Resonanz from Feb 26 – May 4, 2020

A new Exhibition for Lore Galitz in Hamburg Blankenese.

The Vernissage is on Feburary 26 and she will have a Finissage on April 5, 2020.  If you would like to visit Lore in her studio, the studio address is Holzhausener Str. 12, 81379 München. I suggest you call to make an appointment.  If you would like to see more of her work, you can check out her website or the landart project she helps organize.   You can connect with Lore Galitz through

Here are a few Words in German about the Exhibition:

Resonanz Installation, Fundholzskulpturen und Papierarbeiten von Lore Galitz Die in München lebende Künstlerin versteht sich als Brückenbauerin zwischen Spiritualität und Kunst. Sie arbeitet in enger Verbindung mit der Natur. Hölzerne Fundstücke versieht sie behutsam mit Gold und arrangiert sie mit Sand und ungesponnener Wolle zu Feldern von meditativer Kraft, ebenso schön wie vergänglich.

Aschermittwoch, 26. Februar, 20 Uhr | Gemeindehaus Vernissage mit Einführung von Thomas Sello, Kunsthistoriker Musik: Brigitte Bollmann

So 5. April, 17 Uhr | Kirche Anlässlich der Finissage lädt Lore Galitz zu einer Mitgefühlsperformance ein. Bitte einen Stein zum Loslassen mitbringen!

Go to a Sexy Exhibition – December 2—9 2016 – Katrin Klug and Greig McArthur Erotic Art


A few years ago, we had Stand Up for your Art in Haidhausen and a group of Munich Artists brought their artwork and shared a few hours with each other on a chilly winter day.

Two artists, Greig McAuthur and Katrin Klug were there and found that they shared a love of art in a similar genre—erotic.

One of the fun things about Munich Artists is that we get to meet artists who do all kinds of artwork and who work with different kinds of materials and, create art for all different kinds of reasons.


Tomorrow starts an exhibition at McArthur & McArthur of Katrin Klug‘s and Greig McArthur artwork.  If you are into Erotic artwork, you will enjoy this exhibition of small art pieces focused on this art niche.

Here are a few closeup shots of exhibition art pieces. If you can’t make it to the exhibition, you can  watch their live stream to see the full pieces and purchase artwork.  Yes, you heard me right, they live-stream.


100 for 10 – An Art Book Exhibition

WARNING: I use love in this post.

Hello Munich Artists! I surfaced today from writing offline because Ines Jung called me yesterday and asked if I got her PR package for 100 for 10 an art book exhibition and I thought BOOKS!  I love books, let me dig through my email and look for her PR packet.

You know how I feel about PR packets or just sharing posts about exhibitions like a marketing robot. I dislike regurgitating content second hand but I love books and I decided to write a post about the 100for10 project created in Munich.


100for10 project



Reflektor M is hosting the exhibition of 67 publications that are showcasing works by international artists.  The art books are all available print on demand.  Each book is 100 pages and costs 10 Euro which means you can afford to buy more than one.

The concept has been created by Melville Brand Design. You know, I love books and I love sharing artwork in books and I love making books and  I have been asking for an art book fair in Munich.  This little exhibition is the closest we have gotten so far. (One company making art books does not make an art book fair but it is the seed for one!)

On December 8, 2016 in München at Löwengrube 10 (starting at 1800) you can see all 67 books on display.

 I’m so curious and can’t wait!


100for10 project


The website for the project is 100for10.  I will be at the exhibition to take some photos of the books on the 8th which I will share on Facebook. If you see me there, say hi.


KloHaeuschenSpa Appointments.

If you have not signed up for the KlohHaeuschen Spa, we have a few appointments left. This installation experience has been awesome and I want to thank everyone who has participated and made this possible. It has been great to meet art supporters who are not actually artists.

Munich Artists Cards.

The paper box versions arrived this week. The party decks and the deluxe decks will be available for sale through and you can email me at to pick up a deck at the studio or at the KloHaeuschen Spa or anywhere downtown when I’m not busy making art.

Munich Stories 2016

Munich Stories 2016 is downtown.  This is our first book for the project and you can pick up a copy at Frauenstrasse 18 or order one through We will have a digital version out soon so that you can carry it around on your kindle or

We will have a digital version out soon so that you can carry it around on your kindle or ibook.  If you want to be involved in the book creation part of this project, please let me know. I would like to make a limited run of art books for this project next year.







