Is Return of King's website anti-capitalist

Ann-Josephin Dietz: CARPE DIEM. Holistic Nail Concepts

Satellite Stuttgart No.3: Ann-Josephin Dietz

Project and space grant No. 3

 

 

05/12 until May 26th, 2021

 

The nail studio Holistic Nail Concepts is run by Alana Heubeck, who is also the owner and holistic color coach of the CARPE DIEM practice. After a personal consultation, she will use a zoom to put together an individual nail set, tailored to the constitution type, for the interested party. This can then be picked up in the nail salon and used independently with instructions. The open consultation hours on site and the Instagram channel @heubeckalana give passers-by an insight into the working methods and personal contact with Alana Heubeck.

 

Ann-Josephin Dietz studied from 2013–2020 at the State Academy of Fine Arts in Stuttgart and at the University of Edinburgh (degree: diploma). She works with the media of photography, performance, video, intervention and installation. With her artistic projects she has been in numerous group exhibitions, including in the UG Museum Folkwang, Essen; Parrotta Contemporary Art Gallery, Bonn; EIGEN + ART showcase, Leipzig; Heidelberg Art Association; Minshar Gallery, Tel Aviv; AKKU project space, Stuttgart and Staatsgalerie Stuttgart represented.

 

opening hours

Mondays noon-2 p.m., 3 p.m.
Tuesdays 12 noon-2 p.m., 3 p.m.-6 p.m.

 

Live events on Mondays at 2 p.m. and Tuesdays at 5 p.m.

 

Personal appointments by arrangement at alana-heubeck (at) web.de

 

More about the Stuttgart satellite project at:

Instagram: satellit_stuttgart

 

 

The following artists: inside and collectives were selected for the satellite space and project grants 2021 at Schlossplatz:

 

Episode i
Wed 04/14/21 - Wed 04/28/21

Lowland

 

Episode II
Wed 04/28/21 - Wed 05/12/21

Thomas Weber

 

Episode III
Wed 12.05.21 - Wed 26.05.21

Ann-Josephin Dietz

 

Episode IV
Wed May 26, 21 - Wed June 9, 21

Friedrich Hensen

 

Episode v
Wed 6/9/21 - Wed 6/23/21

Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed 06/23/21 - Wed 07/07/21

Family of lines

 

 

SATELLIT STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and funded by the Wüstenrot Foundation as part of the special funding for culture despite Corona.

 

The current situation brings many challenges for self-employed artists, designers and cultural workers. The Stuttgart satellite is intended to be a platform through which free projects can now be seen. We want to strengthen our local network and generate extensive, interdisciplinary dialogues.

 

We are looking for new places for art in public space and wish for cooperation and collaboration between different actors, in order to continue to produce art in our current reality and to make it tangible.

 

With Satellit Stuttgart we are creating a new format of a temporary, inner-city art space to which we invite professional solo independent artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), an empty shop space in downtown Stuttgart becomes a temporary studio, exhibition and gallery space, as well as an area for intervention and experimentation for cultural workers from various fields.

 

The project grants are awarded to an artist: in (or an artist group / collective) for two weeks (14 days).

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart

We invite Michael Dreyer to our seventh Tuesday workshop.

 

 

is an artist and designer. He works with installation media and makes films in which he sometimes performs himself. Dreyer founded the project in 2006 WHERE. Disk museum as a temporary exhibition space in Stuttgart, continued in the form of film performances (studio, 2012, by Peter Ott, and Angled, 2021 ff., Video review by and with Dreyer). Last exhibition Community work / society pieces, Badischer Kunstverein, Karlsruhe, 2016. The publication Michael Dreyer - Theory and Plastic, ed. by Helmut Draxler with texts by Barbara Buchmaier, Kai van Eikels and Felix Ensslin, published in 2016 by Verbrecher Verlag, Berlin. Dreyer is responsible for the design of nGbK, the new society for fine arts, Berlin and the series Polyps published by bbooks, Berlin. He is professor for visual communication at the Merz Academy, University of Design, Art and Media, Stuttgart, and was involved in its realignment in 1983; has lived in Stuttgart since 2002.
www.michaeldreyer.info

 

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The Künstlerhaus invites one: n artist: in, or a collective - meaning all artists and cultural workers across all disciplines and across disciplines - to speak about their working methods, their backgrounds and approaches. We want to establish a platform in which there is more intensive exchange on artistic practice and in this way network, show solidarity and strengthen one another.

