The exhibition CIRCUIT by Susanne Britz opens on November 28, 2023 at 6 pm and shows her commentary on the place until February 6, 2024.
The starting point of Susanne Britz’s transformative works are everyday objects from genuinely non-artistic areas of life, such as laundry racks, dish mats, circuit diagrams and stencils, drainpipes and gymnastics tapes, old and new, unique and mass-produced.
These objects from Britz’s heterogeneous pool of materials become the primary means of design in her works, which are usually developed in relation to the space and process and thus enter into a relationship with the surrounding space.
In this sense, Susanne Britz is not interested in the individual object as such, but in its interplay in a network of relationships, which the artist creates in different ways depending on the medium.
By integrating each individual component into a symbolic overall structure, the latter undergoes a revaluation. Thus alienated, the view shifts from the individual to the whole. Britz transforms our increasingly complex, artificial and fragmented everyday reality with a smile into laboratory-like experimental arrangements that appear both strange and familiar at the same time.
September 20 – November 19, 2023
In December 1999, the deep-sea tanker Erika sank off the coast of Brittany, causing an enormous oil slick. I transferred this metaphorical term for oil sloshing across the sea into its concrete meaning by collecting spilled oil on site and filling it with thin, transparent PVC tubes, from which I had previously woven a carpet. It was the beginning of a series of projects that explore European landscapes that have been transformed in extraordinary ways by human impact. Originally focused on ecology, my focus expanded to include the topographical aspects of man-made waterscapes. These are islands, lakes, canals, waterfalls, constructed for political, economic or technical considerations, some of whose genesis dates back centuries or millennia. The water preserves these artificial landscape forms and ground plans. As solitaires, they shape the naturally evolved environment. Petroleum, water, mud, and other specific relics that I collect on site are preserved like landscape relics by serving as filler for my carpets and paintings made of PVC tubes.
The rugs in the Lost & Found series are a kind of remake and continuation of my Merci Total project about the oil spill caused by the sinking of the oil tanker Erika 20 years ago. While an oil spill remains more or less localized, millions of tons of plastic waste are spread in the world’s oceans every year, some of which washes back onto beaches.
In 2020, I collected plastic particles, sand and seawater on a beach on the small, uninhabited Greek island of Yalis and sprayed them into hand-woven carpets made of PVC hoses. Inside the hoses, the sand sinks to the bottom in the seawater, while plastic particles rise to the top, blocking each other and forming a random pattern.
τέχνη (Techni), the Greek word for art, is a fitting term to describe the landscape around the Corinth Canal. The canal, built at great expense in the 19th century, is a huge intervention in nature, separating the Peloponnese from the mainland and turning it into an island. Only a few decades after its construction, the canal lost its importance for navigation, as modern ships are too large to pass through. Geometry, landscape, technology, art and history are facets of my pictorial objects. Each work from the current series of works, The Dividing Line, consists of multiple layers and perspectives interwoven with them. Spanning the image support are PVC tubes filled with seawater from the canal. Behind them is a glass plate, half of which is covered with a geometric motif. The unpainted empty spaces reveal a mirror mounted in the picture’s background. Depending on the viewer’s angle of vision, current satellite photographs and landscape images around Corinth from the early 19th century are reflected in it, framed by a classic wooden frame. The effect of the landscapes appearing is created by the fact that these landscape motifs are on the back of the geometrically painted front. By being experienced as an ephemeral mirror image, the landscape floats in space like an apparition and merges with the concretely graspable front to form a complex whole.
