually visit NSK, maybe whenever they thought it was possible, [then] in fact they were there.' Many people have been there. As of 2010 there were approximately 15,000 NSK passport holders. They are all a part of the NSK state, spread through out the globe, in many beautiful places. Places which exist in space as well as time. These places are all part of the "immaterial state" of NSK.

  • Frenzy Höhne

    Frenzy Höhne * 1975


    1975 Born in Dresden
    1997-1998 Studied Philosophy, Leibniz University, Hannover
    1998-2005 Degree in Free Arts, Academy of Fine Arts, Hamburg
    2010-2012 Masters with Professor Alba D'Urbano, Academy of Graphic and Book Art (HGB), Leipzig

    In her monumental spatial installation, the artist directs her critical view onto the social treatment of national symbols and asks the viewer to reflect on the relationship between humankind and its symbolic world. By appropriating the politically charged motive of the flag, Frenzy Höhne questions the mechanisms of collective enthusiasm, such as that of patriotism, while also pointing to the difficulty of understanding mental constructs in connection with real events. This opening into the political sphere is strongly present in the work 'Fahne Hoch' ('Flag Held High'), a work which stands in relation to the current refugee crisis. The state symbol in her installation does not stand as a representation for one nation, but rather emphasises expression over identification.
    Text by Estelle Vallender

  • EA011521 Marco Horn (NSK STAAT)

    EA011521 Marco Horn (NSK STAAT) * 1992

    28.10.1992: Entry into life
    16.08.2010: Entry into NSK STAAT

    The individual is irrelevant

  • Sergij Grigorjan

    Sergij Grigorjan * 1984


    1993-1999 – Ivano-Frankivsk artistic school.
    2009-2007– Vasyl Stefanyk Precarpathian National University. Graduate Diploma in "Visual Arts".
    2007-2009 –Teacher of visual arts at the village Pidluzzia (Ivano-Frankivsk region).
    2008-2009 – Artist-decorator.
    Since 2012 – Freelance artist. Works in the areas of monumental painting, volumetric plastic, interior design, easel sculpture, sacral painting. Creative activity at installations, land-art, performance.
    2016 - Winner of Natan Altman prize for young artists, Vinnytcya, Ukraine

    The project explores the aesthetics of modern hoaxes, and raises the issue of relevance of the national cultural heritage in the era of high technology. Does modern society need the ancient culture of ancestors? Is it relevant in times of space travel, IT technologies, robotics etc? What benefits can be brought by such old techniques as wood carving, ceramics annealing or textile weaving at manual loom?

  • Matthias Jackisch

    Matthias Jackisch * 1958

    1958 born in Oschatz/ Saxonia, former EastGermany
    1977-81 stonemason in Dresden
    1981-86 Academy of Fine Arts Dresden, sculpture department
    2009 Art Prize of the Freemasonry Lodge Dresden

    Sculpture & Drawings, Performance Art, Installation, Art for Architecture, since 1997 stoneflute - sound performance; after 2001 settled near the town of Dresden; several public funded art sculptures (Kunst am Bau)

    Exhibition and performances in: Germany, Hungary, Bulgaria, Czech Republic, Slovakia, Poland, France, Canada, Mexico, Japan, Sardinia, South Korea, Thailand, Russia, Brazil

    This is a multi-figure sculptural Composition on a common surface. Gericault is in the game but, before all else, there is the fateful connection between many people. The figures have a common ground plan. The work I make from plaster is made directly on the spot and it is difficult to transport. It has the character of an installation and there are traces of work. From this I hope to make an effect that is not about anyone else, but is rather about us.

  • anya janssen

    anya janssen * 1962


    Solo exhibitions (selection)
    2017 People say I'm different', Torch gallery Amsterdam
    2016 'Retro-active', Janine Bean gallery, Berlin
    2015 'The House', Galerie Shortcuts, Namur
    2012 'The Shapeshifter', Museum voor Moderne Kunst Arnhem

    In 'The House' (2013 onwards) Anya Janssen distorts the linear experience of time. She lets the past coincide with the present and by doing so she tells the tale of a house. The villa and park she lives in also form the subject of her studies. The location itself has been marked by a turbulent and long history. The first residents were a wealthy family from the city of Arnhem. Then the house was transformed into a monastery for the 'Sisters of Love', only to end up as the headquarters for the German SS. In 1944 the house was bombed and destroyed during the final years of The Second World War. Janssen adopted the thought that memories and events attach themselves to physical locations, and from this perspective she has studied the history of this place. She doesn't want to describe consecutive events in a chronological way, but sees them appear simultaneously on location. A compressed image of time is created by layering both time and event in a deja-vu like experience.

  • Martyna Jastrzebska

    Martyna Jastrzebska * 1987


    Martyna Jastrzebska (born in 1987) – multimedia artist, a graduate and a PhD candidate at the Academy of Fine Arts in Gdansk. She works in the Intermedia department. As an artist she is redefining contexts for symbols and objects present in common perception and is working on the conception of identity and memory set the direction of her former and present artistic activity. She is the winner of Gdansk Biennale of Art 2016 and the laureate of NES Artist Residency Iceland for 2017.
    Selected solo exhibitions: Vergessenheit, WYSPA Institute of Art, Gdansk (2015); BITUMIX, Nowe Miejsce gallery, Warsaw (2014); Once Upon a Time, Gdansk City Gallery, Gdansk (2013).

    "(...) The sculptures of Martyna Jastrzebska are testimonies to uncertainty, the anatomical studies of collective identity and the strategy of identification. They are objects that delve into the structures of imaginary phantasms, which, by deconstructing existing patterns and clichés, ask questions about the mechanisms of their formation as well as being about what remains from the seemingly constant identity once the artificially stacked layers have been torn away. Jastrzębska creates sculptures by consciously wrapping them in diverse interpretational contexts. As she does so she does not fall into the trap of assuming a patronising tone or recycling the common theses of humanist studies. This is what elevates her pieces as projects that have been fundamentally thought-processed, while at the same time touching upon the most important themes of existence." Maksymilian Wroniszewski
    Gdańsk; July 2015

  • Thomas Judisch

    Thomas Judisch * 1981


    2003-09 Studied at Muthesius University of Fine Arts and Design
    2009 Degree with Elisabeth Wagner
    2009-11 Studied at Academy of Fine Arts Dresden
    2011 Masters with Eberhard Bosslet
    Exhibitions (Selection)
    2016 Thomas Judisch – Interventionen im musealen Raum, Museum Kunst der Westküste, Föhr
    2015 'work out', Collectiva Gallery, Berlin

    As a viewer you stand there, in front of it or in it, irritated at first and then you have to collect yourself. The artist also collects and organises things, thoughts and work himself. Each piece is preceded by a process of ordering, a probe, an analysis of the setting and also of 'the viewer' in the general sense. This irritation is naturally a part of the work: illusion is an artistic tool. And for the artist, the player, it creates pure enjoyment. He encroaches on our familiar methods of perception, breaks them apart and throws them back upon themselves. When the works are also aesthetically fascinating and immediately attractive, we gladly lose ourselves in this game. The artist Thomas Judisch poses the major questions of art and life, and yet these are not imposing but are displayed with an almost playful ease.

  • Arne Kalkbrenner

    Arne Kalkbrenner * 1975


    Freelance artist since 2004
    Active in the fields of: plastic | Object | drawing
    1975 born in Stendal (Altmark)
    - Collaboration in the Art foundries Flierl & Mundry / Berlin
    - training at the Werkkunstschule Anklam (applied arts school)
    - since 2006 work with the stone sculpture
    - Co-founder of the artist group umKunst
    - 2009 first installations (object art)
    - more concrete artistic discussion on topics: people & society, social structure of the present
    - since 2010 curator activity within the GLG (Gesellschaft für Leben und Gesundheit mbH)

    'Kalkbrenner delivers neither absolutes or dogmas: in fact he gives us a projection's play space. His mission and achievement exist rather in a deep understanding and a sensibility for sharing the wonder of life and to go on to stimulate further thought. To the observant viewer his silent but perceptible plea for love and imagination as the driving forces of our lives can never be escaped.'
    Katherine Weinhold, Curator

  • Kay Kaul

    Kay Kaul * 1957


    Born in 1957 in Düsseldorf
    1978-84 Studied at the State Art Academy in Düsseldorf
    1983 Masters with Professor Klaus Rinke
    1985-89 Filmmaker and freelance cameraman for short art films, feature films and news coverage
    1990-96 Development and design of a virtual computer world; computer supported drawing tools and the creation of the required software
    Since 1997 active as an Artist

    The 'Overview-Effect', the phenomenon that astronauts experience when they see the planet earth for the first time from space, is described as an experience that changes the perspective on the planet earth and therefore the perspective on living humans. Basic features are a feeling of awe, a deep understanding of the connection between all life on earth and a new sensitivity towards the responsibility for our environment. The projection-installation 'Orbital-Explorer' refers to the escalating global ideological crisis that arises or is perhaps caused by a lack of awe, respect, connectedness and responsibility.

  • Committee for Unsolicited Business (CoUB) (Luk Sponselee & Werner Klompen)

    Committee for Unsolicited Business (CoUB) (Luk Sponselee & Werner Klompen) * 1962


    Werner Klompen: Born in 1962 Roggel, NL
    1981-1987 Academy of Arts Utrecht Netherlands
    1983-1987 Staatliche Kunstakademie Düsseldorf Germany, studies in graphics, mixed media (Black-light), performance, objects, photography.

    Luk Sponselee operates as an independent curator and organizer in the cultural field. This besides his activities as filmmaker, musician and visual artist.Since his early years he has started different cultural organizations which stichting Zesde Kolonne (foundation 6th Kolonne) has his main focus since 1984. As an artist Luk Sponselee has made many short and several full feature films , now working as a camera operator and editor, played in different bands and ensembles. Currently he lives in Antwerp (Belgium) and works in the Netherlands, with Eindhoven as his base.

    From outside, in a squat, the first thing shows itself: a strange cartoon-like appearance that has ground to a halt. It is clear that there is a situation where an action has been in advance, suggesting that this image was reality. The vehicle, as if it has been sent by post, has a smile and has found its place. Viewing his peeking into the world in a space different to the space itself is allowed.

  • Jarosław Klupś

    Jarosław Klupś * 1978


    Born in 1978 in Leszno, he graduated in photography at the Poznan Academy of Fine Arts (2000-2005). He is an author and participant in exhibitions in Boston, Sydney, Pittsburgh, Bratislava, Minsk among other places. His works often refer to the history and identity of the medium of photography: you can find photographs, site-specific installations and objects. Fascinated by the processes of the formation and registration of the photographic image, Klups creates works based on the scientific and technical potential of photography.

    In this site-specific installation, Jaroslaw Klups shows camera obscura projections in an adapted space. The surroundings of the OSTRALE exhibition site are viewable in an unusual way and the work refers to the history of photography.

  • Inside Job

    Inside Job * 1987

    http://www.michalknychaus.com, http://www.ulalucinska.com

    Inside Job is a mini art collective founded by Michał Knychaus & Ula Lucińska. The main attribute of their actions is temporariness - Inside Job is active mostly when its creators are travelling. Without "domesticated" contexts, on "the unknown" territories, between foreign languages - Inside Job is a cultural mash-up migrant. So far, they participated in art projects and festivals in Poland and abroad - Mexico, USA , Switzerland, Germany and Ukraine. Inside Job artists strongly believe in art as a platform for communication between people, regardless of gender, nationality, language and religious backgrounds. Most of their projects have a social component and are interactive. They focus mostly on the process and all the encounters that may occur during preparation and presentation. In 2016 they got the Santander prize for emerging artists.

    Polish Water is an art project founded in 2016 in Switzerland by Inside Job. The main idea was to produce and distribute a certain kind of bottled drink. The first edition was made during a residency at the Burgdorf Kulturfabrik. Water, taken from a local Swiss source, was subjected to a process of symbolic transformation. Sound fragments of an assimilation language course were used during the production process to teach the water the polish language. The audio was enhanced using alpha waves sound as background to make the learning process easier and more affective on water. The final „polonised" product, closed in plastic bottles, with special branding stickers, was distributed during the cultural events and among local shops in Switzerland. Considering every new exhibition place, the Polish Water is produced anew from a local drinkable sources. During the Ostrale Biennale viewers may taste the "polonised" product made out of Dresden water.

  • Katrin König

    Katrin König * 1968


    1996-2004 Studied at the Burg Giebichenstein Academy of Art and Design, Halle, painting and graphics degree with drawing
    2001 - 2002 Studied at the 'Academy of Fine Art', Rome, Italy
    2014-2015 Teacher for painting in the context of new media, Burg Giebichenstein Academy of Art and Design, Halle

    Selected Exhibitions

    2016 'Tusculaneum', Sybille Nütt Gallery, Dresden
    2016 'Die Grosse', Museum Kunstpalast, Düsseldorf
    2013 CUAC Print Show, Salt Lake City, UT, USA

    The inherent theme of my graphic print installations follows from stumbled upon places, in a sense more concrete than naturalistic: structures of naturally developed density, landscape as an illustration of large stretches of time, testimonials of the history of the earth and of civilisations; forms in which this and that trace first comes to be shown. This fabric of being from the past holds itself above the horizon of individual destiny - it tells no story - it is history itself, as such. These interleaved stories are transformed in the artistic argument, the delinquency of time, into a state beyond the ability to observe existence itself as being subjected to time. The individual phases or events are still visible as traces, but are not readable in the narrative sense. They are shrunk in to a power that emanates as something eternal.

  • Piotr Korzeniowski

    Piotr Korzeniowski * 1970

    Born in Kraków on January 10th 1970. Studied at the Faculty of Painting of the Academy of Fine Arts in Cracow, graduating with distinction in 1997. In 1993 made an artistic journey to Siberia. In 1995 / 96 a scholarship and studies at the Akademie der Bildenden Künste in Nürnberg in the painting, printmaking and object studio. In 1996 made an artistic journey to Egypt (across Turkey, Syria, Jordan, the Sinai Peninsula). In the years 1996 - 2001 assistant in the Painting Department at Academy of Fine Asts in Kraków. Between 2001 - 10 assistant and then a senior assistant in the painting studio of Prof. Adam Wsiołkowski. In 2005 obtained PhD degree in the discipline of painting. 2012 – 16 Dean of Faculty of Painting in Academy of Fine Arts in Cracow. Currently works as a PHD Associate Professor and runs a drawing studio at the Painting Department at Krakow Academy of Fine Arts. He also runs portrait photography activities in Cracow School of Creative Photography.

    Until recently, the mechanisms shaping culture were determined by the Age of Print, which has now come to an end. We no longer have lasting values, ideas, knowledge and skills. Our world is built of fragments, tweets and posts: it is increasingly disintegrated, broken and made up of emotional and factual shards that, unfortunately, cannot be cemented into a meaningful whole. These fragments, shreds and pieces create a semantic NOISE that has become our living environment. Its character and structure pervades everywhere, leading to the homogenisation of culture, information and ideas.

  • Carolin Koss

    Carolin Koss * 1986


    Carolin Koss is a Helsinki based artist and filmmaker originally from Germany. Koss works with various media and often creates contemplative and aesthetic works, which embody internal landscapes and invent dream realities. Her works recurrently have a dreamlike nature and captivate through symbolic language and stylised imagery. She completed her MFA degree at the Finnish Academy of Fine Arts in Helsinki in 2014. Her films and video works have been shown at various international exhibitions and film festivals e.g. in Helsinki, Stockholm, Riga, Berlin, Venice, London, Hong Kong and New York. Koss won the 1st price at the Screen & Sound Fest in Kraków and she was granted the "Hope Award for arising new talents" at the Unprecedented film festival in Tallin.

    Emerald Green is a video installation about a dystopian world, where nature has been rendered extinct, breathable air has become scarce and the sun has vanished as a result of the exploitation of natural resources and human error. The focus is on 3 people who try to survive and escape into their sub-consciousness in order to rebuild the contaminated world they live in.