 

The series is aimed at all members of the Künstlerhaus Stuttgart, at artists living in Stuttgart and the surrounding area or in transit, at all cultural workers, art educators, curators, etc. and is open to everyone!

 

The new format was initiated by Ronald Kolb and is supported by the advisory board of the Künstlerhaus.

Satellite Stuttgart No 2: Thomas Weber
Pictures from the surrounding area

Project and space grant No. 2

 

 

04/29 until May 12th, 2021

 

“For several decades I have been using acrylic paints to paint pictures on paper in a standard format (A3). These are mostly abstract forms, which, however, show references to the real world and always have anthropological references. The relation to human existence is decisive. With geometric shapes that fly through the pictorial space as creatures, slide ... but also with architectural elements in the form of cuboids; With objects such as ships, flying objects or landscapes, I tell basic things about human existence. The world of forms always has something essential and is closely related to my sculptural work.

The pictures are created in large series. I like to show them in coherent rhythms, e.g. as large wall installations. Each picture has its right to exist as an individual picture. Another exciting moment are of course the developments that are becoming visible in the larger context, and not just on a daily or monthly basis, but also over years and decades.

The serial work is a main characteristic of my artistic work. There are also other work complexes that are similar and whose development I have been driving forward over decades, always focusing on the human relationship. "

 

Thomas Weber is present at the following times from 2 p.m. to 6 p.m.:

 

Thursday 29.4. // Fr. 30.4. //So. 2.5.//Tue. 4.5. //Do. 6.5. // Fr. 7.5.//Sa. 8.5.// Mon.10.5 // Tues. 11.5.

 

More about the Stuttgart satellite project at:

Instagram: satellit_stuttgart

 

 

 

The following artists: inside and collectives were selected for the satellite space and project grants in 2021 at Schlossplatz:

 

Episode i
Wed 04/14/21 - Wed 04/28/21

Lowland

 

Episode II
Wed 04/28/21 - Wed 05/12/21

Thomas Weber

 

Episode III
Wed 12.05.21 - Wed 26.05.21

Ann-Josephin Dietz

 

Episode IV
Wed May 26, 21 - Wed June 9, 21

Friedrich Hensen

 

Episode v
Wed 6/9/21 - Wed 6/23/21

Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Episode VI
Wed 06/23/21 - Wed 07/07/21

Family of lines

 

 

SATELLIT STUTTGART is an association of artists: in cooperation with the Künstlerhaus Stuttgart and funded by the Wüstenrot Foundation as part of the special funding for culture despite Corona.

 

The current situation brings many challenges for self-employed artists, designers and cultural workers. The Stuttgart satellite is intended to be a platform through which free projects can now be seen. We want to strengthen our local network and generate extensive, interdisciplinary dialogues.

 

We are looking for new places for art in public space and would like cooperation and collaboration between different actors: inside, in order to continue to produce art in our current reality and to make it tangible.

 

With Satellit Stuttgart we are creating a new format of a temporary, inner-city art space to which we invite professional solo independent artists, designers and collectives from Stuttgart and the surrounding area.

 

For 3 months (April-July), an empty shop space in downtown Stuttgart becomes a temporary studio, exhibition and gallery space, as well as an area for intervention and experimentation for cultural workers from various fields.

 

The project grants are awarded for two weeks (14 days) to an artist: in (or an artist group / collective).

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart

 

We invite you to a conversation with the artist Eva Barto. Organized in connection with their current exhibitions at the Künstlerhaus Stuttgart and the Kunstverein Nürnberg.

 

April 27, 2021, 7 p.m.

 

Online: https://us02web.zoom.us/j/89943878326

 

Milan Ther (Director, Kunstverein Nürnberg) and Eric Golo Stone (Artistic Director, Künstlerhaus Stuttgart) take part in the discussion.

 

The works of the artist Eva Barto are characterized by a situation-specific questioning of the conditions and relationships within which her works are produced and disseminated. In doing so, Barto often internalizes the existing socio-economic and material conditions of a certain place, uses them for her own artistic creation and increases their complexity. Barto's exhibition in the Künstlerhaus Stuttgart deals with the economic law framework with which financial donations are handled in the art field. Instead of just thinking about the administrative structures behind monetary gifts, financial support and philanthropy in general, the exhibition creates a series of specific business relationships between supporters and beneficiaries, donors, sponsors and the respective beneficiary. The legal framework for these business relationships and their respective consequences are provided by contracts that the artist developed and enforced specifically to manage the funds for her exhibition. Barto sees dealing transparently with financial donations and disclosing compensatory payments in the art field as a criticism of idealized notions of independence and as an opportunity to emphasize the chaotic, confused and consequently actually lived working relationships and relationships that result in dependencies.