Sonja Alhäuser – Michelle Alperin & Joe Neave – Elisabeth Ajtay – Nándor Angstenberger – Martin Assig – Clara Bahlsen – Emiliano Baiocchi – bankleer – Heike Kati Barath – Michael Bause – Kai-Annett Becker – Matthias Beckmann – Christoph Beer – Franziska Beilfuß – Arnold Berger – Holger Biermann – Manuel Bonik – Gunnar Borbe – Patrick Borchers – Kai Bornhöft – Ivan Boskovic – David Braithwaite – Susanne Britz – Simone Brühl – Ingmar Bruhn – Thomas Bruns – Astrid Busch – Dirk Busch – Alexander Callsen – Kyung-hwa Choi-Ahoi – Herbert De Colle – Marula di Como – Chris Costan – Henrike Daum – Dellbrügge & de Moll – Nanett Dietz – Chris Dietzel – Andreas Drewer – Tina Dunkel – Rouven Dürr – Irena Eden & Stijn Lernout – Axel Eichhorst – Manfred Eichhorn – Jürgen Eisenacher – Ether Elia – Dana Engfer – Carola Ernst – Media Esfarjani – Stefan Fahrnländer – Sabine Fassl – Christel Fetzer – Frederik Foert – Franziska Frey – Sabine Friesicke – Catherine Gerberon – Ingo Gerken – Katrin Glanz – Thorsten Goldberg – Kerstin Gottschalk – Massoud Graf-Hachempour – Robert Gschwantner – Kim Dotty Hachmann – Ulrich Hakel – Zandra Harms – Klaus Hartmann – Lisa Haselbek – Ulrich Heinke – Tanja Hehn – Andreas Helfer – Gerhard Himmer – Annika Hippler – Reinhard Hölker – Ralf Homann – Stephan Homann – Alexander Horn – Fabian Hub – Franziska Hünig – Gunilla Jähnichen – Zora Janković – Maarten Janssen – Gabriele Jerke – Uwe Jonas – Yuki Jungesblut – Nikos Kalaitzis – Mi Jean Kang – Judith Karcheter – Peter Kees – Werner Kernebeck – Soo Youn Kim – Annette Kisling – Ulrike & Günther-Jürgen Klein – Susanne Knaack – Win Knowlton – Andreas Koch – Silke Koch – Eva-Maria Kollischan – Karen Koltermann – Sebastian Körbs – Inge Krause – Christine Kriegerowski – Käthe Kruse – Annette Kuhl – Susanne Kutter – Patricia Lambertus – Nina Langbehn – Gesa Lange – Michael Lapuks – Julia Lazarus – Seraphina Lenz – Sabine Linse – Pia Linz – Christine Lohr – Agnes Lörincz – Petra Lottje – Enikö Márton – Rei Matsushima – Matthias Mayer – Udo Meinel – Manfred Michl – Ulrike Mohr – Mariella Mosler – Leo de Munk – Berit Myrebøe – Ursula Neugebauer – Gertrud Neuhaus – Fernando Niño-Sánchez – NOMDEPLUM – Anja Nowak – Gabriele Obermaier – Lorcan O’Byrne – Mayumi Okabayashi – Juergen O. Olbrich – Jürgen Paas – Lydia Paasche – Christina Paetsch – Jürgen Palmtag – Javier Peñafiel – Roman Pfeffer – Pfelder – Andrea Pichl – Torsten Prothmann – Katja Pudor – Emily Pütter – Maria-Leena Räihälä – Andrea van Reimersdahl – Mirja Reuter – Kai Richter – Renée Ridgway – Gerda Riechert – Yannick Riemer – Matthias Röhrborn – Matthias Roth – rasso rottenfusser – Maike Sander – Walter Santoni – Matthias Schamp – Gisela Schattenburg – Sandra Schlipkoeter – Alexandra Schlund – Sylvia Schultes – Richard Schütz – An Seebach – Olivia W. Seiling – Spunk Seipel – Daniel Seiple – Fabian Seiz – Tanja Selzer – Soji Shimizu – Soyoung Shon – Martina Siefert – Hildegard Skowasch – Elisabeth Sonneck – Jan-Peter E.R. Sonntag – Christina Speer – Petra Spielhagen – Ute Sroka – Anne Staszkiewicz – Alexander Steig – Gabi Steinhauser – Christian Stock – Stock’n’Wolf & Ritterskamp – ststs – Betty Stürmer – Lorant Szathmary – Thea Timm – Peter Torp – Tim Trantenroth – Petra Trenkel – Lukas Troberg – Andrea Übelacker – Anne Ullrich – Timm Ulrichs – Marc Vidal – Anke Völk – Ivo Weber – Albert Weis – Ute Weiss Leder – Markus Willeke – HS Winkler – Andreas Wolf – Markus Wüste – Barbara Zenner – Julia Ziegler – Sandra Zuanovic – H.H. Zwanzig
26th April to 25th June 2023
world in minds
In the past, the world came to the city with the ships; today, they are sealed-off areas and are only regarded as gateways to the world in spirit. With the exhibition “world in minds”, Astrid Busch transports visitors to the major ports of four cities. She artistically approaches the history and present of the ports of Hamburg, Antwerp in Belgium, Le Havre in France, and Istanbul in Turkey, as well as the pace of their shipping traffic. By linking different media and time levels, she creates a dense network of references and a variety of possible readings. She builds settings of installations and objects, photography and film, projection and works on paper, with which she examines places for their sensory perceptibility and their effect on people.