Haus der Kunst – Postwar: Art Between the Pacific and the Atlantic, 1945-1965

I can’t wait for this exhibition!  I’m posting everything they have available for the public associated with the exhibitions during the next few months and I will make another post after I visit the museum press tour.  The text below is a copy and paste job and because it is soooooo long, please try skimming through.  There are some really super cool events associated with this exhibition. (I’ve highlighted one that you absolutely should see!)
Anwar Jalal Shemza
The Fable, 1962,
68,00 x 47,00 cm (with frame), Oil on hand dyed cloth on mountboard, Aphra Shemza, London, Copyright the Estate of Anwar Jalal Shemza
Exhibition and Associated Events
Haus der Kunst will have the following program in conjunction with its exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965”.
The broad-based events explore crucial questions concerning the art, politics, and social contexts of the postwar era along with programs related to concurrent exhibitions on view in the museum.
The exhibition guides visitors through the first 20 years following the end of World War II, demonstrating how artists coped with and responded to the traumas of the Holocaust, the atomic bombs on Hiroshima and Nagasaki; how the two political blocs of the Cold War exploited the arts and created competition between realism and abstraction, and how displacement and migration produced new cosmopolitan contexts across the world.
The postwar period also marked the end of European colonial systems; the rise of nation-building, decolonization and liberation movements; the partition of countries in Europe, Asia, and the Middle East; as well as the civil rights movement in the United States.
These changes unleashed an incredible energy visible in the art of the time. New technologies began to pour into everyday life; the space age fascinated artists as well as the masses, opening up a completely new and dynamic field of artistic consideration.
Cinema Season – “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” Sundays, 14.10.16 – 26.03.17, noon – 8 pm Curated by distinguished scholar and curator Mark Nash, this cinema season presents a series of tightly contextualized vignettes that explore the work of cutting-edge auteurs from India, Japan, Italy, France, Senegal, Brazil, Poland, China, former Yugoslavia, Egypt, the Netherlands, and the former USSR.
The program offers insights into Postwar Atomic Cinema, French New Wave, Italian Neo-Realism, Cinema Novo, and Black Wave and, amongst cinematic movements through thematic, genre, and monographic surveys.
Every Sunday from 12 to 8 pm in our auditorium, two or three films accompanying the exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” will be screened. Tickets 5€ (without exhibition entrance ticket) Free admission with exhibition entrance ticket. Please visit our website for the full program.
Free admission Inaugural Lecture series and curatorial roundtable accompanying “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” Friday, 14.10.16, 7 pm Following the exhibition opening, the inaugural lectures will be held by art historian Katy Siegel, curator of the exhibition, and Geeta Kapur, art critic and curator; two of the preeminent experts in postwar modern art.
The lectures will be followed by a roundtable discussion with Chika Okeke-Agulu, associate professor of art history at Princeton University, and editor of “Nka: Journal of Contemporary African Art”; Ulrich Wilmes, curator of the exhibition and chief curator of Haus der Kunst; and Okwui Enwezor, curator of the exhibition and director of Haus der Kunst.
The event will offer an in-depth art historical overview of the themes and scope of the exhibition.
Katy Siegel, curator of the exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965”, is the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University, and Senior Programming and Research Curator at the Baltimore Museum of Art. Her books include “’The Heroine Paint’: After Frankenthaler”; “Since ’45: America and the Making of Contemporary Art”; and “Abstract Expressionism”.
She has written catalogue essays on modern and contemporary artists Willem de Kooning, Wols, Georg Baselitz, Frank Stella, Magnus Plessen, Eberhard Havekost, Sharon Lockhart, and Sarah Sze, and she is a contributing editor at Artforum. Curated exhibitions include “Painting Paintings (David Reed) 1975” (co-curated with Christopher Wool); “Light Years: Jack Whitten 1971-1974”; “The Matter that Surrounds Us: Wols and Charline von Heyl”; and “High Times Hard Times: New York Painting 1967-75”. She is co-curator of Mark Bradford’s installation of the American Pavilion at the 2017 Venice Biennale. 5 Geeta Kapur is a Delhi-based critic and curator. Her essays have been extensively anthologized; her books include “Contemporary Indian Artists” (1978); “K.G. Subramanyan” (1985); “When Was Modernism: Essays on contemporary cultural practice in India” (2000); “Critic’s Compass: Navigating Practice” (forthcoming). She was a founder-editor of “Journal of Arts & Ideas” and member of the advisory council “Third Text”. She is trustee/ advisory editor of “Marg” and editorial advisor of “ARTMargins.” Curatorial projects include “Dispossession” (Johannesburg Biennale, 1995); “Bombay/Mumbai, Century City” (Tate Modern, co-curation, 2001); “subTerrain” (House of World Cultures, Berlin, 2003); and “Aesthetic Bind” (Chemould, Mumbai, 2013-14). She lectures internationally and has held visiting fellowships at the Institute of Advanced Study, Shimla; Nehru Memorial Museum and Library, Delhi; Clare Hall, University of Cambridge; as well as Jawaharlal Nehru University, Delhi.
Chika Okeke-Agulu is Associate Professor of art history at Princeton University, and editor of “Nka: Journal of Contemporary African Art”. He has co-organized several art exhibitions, including the Nigerian Pavilion at the First Johannesburg Biennale, 1995; “Seven Stories About Modern Art in Africa” (Whitechapel Art Gallery, London, 1995); “The Short Century: Independence and Liberation Movements in Africa, 1945-1994” (2001); The Fifth Gwangju Biennale (2004), and “Who Knows Tomorrow” (2010). His books include “Contemporary African Art Since 1980” (2009); “Who Knows Tomorrow” (2010); “Postcolonial Modernism: Art & Decolonization in 20th-Century Nigeria” (2015). In 2016, he won the College Art Association Frank Jewett Matther Award for Distinction in Art Criticism. Chika Okeke-Agulu is a columnist for “The Huffington Post” and Blogger at “Ọfọdunka”.
Introduction and moderation by Okwui Enwezor, Director Haus der Kunst Tickets 5 €
Improvise NOW!!! Panel Discussion and Concert Saturday, 22.10.16, 6 pm and 8:30 pm Panel Discussion: Internationalism and Darmstadt: Beyond New Music Saturday, 22.10.2016, 6 pm On the occasion of the 70th anniversary of the Darmstadt International Summer Course for New Music in 2016, this panel discussion will reflect on the seminal impact of the unique international gathering over the course of the last seven decades. Founded by Wolfgang Steinecke in 1946, the Darmstadt International Summer Course for New Music is one of the most important platforms in the world for the music of our time. It took place for the first time at Kranichstein Hunting Lodge, before the gates of an utterly destroyed city and amidst the debris of postwar reconstruction in Europe. The Darmstadt summer courses are associated with significant figures in contemporary music after 6 1945, and were the site for vehement aesthetic debates, and sometimes controversies, concerning the future of composition, representation of gender, or nonwestern music. The discussion will take a presentation of the exhibition “historage” as a starting point that commissioned nine international artists to re-examine the archive of the International Summer Course for New Music in commemoration of its 70th anniversary in 2016.
A concert presentation by Ensemble Musikfabrik follows the discussion, with a special guest appearance by the composer and improviser Michael Wertmüller. Speakers Michael Rebhahn is a freelance musicologist and music journalist in Frankfurt. He studied musicology, art history, and philosophy; finishing with a PhD in musicology. From 1997 to 2000 he worked as an assistant editor for the “Neue Zeitschrift für Musik” and as an author for the cultural television program 3sat-Kulturzeit. He is also a lecturer in musicology at the Goethe University Frankfurt and Folkwang University of the Arts Essen. Since 2000 he has produced numerous radio features for contemporary music stations such as Deutschlandradio Kultur, hr2-kultur, SWR 2, and WDR 3. In 2007 he was editor-in-chief for New Music at the Hessischer Rundfunk. Since 2012 he has worked as a lecturer at the International Summer Course for New Music Darmstadt and co-editor of the series “Darmstädter Beiträge zur Neuen Musik”. Rebhahn is the curator of the exhibition “historage”. Olaf Nicolai (lives and works in Berlin) studied German Literature and Philology in Leipzig, Budapest, and Vienna and completed his PhD in 1992. The artist has developed a wide range of interdisciplinary projects that challenge the elemental experiences of space, time, and corporeality. Whether based on a science-fiction novel, a piece of music, or industrial crafts methods, Nicolai’s works examine social behaviour and how it is influenced by the physical and historical aspects of particular spaces.
Nicolai has staged a number of musical performances in recent years, including “Innere Stimme” (2010); “Escalier du Chant” (2011); and, most recently “Non consumiamo…(to Luigi Nono)”, which was commissioned by the 56th International Art Exhibition – La Biennale di Venezia. Olaf Nicolai has been awarded several grants, including the grant of the Studienstiftung des Deutschen Volkes at the Studies Centre for Art and Science in Venice (1993), the P.S.1 Museum Grant, New York (1998), the IASPIS Grant, Stockholm (2000), Art Award Wolfsburg (2002) and the Grant of the City of Paris (2007), grant at the Villa Aurora, Los Angeles (2008).
Ensemble Musikfabrik has developed a dedicated following and reputation as one of the leading ensembles for contemporary music in Europe since its formation in 1997. The Cologne-based international soloist ensemble is particularly devoted to artistic experimentation and innovation through performing new, unknown, and commissioned works. The results of their extensive work, often 7 in close collaboration with the composers, are presented in a program of about 80 concerts a year in both Germany and abroad, at festivals, in their own series “Musikfabrik in WDR”, and in regular radio recordings and CD productions. Michael Wertmüller is a Swiss composer and improvisor whose speculative music is full of raw power. Wertmüller is a virtuoso both as a composer and drummer. Literary texts underlie several of his pieces: from Nietzsche in “Dunkel-Zeiten” (Dark Times); from Beuys in “Das Zimmer” (The Room); a bizarre play from Thomas Bernhard in “William”; and “Entleibung” (Decorporeal) runs through a triptych by Francis Bacon. The text images are of course not a subject that is copied into music, but rather an impulse for musical processes – an Expressionism that develops in rhythms and tones. His latest composition for a large ensemble, the opera “Weine nicht, singe”, premiered to enthusiastic critical responses at the Hamburger Staatsoper in late 2015, one of his long standing groups is the Full Blast Trio with Peter Brötzmann and Marino Pliakas. Concert program Olaf Nicolai “Non consumiamo … (To Luigi Nono)” (2015) For three voices, radio, and electronics 20’ Ensemble Musikfabrik Morton Feldman | “De Kooning” (1963) For horn, percussion, piano, violin, cello 12′ Live performance accompanied by film projection Karlheinz Stockhausen | “ZYKLUS” (1959) For one percussionist 13′ Morton Feldman | “Jackson Pollock” (1951) For two cellos 5’30” Live performance accompanied by film projection Steve Reich | “Radio Rewrite” (2012) For ensemble (flute, clarinet, two vibraphones, two pianos, electric bass, and string quartet) 19′ Michael Wertmüller | “Batterie” (2016) For one percussionist 14’30” Steve Reich | “Come Out” (1966) Loops and voice 17’16” 8 Tickets 18 € / Box office 25 € (Concert incl. discussion)
Exploring “Postwar – Art between the Pacific and Atlantic, 1945- 1965” Tuesday, 25.10.16–07.02.17, 11 am – 1 pm A collaboration with Institute for Art History at Ludwig Maximilian University, Munich For visitors to the exhibition in Haus der Kunst, students of the Institute for Art History at Ludwig Maximilian University, Munich, have organized an art education program related to the show’s thematic foci. Particular attention will be given to the postwar period as a global phenomenon. The public seminar will be moderated by Dr. Karin Wimmer, research assistant at the Institute for Art History at Ludwig Maximilian University; Sabine Brantl, Curator Archive at Haus der Kunst; and Damian Lentini, GoetheInstitut Research Fellow, at Haus der Kunst. Dates 25.10.16 – 07.02.17 Tuesdays, 11 am – 1 pm There will be no seminar on 01.11.16, 27.12.16, or 03.01.17
Seminar topics
  • 25.10.16 What is Global Art: The end or the diversification of the modern? Introduction to the themes.
  • 08.11.16 The Shock of the Second World War and its Aftermath
  • 15.11.16 Exile and Migration
  • 22.11.16 Abstract Art and a Global Language. Freedom and the Cold War
  • 29.11.16 Realism as a political Phenomenon
  • 06.12.16 The Development of Modernism in Asia
  • 13.12.16 Towards a History of Decolonization: The Art and Culture of PanAfricanism
  • 20.12.16 Artistic Concepts in the Middle East and North Africa
  • 10.01.17 Concrete Art
  • 17.01.17 Conceptual Art 24.01.17
  • Performance Art and Happenings
  • 31.01.17 Networking and Communications
  • 07.02.17 New Cartographies of Art. Contemporary Perspectives Free admission with exhibition entrance ticket 9 Exhibition opening “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” Thursday,