  • Rostyslav Koterlin

    Rostyslav Koterlin * 1966


    Lives and works in Ivano-Frankivsk.
    1998 graduated from Taras Shevchenko National University of Kyiv, department of journalism.
    Koterlin is a researcher and an analyst of the processes that take place in contemporary art; he is also an author of essays and articles about the artists of Ivano-Frankivsk. Since 1990 he's an organiser and a participant in almost all contemporary art programs and projects in his city.
    Since 1999 he has edited and published an almanac of contemporary visual art "Kinez Kinzem" (Finally).
    Koterlin holds a grant from the Ministry of Culture and Cultural Heritage of Poland (2005) as an almanac editor in the Center for Contemporary Art 'Zamek Ujazdowski' (Warsaw).
    Main exhibitions:
    2016 – Obscure Living Object, Ya Gallery art center, Kyiv
    2013 – Ukrainian Snapshot. Lyman, The East of Culture, Lublin

    The photo 'Autumn of Nations' is an only partly ironic retort to Eugene Delacroix's symbolic painting 'Liberty Leading the People'. Like 187 years ago, when the 'Spring of Nations' was germinating, freedom still remains one of the major concepts, for it is most likely a question of physical human survival.

  • Ales Pushkin / Janak Kouzel

    Ales Pushkin / Janak Kouzel * 1985

    http://pushkin.by/; https://www.lensculture.com/kouzel

    Ales Pushkin was born 1965 in Bobr, Belarus. To his artistic output belong mainly monumental paintings and art performances. Pushkin attended the Belarusian State University of Culture and Arts at the Faculty of Monumental and Decorative Painting. Due to army mobilisation and military service in Afghanistan, his education was stopped. In 1993 the artist founded an art gallery in Vitebsk, called "At Pushkin's", where modern art was presented. The gallery was closed in 1994 because of Pushkin's oppositional activity. Creating decorations for the Orthodox and the Catholic Church are the main sources of livelihood for the artist. Moreover, he constantly opposes the Lukashenko regime. Furthermore, the artist arranges cultural life of the community in Bobr. His works of art have been presented in many museums and galleries in Belarus, Poland, Norway, Sweden, Russia and USA.

    Janak Kouzel was born 1985 in Minsk, Belarus. In 2008 he graduated from the Faculty of Biology of Belarusian State University. In 2014 got PhD in natural sciences from University of Münster, Germany. His focus is on street and documentary photography. Currently he is working independently on several long-term documentary photo projects. He has had solo exhibitions in Belarus

    Ales Pushkin does an annual performance dedicated to the anniversary of Belarusian People's Republic (Biełaruskaja Narodnaja Respublika, BNR). BNR was declared on the 25th of March in 1918 in Minsk, but stopped to exist due to Russian Communist occupation of Belarus in 1919. Contemporary soviet-minded authorities of Belarus suppress public celebrations related to BNR as well as any kind of peaceful protests. Most of the art performances A. Pushkin did on the square of his small rural town Bobr ended up with provocations and arrests by the police. On the 25th of March 2017 the head of the administration of town Bobr U. Zagorski tried to prevent an art performance of A. Pushkin, U. Zagorski managed to steal one of the posters (created by Wojciech Korkuć) and stored it in his personal car near the local administration. This photograph was made after "liberation" of the poster in front of administrative building. It was the only small spring victory in Belarus that day: in the meanwhile hundreds of people where arrested in Minsk.

  • Melanie Kramer

    Melanie Kramer * 1985


    Born in 1985
    2005-08 — political science studies, Freie Universität Berlin [Bachelor of Arts]
    2007-08 — fine arts studies, Universität der Künste Berlin
    2008-14 — fine arts studies, Academy of Fine Arts, Dresden [Degree]
    2012-14 — Founder and head of 10plus10, Colloquium of art students of the Academy of Fine Arts, Dresden and students of art history at Technische Universität Dresden
    since 2014 — Graduate studies in the class of Prof. Christian Macketanz, Academy of Fine Arts, Dresden [Masters]
    2016 — Lecturer at the Academy of Fine Arts, Dresden

    Common in this work developed as a series of drawings since 2010 is the reference to phenomena such as deja-vu - the recalled picture or scenario. Important constituent parts of this (picture-)tale lend themselves a great weight in the arbitrary act of remembering, other details are partly or completely blurred into rough abstract descriptions. The graphic material is restricted to an absolute minimum - fine lines - as well as being limited to the representation of single, exaggerated figurations without real location in a surrounding environment. All of these drawn memories allow viewers to activate a picture in their heads quickly. Suddenly, an unmediated space is made inside every individuals thought, and this space demands classification and categorisation. This, of course, is the usual reason why the reduction of the image information must come to grief...

  • Salokin Ztark

    Salokin Ztark * 2008

    *2008 in Dresden
    lives and works in Dresden

  • Thomas Kretschel

    Thomas Kretschel * 1967

    Thomas Kretschel was born in Karl-Marx-Stadt. He has concerned himself with photography since childhood. First, in his uncle's photography studio, he observed other photographers while developing their photographs. Later, he started to create his own. He was denied a photographer's education in the GDR; the system punished him for 'too little class consciousness'. Instead he made an apprenticeship as a locksmith. After the fall of the Berlin wall, he worked as a photo journalist for newspapers and magazines. Later he began to publish artistic photography projects. Thomas Kretschel finds his images everywhere: on the street, close by, and from extensive travels. Sometimes, he makes portraits with an antique plate camera, sometimes he sits in street cafes in Paris and looks with his phone camera at everyday comings and goings. Thomas Kretschel never decided on a genre where one profits from others. He searches for the essential in meeting human beings: that is the kernel of his work and for that kernel he takes all the time in the world.

    In November of 2010, I travelled to Venice for a photo project. One early morning, as I was photographing St. Mark's Square, a cruise ship rose up out of a dark mist and closed off the square like an Old Testament gravestone. These cruise ships have a destructive effect on the flora and fauna of laguna and in the canals of the city.

  • Lutz Krutein

    Lutz Krutein * 1960

    Object Artist and Conceptual Artist, Instructor in Fine Arts, Art Show and Festival Management
    Art in social context
    Participation in numerous exhibitions in Germany, Croatia, Italy, Poland, Slovenia
    Head of CLINC Kunst Centrum e.V., Fürth
    Head of Kulturring C, Fürth
    Head of Kunstraum Weißenohe e.V.

    Rubber gloves are known as an everyday protection material of no particular value. Nevertheless I've always loved to touch their smooth surface and the way they resembled actual hands as soon as I inflate them. In the context of this work I'd like to imagine the urge to reach out as a strong human symbol. It's a move not only towards other people, its also a move toward every real thing that may attract our interest. Whether the result turns out to disappoint or to please us - we are destined to reach out, perpetually.

  • Olga Kukush

    Olga Kukush * 1982

    I was born 1982 in Mariupol, Ukraine. Now I live and work in Ivano-Frankovsk, Ukraine. Since my childhood, drawing was my instrument of self-expression. More lately, I've revealed how amazingly well photography unites the worlds of reality and fantasy for an artist. I work mainly in the genre of still life and portrait. I'm a regular participant and winner of international and regional competitions and exhibitions.

    The life of modern man is accelerating every day. We snack on the run, drink coffee with friends, celebrate holidays on foot. In this rush we get the time to think: "What will remain after me?" ''What mark will you leave in history?'' Maybe ... breakthrough discoveries in science, a high-literary novel, building a new city... Exactly ... mountains of garbage for decades and centuries... The Photos compare quick dinners and the waste from it. Dinner disappears in 10 minutes. The garbage will stay for decades.

  • Julia Kurek

    Julia Kurek * 1984


    Born in 1984, in Szczecin, in 2015 she gained a doctorate in fine arts at Academy of Art and Design in Wroclaw, Poland. She graduated from Jan Matejko Academy of Fine Arts in Cracow (doctoral studies) and Academy of Fine Arts in Gdansk (master). In 2008 – 2009 she studied in Marmara University in Istanbul, Turkey. At present she is an Associate professor at The Szczecin Academy of Art, where she runs an Animation Studio. She is a lecturer at the Polish-Japanese Academy of Information Technology and Academy of Fine Arts in Gdansk. She has presented her works at solo exhibitions and participated in several group exhibitions in such countries as Brazil, Croatia, Denmark, Finland, France, Germany, Greece, Holland, Italy, Israel, Mexico, Norway, Romania, Russia, Serbia, Spain, Sweden, Switzerland, Turkey, United States of America or United Kingdom. She has received many grants and awards, for example the International Festival of Video Art Now&After in Moscow, Russia or the Art Biennale in Piotrkow Trybunalski in Poland. She is interested in video art, installation and performance.

    The film is a record of selected fragments from the life of a Lucha Libre wrestler. (Lucha Libre is a Mexican version of American wrestling). The video depicts the problems of everyday women's existence in society.

  • Kamil Kuzko

    Kamil Kuzko * 1981


    Kamil Kuzko was born in 1981 in Lublin, Poland. He completed his studies at the Faculty of Arts of Maria Curie-Skłodowska University in Lublin (Master's degree in painting in 2008) and Jan Matejko Fine Arts Academy in Kraków (Doctoral degree in 2012), where he is working as an Assistant Professor in the Department of Painting. From the mid 90s, he has been involved in the New York influenced graffiti writing scene in Poland. His works have been presented in five solo exhibitions, as well as in numerous group exhibitions in Poland, Germany, England, France, Sweden, Belarus, Ukraine, Hungary, and Czech Republic. He has made numerous monumental murals in Poland and internationally.

  • Serge Feeleenger

    Serge Feeleenger * 1984


    Serge was born 1984, and is currently living in Minsk, Belarus. He learned by himself the basics of the multilayer smooth painting technique of the old masters, but he also has a deep passion for new experiments. Serge has tried all possible painting genres and styles, from expressionism to the hyper-realism, but nevertheless, his own style has become recognisable. His unbridled thirst for everything new and his strong interest in experiments helped him to create a special way of glass painting as well as visualisation paintings and shaded paintings.

    Attraction. Gravity. These are incredible powers by which planets are brought toward stars, and satellites toward planets. Black holes... they are such a powerful force, and are so familiar although they are imperceptible to us. From zero to infinity. It warps space and time. What kind of power is it? Gravity... The whole consists of parts. A part consists of particles. Particles are formed of energy. Vibration ... Waves ...What makes energy vibrate? What makes it vibrate in different ways? What makes energy acquire a shape bringing together waves? Something tunes the energy in the way that it makes vibrations at the frequency of certain particles... Something tunes the energy in the way that it makes vibrations at the frequency of other particles. This is the Symphony of the Universe. It is music that makes life. Musical notes are just like formulas... It is a language of registration and cognition. It is the Green Grain of a pomegranate. It is a part of the whole, but an exception from the rules.

  • Sonja Lambert

    Sonja Lambert * 1970


    Born in 1970 in Stolberg
    1988 Education at MTA
    Lives and works as a freelance artist in Vaals in the Netherlands.
    For four years, Sonja Lambert has explored an experimental painting method trying to create a fragile tension between surface and form, especially in order to convey resolution, change and, through the plasticity of the mix of materials, transparency, lightness and sensuousness.

    Selection of exhibitions
    2016 Vorn und Oben, Eupen B, Gallery
    2016 Kunstroute Vaals, NL
    2017 Article 5, Aachen, Gallery
    2017 Solo exhibition - Kunst Kabinett, Hespert

    Sonja Lambert is able to thoughtfully integrate lacquers, resins, oils, alcoholic solutions, pigments and coloured wood stain, under the influence of gravity, air pressure and light on white primed surfaces. Of course, the physical processes are at best when the screens are pivoted, when the layers dry and the pigments and emulsions blend. Mostly oval in form, these progressive layers of oasis form the framework for the aesthetic effect of the process of rejection. In manifestly flowing stream patterns, white elastic is connected to the form and are trapped by being glued onto white background with white glue. Without reference to materials, materials drying in paired arrangements on white supports also remain. A literal rather than spiritual natural reference is made here, a graceful joy in the phenomenon of the material world is made intelligible.
    D. Tölke

  • Hanif Lehmann

    Hanif Lehmann * 1971


    Born in 1971 in Rochlitz
    Student at the HfBK Dresden, from 1992 to 1998 studying painting and graphics
    1994 first graphic book; 1996 first graphic book in his own publishing house widukind-presse Dresden

    Everything which I write, draw and paint, gels as a preoccupation with decay, an examination of the disappearance of being itself, of the substantial and of the essential. The bones and skulls are only important there not only as a reference to humankind, to living people. They wear no flesh but they are also mimics and as gestures - they should not be understood as objects from a still life, as if they were merely like all other things. I wanted to go to Sedlec (ossuary or bone chapel)... But I stood there unprepared among the 40,000 dead. May be there would be a feeling of great love, may be it would be overwhelmingly sad - nevertheless, I can't really use any superlatives. If not superlatives, what then? I cannot imagine that they are unknown people or nameless people for me. I must approach them as friends, as my long lost friends.
    Abstract from 'Kostnice', graphic book, widukind-presse Dresden.

  • Anka Leśniak

    Anka Leśniak * 1978


    Anka Leśniak is active as an artist in genres such as: installation, art action, painting, video-art. In her art, she mainly focuses on the history of women and makes site specific artworks. Graduated from Art History in the University of Lodz (2003) and from the Academy of Fine Arts in Lodz, diploma with honors (2004). Ph.D. in arts received from Sculpture and Intermedia Faculty in Gdansk (2016) Participant of more than 80 individual and group shows

    Exhibitions (Selection)
    Women patRIOTs, XX1 Gallery, Warsaw (2016)
    Invisible inVisible, the series of site specific artworks in public space, Lodz, Poland, 2015

    The project Women patRIOTs deals with the issue of patriotism, shown through the attitudes of specific Polish women who lived in the turn of 19th and 20th century. The inspiration for the project was a book entitled Polish Terrorists written by Wojciech Lada, in which the author describes attacks on tsarist officials organized on Polish lands annexed by the Russian Empire at that time. The attacks very often were ineffective and caused the death of accidental victims. Women were significantly involved in this activity, not only by distributing illegal printed material, but also by smuggling weapons, ammunition and throwing bombs from balconies. It was a group of women who today are almost anonymous. The title includes the word RIOT, deliberately written in capital letters. It raises the question as to whether the Polish riot-girls proved the emancipation of women or on the contrary, whether their commitment and abilities were used to support a concept of patriotism based on a patriarchal narrative.The project fits into the current vivid debate about the notion of patriotism in relation to such a concepts as sovereignty, nation, struggle.

  • Jonas Lewek

    Jonas Lewek * 1984


    1984 born in Dresden, Germany
    2007–2013 studies at Academy of Fine Arts Dresden, Germany
    2013–2015 Master student with Prof. Eberhard Bosslet

    Selected Exhibitions

    2017 Neuzugänge zeitgenössischer Kunst im Kunstfonds 2016, Vertretung des Freistaates Sachsen, Berlin
    2016 Minimal Art Gallery, HOME, REDBASE Foundation, Yogyakarta
    2015 Kunstpreis junger westen 2015, Kunsthalle Recklinghausen

    10 fragments from a number of influential artist's work, which had been taken out of Museums and are re-exhibited in a museum-like context.