Astrid Busch studied fine art at the Academy of Fine Arts in Nuremberg and at the Berlin Weißensee School of Art. Her works have been included in exhibitions at the Maison des Arts Solange-Baudoux in Évreux, France; the Modern Art Museum in Yerevan, Armenia; the Hetjens Museum in Düsseldorf, Germany; the Museum Kunst der Westküste on the island of Föhr, Germany; and the Kunstpalast Düsseldorf, Germany.
Picture: Nándor Angstenberger
February 7 – April 12, 2023
“When someone asks me what I do as a visual artist, I answer: I am a world builder! But I am also a collector, a folder, a tailor or a searcher, a finder and an archivist. My organically growing constructions are neither models for something nor models of something. They are life designs, proposals and suggestions for new ideas and spatial concepts, but also designs for unrealizable constructions from a parallel world that we only know from literature or mythology. The materials I use for my works are mostly found objects, forgotten, left behind or lost. They have patina, they have traces of life in the form of scratches, discoloration or deformation, and it is these traces of life that make the material interesting for me. They are usually very small, but can also be larger, inconspicuous, readily overlooked, but in their composition they reveal the magic of things. They can also be found objects from nature, fallen branches, worked by seasons and weather, or flotsam, reinterpreted by the forces of water. I would like to invite the viewer to rediscover the small things of everyday life, learning to appreciate the beauty of the inconspicuous and easily overlooked. It is an aesthetic of the imperfect, characterized by asymmetry, roughness, irregularity, simplicity and economy, showing respect for the peculiarity of things. I collect these materials tirelessly, without being tied to a place or fixated on a material. Part of my research is to explore a new place, my future archive of materials and ideas, collecting and sorting first impressions. A big theme in my work right now is my concentric utopian and fantastical landscapes or worldviews. They are very autobiographical, a status quo, an event, a reflection on systems, how to live, how to live and how not to live. What’s happening around us, being part of this society, being an artist, being human. A lot of the material I use I take from nature, but I also give some back to the cycle of nature when I take down the installations. It is also a search for traces that I embark on, the collection of working material, experiences and adventures. My filigree objects are created without sketches or concrete preliminary work. They are guided by my own imagination. Personal notes and experiences find their way into my objects without the usual evaluative order. Despite their often fairy-tale appearance, my works are also commentaries on the crisis of the private sphere and the loss of stable identities. In a globalized world, certainties have finally dissolved, absolutely everything has become material.” (Nándor Angstenberger, 2022)
Nándor Angstenberger wants to invite the viewer to rediscover the small things of everyday life and thus learn to appreciate the beauty of the inconspicuous and easily overlooked. His materials are mostly found objects: Forgotten, abandoned and lost, or found objects from nature. They have patina, they have scratches, discolorations, are deformed. These traces of life are what make the material interesting to him, and it is in their composition that he unlocks the magic of these things. It is an aesthetic of the imperfect, which is characterized by asymmetry, roughness, irregularity, simplicity and economy, thus demonstrating respect for the peculiarity of things. Angstenberger studied fine arts at the Hochschule für Bildende Künste Hamburg and describes himself as a world builder and material archivist. His works have been shown at the Museum Marta Herford, Ludwig Museum Koblenz, Kunsthalle Krems, Kunstmuseum Ahrenshoop, Kunsthalle Emden and Museum Kloster Unser Lieben in Magdeburg, Landesmuseum Stuttgart, Kunstverein Freiburg, Kunstverein Bellevue-Saal Wiesbaden and Zeppelin Museum Friedrichshafen, among others. In addition, stage design installations for New Music in the Paris Philharmonic and for OperaLab in the Ackerstadtpalast, Berlin.