 

 

Please note:

Due to current health regulations, the exhibition is currently closed. Current information on the reopening of the exhibition rooms can be found on the Künstlerhaus website. The website also informs you about our digital offers in connection with the exhibition.

 

It is our common wish to be able to reopen the showrooms as soon as possible under the best security conditions. As a public institution, the Künstlerhaus feels it has a responsibility to visitors and staff to take the greatest possible precautions in order to prevent the further spread of the COVID-19 virus.

 

For us, radical care is not just lip service or a theoretical concept - art spaces must also implement concepts of radical empathy and care on a political level. We are continuously working behind the scenes to ensure that the Künstlerhaus Stuttgart, when it opens again, can also allow people with an increased risk of infection to visit.

New board member at the Künstlerhaus Stuttgart

On March 25, 2021, the members of the Künstlerhaus elected a new board and advisory board. The meeting, which was actually planned for 2020, was postponed to spring 2021 due to the pandemic and ultimately had to be carried out digitally. Nevertheless, the Künstlerhaus was able to record a record attendance at this general meeting. The following were elected to the advisory board: Yvette Hoffmann, Björn Kühn, Florian Model, Monika Nuber, Jasmin Schädler and Damaris Wurster. The new board consists of:

Ania Corcilius (1st board member), Anna Schiefer (2nd board member) and Daniel Niccoli (treasurer).

 

 

 

 

Together with the advisory board, the board would like to strengthen the importance of the Künstlerhaus as an institution of the city of Stuttgart, which sets impulses at the forefront of the international art discourse. At the same time, closer interlinking of the curated program with the artistic production on site and with urban society is sought. The aim is to expand the Künstlerhaus as a place of vital artistic debate at the highest level in Stuttgart and to make it visible.

 

 

Room and project grants at Schlossplatz

 

The following artists: inside and collectives were selected for the satellite space and project grants 2021 at Schlossplatz:

 

Wed 04/14/21 - Wed 04/28/21

Lowland

 

Wed 04/28/21 - Wed 05/12/21

Thomas Weber

 

Wed 12.05.21 - Wed 26.05.21

Ann-Josephin Dietz

 

Wed May 26, 21 - Wed June 9, 21

Friedrich Hensen

 

Wed 6/9/21 - Wed 6/23/21

Min Bark, Mizi Lee, Johanna Mangold, Paula Pelz

 

Wed 06/23/21 - Wed 07/07/21

Family of lines

 

 

SATELLITE STUTTGART is an association of artists in cooperation with the Künstlerhaus Stuttgart and funded by the Wüstenrot Foundation as part of special funding Culture despite Corona.

 

The current situation brings many challenges for self-employed artists, designers and cultural workers. Satellite Stuttgart should be a platform through which free projects can now be seen. We want to strengthen our local network and generate extensive, interdisciplinary dialogues.

 

We are looking for new places for art in public space and would like cooperation and collaboration between different actors: inside, in order to continue to produce art in our current reality and to make it tangible.

 

With Satellite Stuttgart we are creating a new format of a temporary, inner-city art space, to which we invite professional solo independent artists, designers and collectives from Stuttgart and the surrounding area to apply with a project proposal.

 

Satellite turns an empty shop space in downtown Stuttgart into a temporary studio, exhibition and gallery space, as well as an area for intervention and experimentation for cultural workers from various fields for 3 months (April-July).

 

The project grants are awarded for two weeks (14 days) to an artist: in (or an artist group / collective). Included are the use of the retail space and a project cost grant / fee of € 800. The project scholars organize the assembly / dismantling and transport themselves.

 

Project management: Karima Klasen, in cooperation with the Künstlerhaus Stuttgart

 

Current information:

Instagram @satellit_stuttgart

www.kuenstlerhaus.de

Contact: [email protected]

 

 

We invite Ania Corcilius to our sixth Tuesday workshop. Due to the current regulations, this event will also take place online. You can take part in the event via zoom under the following link:

 

Join the Zoom meeting

 

https://us02web.zoom.us/j/86556521495?pwd=d3l6aENSTUFhZ3RoQjk4UUQzd2NTZz09

 

Meeting ID: 865 5652 1495
Identification code: 656406

 

studied at the HfbK Hamburg and the Whitney Independent Study Program New York. The thematic focus of her artistic-curatorial work is the city as a social space. After many years, first in Berlin and then in San Francisco, Ania Corcilius now lives with her family in Stuttgart. Since 2018 she has been involved in the Stadtlücken e.V.