  • Chris Löhmann

    Chris Löhmann * 1988


    Chris Löhmann was born in 1988 in Warnemünde and he lives and works in Dresden.
    2017 He took part in the sixth Künstlermesse, Dresden
    Since 2016 he has been represented exclusively by BUEFFELFISH contemporary fine arts gallery
    2016 He took part in the Affordable Art Fair, Hamburg
    2016 He took part in the Berliner List, Berlin
    2016 Prizewinner, Grafikbiennale 100 Sächsische Grafiken

  • Andrea Lehnert

    Andrea Lehnert * 1974


    1996-2002 Study of painting | Academy of Fine Arts Düsseldof

    2002 "Meisterschüler" degree by Prof. Siegfried Anzinger

    selected exhibitions
    2016 Summer in the City (with Wilken Skurk) | lorch+seidel | Berlin
    2016 Scope Miami Beach Art Fair | lorch+seidel gallery
    2014 Positions Berlin Art Fair | lorch+seidel gallery

    I have always had a fascination with water. I try with numberless variations from clear to murky to translate reflections, distortions, refractions, colour, flowing or calm water and waves into painting. I am interested in the synaesthesia during the aftermath of a cold bath in nature or in a hot bath at home. I find it fascinating the difference between public baths, swimming baths and the intimacy of a bath in your own home.

  • Stephanie Lüning

    Stephanie Lüning * 1978


    lives and works in Dresden, Germany since 2002
    1978 – born in Schwerin, Germany
    2002-2007 Studies in Scenic Painting at HfBK, Dresden
    2007 – Received Diploma in Scenic Painting
    2008-2012 – Studies in Fine Arts, at HfBK, Dresden
    2012 – Received Diploma in Fine Arts,
    Since 2014 – pursuing Masters in Fine Arts at HfBK, Dresden, advisor Prof. Ulrike Grossarth
    Solo Exhibitions
    2016 – Special, Galerie Gebr. Lehmann, Dresden
    2015 – Solo show, Schau Fenster, Berlin
    Group Exhibitions – selection
    2016 – MAC home, MAC, Indonesia
    2016 – Nach Wroclaw / Do Wroclaw, Museum Wspolczesne Wroclaw, Breslau, Poland

    I am interested in brilliant colors and processes that develop on it's own and the results that come out of it. I am scared of the line the trace that my pen leaves on a piece of paper and the control of my own hand over the pencil or paintbrush. Before I studied fine arts I studied scenic painting at an art academy. Because of that my hands are perfectly skilled to paint in a perfectly crafted way. I have everything under control and that is the problem. Because of this problem I try to find new ways of bringing paint on a surface (canvas or paper) or coloring different materials and use them as a vehicle to find my way back to painting. The results that come out of these processes capture exactly what I am looking for. They are true results of the actions themselves and nothing else. They only witness their own process of existence.

  • Peter Makolies

    Peter Makolies * 1936

    Born in 1936 in Königsberg
    1953 begins training as a stone mason at the Zwingerbauhütte in Dresden and took drawing course at the Peoples High School with Jürgen Böttcher
    1957 Collective Studio with Ralf Winkler in Dresden Neustadt,
    and since then artistic work
    From 1965 sculpture and work for the preservation of monuments
    1984 He took part in the Venice Biennale
    1985 Study trip to China
    1984, 1986, 1989 He worked in Carrara
    Lives and works in Dresden and Warthe on Usedom

    If you found stones like this on a prehistoric burial ground, one could think they were cult images from long ago - and geologically most of the stones are from a distant past.
    Sometimes they are already struck before workmanship. They carry traces of emergence and transgression inside of them - and artist Peter Makolies deals with these natural circumstances. (Matthias Flügge)

  • Ruhepuls

    Ruhepuls * 1978


    "RUHEPULS" – A transmedial art project by German artist Christian Manss and English music producer Stephen Abrehart. Participating artists: Christian Manss, Stephen Abrehart, Volker Schlecht, Eric Vogel, Manja Kuhl, Alexander Nast, Knut Amor, Andrew Shields, Rainer Barczaitis.

    At the beginning of RUHEPULS (resting pulse) stand five german texts as well as a sculptural work by Christian Manss. The image of the sculpture '250 km/h' creates the basis for the overall graphic language of the project, a language which has been changed by random circumstances. The five machining phases is the graphic language for RUHEPULS. English music producer Stephen Abrehart and Christian Manss have wanted to work together for many years. As an experiment, Manss quickly made concrete the idea of leaving the content of the German texts unclear for Abrehart, in order to look where the music would develop without the context provided by meaning in the text. The resulting outcome meant that five video artists were engaged to work feely and were specifically promised that the finished video works would be accepted as they were - as independent works. The picture and sound, the texts altered and developed by Christian Manss form once again the basis for the artist's five works of art. The different places and the different artistic methods which form parts of the project should finally find themselves at home in a real material place - in space!

  • Dawid Marszewski

    Dawid Marszewski * 1991


    *1991 in Poland. A graduate of the University of Arts in Poznan. Thesis defended at the Faculty of Painting (2016), which received an honorable mention in the National Competition Best Artistic Diploma University ArtNoble. Scholar of the Ministry of Culture and National Heritage, the Prime Minister, Rector of UAP. Winner artistic ExkluzivPrize2013 magazine "EXKLUZIV." He received honorable mention at the International Triennial of Digital Media. Nominated for National Artistic Award New Image - New Look. Finalist of Young Art Biennial Fish Eye 8. His works were shown among other things, the UP Project Space in Berlin, Shanghai Normal University, Contemporary Museum in Wroclaw, Baltic Gallery of Contemporary Art in Slupsk, Center for Contemporary Art "Signs of the Times" in Toruń, Centre of Polish Sculpture Orońsko, Museum of the former extermination camp in Chelmno on the Ner, Blue Tower in Warsaw, Grey House gallery in Krakow and others.

    The main part of the work are statements of people who have experienced a lack of acceptance or even open racism. There's the Polish proverb "Guest in the home, God's house," Stitched on the black material in golden letters. A rectangular space invites you to go inside and hear the statements of several people who share their concerns and events experienced in recently.

  • Stephanie Marx

    Stephanie Marx * 1975


    1975 Born in Dresden
    1995-1999 Degree in Communication Design in the Polytechnic for Technology and Economics (FHTW) Berlin
    1999-2005 Degree in Fine Arts, Academy of Graphics Art Leipzig, Department of Free Graphics
    2003-2008 Masters with Professor Ulrich Hachulla
    2007 Co-founder of Hoch+Partner Gallery for Wood Cutting and Relief Printing

    Technique fascinates me so much that I live and breath it. Subjects who cannot be strangers to each other are a imperative connection for me. The combination of the human and the mechanical: animal or plants become through cut with respect to being stitched into the linoleum on a common plane. The accurate technique of cutting and engraving onto the print plate creates a wonderful contrast in my free woodcuts. The composite creature is printed not only on paper, but I also introduce the incidental aspects of the original material further, for instance metal or wood. The functionality of the original material seems optically unbroken, indeed it plays an underlying roll. The machine mustn't merely function, it must be effective.

  • Moe Matsuhashi

    Moe Matsuhashi * 1985


    Since 2016 he has been studying for a masters at the Academy of Fine Arts in Dresden under Professor Martin Honert
    2012-2015 Academy of Fine Arts in Dresden also under Professor Martin Honert
    2005-2009 Bachelors degree at the Tama Arts University, Painting Class under Professor Kosai Hori
    2016 MAG HOME MinimalArtGallery, REDBASE Foundation (Yogyakarta)
    Nach Wroclaw nach Wroclaw, Wroclaw Contemporary Museum
    How hart can it be, Gebr. Lehmann Gallery, Dresden
    ART Köln, NANZUKA Cologne

    Most of my work makes a reference to my first name Moe. In German, Moe can be translated with 'Keim' (nucleus) or "Ursprünglichkeit" (nativeness). I was given my name by my father for a special reason: while he stroked my mother's stomach during pregnancy, he sensed a green light similar to that of a nucleus. My parents then decided to give the name Moe. The question of how this came about and what meaning this event has, has concerned me ever since my parents told me the story. My thinking and artistic work revolves both consciously and unconsciously again and again around the theme of (my) identity and the attempt to find out how this identity could have been built.

  • Yuri Mechitov

    Yuri Mechitov * 1950


    I was born in Tbilisi, Georgia, former Soviet Union. Graduated as a mining engineer, even worked for 4 years. I was involved in amateur cinematography long before, made several documentaries and then switched totally to photography. I held my first exhibition in 1979. More than 80 exhibitions followed in different countries. I worked also as a still photographer for Georgia Film studio. Working in cinema gave me a ability not only to catch pictures, but to compose. Especially useful was a friendship with the great film director Sergei Parajanov. He taught me a lot of things and helped to shape my artistic vision. I published several books dedicated to Parajanov. I am also co-author of book "Georgian Photography 1955-2012" . In 2011 I published photo album "Yuri Mechitov' s 101 portraits. Besides I wrote several stories and did other things like project "Reincarnation of Pirosmani" with Maya Deisadze.

    The project re:creation pirosmani is dedicated to great Georgian primitive painter Nikala Pirosmani (1862-1918) who became a hallmark of Georgian visual culture. His painted village scenes, urban events, portraits, advertising. So his images became iconic. With co-author Maya Deisadze we started recreate Pirosmani's intentions by shooting staged photographs of his characters. The work lasted for three years (2000 -2003) and even by now is in process of reshaping.

  • Katerina Belkina

    Katerina Belkina * 1974


    Early on Katerina Belkina knew about her exceptional talent to see the world through different eyes. Born in Samara in the southeast of European Russia, she was brought up in an creative atmosphere by her mother, a visual artist. Her education as painter at the Art Academy and from 2000 at the Academy for Photography of Michael Musorin in Samara gave her the tools to visualize her ideas. Exhibitions of her sublime, mystic self-portraits ensued in Moscow und Paris. In 2007 Katerina Belkina was nominated for the prestigious Kandinsky Prize (comparable to the British Turner Price) in Moscow. Recently she got the Hasselblad Masters Prize. Currently she lives and works in Berlin.

    I came to "Paint" following my human instincts, both brutish and sublime (the instincts of the viewer and the artist and a need for esthetic pleasure). All my love for the art of the 19th / early 20th centuries accumulated here. My choice of the inspiring artists was determined by long-standing affection for their creations. Then I became interested in the sources of inspiration from both sides – the artist and the model, intertwining, opposing, conflicting and working for each other. Immersing into scrutiny of the artist-model interaction, you unexpectedly get new information about yourself. You unpack your inner demons. It is amazing to observe the transformation of your creative, exploratory energy into sexual and vice versa. I allowed myself to undress in front of the camera for the first time. Or, to be more precise - I allowed my characters to do that, and through them - myself. When it comes to art, natural emancipation replaces social shyness.

  • Geert Mul

    Geert Mul * 1965


    Media artist Geert Mul has been exploring for almost 20 years the possibilities of generating visual poetry by re-combining images from collections and databases in video's, photographs, installations and audio-visual performances. In both digital and analogue works Mul explores the possibilities of a data-based mediation: the moment when a meaninglessness collection of data turns into something meaningful. 'Meaning' in Muls works is not based on logic, the works are essentially based on correlation, association, connotation and speculation. Mul regards his works foremost as a form of poetry; a creative play with a data-based language.

    NATUREALLY was originally designed for the entrance of a new hospital and is inspired by the idea of a 'healing environment'. The underlying 'goal' of the artwork was to broaden the 'mental space' of the hospital's patients and visitors. Considering the broad range of emotions the public goes through in a hospital environment, I started thinking how a work of art could play a positive role in our (emotional) state of being. I concluded that for instance 'to be wondered' is one way of creating mental space and might release worrisome thoughts and emotions.

  • Ulrike Mundt

    Ulrike Mundt * 1976


    Born in 1976
    2000-02 BFA at Academy of Fine Arts Arnhem and at Rijksakademie Amsterdam, NL
    2003-05 MFA in Sculpture at the Dresden Academy of Fine Arts
    2005-07 Masterclass with Prof. Monika Brandmeier
    Single exhibitions (selection)
    2016 BEHIND THE SURFACE, DADS gallery, Liberec, CZ
    2015 CALYPSO, Susanne Burmester Gallery, Rügen
    2013 THING-DING, gallery Hellrot, Halle
    2012 ULRIKEMUNDT, Susanne Burmester gallery, Showroom, Berlin
    Group exhibitions (selection)
    2014 WIN / WIN Purchases of the KdFS 2014, Leipziger Baumwollspinnerei, Leipzig

    Ulrike Mundt studied Sculpture in Dresden and in the Netherlands. She builds installations and kinetic objects, some of which generate noise. Her artistic language expresses individual as well as collective memories and codes as concrete object manifestations. Her work often refers to forms of structurally determined power and dominance in a humorous or ironic way or makes a sarcastic statement regarding symbols of power.
    Su-Ran Sichling, artist and journalist

  • Małgorzata Myślińska

    Małgorzata Myślińska * 1988


    *1988 in Poland
    Graduated in painting from University of Arts in Poznan and in philosophy from Adam Mickiewicz University (Poznan, Poland). She took part in scholarships at the Painting Department in Universitatea de Arta ?i Design and History and Philosophy Department in Universitatea Babe?-Bolyai (Cluj Napoca, Romania). She also has taken part in many group and solo exhibitions. Winner of competition rewards for young painters, laureate of City Poznan Art Scholarships for Young Artists. She lives and works in Poznan, where she runs her studio and works her PhD.

    I am looking at traces of the recent past – not to miss them, but to play. "Ballroom" is a part of the series in which I am taking portraits of myself with obsolete, painted backcloths in random photographic studios. I react spontaneously on the backgrounds letting the photographers create the scene as well. I follow the common belief, that picture became a place of personal projection of viewer's imagination, memories or fears – especially when the photography context is ambiguous and witnesses are missing. This time the witness is here, but it doesn't help.

  • Jakub Najbart

    Jakub Najbart * 1972

    born 1972 Poland.
    1993-98 studied painting at the Academy of Fine Arts in Krakow.Graduated with honours in 1998. In 2009 obtained PhD in Arts. Since 2010 works at Krakow Academy of Fine Arts in the Department of Drawing. Since 2015 associate professor at Krakow Academy of Fine Arts. Since 2016 Head of Drawing Department. Has taken part in many individual and group exhibitions. Recently involved in Polish-German art projects:
    "Betreten Verboten" Polish German Art Biennale, Nuremberg, 2013
    "FADING MEMORY" KunstRaum Weissenohe, 2016
    "GREY SCALE" A.K.T. Kunstverein Amberg, 2016
    "CUBE" – Polish German Art Biennale, Krakow, 2016

  • Pawel Napierala

    Pawel Napierala * 1983

    I was born in 1983 in Opalenica, Poland. Curently I am studying at University of Arts in Poznan as a Ph.D. student at Faculty of Painting and Drawing. I spent 5 years studying at the Adam Mickiewicz University in Poznan where I completed a masters degree in history of art. In 2004 I graduated two years course of conservation at the Academy of Visual Art in Poznan. Since June 2008 I've been working as a senior renovator in Studio of Painting and Polychrome Sculpture Conservation in The National Museum in Poznan. Since 2016 I have been the Chairman of the Association of Polish Artists and Designers in Poznan.

    Inspired by the techniques of the old masters, paintings by Paweł Napierała relate to classical art. Although his themes are also classical, they are presented in an innovative way. The old becomes tightly entwined with the new, as the nudes and landscapes serve as a point of reference for the artistic experience in which a painting has an impact as such. It is thus not limited to its figurative or abstract content.

  • Lili Anamarija No (NSK STAAT)

    EA001276, EA009982 Lili Anamarija No (NSK STAAT) * 1962

    She was born 1962 and studied painting at the Academy of Fine Arts and Design, at the Ljubljana University, in Slovenia. Her ties with the NSK State reach back to the time when she was moving to New Zealand, in 2000 (with the limited baggage allowance to 25 kilos and an unknown date to return to Europe). She wished for a bond with her homeland in the form of an NSK passport, which she exercised as a travel document at the borders she was crossing on her way back to Europe a year later. In 2010 she was selected a delegate at the First NSK Citizens' Congress of NSK State, in Berlin, where she participated also as an NSK Folk Artist. She lives and works in Ljubljana.

