Kunst- und Kulturförderung


Exhibition. Debate. Magazine. Initiated by Manuela Ammer, Eva Birkenstock, Jenny Nachtigall, Kerstin Stakemeier and Stephanie Weber.

20 Jul 2017 - 17 Sep 2017

In dictionary entries, their initials represent terms after their first mention. Class, class struggle, class contradiction, as well as crisis, catastrophe, and colonialism turn into C. Our C. stands for Class Languages – and thus for a terrain of antagonisms in which past political orthodoxies encounter the social brutalities of the present. 

In this present, questions of the translation, articulation and (bodily) inscription of these divergences have become part of an all-encompassing process, whose transformations and intensifications we want to foreground with CLASS LANGUAGES: artistically, curatorially, within writing and in debates. We are not interested in presenting art as a stand-in for politics, but rather want to investigate the signatures, markers and forms of the deeply antagonistic relations, of which it is a material part: What we are concerned with, in other words, is art as a class language as much as class languages within art. 


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The Many Headed Hydra #02

Exhibition, evocations, radio magazine

16 Jul 2017 - 27 Aug 2017

WHEN THE SEA LOOKS BACK (A Serpent’s Tale) is the second project of the collective The Many Headed Hydra. It will open from 16 July to 27 August 2017 at VAA Nida Art Colony and then travel to District from 19 October to 6 December.

With contributions by Bryndis Björnsdottír, Cooltūristės, Ieva Epnere, Daniel Falb, Sonja Gerdes, Ulrike Gerhardt, Golden Diskó Ship, Emma Haugh, Suza Husse, Almagul Menlibayeva, Sondra Perry, Virgilijus Šonta, Elsa Westreicher

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Caring for Conflict

A Cultural Education Project for young people between 12 and 27 years

01 Jul 2017 - 30 Jun 2018

Conflict zones, belligerence, the joy of irritation, quarreling techniques, utopias of disagreement: How to live conflicts? What can we learn from each other to respond in conflicts with more than silence or aggression? How do different experiences connect to new forms of quarrel? 

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The Many Headed Hydra: Imagination, Speculation, Dissolution of Space and Time

Sea Body Infrastructure Image

Magazine #01, Summer 2016

14 Aug 2016 - 31 Dec 2018

Editors: Emma Haugh and Suza Husse
Conributors: Anna Hallin & Olga Bergmann, Bryndís Björnsdóttir, Hannah Black, Natasha Ginwala, Tinna Grétarsdóttir, Emma Haugh, Suza Husse, Occupational Hazard Project, Tejal Shah, Ato Malinda, Nine Eglantine Yamamoto-Masson and participants of the workshops “Speaking As Fishes” in Leipzig and Reykjavík.
Cover: Tejal Shah, Between the Waves, Secret, 2012
Design: Elsa Westreicher
Published by District Berlin
in collaboration with Occupational Hazard Project, Reykjavík, 2016.

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Felix Kießling

AAArchitecture #11

24 Apr 2016 - 30 Apr 2020

Felix: I’m concerned with who we are and how we move on this planet, what scales we are in and what they mean. Consequently, I’m interested in the interplay between space and us. I use a playful approach to such phenomena, such as inVertikale. It’s fascinating to me that the Earth's rotation gives rise to forces that we cannot see and that things attract one another without touching. 

The installation Vertikale is accompanied by the artist made publication Horizontalgespräch über Vertikalwirkung, Magnetismus, Industrierepräsentanz, den prosaischen Raum, Edelstahlminimalismus und Nachbarschaftsökonomien.  

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02 Oct 2014 - 31 Dec 2018

The Forgotten Pioneer Movement Guidebook is a companion volume to the interdisciplinary performance and exhibition project of the same name that reconsiders perspectives on the (post-)socialist experience. 25 years after the fall of the Berlin Wall, The Forgotten Pioneer Movement engages with the last generation to grow up in the final phase of the cold war, during perestroika and in the ‘pOst-Western’ Europe of the 1990s. As a fictional movement, TFPM probes forms of cultural memory and examines the social perspectives of this generation. The Guidebook to the project explores strategies and discourses from visual as well as performative arts, history and cultural theory in order to approach the “future behind us” described by art historian Edit András as a pan-European experience independent of geopolitical classifications. On 120 pages, theoretical and artistic contributions create new connections between that remote future and the present.

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