27.10.16, 7 pm The films and photographs by artist and filmmaker duo Joana Hadjithomas and Khalil Joreige (both born in 1969 in Beirut) focus on the history of their native country of Lebanon. Politicized at an early age by the Lebanese civil war (1975–1990), they redefine the role of images in relation to memory and history and explore the parameters of images and their narratives. Drawing inspiration from found documents, personal archives, and poetic experience, Hadjithomas and Joreige navigate a unique route between art and cinema. Their documentary and feature films, photographs, installations, texts, and performances develop narratives and images articulated around forgotten events or stories kept secret that resist to official history and dominant imaginaries. Part of their visual strategy is to displace the gaze in order to visualize the complex situation of their region and beyond. Tropes like the concept of latency, the visible and the absent, the continuous interchange between reality and fiction inspire their multifaceted experimentations that question systems of representation, the fabrication of imaginaries and the writing of history.

The exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” establishes thematic, conceptual and formal bridges between their works, allowing visitors to travel among the artist’s various investigations and experiments from the late 1990s to the present day. It follows many thematic threats: images affected by war and violence; missing and lasting images; a forgotten Lebanese space program from the 1960s; the recent body of work focusing on the virtuality of internet spams and scams and addressing beliefs, the imaginary of corruption and a strange historiography of the world; lastly, they have been exploring poetic routes and there by immersing themselves into questions of transmission of history shifting bodies, borders, and notions of belonging with two new films, “ISMYRNA”, in conversation with Etel Adnan, and “Remembering the Light”. As Hadjithomas and Joreige have a dual practice as artists and filmmakers, the exhibition includes an extensive film program.

Five films are presented every Saturday from 12 to 6 pm in Haus der Kunst’s auditorium. A collaboration between Jeu de Paume, Paris; Sharjah Art Foundation, Al Mareija – Sharjah; IVAM, Valencia; and Haus der Kunst, Munich. Film Program

A Perfect Day 2005 92 min. 10 Arabic with English subtitles With Julia Kassar, Ziad Saad, Alexandra Kahwaji Stuck in a traffic jam, Malek catches a fleeting glance of the beautiful Zeina, the woman he loves. He desperately tries to get through to her by text message but she does not want to see him. She vanishes into the throng of midday Beirut traffic. The young man has a syndrome that interrupts his breathing during sleep. Whenever he stops moving, he dozes off, adding to his disorientation. His mother Claudia has still not accepted his father’s disappearance after 15 years. She stays at home should her husband return; Malek drives around the city alone in his car, each of them trying to live with a void of lost love. But today may be the “perfect day” to lay their ghosts to rest. Malek is taking his hesitant mother to declare her husband officially dead in the “absence of a body”. And that evening, in a trendy nightclub where the young of Beirut go to dance and forget their troubles, Zeina looks ready to give Malek a second shot at the love he so yearns for.