    The project +ing borders was generated in the period of twelve years, as a personal research into the response/reaction of officials to an artistic passport produced at their borders and the accompanying explanation about 'a state with no territory; a state in time'. Of course it had an innate intention of broadening their minds by acquainting them with a novel kind of a state, also a state of no physical borders, planting in them an invisible seed of a possible future world structure. The project seems to have, quite unexpectedly, since the changes in the state politics and policies of the (Western) world – sadly – become historical. A successful collecting of official stamps while crossing (Western) countries' borders has – for the time being – become improbable and unrealistic. The project is also an invitation to other NSK State citizens to join the research.

  • Dani Nordt

    Dani Nordt * 1980


    1980 born in Schlema in the Ore Mountains
    since 1996 various educations in martial arts (Shaolin Kung Fu, Wu Shu and Taijiquan)
    2003-apprenticeship diploma for photography from the Chamber of Crafts (HWK) Dresden
    2003-2005-basic studies in painting and graphic at the HfBK Dresden
    2005-2010-main studies in painting, graphic and performance at the HfBK Dresden
    since 2010-self-employed artist

    My work is inspired by the principle: "As in the inside, so in the outside and vice versa. As in the small, so in the large and vice versa. " As a stylistic tool for the graphic realisation, I have specialised in patterns. Patterns can be found everywhere in the flora and fauna and the human world. They are not only visible but also present in our behaviours. Patterns have the task to disguise or to highlight, both in nature and in society. We watch and adopt them and take them to adapt or to attract attention. In my graphics, I point out these behaviour patterns with a variety of optical patterns by shaping the figures and their surroundings. With strong contrasts and strong colours, I would like to evoke our behaviour patterns into consciousness and memory. I draw on chinese rise paper and my favourite work tools are ink, watercolour pencil, felt pen, fineliner and permanent marker.

  • Alexander Nym (NSK STAAT)

    HC000539 Alexander Nym (NSK STAAT) * 1974


    CEO of Dresden's Kultur Aktiv e.V., cultural scientist and member of NSK State's diplomatic corps. Editor, author, translator and/or contributor to various (pop-)cultural reference works ("Schillerndes Dunkel" 2010, German edition of Alexei Monroe's NSK-monography "Interrogation Machine", 2014, among many others). Promoter and occasional curator ("1st NSK Folk Art Biennale", "Borghesia: Dub Photo", "Test Dept: Total State Machine" among others).

    The space dedicated to NSK State during Ostrale 2017 features (besides original works by NSK founder groups Laibach, Irwin and Noordung / Post-Gravity Art) a review of contemporary works created by NSK citizens, highlighting artists from NSK protectorate Dreždjany, the N$K Federal Reserve project based in New York, and NSK's reading as/of Neue Sorbische Kunst (New Sorbian Art). Complementing the NSK Pavilion at the Venice Biennale, this is a comprehensive show realised solely by the citizenry which displays the complex history and current developments of NSK State, and directs the view towards possible futures of alternative utopian ideas of state models.

  • Karin Odendahl

    Karin Odendahl * 1966


    1966 born in Bensberg
    1987 - 1993 Graphic design studies, FH Aachen, Diploma
    2004 Drei + ertfünf + sechzig
    2000 Artists in Aachen Today
    1998 Visual poetry
    1996 Water - Purification - Baptism

    In her work Karin Odendahl combines traditional drawing and painting techniques and digital photography with the help of transfer techniques to personal, associative, fragmentary reception of her environment - people, urban landscapes, flora, fauna. Apparently, strange worlds of images are united in collage-like montage to new interpretations. Different presentation layers, changing spatial density, color and form contrasts lead to differentiated perception levels.

  • Iwona Ogrodzka

    Iwona Ogrodzka * 1991


    *1991 in Poland
    2011-16 The Eugeniusz Geppert Academy of Art and Design, Wrocław, Poland
    2013-14 Vilnius Academy of Arts, Vilnius, Lithuania
    2015 The end, Jagoda Dobecka and Iwona Ogrodzka, 5 Malunai, Vilnius, LT
    2016 Młodzi w Muzeum. Poziom najwyższy, group show, National Museum, Wrocław, PL
    2016 New Blood, Socato gallery, Wrocław, PL

    Recent events once more have proven that Francis Fukuyama was too hasty in announcing the end of history. Liberal democracy and economic order were to become a global system. Yet September 11 ruined our attempts to create a global land of happiness. The old world order and a global balance of forces are changing. One more time we have come to the edge of a precipice. The overwhelming politics of fear, which is served by the media and governments, makes it difficult for us to objectively see reality. How many meals before anarchy takes hold?

  • Franciszek Orłowski

    Franciszek Orłowski * 1984

    Alumni of Intermedia Department at the Academy of Fine Arts in Poznan (2004-2010)
    Currently a PhD student at his maternal University.
    Selected Exhibitions:
    AIT Takanava Unlimited, Tokyo
    NIECZYTELNOSC.PALIMPSESTY, Muzeum Pana Tadeusza,Wrocław
    Illegibility. The Contexts Of Script - Art Stations Foundation by Grazyna Kulczyk, Poznan
    Odessa Biennale of Contemporary Art – Museum of Odessa Modern Art
    Je brûle Paris – Cité Internationale des Arts – Paris

    In the centre of the city, in front of the St. Adalbert church in Poznań – the site where St. Adalbert delivered a sermon, before departing on missionary work – is an old bell tower clad in shingle. It is the oldest wooden monument in the city. The sound of the bell merges with the natural sounds of the city. Whilst in the bell tower, the artist can hear only the sound of the bell, noise that renders all other sounds mute. As Orłowski explains: "during the process of wrapping the bell's clapper, an activity that drowns the natural percussion of the bell, a brand new, never heard before sound was produced, a sound that made the whole bell tower creak ominously." In this film, it is this creaking sound that is registered by the filmmaker.

  • Institut für analytische Kryptometrie (NSK Staat - Protektorat Drježdźany)

    EA012086- Institut für analytische Kryptometrie (NSK Staat - Protektorat Drježdźany) * 1972

    The foundation of the Institute for analytical Cryptometry (InfanaC) can no longer be accurately dated. The oldest founding father known today is Pythagoras (500 BCE), who described the NUMBER as the spiritual base of the world. Another impotant figure is the revered supremat K.S.Malevich (100 years before today), who, after centuries of art history in which era merged into era and style followed style, reduced the exuberant variety of FORMS to the esssential elements. Enough of art – what remains is analysis. The year 2013 is significant because the institute pledged itself to the services of Neue Slowenische Kunst after the inauguration of the NSK-academy, and since then has looked at the connections between square and CROSS.

    The Institute for analytical Cryptometry (InfanaC) is dedicated to the analysis of the correlation between geometric elements (FORMA) and the research into their cognitive psychological effect on the human mind as well as how their hidden meaning registers (CRYPTOMETRY). In contrast to Pythagoras, who perished, when the irrational monster square root two entered the world stage, the institute also utilises fractal geometric mechanisms (DEFORMATIO) to discover secret meanings of apparently simple structures. A further dual principle exists in the transformation of a grapheme into an apparently better form (REFORMATIO / TRANSFORMATIO) and back again (RE_FORMATIO), as well as the investigation of the effects of the morphogenetic intermediate steps on the test candidate and the subjective allocation of meaning by him. It remains to be seen, when comparing the results, whether the final graphemes of various tranformation processes appear mentally equal (UNIFORMATIO), or whether they have acquired an unique meaning through their individual genesis. In contrast to Malevich, who perished, once there was nothing left to draw after the Black Square, the institute does not phantasise, it generates. With help of the world's first Small Polygon Collider (SPC – opened in 2013) the material to be analysed was won from subgraphical particles. The creative act first begins with the eye and the mind of the beholder.

  • Marcin Owczarek

    Marcin Owczarek * 1985


    Born in October 1985 in Poland. At the age of twenty, he began studying photography at The College of Photography in Wroclaw, Poland, graduating with an honourable mention for his cycle Brave New World, which presented an idiosyncratic version of a future world. Owczarek is fascinated with the influence of new technologies over human life, particularly within urban space. Focusing on the issues of mechanization and standardization, he tackles them in an antiutopian style. Owczarek is interested in shamanism, gnosticism, alchemy. His art has also been influenced by the content of the Tibetan Book of the Dead, as well as his studies in cultural anthropology.

    My art has always focused on the condition of our globe and of man. I use photography and collage to create surreal images that are thematically focused on identity, dreams, new technologies, bio-science, the unconscious, morals, social situations, behaviours, habits, rituals, biological changes, depression in urban environments- which have significant impact on human life. To observe. To document. As a result, I create the image of the 21 century and the image of our current society filled with allusions, metaphors, allegories. Before starting a new work, I always do a conceptual sketch which is very deliberate. I never use particular characters accidentaly. The universe I create and the reflection I want to transmit, must be shaped in perfect way. In case of characters I employ, for example animals - as symbols or allegories. In this way they reflect human's virtue or imperfection. In many of my images I use birds since they symbolize the human soul trapped in the mortal body.

  • Denizhan Özer

    Denizhan Özer * 1962

    Denizhan Özer was born in Hopa, Samsun in 1962. He graduated from the Painting Department in the Faculty of Education at Bursa Uludağ University in 1986, continued his master's degree at American University of London between 1989 and 1991. In 1986 Özer participated in the AFSAD Second Photography Symposium in Ankara. In the same year, he founded the Bufsad Photograph Association. In 1987, he participated in an archaeological excavation in Spain. In 1989, Özer established the London Street Theatre and has written and directed many theatre scenarios. He is also a founding member of the Rainbow Arts Centre (19, Turquoise Arts Group (1996) and the T-union Arts Group (1996)). Özer has had many solo exhibitions and participated in numerous group exhibitions in England and Turkey. Since 1987, Özer has lived and worked in London

    In my work, the human element and human problems, both individual and social, always occupy the front ranks. In particular, I try to tell the real-life stories of those who are marginalised, oppressed and in flight, as well as those who leave behind their homes and countries and who are affected by war, terrorism, faulty policies and all kinds of difficulties but who, despite everything, try to be happy. I accept as a requisite a time frame event that will re-discover life afresh and that will be experienced. As a result, the past, by being documented, will be remembered and a lesson will be learned and transmitted to the future. That is why, in my in my work, I try to present the relation between art and life by documentation. In this connection, the events that happen in daily life, which I witness first-hand and read, watch and experience, have an influence on the conception of the structure of my work. The records that I have been collecting for a long time have begun to occupy a place in my work. The works I have made have turned into political works that constrain life, compel the taking of risks, and send meaningful messages.

    I took these photos from May to June in 2013 in Gezi during the protests in Istanbul. Thousands of people attended the protest. This people protested against the government and the system. We are still fighting for democracy.

  • Francesco Palluzzi

    Francesco Palluzzi * 1987


    Francesco Palluzzi was born in Tagliacozzo, Italy, in 1987. He graduated in "Industrial Design" at the University "La Sapienza" of Rome in 2007, and then embark on the two years specialization in painting at Rufa "Rome University of Fine Arts", has taken the course of postgraduate training in painting at the "Universidad del Pais Vasco" Bilbao (SP). He began his career as an assistant to various artists; in spring 2014 he collaborated on the exhibition of artist Guglielmo Castelli at the Museo d'Arte Contemporanea di Roma (MACRO), in April 2014 the exhibition "Legamenti" atelier Montez, in whose care the exhibition, in October of the same year he collaborated on design for the Olympic Winter games in Sochi. In 2015 began collaborating on the implementation of the exhibition "Ostrale015 " in Dresden in July 2015.

    Lucid dreams, as a principle of a conscious descent into the darkness and depths of the unconscious, as a possibility through which we aim to break our conventional view of things, to find new ways and affect the reality; while some of us remains motionless in front of so much darkness others will try to get down to the bottom.

  • Parasite

    Parasite * 1987


    In 2010 Parasite formulated a "Manifesto of Parasitism", presenting the idea of his activities as a parasite-artist. According to these ideas covered in "Manifesto", Parasite lived,worked and created parasitizing for four years in several cities, cultural institutions and all places of culture. With time, his actions turned into a critique of the status of the artist in society and he began to create the so-called host projects. In this spirit, in 2012, he created a series of activities "Willing to help" implemented in Polish villages and towns. In 2013, he designed and completed the construction of a HOME in Elblag – a house, which is the dream of every young person who has no money for land, materials and builders. Then he worked in various projects with social groups referred to as "social parasites": Roma, the long-term unemployed or experiencing social exclusion; a Painting workshop "Not to be Rejected", where homeless people can work. At the basis of this and other activities is the belief in the therapeutic role of art and the belief that people can improve their situation through it.

    All the pictures in the series called "Parasitic Painting" are painted over another painter's paintings, both originals and reproductions. The works come from flea markets, car exchange places, second hand shops or directly from the people who want to get rid of them. Some of these pictures were stolen from labs, private collections and repositories which belong to The Academy of Fine Arts in Poland.

  • Pätzug/ Hertweck

    Pätzug/ Hertweck


    Irene Pätzug and Valentin Hertweck have been collaborating since 2012 on largescale installations that employ kinetic elements to address space as a medium. Irene Pätzug (*1975 in Dresden) trained as a wood carver before she completed her studies in the sculpture department of the Weißensee School of Fine Arts in Berlin. After graduation she joined Martin Honert's master class at Dresden Academy of Fine Arts, which she completed in 2009. Valentin Hertweck (*1978 in Bonn) trained as a stone sculptor and studied sculpture at the Weißensee School of Fine Arts in Berlin, where he completed Inge Mahn's master class in 2009.Pätzug / Hertweck's work interrogates the relationship between space and humans. Their collaborative practice is rooted in the conception that space itself is an actant, and not only the humans populating it. The ambivalence inherent in this notion is at the same time a stimulus subject to a continuous examination and reification process for which subtle mechanical means like railing systems and pulling mechanism are employed. The results are interventions into the structure and architectural conditions encountered in a given space, transforming their original functions into astonishing performances.

    Pätzug / Hertweck employ minimally invasive means to transform familiar spaces. The viewer is pushed into an almost infantile state by spatial arrangements that seem to resist comprehension. At the same time these transformed spaces maintain an unobstructed clarity that helps the viewer to adjust to this new framework and regain spatial orientation. The fragmented sculptural elements move, which transforms them into rudimentary actants that address the representational qualities of the venue, while at the same time highlighting its social and mental substance.

  • Pereklita Igor

    Pereklita Igor * 1968

    Born in 1968. Lives and works in Halych.
    1988 graduated from Vasyl Kasian college.
    1997 graduated from Vasyl Stefanyk National University of Ivano-Frankivsk, department of Painting.
    2016 Margins of the Myth, Gallery Marginesy, international festival "PortoFranko-Gogolfest", Ivano-Frankivsk
    2014 Spring. War, CCA Ivano-Frankivsk
    2011 Ukrainian section, Warsztaty kultury, Lublin, Poland
    2010 Якщо/Если/If, Museum of Contemporary Art, Perm, Russia

    The main thing is that the object of this synthesis is the complex new reality of living impulses generated by it and taken in a broader sense: both beautiful and ugly, kitsch and aristocracy, myths and prejudices, sensuality and asceticism, remixes and remakes of personal and social experience. Igor Pereklita works with models eventually reducing them to certain typological and psychological situations, theatrical on the outside, but with the parable content.

  • Sergiy Petlyuk

    Sergiy Petlyuk * 1981


    2016 Elementary Manipulation, Kharkiv Municipal Gallery, Kharkiv (UA)
    2015 Limits of Comprehension, video installation, Small Gallery of Mystetskyi Arsenal, Kyiv (UA)
    2013 Live Landscape, video installation, Kordegarda Gallery, Warsaw (PL)
    2012 Empty City, video installation, Dayton Art Institute, Dayton, OH (USA)

    Naked male and female body projections on the outerwear hanging on a special construction form a unified moving mechanism. The 'Untitled' is a nameless person, a naked body without own face, lacking most valuable and explicit visual identity. Despite own impersonality, this body mechanism continues to move and, therefore, to live and function. The outerwear, the live human mass projected on, was bought at the Second Hand.