Bild: R.J. Kirsch, Hai
Sonja Alhäuser, Ingmar Bruhn, Kyung-hwa Choi-ahoi, R. J. Kirsch,
Manfred Michl, Susanne Ring
The exhibition Tierisch Opens on November 29, 2022 at 7 pm and shows, until January 25, 2023, with different artistic means views of animals.
Sonja Alhäuser draws many animals that play a role as food and describes, for example, the process of preparation. Recently, horses also occupy a larger, non-culinary, space in her work.
Ingmar Bruhn concentrates in his painting on wild animals, which he captures with rough strokes in their aloofness.
Kyung-hwa Choi-ahoi tells stories in her drawings that deal with the relationship of people to their (domestic) animals.
R. J. Kirsch paints in strong colors animals that he encounters in magazines or the like and thus usually appear more exotic.
Manfred Michl considers in his painting and drawing the interaction between animals and humans.
Susanne Ring deals in her sculptural work with animal forms that can seem unreal but always refer to something animal.
50 Years of Utopia
Holger Biermann, Thomas Bruns, Marula Di Como,
Birgit Szepanski, Lukas Troberg
The exhibition 50 Years of Utopia opens on 30 August 2022 at 7 p.m. and shows, until 23 November 2022, a view with artistic means of the urban structure Fennpfuhl.How does it live in the built utopia?
Holger Biermann captures everyday life in this area with his situational street photography; he moved around Fennpfuhl for weeks to find the motifs.
Thomas Brun‘s room-high architectural photographs convey the breathtaking urbanity of the area. He combines them with photographs of the sculptures and leisure activities from the Fennpfuhl Park.
Marula Di Como and Birgit Szepanski refer to historical aspects of the high-rise housing estate in their installation works.
Marula Di Como uses wooden elements to update decision-making moments in the planning and development of the neighbourhood. In her textile installation, Birgit Szepanski deals with the reality of homelessness, which was not visible in Fennpfuhl in the GDR and is only partially visible today.
Lukas Troberg turns the functional architecture of the area into a theme and stages ventilation pipes, bent bollards and protective hoops as extravagant guests of the exhibition.
They visibly don’t care what others think and stage their exclusivity in an overly conspicuous way. So much so that one could get the impression that they chose their appearance with the public in mind, from whom they actually wanted to distance themselves…
Picture: Uwe Jonas, 250 Jahre Humboldt, Humboldt-Forum, September 2019
The exhibition ALLES IV opens on 21 June 2022 at 7 p.m. and provides an insight into the work of the visual arts with works ranging from photography to oil painting, as well as sculptures and videos, until 24 August 2022.
It is always a concern of the studio im HOCHHAUS to show the current trends in the visual arts in order to offer the residents of Neu-Hohenschönhausen the opportunity to gain an insight into current art production away from the hotspots of the art scene.
The studio in the HOCHHAUS fills its rooms to the rafters with ALLES the participating artists have to offer, representing a range of creativity that enables every visitor to become aware of works that he or she likes. The exhibition also demands time and calmness from the visitors to wander through the rooms, to stroll, and thus to be able to discover something new again and again.