Je veux voir (I Want To See) 2008 82 min. Arabic with English subtitles With Catherine Deneuve and Rabih Mroué July 2006. A war breaks out in Lebanon. The artists no longer know what to write, what stories to recount, what images to show. They ask themselves: What can cinema do? They decide to translate this question into a film. They go to Beirut with the iconic Catherine Deneuve, an actress who to them symbolizes a certain genre of cinema. She meets actor Rabih Mroué, longtime friend of the artists. Together they drive through the regions devastated by the conflict. Through their presence, their meeting, the artists hope to find the beauty that our eyes no longer perceive. It is the beginning of an unpredictable, unexpected adventure.

The Lost Film 2003 42 min. Arabic with English subtitles A copy of the first feature film of the artists disappeared in Yemen, on the day of the tenth anniversary of the reunification of North and South. A year later they are there, following the track of the lost film. An enquiry that takes the artists from Sanaa to Aden, a personal quest centering on the image and on their status as filmmakers in this part of the world.

Ramad (Ashes) 2003 26 min. Arabic with English subtitles With Rabih Mroué, Nada Haddad, Neemat Salamé 11 Nabil returns to Beirut with the ashes of his father who died abroad. He tries to overcome his bereavement while his family insists on respecting rites and customs by burying a nonexistent corpse…

The Lebanese Rocket Society (The Strange Tale of the Lebanese Space Race) 2013 94 min. Arabic with English subtitles In the early 1960s, during the Cold War and the apex of Pan Arabism, a group of utopian students and researchers enters the race to space and create the Lebanese Rocket Society. Sometimes, dreams can overtake a tormented history. Tickets Opening: Free admission Film program: Free admission with exhibition ticket November Curatorial Dialogues. Historical Exhibitions 1 Thursday, 03.11.16, 7 pm

The first in a series in which leading curators and museum practitioners critically reflect on the history of “postwar” exhibitions, this curatorial dialogue brings together Kasper König and Frances Morris, two eminent curators and museum directors whose exhibitions have delved deeply into the subject.

The season commences with a focus on two influential exhibitions staged in Europe in the 1980s and 1990s: “Westkunst”, curated by Kasper König and held at the Kölner Messehallen in 1981 and focusing on the development of western modernism from 1939 to 1970; and “Paris Post War: Art and Existentialism, 1945-55” curated by Frances Morris staged at the Tate Gallery, London in 1993, and examining the art, literature, and philosophy in Paris during the first decade following the end of World War II. Participants Kasper König was just 23 years old when he curated the museum exhibition “Claes Oldenburg” in Stockholm. Even while still studying he organized other exhibitions and published numerous books. After living in the United States and Canada for several years, he was instrumental in helping Klaus Bußmann establish the then-controversial “Skulptur Projekte” (“Sculpture Projects”) in Münster that take place every ten years since then. In 1985 König was appointed to the newly established chair for “Kunst und Öffentlichkeit” (“Art and the public space”) at the Kunstakademie Düsseldorf. Three years later he was made professor at the Städelschule Frankfurt and then appointed its director in 1989. During the same period he was also the founding director of the Portikus exhibition hall. As curator he organized major exhibitions such as “Westkunst” (1981) at the Kölner Messehallen 12 as well as “Der zerbrochene Spiegel” (“The Broken Mirror”, 1993, Vienna, Hamburg). In 2000 he became director of the Museum Ludwig in Cologne, which he headed for twelve years. In 2014 he was chief curator of the Manifesta 10 in St. Petersburg; in 2017 he will again direct the “Skulptur Projekte” Münster. Frances Morris has played a key role in the development of Tate, joining as a curator in 1987, becoming Head of Displays at Tate Modern (2000–2006) and then Director of Collection, International Art, until April 2016, when she was appointed Director, Tate Modern. She has curated landmark exhibitions, many of which were large-scale international collaborations, including three major retrospectives of women artists including Louise Bourgeois in 2007, Yayoi Kusama in 2012, and Agnes Martin in 2015. Earlier in her career Morris curated “Paris Post War: Art and Existentialism, 1945-55” in 1993 and in 1995 she worked with Stuart Morgan on the exhibition “Rites of Passage”. Specializing in postwar European and contemporary international art, she has published widely on the subject and has also curated projects with many contemporary artists from Britain and abroad, including Miroslaw Balka, Chris Burden, Genevieve Cadieux, Sophie Calle, Mark Dion, Luciano Fabro, Paul McCarthy, and Nicholas Pope. Introduction and moderation by Okwui Enwezor, Director Haus der Kunst A cooperation with Müchner Kammerspiele Tickets 5 € Talks & Tours – Ingvild Goetz und Ulrich Wilmes Tuesday, 8.11.16, 6:30 pm Tickets 14 € (Tour incl. exhibition visit)

From Here to There, Far Away from Home – Exile and Migration Workshop for students grades 9 and up Thursday, 17.11.16, 10 am Exile and migration are not just contemporary phenomena. The biographies of the artists represented in “Postwar – Art Between the Pacific and Atlantic, 1945-1965”, are often characterized by migration, exile, and displacement. For one reason or the other, many artists abandoned their original places of residence and crossed geographical, cultural, and political borders. Nazism, World War II, and the massive upheavals after 1945 led to one of the largest and most comprehensive cultural ruptures and artistic migrations.

The workshop is based on research, knowledge production, and transference; as well as the close examination of the artworks in order to establish the basis for an exploration of exile and migration in the artistic context and to create an awareness of 13 current transcultural processes. Why did these artists leave their home countries? How did exile and migration affect their lives and work? How is this cultural legacy manifested visually in their work? How do migration and refugee movements affect artistic production in general? And how does migration create cosmopolitan networks and diasporic communities? The discussion will explore not only the darker side of these phenomena, but also their opportunities and possibilities, as well as the participants’ own associations and interpretations. Related secondary school subjects: Art, History, German, Social Studies, Ethics Smartphones and tablets (for research purposes) are expressly permitted! Dates Thursday, 17.11.16, 10 am Thursday, 19.01.17, 10 am Duration: 2 hours

Other dates can be booked on request. A study room at Haus der Kunst can be reserved on request for follow-ups and further discussion. The workshop can also be booked with an artistic and practical segment (+ 1.5 hours). Tickets 3 € (incl. exhibition admission)

Information and booking:

Improvise NOW!!! Abstraction and Improvisation: Remapping Bebop and Free Jazz One-day symposium and Concert by 48Nord Saturday, 19.11.16, 3 pm – 7:30 pm and 9 pm

One-day symposium: The “Oxford Handbook of Critical Improvisation Studies” Saturday, 19.11.16, 3 pm – 7:30 pm The two-volume publication “Oxford Handbook of Critical Improvisation Studies” (Oxford University Press, 2016) represents a landmark of new scholarship in improvisation studies today. Edited by George E. Lewis, renowned composer and trombonist, and Edwin H. Case Professor of American Music, Columbia University, New York, and Benjamin Piekut, Associate Professor of Musicology, Cornell University, Ithaca, the two volumes gather together incisive essays by internationally renowned contributors working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art of improvisation from the widest possible 14 range of perspectives in an exploration of historical, conceptual, technological, and compositional patterns in improvisation.