  • Cristiano Petrucci

    Cristiano Petrucci * 1974

    born 1974, works and lives in Rome

    The art work of Cristiano Petrucci, has great merit due to its ability to demonstrate "a new and direct melee" with artificial codes without taking anything for granted and without leaving space for interpretative cliches. Cristiano Petrucci's is influenced by the fact that when he represents his proliferation of forms, he largely reproduces the description that was suggested by evolution as discovered by science and that is characterized by identification in genes, rather than in a typical organism, that unit which defines natural selection of shape. Inspired by microbiology and transduction systems, that Petrucci uses to provoke, they can be integrated making it possible to receive multiple signals and produce a single answer landscape and atmosphere full of cromotherapeutic light, that interacts with the mood and thoughts of the observer.

  • Dmytro Petryna

    Dmytro Petryna * 1974

    Born in Ivano-Frankivsk, Ukraine 1974. He started to work as freelancer photographer in 1999. In 2009 he became the member of Ukrainian National Photo Organization and in the same year obtained the title "Artist of FIAP (International photo org)". In 2016 he got the title EFIAP and became Head of Ukrainian Region Photo Organisation. Interest: portrait, nu, street, journalism. Petryna participated in more than 20 group exhibitions in Ukraine, Germany, Holland, Poland. 5 solo exhibitions and his photos were published in different national and international journals, catalogs.

    Every human being consists of simplest parts like feelings, thoughts, the subjects surrounding us and it creates our own personality: The personal matrix. Some old subjects are erased some new will be appearing and will fit in the empty cells.



    IRWIN is a collective of Slovenian artists, primarily painters, and an original founding member of Neue Slowenische Kunst (NSK). The IRWIN group was founded in Ljubljana in the former Yugoslavia in 1983 by the painters Dušan Mandič, Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik, and is active as part of the art collective "Neue Slowenische Kunst" (NSK) mainly in the field of painting. The group itself describes its style as "retro avantgarde". (Source: Wikipedia)

    -Was ist Kunst, Galeria ŠKUC, Ljubljana (1985)
    -Centre National des Artes Plastiques, Paris (1988)
    -Städtische Kunsthalle, Düsseldorf (1989)
    -Monteserrat College of Art, Boston (1990)
    -Kapital, District of Columbia Arts Center, Washington D.C. (1991)
    -NSK Embassy Moscow, Apt Art and Ridzina Gallery, Moskau (1992)
    -Irwin State, 359° Gallery, Skopje (2000)
    -Retroavantgarde, Obala Art Centar, Sarajevo (2001)
    -Retroprincip 1983–2003, Künstlerhaus Bethanien, Berlin (2003)

  • Jens Pfuhler (NSK STAAT)

    Jens Pfuhler (NSK STAAT) * 1963


    Born in 1963 in Leipzig, studied printing, artistically active since 1982, autodidact
    Audited a class at the HGB, Leipzig. Private lessons with Christine Engels (figurative drawing)
    First exhibition in 1982, and from then on numerous exhibitions and participation in artistic projects and actions
    1990 Founding membership in the art society "Mobiles Büro für Erdangelegenheiten" (Mobile office for earthquakes), Leipzig, film and video installations, for instance 'Wegepunkte I u. II' (Waypoints I and II)
    Since 2015 NSK Membership
    Since 2006 Travel for films, research and for artistic projects through eastern Europe (Poland, the Baltic countries, Russia, Ukraine and Moldavia)

  • Vj group CUBE

    Vj group CUBE * 1971


    VJ group «CUBE» is a group of media artists. The Group was created in 2006 on the basis of Ivano-Frankivsk film club. The main genres: VJing, media art, media installation, theatrical visualization, performance, video mappping. Now the group consists of four members: VJ Sergey Glow (Sergii Pilyavets), VJ DaPix (Denis Ovchar), VJ Yura Bin (Yuriy Ovchar) and VJ Ra (Roman Shkoromyda).

    "Multiperson M (mimicry)" is the portrait of a present day human being, who tries to adapt to and fit into this world. Project "Multiperson" is an attempt to explore, reproduce and capture the feelings of a present-day personality.

  • Liliana Piskorska

    Liliana Piskorska * 1988


    Liliana Piskorska was born in 1988 and graduated from the Faculty of Fine Arts in Toruń in 2013. Currently she is a PhD student at the Faculty of Fine Arts Toruń. She has taken part in over 60 individual and group exhibitions in Poland and abroad. Since 2013 she has been a member of an artistic/self-education group centered around the Gallery by Vistula River. She focuses her artistic research on notions such as feminism and the idea that "The personal is political", but she sees them from a perspective derived from posthumanism, anarchofeminism and queer perspective.

    Entrance – and at the same time the body – was the starting point for the performance Imponderabilia by Marina Abramovic and Ulay from 1977. Naked artists stood motionless at the entrance to the museum, while the audience wanting to get in entered into direct contact with their naked bodies, squeezing between them, having to decide with whom of the artist to come close. Liliana Piskorska peeps this canonical gesture. Her videoperformance takes the casket form (...). It summons two shows, the first of the Galleria Comunale d'Art Moderna in Bologna, where Abramovic and Ulay's performance was held, as well as the second one, The Theatre of Life held in 2012, in the CoCa in Torun, where the film documentation of that action was shown and where the video by Liliana was recorded. Sitting on the floor, the artist is watching the performance.
    From the text by Piotr Lisowski (Epidemic, CoCA in Toruń)

  • Stefan Plenkers

    Stefan Plenkers * 1945

    Stefan Plenkers grew up in Görlitz. At high school he discovered many faceted formal conventions through his drawing teacher, who was in the master class of Otto Müller. Plenkers completed training as a type setter between 1963 and 1965. Later he worked half days in the typography department of the Academy of Graphics and Printing in Leipzig. After his military service he renounced a place at a well-known academy and took instead a five year course in the Graphics department of the Academy of Fine Arts in Dresden. His teachers were Professors Gerhard Kettner and Günter Horlbeck. Later artistic friendships with contemporaries Rainer Zille, Joachim Horlbeck and Veit Hofmann started at this academy. His freelance activity took off in 1973 in Bad Muskau, moving to Cottbus (active in an artistic exchange with Hans Scheuerecker and Dieter Ladewig), before settling down in Dresden during his studies. Between 1980 and 1982 he was in the Kettner master class.

    In the first phase of his work, Plenkers practised the techniques of graphics first of all. Oil painting came later after 1969. At the beginning among his subjects were often empty interiors, abandoned tables, mirrors in mirrors, tents, sails, circus artists, people in the pub. Later work broke from the Dresden tradition becoming more colourful, lighter and moving. Having long since ceased to be a Bohemian, Plenkers got much inspiration from numerous travels. He toured Armenia, Georgia, in Iraq, the USA, to Lapland, China and above all to places on the sea. Plenkers concerns himself in his painting with avoiding the dictates of narrative. He prizes the simple, the everlasting things of human life, setting them by means of the pictorial accentuating the basic structures of the graphic as well as by means of signs and ciphers.The deep dimension in the picture is realised often solely through so called colour perceptive. Stefan Plenkers suffered a serious car accident in the autumn of 1989 which forced him to take a break from work of many months. He struggled successfully to recover his motor and cognitive skills. The result of which was that he continued with a new artistic signature with which his productivity reached a new high.

  • An Pervere (AnPee) (NSK Nürnbach-Laiberg)

    An Pervere (AnPee) (NSK Nürnbach-Laiberg) * 1987

    Born in 1987 he studied History, Modern History and Political Science at the University Erlangen (B.A. M.A.). He has worked as a freelance journalist, translator and graphic designer for publishers, cultural institutions and magazines in Europe and North America as well as research assistant at the University Medical Centre in Erlangen. His activities ranged from being a DJ, concert promoter to his position as head of the Industrial-Punk-Band "M.A.O." (Melodic Abortion Orchestra) as well as guest performer for other projects such as Thorofon. He has participated in books about NSK, Laibach and the NSK State.

    'Nothing rhymes with Dürer' makes reference to the historical simultaneity in tourist impressions of Nürnberg as the city of Dürer and Nürnberg as the 'City of Third Reich Rallies'. Cultural tourists from all over the world are attracted to Nürnberg both as the city of Dürer and as the city of a fateful history as the venue for Nazi Rallies: the place where Julius Streicher, the "Franconian leader", and Willy Liebel, "Hitler's favorite mayor" gained their power. The simultaneity of the non-simultaneous and the entanglement of Nürnberg in tourist impressions as the 'City of Human Rights' are taken on in collage and text with a good deal of black humour.

  • Viacheslav Poliakov

    Viacheslav Poliakov * 1986


    I was born 1986 is Kherson, Ukraine And completed a master degree in Fine Arts in Kherson State University in 2007. I came to photography in 2012 Now I am based in Lviv, Ukraine.

    My photography is a mixture of a naive delight and a fear of the world outside the window. Probably, the main issues as the basis of my recent projects – why is the place where I live as it is? With the help of photography I'm trying to establish lost communication with my own environment, to change the system of relations and the interactions with the world.

  • Stephan Popella

    Stephan Popella * 1980


    Stephan Popella lives and works in Dresden
    Since 2013 collaboration with Galerie FLOX
    2012 Award „St. Leopold Friedenspreis" of Stift Klosterneuburg
    2011 co-founder „Kunst- und Kulturfabrik Krautwald"
    2006 - 2008 engineer in the automotive industry
    2002 - 2005 Studies for furniture and interior design in Dresden
    1999 - 2002 study of history, philosophy and art history in Dresden
    Born in 1980 in Bautzen, grew up in Kirschau

    Reflexion on historical, political and social conditions is the principal element of my work. A big part of what I have created in recent years has grown out of the impression of break up, upheaval and incursion in Europe. The confrontation and dispute with the growing nationalism in European states and the strengthening of new right group flows invariably through my work. The essence and frequent appearance of these currents and the vocabulary they use must be investigated and unmasked. I do this through the medium of painting in a serious way but also in an ironic one.

  • para[sic]ma (NSK STAAT)

    para[sic]ma (NSK STAAT) * 1986


    2007 - 2010 - Technical College Hermsdorf - Graduation in Advertising Design
    2010 - 2011 - Charité Hospital Berlin - community service in lieu of military service
    2012 - 2017 - Burg Giebichenstein Kunsthochschule Halle - Degree in Bachelor of Arts – Multimedia (Virtual Reality/ Design)

    Despite of adversities during a long trip the individual develops. By a fertilization due to the abrasively but also meaningful world, it experiences a rebirth of itself.

  • Synchrodogs

    Synchrodogs * 1984

    Synchrodogs is a duo of photographers from Ukraine - Tania Shcheglova and Roman Noven, shooting together since 2008.

    Synchrodogs were shortlisted for PinchukArtCentre Prize in 2013 (Kyiv, Ukraine); won Best Portfolio award in Weitsprung competition organized by Scholz & Friends, FOAM Construct 2012 competition held by FOAM magazine (Netherlands); were nominated by Vogue Italia in 2016 and won the title of 'Best Fine Art Photographer; got the First Prize in nomination 'Art Photography' in Photographer of The Year competition in Ukraine.
    During 2010-2015 had solo shows in Dallas Contemporary Museum, in public Works gallery in Chicago, in Chelsea Collage of Art and Design (London), Bright Side gallery (Amsterdam), Spazio Punch gallery (Venice), Pinchuk Art Center (Kiev), were part of main program in Krakow Month of Photography in 2013

    Their main interest lies in bringing primitive instincts out of a viewer, provoking animalistic behavior and emotions, allowing one to embrace their natural beauty, encouraging one to be free from any predispositions and fear of being misperceived. Synchrodogs find inspiration in nudity and people's eccentricity, mixing in Western and Ukrainian/Byzantine tradition, with references to folklore and local naive art. Nudity, self-excruciation, human nature, primitivism, symbolism, eccentricity, animalism and intuition are amongst the themes communicated by their artworks. Synchrodogs use their night dreams as main source of inspiration, also developed their own meditation technique which helps them acquire ideas.

  • Sergii Radkevych

    Sergii Radkevych * 1987


    Born 1987 in Lutsk , Ukraine. Graduated from Lviv National Academy of Arts, departament of monumental painting. Priorities: street art, painting, drawing. Has been engaged in Street Art for more than 14 years. The second Special Prize of the PinchukArtCentre Prize 2011. One of the organizers of the Black Circle Festival. Lives and works in Lviv, Ukraine.

    The work expresses a personal protest against the aggression over the human body, furthermore it is dedicated to people who were affected by deliberate violence. My urban interventions hold the balance between contemporary murals and graffiti. They shift the meaning of the space they occupy. My subjects originate from religious iconography, I try to combine simplified religious symbols with geometrical forms to arrive at contemporary spiritual abstract form. I seek out public and private spaces which have lost their function or have an undefined meaning, then transforms and revitalises them into spiritual signal spaces.

  • Olga Razhnaya

    Olga Razhnaya * 1987


    I was born in Ural in a city that looked like Mordor,that smelled like a hell, that was dark and grey. Art and nature were 2 ways to learn about colors and beauty. I started to travel as much as possible and to collect inspiration. I was working as disigner throughout my last years before leavingRussia. Since that time i create what i want to create and say what i want to say with a feeling that i do the right things in the place. Freedom is an important factor of my self-expression.

    The dragon is the embodiment of my infinite transcendental personal growth, which filles the whole meaning of my existence. He is a symbol of my dance, which I dedicate to the whole universe. He does not end like there is no end to my desire to live, create, experiment, love and learn. He is the power of life what stirs it, not letting it stagnate. He is pure energy that fills my body and my soul, which gives me the strength to move forward.

  • Verena Rempel

    Verena Rempel * 1976


    Verena Rempel was born in 1976 in Würzburg, Germany, where she lives and works. 1996-1998 Attended the State Vocational School for Woodcarving, Oberammergau, Germany. 1998-2003 Studied sculpture and transmedia art under Prof. Kowanz, University of Applied Arts, Vienna. 2003-2006 Master studies in „art in context", University of the Arts Berlin. 2017 Lectureship FHWS University of Applied Sciences Würzburg-Schweinfurt

    The picture cycle "Eidolon" signifies shape, picture or idol. When disputing the different types of Madonna one needs to question the new role of the term "icon" that is being used inflationarily in modern parlance. Nowadays icons are seen as products of art and mass media that have reached an outstanding degree of popularity. They can be defined as spiritual products of western technical rational thinking and assertiveness that have been sensualised in a secular manner. Catholic images traditionally developed in a certain manner regarding the attitude, colouring and attributes and that has been expressed through an obligatory iconography. This traditional predefined graphic representation is mirrored when reverting to the specific Marian symbolism. The artist is restaging the archetypes photographically, she is playing with our cultural memory and reinterprets the traditional contents and statements of the pictures.
    Liane Thau M.A.

  • Jean Xavier Renaud

    Jean Xavier Renaud * 1977


    Jean-Xavier Renaud was born in Metz in 1977. He lives in Hauteville. A graduate of the Strasbourg School of Decorative Arts, he is trained in intervention in specific environments such as psychiatric hospitals, prisons. He is currently teaching at HEAD Geneva and is Municipal councilor, member of the art center of Lacoux and of the Salomon foundation; his first major exhibition took place at the Museum of Contemporary Art in Strasbourg in 2005. In 2008 he exhibited at the Kunstmuseum Bonn. He exhibited large oil paintings during the exhibition "Dynasty" at the palace of Tokyo and at the Museum of Modern Art of the city of Paris in 2010. In 2016, he showed his work at the Spinnerei/Leibzig. His work is visible at exhibitions and fairs in Europe and the United States.