With: Sonja Alhäuser – Michelle Alperin & Joe Neave – Elisabeth Ajtay – Nándor Angstenberger – Martin Assig – bankleer – Heike Kati Barath – Claudia Barcheri – Horst Bartnig – Jürgen Baumann – Michael Bause – Kai-Annett Becker – Matthias Beckmann – Nora Below – Benjamin Berkow – Holger Biermann – Boisseau & Westermeyer – Manuel Bonik – Patrick Borchers – Gunnar Borbe – Kai Bornhöft – Nick Bötticher – David Braithwaite – Thomas Bruns – Ingmar Bruhn – Astrid Busch – Dirk Busch – Alexander Callsen/Boris Jöns – Salomé Chkheidze-Mohs – Herbert De Colle – Marula di Como – Chris Costan – Swen Daemen – Henrike Daum – Ole Debovary – Dellbrügge & de Moll – Helmut Dick – Andreas Drewer – Irena Eden & Stijn Lernout – Manfred Eichhorn – Jürgen Eisenacher – Dana Engfer – Carola Ernst – Sabine Fassl – Christel Fetzer – Frederik Foert – Franziska Frey – Sabine Friesicke – Catherine Gerberon – Ingo Gerken – Katrin Glanz – Christian Grosskopf – Thorsten Goldberg – Carola Göllner – Kerstin Gottschalk – Reinhold Gottwald – Massoud Graf–Hachempour – Kim Dotty Hachmann & Ginny Sykes – Ulrich Hakel – Zandra Harms – Klaus Hartmann – Lisa Haselbek – Michael Hauffen – Tanja Hehn – Tina Isabella Hild – Gerhard Himmer – Annika Hippler – Alekos Hofstetter – Birgit Hölmer – Ralf Homann – Fabian Hub – Irène Hug – Franziska Hünig – Anja Ibsch – Andrea Imwiehe – Verena Issel – Gunilla Jähnichen – Zora Janković – Gabriele Jerke – Uwe Jonas – Jae-Eun Jung – Yuki Jungesblut – Nikos Kalaitzis – Martin Kaltwasser – Mi Jean Kang – Judith Karcheter – Peter Kees – Werner Kernebeck – Annette Kisling – Ulrike & Günther-Jürgen Klein – Andreas Knäbel – Win Knowlton – Andreas Koch – Silke Koch – Susanne Kohler – Eva–Maria Kollischan – Karen Koltermann – Marcel Kopp – Ruppe Koselleck – Andreas Kotulla – Inge Krause – Käthe Kruse – Annette Kuhl – Susanne Kutter – Kim Eun Kyoung – Chantal Labinski – Michael Lapuks – Seraphina Lenz – Pia Linz – Agnes Lörincz – Petra Lottje – Antonia Low – Liz Magno – Enikö Márton – Rei Matsushima – Matthias Mayer – Udo Meinel – Manfred Michl – Hanako Miyamoto – Ulrike Mohr – Mariella Mosler – Leo de Munk – Berit Myrebøe – Christophe Ndabananiye – Silvia Nettekoven – Ursula Neugebauer – Gertrud Neuhaus – Gabriele Obermaier – Lorcan O’Byrne – Mayumi Okabayashi – Juergen O. Olbrich – Jürgen Palmtag – Jürgen Paas – Günther Pedrotti – Roman Pfeffer – Pfelder – Andrea Pichl – Torsten Prothmann – Katja Pudor – Emily Pütter – Maria-Leena Räihälä – Andrea van Reimersdahl – Roland Reiter – Mirja Reuter – Gerda Riechert – Kai Richter – Renèe Ridgway – Matthias Roth – rasso rottenfusser – Robert Rudigier – Andreas Sachsenmaier – Maike Sander – Matthias Schamp – Gisela Schattenburg – Alexandra Schlund – An Seebach – Olivia W. Seiling – Daniel Seiple – Spunk Seipel – Fabian Seiz – Soji Shimizu – Soyoung Shon – Jan-Peter E.R. Sonntag – Elisabeth Sonneck – Christina Speer – Petra Spielhagen – Ute Sroka – Anne Staszkiewicz – Alexander Steig – Christian Stock – Stock‘n‘Wolf – Tommy Støckel – Kamil Sobolewski – ststs – Sven Stuckenschmidt – Betty Stürmer – Max Sudhues – Caro Suerkemper – Lorant Szathmary – Gaby Taplick – Anke Teichel – Thea Timm – Peter Torp – Lukas Troberg – Andrea Übelacker – Anne Ullrich – Timm Ulrichs – Anke Völk – Klaus Walter – Christine Weber – Ute Weiss Leder – Markus Willeke – HS Winkler – René Wirths – Andreas Wolf – Gisela Wrede – Simone Zaugg – Barbara Zenner – Maike Zimmermann – Edgar Zippel – Sandra Zuanovic
Anjana Kothamachu, Antonia Low, Ina Ettlinger, Hans HS Winkler, Harish V Mallappanavar, Rasso Rottenfußer, Vichar B N, Vineesh Amin
The exhibition Responsive Curating Opens on 5 April 2022 at 7pm and, until 15 June 2022, gives a glimpse of the “results” of the “Responsive Curating” of the Indian/German edition.