The resulting contributions illuminate the processes through which the practice of improvisation informs a vast array of fields of inquiry. With select contributors and respondents, George E. Lewis and Benjamin Piekut will present and discuss the handbook and the implications for improvisation in the wider contemporary realm. Speakers Keynote 3:45 pm – 4:45 pm George E. Lewis George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, his honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015). A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s creative work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, International Contemporary Ensemble, and others. His widely acclaimed book, “A Power Stronger Than Itself: The AACM and American Experimental Music” (Chicago, 2008) received the American Book Award and the American Musicological Society’s first Music in American Culture Award. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh. Respondent 4:05 pm – 4:45 pm Georgina Born Georgina Born is Professor of Music and Anthropology at Oxford University and a Professorial Fellow of Mansfield College. Earlier in her life she worked as a musician on cello and bass guitar, performing with the group Henry Cow, as well as with the Art Bears, the Mike Westbrook Orchestra, the Michael Nyman Band and other ensembles, as well as playing improvised music in various combinations as a member of the London Musicians’ Collective. From 2010 to 2015 Born directed the research program “Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies”, funded by the European Research Council. Born has lectured internationally at institutions including Cambridge University; Girton College Cambridge; McGill University, Montreal; University of California, Berkeley; Masaryk University, Czech Republic, as well as at the University of Stockholm. She has been appointed an honorary professor at University College London, in the Department of Anthropology (2015-2019).

  • Discussion and questions 4:45 pm – 5 pm 15
  • Tea and coffee break 5 pm – 7 pm

Discussion Benjamin Piekut: Chair Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960, and an associate professor of musicology at Cornell University. He is the author of “Experimentalism Otherwise: The New York Avant-Garde and Its Limits” (California, 2011) and the editor of “Tomorrow Is the Question: New Directions in Experimental Music Studies” (Michigan, 2014). With David Nicholls, he co-edited a special issue of Contemporary Music Review for John Cage’s 100th birthday. He has published articles in Jazz Perspectives, The Drama Review, American Quarterly, Twentieth- Century Music, Cultural Critique, and the Journal of the American Musicological Society. Sara Villa: “Improvisatory Practices and the Dawn of the New American Cinema” Sara Villa is a visiting scholar at the International Institute for Critical Studies in Improvisation at McGill University; she was previously a postdoctoral fellow at the Centre de recherche en éthique de l’Université de Montréal, with a research project focused on the influence of improvisatory jazz practices on Beat generation poetics. She is the translator into Italian of “Windblown World: The Journals of Jack Kerouac 1947–1954”. She has published articles on Kerouac, Virginia Woolf, and Anglo-American cinema. Her monograph on the film adaptation of Woolf’s Orlando (“I due Orlando: Le poetiche androgine del romanzo woolfiano e dell’adattamento cinematografico”) was published by CUEM (Milan) in 2009.

Christopher Dell: “Improvisation Technology as Mode of Redesigning the Urban” Christopher Dell lives and works as theoretician, artist, and musician in Berlin. He has served as a visiting teacher of architecture theory at the University of Fine Arts, Berlin, and a visiting professor for urban design theory at HafenCity University, Hamburg (where he also co-led the research project University of Neighborhoods) and the Technical University, Munich. He was a member of the Aedes Network Campus Berlin executive board in 2009, and has written numerous articles and books, including “Improvisations on Urbanity” (co-authored with Ton Matton; Post, 2009); “Tacit Urbanism” (Post, 2010); “ReplayCity” (Jovis, 2011); “Die improvisierende Organisation” (Transcript, 2012); “Ware: Wohnen!” (Jovis, 2013), and “Das Urbane” (Jovis, 2014).

Harald Kisiedu: “‘Like a Cry You Wanted to Answer’: Ernst-Ludwig Petrowsky and the Emergence of Jazz Experimentalism in East Germany” Harald Kisiedu received his PhD in historical musicology from Columbia University. He also holds graduate degrees in political 16 science and German studies from the University of Hamburg. Kisiedu is currently a postdoctoral fellow at the International Institute for Critical Studies in Improvisation in Guelph, Canada, where he is working on a monograph on jazz experimentalism in West and East Germany.

Respondents Sher Doruff: “She Stuttered: Mapping the Spontaneous Middle” Sher Doruff is an interdisciplinary artist, writer, and theorist. She is currently a senior researcher at the Gerrit Rietveld Academy of Art and Design and tutors in the Master of Choreography and Master of Artistic Research programs at the Amsterdam School of the Arts and Royal Academy of Fine Art in the Hague. She teaches in the Master of Artistic Research program at the University of Amsterdam and supervises several artist PhD candidates. She is on the editorial board of Inflexions Journal of Research Creation and Fibreculture Journal and has published numerous texts in academic and artistic contexts.

Raymond Macdonald: “Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation” Raymond MacDonald is professor of music psychology and improvisation and head of the Reid School of Music at Edinburgh University. He has published more than 70 papers and co-edited five texts: “Musical Identities” (Oxford, 2002), “Musical Communication” (Oxford, 2005), “Music, Health and Wellbeing” (Oxford, 2012), “Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception” (Oxford, 2012), and “The Oxford Handbook of Musical Identities” (2015). As a saxophonist and composer he has collaborated with musicians such as Evan Parker, David Byrne, Jim O’Rourke, and Marilyn Crispell. He has released more than 50 recordings and toured and broadcast worldwide. He has produced music for film, television, theater, and art installations, and is a founding member of the Glasgow Improvisers Orchestra.