    My work portrays the social, cultural and political issues related mainly to the environment in which I live, but also to the global issues related by the media: sexuality, misery, death, ecology, economics, modern slavery ... I keep the chronicle of our time, I question with humor or spite the limits that mark our behaviors. Language also interests me, in its property to freeze thought, accounting for obsessions, intellectual impasses, betraying issuers. The low-end word games, insults, corporate terminology ... are for me an inexhaustible field of exploration.

  • Stephanie Rhode

    Stephanie Rhode * 1964


    Born 1964 in Weissenburg/ Germany
    Lives and works in Amsterdam- Amstelveen/ The Netherlands
    1984 Matriculation in graphics & design, Fachoberschule Nuremberg / Germany
    1984 Study at the AKI Academy of Arts & Design/ ArtEZ/ Enschede/ The Netherlands
    1989 Graduation Academy of Art & Design in Enschede/ contemporary sculpture/ The Netherlands
    2016 Solo SVB-Social Verzekerings Bank, 'Chocolate sculpture' /The Netherlands
    2015 Exhibition Ethinko- Typograeio Athene/ GR
    2014 Solo Chinese European Art Center CEAC Xiamen/ China
    2009 Artwork competition, Geumganga/ South Korea

    "490 houses lest we forget"

    The marketplace in Gunzenhausen was for two days the central point of an installation by the Amsterdam artist Stephanie Rhode. Four hundred and ninety houses with knitted facades were set up reminding us in a special way the memory of the members of the Jewish community in Gunzenhausen over time. Rhode mobilised countless people from many countries who knitted hoods for the miniature houses that were placed on the market place in a concentrated action during two days and participants even visitors to the homes of earlier jewish residents of Gunzenhausen were reminded of earlier times stimulating thoughtful exchanges. The installation, the knitters and the keywords from the interviews of participants made by the artist during and after the exhibition were carefully documented and were projected as pictures and quotations on the installation walls. Every house rested on a small gilded square. Even if the knitted houses disappear after two days, the gold leaf would remain as a reminder that something had been there!

  • EVOL & Johannes Göbel

    EVOL & Johannes Göbel


    2001 HFG Schwäbisch Gmünd, Germany
    2000 Kuopio Academy of Arts and Crafts, Finland

    Art Fairs –Selection
    Art Brussels 2012, presented by Bodson&Emelinckx Gallery, Brussels, Belgium
    Art Chicago 2010, presented by Wilde Gallery, Chicago, USA

    2012 - Nomination Teresa Bulgarini Prize, Salzburg, Austria
    2010 - ARTE PRIZE at SLICK Art Fair, Paris, France
    2010 - Nomination for Premio Lissone Prize, Museo d'Arte Contemporanea, Lissone, Italy

    Selected Exhibitions
    2016 - Nuart Festival, Stavanger, Norway
    2015 - Homework, Aedes Architecture Forum, Berlin, Germany
    2015 - Radikal Modern, Berlinische Galerie, Berlin, Germany

    This work was painted in a hole in the ground in an area of Dresden with an abandoned slaughterhouse. This hole was probably part of the foundations of a huge boiler which was used to derive soap from rendered beef fat or to utilise carcasses in another way. Although it closed fifteen years ago, it still smelled nauseating. The main slaughterhouse complex was built in 1906 by Hans Erlwein and is well known as the setting for Kurt Vonnegut's novel 'Slsughterhouse Five'. Caspar David Friedrich painted this area of Dresden, Ostragehege, in 1832, and as a footnote - my favourite - his father was a soap boiler.

  • Gaspar Risko

    Gaspar Risko * 1978


    I was born in 1978 in Budapest. After living abroad for several years, I settled down to work once more in my hometown. I completed my course in cinematography at the Sydney School of Visual Arts in 2001. When I returned from Australia I got involved in photography and began a long term project in 2011. I create ensembles using abstracts, objects, landscapes and self portraits. I use digital as well as analogue techniques. I have exhibited in solo and group shows internationally in Switzerland, Italy, Austria, Turkey, Slovakia and in several cities throughout Hungary. I received the Hungarian National Cultural Fund Scholarship twice and was awarded the Best Portfolio Prize at the Budapest Photoport International Portfolio Review in 2014.

    The interdependence between nature and humanity has played a key role from time immemorial. The need to achieve a harmonic balance within ourselves becomes strong requirement in the face of the effects of an accelerating world. Pushing off from civilisation and assimilating the basic components of creative forces, we transform into a different state of being. Leaving the noise of the world behind in this quiet, bare and timeless atmosphere, the effects of nature amplify. On this narrow frequency we are able to get rid of all the information circulating in our minds, information which interferes with the true essence of our existence. Thus hidden mental messages unfold. My work explores the answers to emerging questions of identity, interwoven with the accelerated behaviour coming from contemporary questions of status. I focus on gaining a better understanding of existential uncertainty related to noetic, political and economic oppression. While perceiving and experiencing, I search for new viewpoints those which help to reestablish the state of a colonised and deluded mind, a project connected to thoughts and feelings.
    I consequently examine peripheral areas where humanity and nature coincide. In this series I wanted to avoid signs relating to any kind of a vernacular identity. I wanted rather to reach a universal language. And so we get a raw picture of how we interact with the basic fundamentals of nature.

  • Bernadett Ritter

    Bernadett Ritter * 1976


    Born in Erfurt in 1976
    Since 2015 she lectures in the Interactive Design Studies course at the Gmünd Swabian Academy of Design, lecturer in the Typographical Foundation Course and of Interactive Communication Systems
    Since April 2012 staff member at the Institute of Media Research and Development at the University of Ulm. Lecturer in Display Typography and lecturer for the Design Foundation Course 1 and 2.
    2012-2016 Visual Communication and Visual Culture, Bauhaus University Weimer, MFA
    2004-2008 Digital Media, Ulm Academy, BA

    Lines in their various forms have a very special charm, lines in space or on a surface. They crossover and fix themselves on surfaces, becoming broken and traced forms and structures. A hundred to two hundred meters of yarn, embroidered throughout on handmade paper become lines and surfaces given form on both sides of the paper. A strict or free grid is given at the beginning. The surfaces, structures and pattern that appear through the thread woven on the paper emerge during the embroidery. The flat and the spatial and the geometric forms evolve.

  • Petro Ryaska

    Petro Ryaska * 1975


    Petro Ryaska was born 1975, in Bilki, Ukraine. 2004-2009 Studies at Zakarpatskiy Institut of Art, painting faculty, in Uzhgorod, Ukraine.
    2010 - Member of National Union Artists of Ukraine.
    In 2015 scholar of program "Gaude Polonija", Poland, curator Janush Baldyga.

    „We are what we are investing our time in."

  • Marcin Ryczek

    Petro Ryaska * 1975


    Marcin Ryczek was born 1982 in Lublin (Poland). He lives and works in Cracow. His photography refers mainly to symbols and geometry. "A minimum of form for a maximum of substance" is the essential principle that characterizes his photos. His photographs have been presented at exhibitions in USA, Denmark, Holland, Italy, Austria, South Korea, England, Romania, France, Poland, Germany, Ethiopia, Japan, China, India ... His photos have been published in the press and other media around the world, among others: The Guardian, Der Spiegel, Yedioth Ahronoth, La Repubblica, Politiken, Athens Voice, The Daily Telegraph, National Geographic...
    - IPA – The International Photography Awards 2014
    - The Miami Street Photography Festival 2015
    - New York Photo Festival 2015
    - StreetFoto San Francisco Festival 2016

    The minimalistic and conceptual photographs that operate with symbols and feel instantly familiar. A mninimum of form for a minimum of substance - that is their most salient characteristic and guiding idea. Originating in the real world, the images make formal reference to geometric figures, to simple lines and patterns. The black-and-white prints heighten the minimalistic qualities of the pictures. They are also a bow to the classical tradition of art photography. The photographs are of a metaphorical, ambiguous and universal character, hence activate imagination and encourage individual interpretations.

  • Luc Saalfeld

    Luc Saalfeld * 1975


    1975: born; 1993: Abitur and High School Semester in Wayne, Michigan USA; 1994: employed in the zoological garden; 1995: began holding exhibitions; 2003: Became a member of the Federation of Artists. Studied Linguistics, Literary Science and Art History in Dresden; 2004: Magister Artium (MA); since 2005 self-employed as an artist with a focus on photography; 2007-09 Lecturer at the Department of Applied Linguistics, Technische Universität Dresden; 2008-11 Member of the Executive Board of the Dresden Artists' Association. Member of the artistic council of the New Saxon Art Society and the Forum for Contemporary Photography.

    Olivier Katz curated a series by Gaspar Risko (HU) and Luc Saalfeld (DE) noticing that the content and formal aspects of both artists had a correspondence. For him it was especially important to illustrate the proximity between their images and inner feelings - and perhaps also to be able to discuss and convey to the exhibition visitors their own irritations when looking at them.

  • Yevgen Samborsky

    Yevgen Samborsky * 1984


    Yevgen Samborsky, born 1984 Ivano-Frankivsk, Ukraine. Currently lives and works in Kiev.
    2015 Residence in Point Centre for Contemporary Art, Nicosia, Cyprus
    2012 Winner of the competition for young ukrainian artists MUHI
    2012 Initiation and founder Open Group, Lviv, Ukraine
    2012 Collaboration and studying under polish artist and sculptor Pawel Althamer
    2005 Art Institute of Precarpathian National University
    2000 Art school in Ivano-Frankivsk

    Yevgen Samborsky analyses the actual status quo for contemporary art and artists in Ukraine and reflects on the historical factors, which led to the recent stagancy. This is a result of the absence of a profound art education in the art high schools and the missing art historical research about any kind of avantgarde or non-conformist art in times before the fall of the USSR. The situation can be further characterized by the complete deficiency of public or private institutions, which support in an effective and sustainable way contemporary art and artists. The lack of infrastructure is increased by the missing dialogue about contemporary art. "Questions", is carefully wording the basic problematic and takes on the format of public advertising or campaigning. The second part, "An attempt of dialogue", is a precise proposal for a working structure of a conceivable art institution. In the third part, "And more of something important", he will confront the viewer with a a series of dedications to Unknown Artists. This part will also contain a series of paintings, which are based on personal experiences of younger artitsts, who had to give up their dream, being forced to find a job to make a living.

    Rainald Schumacher

  • Jürgen Schieferdecker

    Jürgen Schieferdecker * 1937

    1 Born in 1937 in Meerane
    1955 - 1962 Trained as an architect at the Technical University in Dresden
    1955 - 1975 Worked as an architect at the Bernhard Klemm Partnership on various buildings and projects while continuing his work as a visual artist as a painter, graphic artist and object artist.
    1975 Secretary, later director of the board of artistic advisors at the TU in Dresden, taught at the Architecture Department at the TU in Dresden.
    1977 Membership of the Society of Fine Arts of the GDR (Verband Bildender Künstler der DDR)
    1983 Acquisition of the printed artwork by the Kupferstich-Kabinett Dresden
    1990 Member, and, since 1994, chairman of the Dresden Artistic Society (Künstlerbund Dresden) in the BBK and since 1993 Professor for Artistic Teaching at the TU in Dresden in the Faculty of Architecture

    Many years of activity as a curator
    - The Foundation for Culture Funds in Berlin (Stiftung Kulturfonds Berlin)
    - The Culture Fund of Saxony (Kunstfonds des Freistaates Sachsen)
    - Art Commission of the state capital in Dresden (Kunstkommission der Landeshauptstadt Dresden)

  • Sammlung Schirm

    Sammlung Schirm * 1958



    1: Silke Katharina Hahn
    The artist is represented by mianki Gallery, Berlin.

    Silke Katharina Hahn, born in 1968 in Bad Hersfeld, first trained as a wood sculptor. In 1994, she began studying sculpture at the Freie Kunstschule Nürtingen. In 1994, she moved to the painting department at the Berlin School of Art. After graduating in architecture (diploma 2004), she again studied painting from 2006 - 2011 at the Academy for Painting Berlin, master student of Ute Wöllmann. Her works were shown in 2008 at the Art Innsbruck and 2009 at the Art Zurich. After her first solo exhibition in 2010 at the mianki.Gallery, Berlin, she was presented in the gallery at the Künstlerhaus, Leonberg, and at the Art Innsbruck 2012. This was followed by her second solo exhibition at the mianki.Gallery, the presentation of her works at the PREVIEW BERLIN Art Fair 2012 and 2013 and the group exhibition "different lines". In 2014, she went to New York for the first time with the group exhibition LUXURY in the German Consulate General.

    2: Alex Folla
    The artist is represented by Savina Gallery, St.Petersburg.

    I was born in Oggiono (Italy) on 8th of June 1980. Graduated in painting in Academy of Art of Brera (Accademia di Belle Arti di Brera). Master of visual Arts at Academy of Fine Art of Carrara (Accademia di Belle Arti di Carrara). I'm working and living between Filorera (Alps), Milan and Moscow. In my painting there is the fundamental difference between photographic realism and pictorial realism. The first reproduces what the camera has taken, the second (my) reproduces what is necessary. The rest is suggested for our eye by visual trick and realized with our conscience. My painting is domestic and homey one, you can say whatever you want, but not academic, because it does not fit any of the academics criteria. It is not accepted within the contemporary academic institution. (In the West the official academic style in art is informal language).My art has no cultural references, it is not looking for historical consistency, but most of all does not have moralistic pretensions. My painting is the apology of sublime banality of everyday life.

    3: Jana Brike

    Jana Brike was born in year 1980 in Riga, Latvia. She has studied academical painting in the Art Academy of Latvia and received M.A. degree in year 2005. She has exhibited her work internationally in professional venues since 1996 while beeing still a young teenager, and has had 11 solo exhibitions and nearly 100 other projects and group exhibitions all over the world. Her main interest is visual art with a strong narrative and depiction of a figure, mostly using the traditional medium of oil painting on canvas, but also drawing, animation, mixed media sculpture, installation and digital art.

    4: Lucas Buschfeld

    Studied at the Kunsthochschule für Medien Cologne from 2009 to 2015. Funded by Cusanuswerk, 2011. Nomination at the Nam June Paik Award 2012, sponsorship prize of the Kunststiftung NRW, Düsseldorf. VISIT Artist in Residence Program of the RWE Foundation young artists, Essen 2013.

    A collection needs commitment and focus. I took this path for myself, meeting artists in their studios, exchanging with collectors and gallery owners. I research all the aspects of the art that is moving me, follow the work of artists passionately, and persistently persevere for the works that is being done at the time or in the future. The instinct and also the knowledge advance, which forms over the years, becomes the engine of my drive to further expand the collection.

    Content wise the "old" works of the collection originate in the 19th century, mainly works by the realism following landscape painter Carl Coven Schirm (whose great-grandchild I am) and his circle of friends.
    Then, of course, art of the modern age, about 1965 to the present, a big area of the collection and not the least science art.


    1: Silke Katharina Hahn: Object II

    Silke Katharina Hahn examines the changes in material caused by heat. Her preferred materials are hot glue and wax. The embossing is reduced, concentrated and reflective.

    The focus is on the colour black, a complex black in which all colour is present, and which nevertheless forms the antipode to the overbearing and often overwhelming colouring of everyday life.

    In addition to the direct presence of the three-dimensional line, Silke Katharina Hahn work with hot glue is already a transformative process. The adhesive that changes in heat pushes directly into the room with the line. It is a multi-layered, multi-layered, multi-layered line, that can also exist in a third dimension. The drawing grows out of the wall into the room. By working with hot air the lines become once again melted. The lattice of lines thus becomes something flowing, similar to a lava mass spreading in space. Through this targeted intervention, the three-dimensional line braid can be compressed again in a targeted manner.