 

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From October 2020, every second Tuesday of the month at 7 p.m., artists and cultural workers will meet in the Künstlerhaus Stuttgart to present their artistic practice and to exchange ideas with others, to discuss things and to get to know each other better.

 

The Künstlerhaus invites one: n artist: in, or a collective - meaning all artists and cultural workers across all disciplines and across disciplines - to speak about their working methods, their backgrounds and approaches. We want to establish a platform in which there is more intensive exchange on artistic practice and in this way network, show solidarity and strengthen one another.

 

The series is aimed at all members of the Künstlerhaus Stuttgart, at artists living in Stuttgart and the surrounding area or in transit, at all cultural workers, art educators, curators, etc. and is open to everyone!

 

The new format was initiated by Ronald Kolb and is supported by the advisory board of the Künstlerhaus.

Unusability Might be Assumed Unless There are Signs Indicating Otherwise

Please note: Due to the developments in the corona pandemic, the exhibition is closed until further notice. The Künstlerhaus Stuttgart will send an additional notice as soon as the exhibition space is open again.

The focus of Ramaya Tegegne's exhibition in the Künstlerhaus Stuttgart is the artist's experience of the conflicting role of art institutions that adopt an anti-racist stance, but at the same time actively promote racialized inequality. This huge gap between declared and actual politics is, according to Tegegne, widespread in the arts. This gap is currently the focus of social attention insofar as various social movements no longer only advocate equal opportunities with regard to the individual accessibility and representation of BIPOC in institutions, but want to break up structural racism and demand common organizational and administrative structures. Tegegne's exhibition deals on the one hand with how strongly racialized selection criteria and appropriation practices still determine the functioning of art institutions today, and on the other hand with how these historically grown and fixed structures are reflected in everyday life.

 

Tegegne's new film work presented in the exhibition Framer Framed[1] shows an advisory meeting of the board of directors of an unnamed cultural institution in French-speaking Switzerland. This fictional board meeting is based on a true story from 2019 when a group of black male migrants were forced to leave the foyer of a state-funded Swiss cultural institution that was making a film about the discrimination and exclusion of black male migrants in Switzerland showed. An employee of the institution asked the group of people to leave the foyer on the grounds that they were hanging around and disturbing sponsors when they were watching a film. According to Tegegne, this event must be read in the context of the long history of anti-black laws regarding "loitering" and vagabonding, as well as in the broader historical context of racist legislation on property rights and public space. Framer Framed is a response to this specific event that Tegegne personally experienced and in which she intervened by first confronting the employee and then addressing the institution's board of directors with a jointly organized letter campaign. Since the institution did not comment in detail on the contact measures chosen, nor did it provide ways and means to jointly discuss possible appropriate retaliation and compensation measures, Tegegne looked for other ways of organizing a hearing on the matter.

 

The scripted, staged and acted deliberations in Framer Framed present a place of administrative structures, judgments and dispute settlement that operates beyond the updated historical reality of institutional procedures that regulate property rights and relationships on the basis of racialized exclusion and expropriation criteria. Rather, Tegegne's film embodies a collective experience of joy, solidarity and defiance, and at the same time bears witness to a painful result: a comprehensive consultation of the institutional board on the equality of BIPOC was ultimately only realized in the fiction of the artistic work. And this painful result - which goes hand in hand with a real, active system of oppression that completely relegates BIPOC's claims for recourse to the realm of words, not deeds - is the result of the deceitful deception that Tegegne believes is specific to the functioning of the art field . In the letter campaign, Tegegne had asked the organizers of the presentation of the film - which dealt with the discrimination and exclusion of black migrants in Switzerland - as well as the board of the organizing institution to advocate anti-racist guidelines and to implement them themselves. The fact that the institution did not comment on these political demands while at the same time showing an artistic work that dealt directly with the content of the demands is an example of how art institutions prevent structural changes by removing artistic content from their own production and distribution - Decouple and reception conditions. What role do art and cultural organizations play in this context if their own positions on social justice persist on a purely substantive level? What should artists do as content producers when institutional behaviors are in direct conflict with the values ​​that their artistic work expresses? Which methods and techniques can artists use to bring their symbolic, affective and sensory interventions into harmony with the structures that manage and regulate these artistic interventions?