Open discussion 7 pm – 7:30 pm

Concert – 48Nord Saturday, 19.11.16, 9 pm

48nord is an internationally successful musicians’ collective founded in 1998 by the composers and instrumentalists Ulrich Müller, Siegfried Rössert, and Patrick Schimanski. 48nord’s music is influenced by rock, pop, and new music, as well as by jazz and Edgar Varèse’s bruitism (the art of noise). Since the beginning of their careers, the musicians have consistently explored the creative tension between improvisation and composition, and have investigated the possibilities of new technologies in conjunction with acoustic instruments, thereby continually driving new developments in their musical experiments. 48nord surveys boundaries and boundary crossings: between genres and styles and between musical mediums and approaches. 48nord consistently 17 confronts current realities, drawing from their contradictions and thwarted purism of all kinds. Open forms confront hard-and-fast compositions with improvisational moments. Literature interweaves sound, condensing into sub- and meta texts, trailblazing as fragmented sounds. Compilation, cutting, sampling, and sound processing form the basis of the collective’s oeuvre.

Tickets Symposium: 10 € Concert: 10 € Symposium und Concert: 18 € Curatorial Dialogues. Historical Exhibitions 2 Thursday, 24.11.16, 7 pm

The second set of dialogues addresses the question of how to map “postwar” exhibitions within the context of Europe. It begins by looking at Rasheed Araeen’s groundbreaking exhibition “The Other Story: Afro-Asian Artists in ‘Post-War Britain'” (1989 at the Hayward Gallery, London), before examining Eckhart Gillen and Peter Weibel’s exhibition “Facing the Future: Art in Europe 1945- 68”, currently on view at Zentrum für Kunst und Medien in Karlsruhe.

While “The Other Story” critically examined Britain’s postcolonial history in the years 1945-1989, “Facing the Future” demonstrates the commonalities of artists working on both sides of the Iron Curtain in Europe during the postwar period from 1945-68.

Eckhart Gillen is an art historian and curator who has lived in Berlin since 1971. He studied art history, German, and sociology at the University of Heidelberg and received his PhD from the philosophy department at the University of Heidelberg. He has organized numerous exhibitions and published widely on Russian, American, and German art of the twentieth century. Among his exhibition catalogues and books are “Amerika – Traum und Depression 1920/40” (Akademie der Künste, Berlin 1980); “German Art from Beckmann to Richter: Images of a Divided Country” (Yale University Press, 1997); “Art of Two Germanys/Cold War Cultures 1945-1989” (L.A., Nuremberg, Berlin, 2009); “Feindliche Brüder? Der Kalte Krieg und die deutsche Kunst 1945-1989” (Berlin, 2009); “R.B.Kitaj – The Retrospective” (Jewish Museum Berlin, 2012); “Art in Europe 1945-1968: Facing the Future” (BOZAR, Brussels, ZKM, Karlsruhe, Pushkin Museum, Moscow, 2016/17).

Rasheed Araeen (lives and works in London and Karachi) is a civil engineer, artist, writer, and inventor. As an artist, he began and continued to pursue art while studying civil engineering at NED Engineering College in Karachi in 1953. In 1965, he pioneered minimalist sculpture in Britain. After having been active in various groups supporting liberation struggles, democracy, and human rights, he started publishing his own art journals “Black Phoenix” (1978), “Third Text” (1987), and “Third Text Asia” (2008). His latest book “Art Beyond Art / Ecoaesthetics: A Manifesto for the 21st Century” was published in 2010. He has curated the two important exhibitions “The Essential Black Art” (1987) and “The Other Story” (Hayward Gallery, 1989); and is a 18 recipient of three honorary doctorates from universities of Southampton, East London, and Wolverhampton. He is now directing a project that will revise and produce a comprehensive and inclusive history of art in postwar Britain. Tickets 5 €

Art, Culture, Media and Denazification in Germany Workshop in cooperation with the NS-Dokumentationszentrum München (Munich Documentation Centre for the History of National Socialism) Saturday, 26.11.16, 11 am As an important part of postwar German society, the process of denazification revolved around the question of guilt and responsibility, as well as its trivialization and suppression.

This workshop focuses on the denazification of cultural life in the years after World War II. It therefore concerns – in a symptomatic manner – the history of Haus der Kunst, which was built according to the plans of Hitler’s favorite architect Paul Ludwig Troost and opened in 1937 as the “Haus der Deutschen Kunst”. From 1937 to 1945, the building served as an instrument of propaganda and as the authoritative institution for Nazi art policy. Workshop participants, through historical documents including the denazification court files of protagonists, such as the architect’s widow Gerdy Troost, the sculptor Arno Breker, and Hitler’s personal photographer Heinrich Hoffmann will gain insight into the history of the institution.

What influence did – and does – the political assessment of these prominent cases have on the image of cultural actors in the postwar period? In addition, the workshop is designed to examine sensitive issues such as Nazi art looting and restitution from a contemporary perspective.

In a closing tour of the exhibition “Postwar – Art Between the Pacific and Atlantic, 1945-1965”, we will look at how the question of guilt and responsibility was investigated and treated by artists from different countries during the period between 1945 and 1965. Speakers Felizitas Raith is a historian and worked for many years at the Max Mannheimer Studienzentrum Dachau, most recently as educational director. Since 2013, she has been a research associate at the NSDokumentationszentrum München (Munich Documentation Centre for the History of National Socialism) in the field of education. Thomas Rink studied modern history and philosophy in Bochum and Potsdam. In 1999, and from 2004 to 2006, he worked at the Gedenkstätte Haus der Wannsee-Konferenz and from 2001 to 2002 he was a research associate at the Deutsches Historisches Museum for the exhibition “Holocaust”. From 2003 to 2005, Rink lectured on Jewish Studies at the University of Potsdam. Since 2006 he has been a research associate at the NS-Dokumentationszentrum München in the field of education. 19 Sabine Brantl is a historian. She studied in Munich and Vienna, and has headed the historical archive at Haus der Kunst since 2005. Since 2014, she has worked there as a curator. Brantl has co-curated exhibitions including “Histories in Conflict: Haus der Kunst and the Ideological Use of Art 1937-1955” (2012), and is responsible for the Archive Gallery a permanent exhibition space dedicated to the history of Haus der Kunst (since 2014). In 2007, she published her monograph “Haus der Kunst, Munich: A Place and its History under National Socialism.”