    2: Alex Folla: Moth #14

    Alex Folla tackles the key issue of vision in the era of the intrusiveness of images in a straightforward manner. He does this with a series of metaphors. These are metaphors in terms of content (holiness, illness, bodily frailty, fragility, strength) and linguistics (descriptiveness, realism, imagination, relationship between classical composition and contemporary vision, adherence to reality, etc.). His is a work of deconstruction and reconstruction of the sacred traditional imagery starting explicitly from the lessons of Renaissance and Baroque painting: from Michelangelo to Caravaggio, passing through a healthy and unsettling "bath" of reality,. This reconstruction is independent, due to a deliberate poetic and stylistic choice, from any relationship with any idea of photographic reproduction. "In my work," the artist says on this point, "there's a crucial difference between photographic realism and pictorial realism. The former reproduces what the camera shot, while the latter – to which I tend – reproduces what is necessary. The rest is just suggested to the eye, which – so deceived – views it". (excerpt from a text from Alessandro Riva)

    3: Jana Brike: I am your Moonlight and Flower Garden

    The inspiration for Jana Brike's work has diverse sources: folkloric fairytales, children's book illustrations, imaginative Soviet animation films and supernaturally realistic classical painting. Particularly important is the colourfully forbidden and rare, secret imagery of western pop culture, surrounded by a mystical, almost religious tone presented to Soviet children. Also important are the terrifying war and deportation stories that her grandparents, and their little brothers and sisters witnessed as small children. There is also the pompous, alienated and eerie atmosphere of the Catholic church ceremonies in the Latvian countryside, and the breathtakingly beautiful ballet performances in the opera house where she had been taken since the age of two. These stand among many other inspirations – all the bitter-sweetness and irreality of the everyday.

    4: Lucas Buschfeld: Mendy B

    Mendy B. mediates, in her essential energy, the sublime of her nature and has a very poetic and meditative character. The viewer experiences a large space of sensory experience in which to encounter electrical energy,. Today electrical energy is no longer perceived as something magical. We consider it only in the context of everyday use. The focus of the work lies in its omnipresence, in its aesthetic, mystical and magical quality. Mendy B. has both ephemeral, kinetic and durationally static sculptural qualities. Through her fragile appearance, her gentle movement and the sometimes perceptible, soft crackling, she not only appeals to sight and hearing, but also evokes the delicate touch of electrically charged silk paper as a particularly tactile experience. When the recipient approaches, the work approaches and invites contemplative interaction.

  • Symboter

    Symboter * 1958


    born 1958 in Berlin
    Studio for electronic music 1975 - 1983
    Univerity study of Biology and Physics
    Systemdesigner and Art Direktor (TV)
    Teacher at German Filmschool
    Art Collector:
    Contemporary art, science art and classic art
    Sound sculptures for or without physical objects
    Object Art:
    kinetic objects, luminodynamic objects, science art, frequency art
    Royal College of Art, London

    I am filled with sound, so I am a process, because frequency needs time to exist and cannot stand still. In my view even the moment is a process, reality is also not standing still. In fact nothing is an object. You cannot look at something as an outside observer, you are always part of the system. I have a strong background in Quantum Physics and this reflects in my work. Formerly I used sound only to express my art, now I am using all frequencies in a broader view: The sound from lowest infrasound to highest ultrasound, the light from warm infrared to invisible ultraviolet, air waves in radio frequency and Bluetooth/WiFi Gigahertz spectrum, and even vibrations up to heat or cold, where molucular oscillation is reduced. If needed, I use the combination of some of them to express what I want to tell. The process, the continous change, establishes the sensation of the fading moment, which is a topic in my works.

  • Michael Schreckenberger

    Michael Schreckenberger * 1978


    born 1978, lives and works in Leipzig, Germany; key aspects are painting and sculpture
    As a young and creative free spirit Michael Schreckenberger started his artistic youth and excited his surrounding field. After a trainee ship in the construction sector he decided to follow artistic independence and founded in 2004 an open studio as stage for artists. In 2006 he founded his own studio and developed a match as his trade mark. Many exhibitions, settings with paintings, projects and co-operations with other studios succeeded. He is also very welcomed to take part in social and cultural projects. In 2008 the artists founded an second studio. During the years, he could check out and act out his interests. Between 2011 and 2014 he developed his surrealistic picture language In 2016 he founded a new studio with gallery and cultural area in the centre of Leipzig.

    The global pollution and the exploit of resources by the people is one of the most catastrophic attribute of the capitalistic ego. The necessity of required resources will be eclipsed by uncontrolled and inconsiderate behavior. From the single citizen to the big industry as well as lobbyists and governments - the culprit with its signs of custom is pulling through the nature and the ecological system. As the function of consumption is appreciable, visible, inexorable and probably inapproachable, that the only way out would be a deprivation. A nature without ecological balance is going to be a quarantine area.

  • Daniel Schubert

    Daniel Schubert * 1984

    1984 born in Viersen, Germany
    2004–12 Kunstakademie Düsseldorf, Prof. Herbert Brandl and Prof. Eberhard Havekost
    2010-11 Meisterschüler of Prof. Herbert Brandl
    lives in Düsseldorf
    2016 What´s Up, Soho Revue, London
    2015 The Studio Chronicles, RH Contemporary Art, New York
    2014 ZEST DE SOLEIL (with Koen Delaere), Gerhard Hofland Gallery, Amsterdam
    2014 New Positions, Art Cologne, Cologne

    Daniel Schubert's work is not loud. It doesn't have the character of a big event. Towards the silence of our time, it takes its energy from calmness. His work runs through a long process of formation. These long stays in the studio radiate a sense of care and balance to the viewer. Details from nature or urban and media spaces are some of the starting points for his pictures. His pictures approach in a fine and concentrated way the everyday, the surrounding surface structures of our lives. They work gently on first viewing, articulated by the careful use of traditional painting techniques. With egg tempera, paste and pigment Schubert looks for the manifest impressions of the inner qualities of painting. Schubert generally uses photographs, sketches or digital pictures as first studies, often developing through accidental processes. The transposition of fleeting impressions by the material level of painting stands here as especially interesting for artists.

  • Lamettanest und Frieda von Weißenfels

    Lamettanest und Frieda von Weißenfels * 1970


    Evelyna Schubert: born in Meissen/after leaving GDR; lived for 3 years in London UK/Abitur in Cologne/Degree at HfbK Dresden/working at and running the Studio Lamettanest with varios artist sice 2004/ Under this name publishing works and positions.

    Angels stand for the announcement of unavoidable events. They are messengers and handlers between the visible and invisible in all religions. They stand in their rows as protectors of the good and the beautiful.



    Millions of theses concerning mankind that are only readable for aliens, are offered to aliens over a special piping complex over an ufo landing site.

  • Detlef Schweiger

    Detlef Schweiger * 1958


    1958 born in Düsseldorf, grown up (childhood and youth) in Dresden
    1979-84 studies of art education / design (creation) theory / painting/graphic arts at Humboldt-Universität Berlin
    since 1986 living and working as freelancer in Dresden-Loschwitz, Künstlerhaus
    painting / drawing / graphic arts / collage / object / photographics / video / installation /
    art at buildings and public spaces / projections at bulidings / soundperformance...
    Altes Museum Berlin, Prager Museum,Leonhardi-Museum Dresden, National Theatre London, Deutsches Historisches Musem Berlin, Inba-Museum Juarez Mexico, Clifford LLP Brüssel, Salon du Printemps Luxemburg, , Sharjah Art Musem UAE, , Cite Int.d.Arts Paris, Kent State University Ohio, Zygote Gallery Cleveland, Riffe Gallery Columbus,
    since 1982 illustrations in books, e.g. S.Fischer, Reclam, Scheune-Verlag
    since 2001 leading of „Morphonic Lab" Intermedia-Ferstival Barockpalais Großer Garten Dresden
    2005 Resident Zygote Press Cleveland/Ohio USA
    2010 award "100 Sächsische Grafiken"
    2015 award "Art and Science Price Dresden"

    At the closing of OSTRALE 2010, the first ostra_faces video was projected on a large scale within the framework of a performance. The colourful, strong and exaggerated 'Warhol-esque' face-mix of over a hundred single shots of artists and staff from OSTRALE, as well as heads from exhibited art works, was so well received that the idea developed of producing a version of a year's ostra_faces every year. In each case, during the build up of OSTRALE, shots of faces will be taken and a new video will be produced with a 'heißer Nadel' (hot needle) just before the opening of the exhibition.

  • EA012009 (NSK Staat - Protektorat Drježdźany)

    EA012009 (NSK Staat - Protektorat Drježdźany) * 1958


    Collaged self-identification as an NSK citizen.

  • Ran Slavin

    Ran Slavin * 1967

    Ran Slavin is a digital video artist, composer and film maker. His work explores fiction, prismatic forms, narratives through video, sound installations, digital music releases and films. His works often utilizes post production and digital compositing sensibilities as new tools of story telling and immersion. His work often embraces the polarities of fact and fiction, supernatural and mythical, physical and ethereal, and compels the viewer/listener to wander beyond the immediate into a cloud of disposition. Selected shows include Halle14 CCA Leipzig, The Herzliya Museum of Contemporary Art ( 2016), The Nicosia Municipal Arts Centre-Cyprus (2015), Souvenirs From Earth (France/Germany cables 2014-2015), Taiwan International Video Art Exhibition-Hong-ethereal Museum (2014)

    Variations Amud Anan is shot in the Judea and the Negev Desert extending over Israel's southern region. In it, real and fictional elements freely intertwine reflecting dislocation and mythology, geo-political war and the mediation of information. The desert is reintroduced as a breeding ground of security paranoia, liquid reality and of mythological and fictional occurrences. In the biblical-mythical sense a pillar of cloud was one of the manifestations of the presence of the God of Israel in the Torah, the five books of Moses, which appear at the beginning of the Old Testament Bible. According to the Book of Exodus, the pillar of cloud guided the Israelites by day during the Exodus from Egypt. The pillar of cloud is traditionally paired with the manifestation of the divine presence which provided the Israelites with direction and guidance in the desert. In 2012 the Operation Amud Anan aka Pillar of Defense was an eight-day Israel Defense Forces operation in the Hamas-governed Gaza Strip, which began on 14 November 2012 with the killing of the chief of the Gaza military wing of Hamas and the launch of over 100 rockets at Israel during a 24-hour period. The operation was preceded by a period during which a number of mutual Israeli-Palestinian responsive attacks had taken place.

  • Rose Stach

    Rose Stach * 1964


    Born in Munich in 1964
    1984-1987 Exhibition at Silberschieden (Silver Forge)
    1996-2001 Degree in sculpture at the Munich Academy of Fine Arts
    2014 Dr. Theobald-Simon Prize 2014
    2013 2nd Prize Gräfelfinger Art Prize
    Works in the Artothek, Munich, Frauenmuseum and Kunstmuseum, Bonn and the Siemens Culture Program collections
    Took part in numerous exhibitions at home and abroad

    In the collection of works called 'War Carpets', I address myself to the tradition of so-called War Carpets in Afghanistan and Pakistan. I use as material old oriental carpets whose original pattern are basically arabesque ornaments on a red background. Then, with black colour and stencilling, I add military objects and martial motives onto the background. The remainders that are left as fragments are only the silhouettes of weapons: Kalaschnikovs, hand grenades or tanks, mostly seemingly phallic and portraying a masculine state contrast with the original domestic, female connotations of carpets. This contrast plays further with the tension between aggressive outward reality and a calming inner space. The collection of works 'War Carpets' inevitably evokes the current middle east crisis. Our everyday life is permeated with images from this crisis and, furthermore, not least by images involving weapons form Germany that are used in these conflicts.

  • Stefan Nestler _ Holger Stark

    Stefan Nestler _ Holger Stark * 1960


    Stefan Nestler
    Born in 1962 in Freiberg / Saxony
    1988 – 1992 Studied photography at the Leipzig Academy of Fine Arts
    since 1988 working as freelance artist
    1993 Work scholarship from Stiftung Kulturfonds Berlin "CITYWALKS" (with B. Vossmann): Travel to Asia (Singapore, Kuala Lumpur, Bangkok, Saigon, Hanoi, Hong Kong, Beijing)
    since 1998 competitions Art in public space
    2001 scholarship of the city of Dresden in Cleveland / Ohio (USA)
    2008 Exhibition construction "Giants of the Seas", Ozeaneum Stralsund, travel to Norway
    Numerous solo and group exhibition in Germany, works in national and international collections. Stefan Nestler lives and works in Dresden / Saxony

    Holger Stark
    Born in 1960 in Rostock
    1984 - 1990 studied painting / graphic arts at the Academy of Fine Arts Dresden, Diploma
    1990 - 1991 study Visual Communication, Film / Video at the School of Art Hamburg
    1993 - 1994 DAAD scholarship at the Royal College of Art, London (UK)
    1995 - 2000 Location and studio in Berlin, Equipment realization and construction management for museums, theaters and film projects
    since 2009 Numerous solo and group exhibition and temporary art installations in Germany and abroad and various art-film projects. Artistic Work will concentrate on installations and Photography. Holger Stark lives and works in Mecklenburg

    The installation "Freight" ("Fracht") by Stefan Nestler and Holger Stark consists of discarded art transport boxes. These wooden boxes are penetrating the exterior and interior walls, and symbolize the transport routes of the former abattoir. Animals in - sausage out. An industrialised process, mechanical and emotionless. A ghost who has never left the dilapidated building.

  • Otto Berndt Steffen

    Otto Berndt Steffen * 1951


    Born 1951 in Dornreichenbach
    1970 – 1973 Forging / Metalworking
    1971 – 1973 Academy of Fine Arts, Halle Burg Giebichenstein
    1973 -1978 Studies at the Academy of Fine Arts, Dresden - Diplom-Plastiker
    Since 1978 Work as freelance sculptor in Leipzig
    1991 – 1996 Instructor Plastik - College of Graphic Arts and Book Design Leipzig
    1999 – 2000 Instructor - Technical University of Berlin, Faculty-Free Presentation, Work on the Stone
    Since 2012 member BBK-Leipzig

    The sculptural object takes no account of drawn boundaries. It combines and differentiates at the same time the stranger and the known, present and past, natural science and confession. Each time and place has its own symbols and artifacts - either open or hidden. Knowledge changes and thus the interpretation of the viewer in detail and with regard to the common cultural heritage, which emerges pictorially in the combination of the parts. The individual key to the idea of the work can only be found by the viewer himself. There is no universal interpretation. The changes of our times are drastic, fast-paced, hardly controllable, and more than ever caused by man - welcome to the Anthropocene!

  • Elena Subach

    Elena Subach * 1980


    I grew up in a family of icon-painters. That explains, why I have been painting blue sky over Madonna's head from the early years and preferred paintings of a gloomy landscape behind my window. Now I am making photo stories dedicated to the life in small rural towns.

    I make absurd stories in photos: Virgin Mary, crucified animals, funny moments, terrible moments, butchers, strange children, people desperately lost and lonely, people praying, people drinking, people enjoying city festivals, girls, grannies — all those who arouse a feeling of empathy and belonging. My photos are my own eternal personal story told through the other people's stories; this is my personal mythology. It's my invitation to a dialogue.