 

Framer Framed makes use of the reflexive, situation-specific and interventionist theater methods that the Brazilian author, dramaturge and pedagogue Augusto Boal developed in the 1950s and 1960s from the traditions of Black Experimental Theater in New York and during the time he spent at the Teatro de Arena de São Paulo has organized forum theater productions in Brazil. Boal's Forum theater productions brought disadvantaged local communities together in the theater space to develop political goals and demands for their communities through role plays and workshops. To portray the advisory sessions recorded for Framer Framed, Tegegne cast filmmakers and actors who identify as black and live and work in French-speaking Switzerland, including a person who was directly involved in the event in 2019. Another forum theater method Tegegne uses for her film is a mixture of scripted scenes and unscripted inputs and feedback given by the cast and production staff during the shooting of the advisory scenes on set. At one of the central points, the actors and production staff discuss in front of the camera, free of any script, about their respective reasons for working on the film and about what the fictitious staged consultation of the board of directors says about the field of artistic production. While the scripted part of the deliberations is often based on satire, it was important for Tegegne to underpin the aspect of alienation and the real conditions of the production work of Framer Framed to disclose immediately. Beyond film production, it was a matter of concern for Tegegne that in Framer Framed treated political imperatives with a survey of the institutional context of the Künstlerhaus Stuttgart and its role in the reception of their film, but also of their exhibition in general.

 

While preparing Unusability might be assumed unless there are signs indicating otherwise[2] Tegegne has dealt with the exhibition history of the Künstlerhaus Stuttgart and created an economic structure to manage the means of production for her exhibition. Tegegne is the first black person to have produced a comprehensive solo exhibition for the Künstlerhaus Stuttgart since it was founded in 1978. This historical circumstance points the way for some of the decisions that the artist has made regarding the dramaturgy and use of the space in which her work is shown. With a barrier made of semi-transparent theater curtains, Tegegne has isolated a large part of the room in such a way that it is largely inaccessible to visitors and hides any possibility of overlooking the room. The artist's ambivalence towards the use of a space that has not developed further in order to be usable for her becomes clear throughout the exhibition. First of all, it is expressed in the concealing and at the same time transparent border. The empty part of the room is blocked for arguments, but the barrier is softened by the semi-transparent fabric that functions as an optical filter - a clear obstacle and a soft focus lens at the same time. And then there is the room designed by Tegegne for watching a film: a little apart, a place of retreat that welcomes visitors and conveys a feeling of intimacy, openness and comfort. In addition to the symbolic, affective and sensory encounters that the theater curtain structure creates, Tegegne has questioned the usefulness of the financial conditions with which exhibition houses usually work. In preparation for her exhibition, the artist founded a registered association that provides an organizational basis for her work and, in accordance with association law, enables her to manage the financing of her exhibition more directly. For example, the third-party funds applied for for their exhibition are transferred directly to the association and not, as is usually the case, processed through the host institution. With the help of this economic and legal structure, the artist manages the funds necessary for her own work as well as for additional employees without the institutional intermediary of the host institution, which otherwise has the central overview and reporting responsibility according to its tax liability. By directly linking her artistic interest and its implementation to material foundations, Tegegne's exhibition mobilizes Black Ambivalences [3] against the usefulness of established, inherited structures of art institutions.

 

[1] Tegegne borrows the film title from: Trinh T. Minh-ha, Framer Framed, Routledge, 1993
[2] Tegegne's inspiration for the exhibition title comes from the writings of Sara Ahmed, in particular: Sara Ahmed, What's the use? On the uses of use, Duke University Press, 2019, p. 57
[3] Ambivalence is an active, critical positioning, not a passive state of contradiction. "Ambivalence" and various forms of "Black Ambivalence" were first formulated in the Black Studies and Black Radical Traditions. In this context, the term “double conscience” should also be mentioned, which is often associated with William Edward Burghardt Du Bois, who introduced this term into sociological and political discourses, especially in his seminal publication The Souls of Black Folk (1903; Ger. The black soul (2003)). The need for "ambivalence" has also been discussed in intersectional and black feminist writings that seek to break up the fixed and oppressive dichotomies that intersectional networked feminist work has historically prevented.