  • Saturday, 26.11.16, 11 am
  • Saturday, 18.02.17, 11 am

Duration: 4 hours Tickets 4 € (plus exhibition admission) Workshops for pupils from the tenth grade Monday, 14.11.16, 10 am Monday, 13.02.17, 10 am Duration: 4 hours Other dates can be booked on request Tickets 4 € (incl. exhibition admission) Registration:

“Aida Save Me” – Lecture performance by Joana Hadjithomas and Khalil Joreige Thursday, 01.12.16, 7 pm

The films and photographs by artist and filmmaker duo Joana Hadjithomas and Khalil Joreige (both born in 1969 in Beirut) focus on the history of their native country of Lebanon. Politicized at an early age by the Lebanese civil war (1975–1990), they redefine the role of images in relation to memory and history and explore the parameters of images and their narratives. Drawing inspiration from found documents, personal archives, and poetic experience, Hadjithomas and Joreige navigate a unique route between art and cinema. The lecture performance by the artists starts with an extraordinary, unbelievable but true incident that was to disrupt the film premiere of the second feature film “A Perfect Day” by Hadjithomas and Joreige in Beirut in April 2006. It resonated strangely vis-à-vis the work of the artists. A series of disappearances followed. The lecture performance measures the distance between recognition and representation of oneself, and recounts this adventure whereby fiction has suddenly taken on the appearance of a document. Tickets 5 € 20

Discussion with Georg Baselitz and Alexander Kluge Thursday, 08.12.16, 7 pm In this rare meeting two of Germany’s leading figures of postwar art, philosophy, and cinema discuss the culture and politics of the era.

Alexander Kluge is an author, filmmaker, philosopher and theorist, and is the recipient of numerous awards for his work across multiple media. Georg Baselitz is a painter, sculptor, printmaker and draughtsman, and is one of the country’s most celebrated living artists, with a distinguished career spanning over 50 years.

Georg Baselitz, born in 1938 in Deutschbaselitz, Saxony, is a painter, graphic artist, and sculptor. Baselitz began his studies in painting at the Art Academy in East Berlin, from which he was expelled; he moved to West Berlin, where continued his studies. In 1963, the last year of his studies, his had his first exhibition – in the Berlin gallery Werner & Katz – which provoked a scandal. Following a scholarship at the Villa Romana in Florence, in 1965- 66, he created the major series “Helden” and “Neuen Typen”. In 1969 he made the permanent shift to painting his motifs upside down. In 2005 he created his first works based on his “remix” method. In 1972 he participated in the documenta 5 in Kassel, and in 1980 he exhibited his “Modell für eine Skulptur” in the German Pavilion at the Venice Biennale. Major retrospectives in recent years include shows at the Royal Academy of Arts in London (2007) and the Musée d’Art Moderne in Paris (2011). Among many other honors, he received the Praemium Imperiale in Tokyo of 2004. Alexander Kluge (Author and filmmaker) (Bios to follow) Tickets 5 € 2017

Inside the City – A Tour of Postwar Munich Monday, 16.01.17, 4:30 pm With Iris Lauterbach, Zentralinstitut für Kunstgeschichte, Munich; and Sabine Brantl, Curator Archive Haus der Kunst The tour focuses on Haus der Kunst, the Zentralinstitut für Kunstgeschichte (formerly “Verwaltungsbau der NSDAP”), and the Hochschule für Musik und Theater (formerly “Führerbau”). It thus leads participants into buildings that occupied a key position in the cultural life of postwar Munich but were also intimately connected to the city’s National Socialist past.

The tour provides insight into the original programming of these buildings as instruments of Nazi propaganda, their conception as architectural and technical Gesamtkunstwerks and the history of 21 their specific usage after 1945. Tour participants will also have the opportunity to view nonpublic spaces such as the historical heating rooms and extensive air-raid shelter. Built between 1933 and 1937 according to plans by Hitler’s favorite architect Paul Ludwig Troost, the “Haus der Deutschen Kunst” and the party buildings on the Königsplatz were the Nazi’s first representative building projects in Germany and served as the demonstration of Nazi art policy and the NSDAP’s representation and administration. In 1945 in the former party buildings, the American military government established the Munich Central Collecting Point, the largest American art collection point of art looted by the National Socialists.

While the Zentralinstitut für Kunstgeschichte has been based in the former “Verwaltungsbau” since 1947, in 1948 Amerika-Haus opened its doors in the former “Führerbau”. Since 1957, it has housed the Hochschule für Musik und Theater. The American military government initially used the former “Haus der Deutschen Kunst” as an officers’ club; and since 1946 exhibitions have once again been staged here. As with much of the culture in Germany, a connection to international Modernism was sought here as well. Iris Lauterbach is a research fellow at the Zentralinstitut für Kunstgeschichte, Munich. Her research interests include architecture and visual arts in the Nazi period and the cultural policies of the American military government after 1945. Her seminal monograph,

“Der Central Collecting Point in München. Kunstschutz, Restitution, Neubeginn”, on the Munich Central Collecting Point and United States restitution policy, was published in 2015.

Meeting point: Foyer Haus der Kunst Space is limited – registration: Tickets 12 €

Impulses – “Reeducation” and Exhibition Policy in Postwar Munich Seminar with Iris Lauterbach, Zentralinstitut für Kunstgeschichte Tuesday, 24.01.17, 6 pm Moderator: Sabine Brantl, Curator Archive, Haus der Kunst Art exhibitions and the promotion of fine arts were essential components of Allied postwar policy.

The slogan “reeducation” also characterized the artistic and cultural scene in the American zone of occupation. Abstraction and Modernism were intended to help overcome the cultural isolation imposed by the National Socialists and explicitly combat their understanding of art and their cultural policies. Important venues of resurgent exhibition operations in the early postwar years were the Munich Central Collecting Point and the Amerika-Haus in the former NSDAP buildings on the Königsplatz. 22

The seminar focuses on the location, staff, and exhibition activities of these institutions in the years between 1945 and 1949. Individual exhibitions are examined as examples based on historical documents and photographs. Iris Lauterbach is a research fellow at the Zentralinstitut für Kunstgeschichte, Munich. Her research interests include architecture and visual arts in the National Socialist period and the cultural policies of the American military government after 1945. Her seminal monograph, “Der Central Collecting Point in München. Kunstschutz, Restitution, Neubeginn”, on the Munich Central Collecting Point and United States restitution policy, was published in 2015. Tickets 5 €

Talks & Tours of the exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” with Rabih Mroué Tuesday, 17.01.17, 6:30 pm A tour of the exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” with Haus der Kunst curator Anna Schneider and actor and director Rabih Mroué.

In place of a conventional tour, Talks & Tours offers exhibition visitors the opportunity to discuss aspects of the artists’ work in a conversation with Anna Schneider and Rabih Mroué. Rabih Mroué (lives and works in Beirut) is an actor, director, playwright, and visual artist. He is a contributing editor for “The Drama Review” (TDR), the quarterly “Kalamon” and cofounder and a board member of the Beirut Art Center (BAC), Beirut. His complex and diverse practice, spanning different disciplines and formats in between theater, performance, and visual arts, has established Mroué as a key figure amongst a new generation of artistic voices in Lebanon.