  • Lajos Sváby

    Lajos Sváby * 1935

    Born in Abádszalók 1935.
    1954-60: the Hungarian University of Fine Arts 'student.
    1975 Began to teach painting at the University of Fine Arts
    1990-1995: President (rector elected) at the Hungarian University of Fine Arts
    1992. Solo exhibition: the Institut Hongrois Paris
    1995: Honorary Doctorate of Kingston University London
    2014: Solo Exhibition of Life's works at the Hungarian University of Fine Arts
    2015: Portraits and Autoportraits Solo exhibition at the Museum Literary Petőfi

    Phenomena are perceived and sensed. Our responses and reactions are the marks of nature's dynamism. One can also examine one's ability to gain knowledge one is able to check that skill, too. Human beings, while analyzing and getting to know nature, developed various dynamisms from the spiritual possibilities.The immediate and intense character of the existence, of being here created the best way of learning and experiencing, namely the artistic action, or rather the ambition to find and observe experiences, perceptions and depictable parameters at the edge of learning, and in the depth of human mind and consciousness. The more personal the pictures, forms, and things one finds deep down here,the better they can be transmitted to the audience. One of the greatest gifts mankind has is that one can discover experiences and knowledge in others that one also has, but they can only be brought up from the hidden existence in the mind by the help of another human being's searching, feeling, and assisting spirit. Art can help one discover oneself and one's own existence. Art illuminates the territories that exist in the shadow at the essence of humanity. Art makes these parts visible, sometimes in a soft and mysterious way, and other times with the blinding sharp light of a headlight.

  • Mark Swysen

    Mark Swysen * 1965


    Master in Biological Sciences, VUB Brussels and Master in Art & Research, KDG Antwerp; Lives and works in Antwerp, Belgium.

    art biennials (selection): Gera (D) Höhler Biennale 2017; Lübben-Spreewald (D) Aquamediale 2017; Poznan (PL) Mediations Biennale 2016; Dresden (D) Ostrale 2016, 14 & 12; Enschede (NL) Twente Biennial 2015; Havana (Cuba) Havana Biennial 2015;
    Lille (F) Entrelacs Musée LaM 2012

    solo museum / heritage sites exhibitions (selection): Berlin (D) Botanisches Museum 2017; Herne (D) Ruhrmuseum Flottmann 2015; Rouen (F) DRAC: Cathédrale 2011; Brussels (B) FeliXart Museum 2010; Brussels (B) Museum MMRK 2010;

    works in public collections: Museo Nacional de Bellas Artes la Habana (Cuba); Museum MMRK Brussel (B); Province Antwerp (B) ; ISALA-collection Museum de Fundatie Zwolle (NL)

    In his art, Mark Swysen reflects on human behaviour. Perhaps as a result of his scientific education he analyses issues from different perspectives and integrates human psychology and genetics with philosophy, religion and history.

    With Robokonzum Mark Swysen reflects upon the European identity in the 21st century. Citizens risk being reduced to the status of consumers. Within a circle of empty metal store racks, a shopping trolley is mounted on a robotic mower. Agitatedly, it turns randomly in circles like a caged animal pacing up and down in his confinement.

  • Michał Szlaga

    Michał Szlaga * 1978


    Born in 1978, graduated from the Academy of Fine Arts in Gdansk/Poland, since 2015 he has lectured there as well. He works with photography and video. His debut took place in 2002 and consisted of a series of photographic self-portraits called "What made me?". He systematically documents Polish reality. Since 1999 he has been photographing Gdansk shipyard. In 2016 Centre Pompidou acquired a series of prints, dia-positives, films and the book "Shipyard". The whole set is a mirror image of the exhibition presented for the first time in Berlin in 2014 during the European Month of Photography. Since many years the artist has been also working for the press as a freelance photographer, portrait maker for Newsweek Polska, Przekrój, women's magazines, Maleman and advertising. He has accomplished a few hundreds of commissions in many countries, he received numerous awards in press photo competitions, among them Grand Press Photo, and American Lucie Awards.

    I met death. It was very quiet. I was not sure if I wanted this photo. Ukraine, Lviv, March 2015

  • Nomadic State

    Nomadic State * 1992


    Nomadic State was initiated by Karolina Melnicka and Stach Szumski in 2015. Nomadic State is a non-territorial micronation. In our realisations we create space for discussion about the economical and political condition of contemporary Europe by analysing the aesthetics of the non-places.

    Nomadic State coat of arms refers to symbolism of peace. It eventuates from critical deconstruction of the UN flag.

  • Keiichi Tanaami

    Keiichi Tanaami * 1935


    1936 born in Kyobashi, Tokyo, Japan
    1958 Musashino Art University, Tokyo, Japan
    1975 first Art Director of "PLAYBOY" (Japanese Edition)
    1991– professor of Kyoto University of Art and Design, where he is currently a chairperson of a Faculty of Information Design
    lives in Tokyo
    solo exhibitions (selection)
    2017 A Perfect Peach-Pink Day, Galerie Gebr. Lehmann, Dresden
    2016 Visible Darkness, Invisible Darkness, Sikkema Jenkins & Co., New York
    2015 Lost and wandering Bridge, Gallery Retara, Sapporo
    2015 Passage in the Air (1975-1993), Nanzuka, Tokyo

    Keiichi Tanaami is one of the leading pop artists in Japan. Upon graduating from Musashino Art University, where he studied design, Tanaami took up work at an advertising agency before leaving to pursue an independent career. Since then he has used his artistic talents to develop a diverse oeuvre that includes graphic design, video art, collage, and painting. Following his graduation in the mid-'60s, he was baptized, so to say, by psychedelic culture and pop art and broadened his range of work to include animation, silkscreen, cartoon-like illustration, collage, experimental film, painting, and sculpture. He was particularly inspired by the experience of meeting Andy Warhol in the '60s, and now he's called the father of Japanese Pop Art. His work has been extensively exhibited at prestigious venues such as the Museum of Modern Art, New York, National Portrait Gallery (Washington), M+(Hong Kong) and Centre Pompidou, Paris.

  • Ekkehard Tischendorf

    Ekkehard Tischendorf * 1976


    Ekkehard Tischendorf was born in Dresden in 1976. He studied painting and graphic arts at the Academy of Visual Arts (HGB) Leipzig, masterclass of Prof. Arno Rink. Today he lives and works in Vienna and Dresden.

  • Volodymyr Topiy

    Volodymyr Topiy * 1979


    Born 1979 in Sudowa Wyshnia, Ukraine
    1997 – 2001 studied in Lviv National Academy of Arts, the department of design.
    Since 2003, creative works towards contemporary art, especially performance.
    2016 performance at the festival "Week of Performance", Lviv
    2016 performance at the festival "NIPAF 16", Tokyo, Japan
    2015 performance in "Circle Time" festival, Torun, Poland
    2015 performance at the festival "Pierre_feuille_ciseaux. Part II », Paris, France

    Performances about air and time...

  • Bronislav Tutelman

    Bronislav Tutelman * 1950

    Born 1950 in Chernivtsi, Ukraine. He studied at the Odessa State Higher School of Fine Arts at the faculty of painting in 1965-1970. Since 1970 ha has participated in several regional, republican, All-Union, and international exhibitions. His works are found in several public and private collections in Russia, Ukraine, Poland, Austria, France, Italy, Israel, the Netherlands, and the USA. Tutelman works in painting, installation, color photography

    During my last visit to Israel I was quite stunned. It was a very uncommon situation to experience. The center of Tel-Aviv had been flooded with the refugees from South Sudan. The country was in the state of war and people (more than 70 thousand) swapped through the boarders of Israel and Egypt in order to save their lives. The refugees ocuppied the squares, playgrounds and every bit of free space. They were everywhere and it was such a contrast to the busy, jolly and leasured Tel-Aviv. It was absolutely devastating. And it struck me... I should take pictures of them! This situation happened to become at the top-of-the-agenda not only for Israel, but for the whole Western Europe. I hope our world will be reasonable enough and find the strength to handle the social and political issues at the local, national and international level!

  • Wiola Ujazdowska

    Wiola Ujazdowska * 1988


    Wiola Ujazdowska is an artist from Poland based in Reykjavik, Iceland. She graduated in 2012 Art Theory with M.A from Nicolaus Copernicus University where she was also studying painting and stained glass at Department Of Fine Arts. In 2012 she won Jan Winczakiewicz Award and went to art residency in Paris same year she started studies in painting, sculpture and modern art at Cologne Institute Of Conservation Sciences in Germany. Now she lives and work in Iceland.

    Mourning is a luxury. In ancient times there were a professional mouners - women that were hired to cry. In this work the artist became a mouner to weep after a death of her mother. Over-Expresing trauma to make it a performance Act. The Body Of A Mouner Is Set Together With Geometric Forms That Symbolize The Inorganic.




    Kiyomi and Tetsuhiro Uozumi began collaborating in 2004 and currently live and work in Berlin.They are primarily creating Installation works with lights turning, brightening and dimming in sync with sound. Their works seeks way to connect a visiter with the anonymous stories. They are making the anonymous stories with their poetry, whimsy and curiosity like an easygoing experiment.
    2014 Solo Exhibition 「chasing a little past」 Kunstraum Kreuzberg / Bethanien (Berlin)
    2015 Group Exhibition "NAKANOJO BINENNALE 2015" in Gunma Japan
    2016 Solo Extibition at LAD Galley in Nagoya Japan

    Do you understand what dogs are saying? We try to communicate with you in an unsystematic language and we can't tell you properly. We keep reacting to the lights. Somehow we can tell you of feelings and emotions without a language system.

  • Stefan Voigt

    Stefan Voigt * 1961


    61 born in Dresden
    1982 - 87 Art Education: Hochschule für Bildende Künste Dresden
    since 1987 freelances as a painter and graphic artist in Dresden
    1990 foundation of Galerie Adlergasse Dresden
    1993, 95, 98, 2004, 08, 11 periods spent working in USA
    since 1997 Art Director Galerie Adlergasse
    since 1999 yearly participations at international theatre festivals with "Cabinet Fatalia" in collaboration with Bärbel Voigt

    The physically expressive line is always the main focus and impulse for Stefan Voigts drawings. Although the use of line is predominant in his drawings, this is not line drawing which describes or circumscribes, but rather line used as an independent and active element. Coincidence and strict classification systems meet in every piece of work. Voigts drawings with raster structures, waves and incipient tempos, displaced symmetries, insertions and further graphic elevations of sounds. He transmutes and transforms reality, with priority given to freedom of line. The picture space is defined by script-like elements, spontaneous perceptions and object fragments. The various elements impact on each other to produce a kind of visual narrative.

  • Gabriela Volanti

    Gabriela Volanti * 1969


    Born in 1969 in Augsburg of Italian origin
    Design Polytechnic in Augsburg
    Munich Academy of Fine Arts
    Has lived and worked in Berlin since 2000
    Studio promotion since 2010, Studio in Bethanien
    2003 Palazzo Barberini, Palestrina, Rome
    2014 Pilscheuer Gallery, Basel
    2016 Edition Sutstein, with a text by Andreas Platthaus
    2017 Hebenbath Collection, Berlin, curated by Lidia Gasperoni

    The necessity of an art work connects with the inclination of the artist and can form a synthesis with the affection and intuition of the viewer. Seeing is an intellectual and spiritual act. This is the same thing in the work as in mere observation. If the work integrates the moment of contemplation, it is further released for contemplation, and the viewer 'can get to work'. In this way a moral progress can be pushed though. It is an ethical experience rather than a dialectical process that allows people to rest. Intensive, active viewing moves the form of things, and in turn has a precise target that presses to be looked at. The driving force behind this circular movement is the necessity. Nothing new is offered other than the assurance of the gift of human vision as a creative act.

  • Corwin von Kuhwede

    Corwin von Kuhwede * 1979


    en: Active practitioner of the art of creating images by using photographic equipment. Some have an eye for art. Others an instinct for business. Corwin von Kuhwede has an eye for stories and another one for images. Together these make him a storyteller who tells stories for the eye. His preferred motifs – regardless whether it involves portraits, nudes, or mise en scènes – are primarily those behind which stories are concealed. In an unrepressed combination of craft and inspiration, necessity and creative impulse, in his images von Kuhwede is able to simultaneously make the logic and absurdity of the subject visible and along with the objects themselves to show the objects behind the objects. With a credible diversity, under his eye in a narrative heartbeat, art merges virtually unnoticeably with commerce, and commission with need. Into a story which the eye is eager to follow.

    When something doesn't equate to our expectations and belief systems, we often begin to question its credibility and seriousness. The same goes with couples whose partners do not seem to fit together. But the feeling of togetherness is less seen with the eyes than the feeling of love itself. My series portrays such a couple, the kind of couple you can bumping in everyday life. I have portrayed this is an exaggerated and ironic way: a situation that works in a bizarre and yet credible way.

    - Pin It Girl -
    We live in a world of information. Everyday countless impressions with which we want to be occupied reach us. Many people miss an overview. Systems must be created which administer our knowledge. Although, they must also be systems which we administer ourselves. Forgetfulness, stress, deadline constraints and burn out are all synonyms for what follows. In this work I illustrate this being lost in a flood of information with hundreds of Post-Its that have been fixed to a wall. On every Post-It not is something everyday or completely absurd. No Post-It note has the same topic. The lady stands in front of the Post-Its in order to explain the last free space. But how does it continue?


    DEREVO UG * 1964


    The dance theatre company DEREVO, Russian for Tree, was founded by Anton Adassinski in Leningrad in 1988. Adassinski who, as the frontman of the famous Russian theatrical rock band AVIA became well known, took over the role of artistic director and man performer . Founding members next to Adassinski were Tanja Khabarova, Elena Yarovia, DImitry Tjulpanov, Alexei Merkushev. DEREVO committed themselves to the emotions of the soul in their 'language of the body', a commitment fixed in their so-called manifesto. As opposed to classical ballet, the expressiveness in their performances is marked by clowning, pantomime, improvisation, anarchy and chaos. DEREVO are inspired also by Japanese Butoh. Because of the particularity of their dramatic art, spectators are stuck in an area of conflict between attraction and repulsion. As well as performing in numerous festivals, DEREVO worked for long periods of time in Prague, Amsterdam, Florence and, since 1997, Dresden.

    "Before condemning someone, take his shoes and walk his way, try his tears, feel his pain. Stumble upon every stone that he stumbled upon. And only then say that you know how to live properly." – The Dalai Lama

    "Never condemn a person until you have gone a long way in his shoes" – Lao Tze

    "Judge not, and ye would not be judged. For with what judgment ye judge, such shall ye be judged; And with what measure you measure, it will be measured to you." – The Gospel of Matthew The Sermon on the Mount

    "One Size Fits All" – Frank Zappa album




    Dragan Živadinov (SLO) is a theatre director from Ljubljana. He cofounded the art movement Neue Slowenische Kunst in 1985. In 1995, he embarked on the 50-year theatrical process 'Noordung:: 1995-204'. In 1998, he became a candidate cosmonaut and in 1999 he realised Biomechanics Noordung, the first complete theatre production in zero-gravity conditions.

    Dunja Zupančič (SLO) graduated from the Academy of Fine Arts in Ljubljana. Since 1995, she has been constructing mechatronic abstracts and art satellites (umbots). In 2015, she created a mechatronic construction as a substitute of the role played by a deceased actress in the 50-years performance "Noordung:: 1995-2045".

    Miha Turšič (SLO) was at first involved in worldwide product and brand development. Since 2004, he has been dedicated to researching artistic methodologies and practices in outer space, developing post-gravity art and being involved in the facilitation of space ''culturalisation''. He was a cofounder and the director of the Cultural Centre of European Space Technologies (KSEVT) in Vitanje from 2010 to 2016.

    The artist group began to develop postgravity art - art that emerges in conditions without gravity - with "Noordung:: 1995-2045", a fifty-year theatre project which is to be repeated on the same day, every ten years, until 2045. "Noordung:: 1995-2045" premiered in 1995 in Ljubljana. The first repetition, in 2005, was moved from the original stage to the model of the International Space Station (ISS) in Star City (Russia). The second repetition was performed in 2015 at KSEVT in Vitanje, the Cultural Centre of European Space Technologies. In the remaining three decades, all fourteen actors will be replaced by technological substitutes which in turn will be placed in the Earth's orbit at the end of the project. In 2045, during the fifth and last repetition, Dragan Živadinov will use a spacecraft to convey 14 satellites/umbots into a geostationary orbit, from where they will transmit signals to Earth and into deep space.