Imagine that the exhibition space is something like an end device, for example a mobile phone, and the exhibition consists of a data package that downloads and unpacks itself in the space: depending on the size and context of the exhibition space, the artworks change during their installation. “Responsive Curating” experiments with the “exhibition” as a “universal medium” that can communicate in any place. An experimental arrangement with surprising results, especially in view of the current challenges of a pandemic. In the face of limited cultural life, the artists do not rely on a digitalisation of representation strategies or on repackaging in online formats. “Responsive Curating” at studio im HOCHHAUS relies entirely on the power of visual art in physical space and the direct experience and in-depth engagement of visitors with the individual works. Works that certainly deal with the new challenge of a digital culture, global economy and the associated field of tension between identity and universalism. With a view to ecological issues, neither artist travel nor art transport was necessary for the international exhibition. Instead, the curatorial concept of “Responsive Curating” revisits formal principles of instruction-based art of the 1960s, but follows contemporary requirements: These include, for example, the sketching of instructions with vector sizes or the responsive design of the individual objects in the exhibition space. Based on the artistic instructions, the works are realised again for each exhibition venue and recycled in the local material cycle after the end of the exhibition. The aura of the artwork is deliberately not created. The studio im HOCHHAUS is the third stop of “Responsive Curating” after the Venkatappa Art Gallery in the South Indian mega-metropolis Bengaluru 2019 (Exhibition on Flash Drive) and the Kunstraum München 2020.
On display are works by Anjana Kothamachu (Bengaluru), Antonia Low (Berlin & Stuttgart), Ina Ettlinger (Munich), Hans HS Winkler (Berlin), Harish V Mallappanavar (Haveri), rasso rottenfusser (Riva del Garda and Munich, Vichar B N (Bengaluru) and Vineesh Amin (Bengaluru). The artworks are based on the artists’ digital instructions and were specially produced in Munich for the exhibition. They question, among other things, the change of time through the Corona pandemic, the function of original and copy on the global art market, the role expectations of or wishful projections on artists and the political possibilities of shaping in diversified globalised and postcolonial contexts.
Picture: Peter Herlitze, 1980
Peter Herlitze, one from here
The exhibition with Peter Herlitze opens on 26 January 2022 and provides an insight into the work of an artist from Neu-Hohenschönhausen, precisely “one from here”, until 29 March 2022. On Sunday 30 January there will be a soft opening from 2 to 6 p.m., the artist will be present.
With the exhibition of Peter Herlitze‘s work, the studio im HOCHHAUS is taking a new approach. Not only is an artist being exhibited who lives “around the corner” in Neu-Hohenschönhausen, but he has also only ever pursued his artistic work alongside his profession as a graphic designer.
Nowadays, artists like to talk about their “bread and butter job” that keeps them going. Peter Herlitze, on the other hand, decided early on to continue to pursue his passion for visual art alongside his creative gainful employment. Since the early 1970s, this has resulted in a broad, diverse body of work ranging from relief prints to watercolour, oil and acrylic paintings to woodcarvings. The “bread job” partly influenced this, in which, for example, texts to the pictures played an important role. The studio in the HOCHHAUS exhibits a selection of Peter Herlitze’s work without pursuing a retrospective intention. The aim is to show the breadth of the work and to read it in the context of its creation.
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