Employing both fiction and in-depth social analysis as tools for engaging with his immediate reality, Mroué explores the responsibilities of the artist in communicating with an audience in given political and cultural contexts. His works deal with issues that have been swept under the rug in Lebanon’s current political climate, connected to the enduring marks left by the Lebanese civil war as well as more recent political events like the Arab Spring and the Syrian civil war. His works have received several awards and were exhibited at dOCUMENTA (13), Kassel; ICP Triennial, New York; CA2M Centro de Arte Dos de Mayo; The Museum of Modern Art, New York; and Centre Pompidou, Paris. He worked together with Joana Hadjithomas and Khalil Joreige on many films among them “Ashes/Ramad” and “Je veux voir” (“I Want To See”, 2008). Tickets 14 € (Tour incl. exhibition visit)

Artwork in the Header
Emilio Vedova
Berlin, 64, 1964
105 x 121 x 18 cm, Relief, paper, iron, mixed media on wood, Courtesy Fondazione Emilio e Annabianca Vedova, Venice, Italy, Photo © Paolo Mussat Sartor

3rd Klohaeuschen Biennial – The Biennial of neglected Life Forms

For the 3rd  KloHaeuschen biennial, Dr. Susanne Schmitt will be curating an international exhibition from the artists that created work within the KloHaeuschen space over the last year.

Artists to be included in this year’s Biennal include:

9 Volt | Adam Zaretsky | Anette Friedrich Johannessen | Anna Rose | Campus Novel | Carolin Wenzel | Eben Kirksey | Ella von der Haide | Ellie Irons & Anne Percoco | Fiona Davies | Heidi Mühlschlegel | Izabela Łęska | Janean Williams | Judith Egger | Katharina Weishäupl | Katrin Petroschkat | Laurie Young | Lutz Weinmannn | Manuela Müller | Martin Leibinger | Myrna Lee Pronchuk & JJ Jones | Natalie Doonan | Natalie Göltenboth | Nicola von Thurn | Nikolai Vogel | Sanne van Gent | Silke Markefka | Stephanie Müller | THE HERCULES AND LEO CASE | Tommy Schmidt & Athor | Unsensiblo Chamaeleon

The Biennal opening will take place on July 2nd at 2000 and you will be able to see the work exhibited until July 9, 2016.

Photo of the 2011 Biennale at the klohaeuschen

If you would like to know more about the KloHaeuschen, and Anja Uhlig, you can read our post here.

Rochelle Feinstein -I Made A Terrible Mistake Exhibition

Until September 18,2016, the Lenbachhaus will be exhibiting artwork by the American artist Rochelle Feinstein. The exhibition entitled “I MADE A TERRIBLE MISTAKE,” shows artwork from the 1990s until the present day.  The artworks and art projects share Rochelle Feinstein’s thoughts about her surroundings and the world in which she lives.

Love Vibe Series- Love Your work – 1999-2014 – Artwork by Rochelle Feinstein – Courtesy the artist and On Stellar Rays, New York- Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016

In her Love Vibe series, Rochelle Feinstein focuses on what New Yorkers say to each other when they see an artist’s artwork.  The art pieces are large but the words are all cropped so that you get to see only a portion of the phrase, “Love your work.”  What phrase would Germans use at an art exhibition that would be equivalent to “Love your work”?

According to the Lenbachhaus curator, Germans would be loudly critical of the exhibition logistics rather than the art. One journalist sort of proved this point when she commented about the location of the text associated with one painting. “How are people to know what the art is about?” the head curator started explaining how modern art can be enjoyed at different levels but, the journalist stopped him. “I’m not talking about that. I’m talking about how should the people know that the artwork belongs to this description on the other wall.”

This made me laugh because I understood her practical German brain.  I’m constantly looking for the plaques to describe artwork and understood that the distance between the trilogy on the wall and the description would not benefit the art piece.  I understood that for visual purposes, it was better that the reading material be on a side wall.  For practical purposes (ie sharing information), it was better if the writing was near the art piece so you could immediately read about the art.

Ideally, this whole issue would be resolved by requiring everyone take an audio tour which used augmented reality so that when you looked at a painting, the audio for that painting would start and the viewer would have the explanation of the artwork.  No reading, no worrying about where the plaque should be located and nothing competing with the artwork.  The walls would be without numbers, without signs.   If someone absolutely needs to read something, they could buy the catalogue or download a PDF version to flip through on their ipad. (This is my geeky nerdy techie self shining through. Disregard this paragraph if you are a traditionalist with no interest in technology in a museum.)

Happy Birthday Rachel -2009- Artwork by Rochelle Feinstein  – Courtesy the artist and On Stellar Rays, New York – Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016

Rochelle Feinstein artwork ” I MADE A TERRIBLE MISTAKE,” combines audio, video and paintings. The installation focuses on the fall of Michael Jackson. You can see to the left of the photo an image that says Auditorium. The two sections above this word are Michael Jackson’s name covered up. (Read more about “I made a terrible Mistake.”)

 “I Made a Terrible Mistake.” Artwork by Rochelle Feinstein -Courtesy the artist and On Stellar Rays, New York – Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016
Estate of Rochelle F. -2009- Rochelle Feinstein – Courtesy the artist and On Stellar Rays, New York- Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016

When the financial crisis hit the US, Rochelle Feinstein decided to use the materials and artwork that she had in her possession to create new works which she then catalogued recording what materials she used for each art piece.

If you are a working artist, you will immediately understand morphing old work into new pieces.  The curator told us that at the time, Rochelle Feinstein was merging two storage spaces and her studio was overflowing with work. This fact along with current events at the time, ignited the idea to create the Estate of Rochelle F project using “assets’ with unrealised potential.” (This will now be the byline of my personal blog.)

If you have never been to the Lenbachhaus, you can find it at Luisenstr. 33. Tickets are 10 Euro for adults and free for anyone under 18. You have until September but you know how life is in Munich, you better go now before the holidays start. Once you leave for vacation and start vegetating on a beach somewhere, you will forget all about Rochelle and her American opinions.  If you go and see her, you may understand my humour a little more and that is well worth an hour of your time and ten bucks.

Find Your Own Damn Voice-1994- Rochelle Feinstein -Courtesy the artist and On Stellar Rays, New York- Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016
Soon 2 (Joy Ride) 2000-2001 – Rochelle Feinstein – Courtesy the artist and On Stellar Rays, New York- Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016
Travel Abroad -1997-1998- Rochelle Feinstein –  Courtesy the artist and On Stellar Rays, New York- Städtische Galerie im Lenbachhaus und Kunstbau, München, 2016

What Are Your Artsy Plans For the Weekend? April 29 – May 1, 2016

The rush of artsy things has begun.  Today I will be going to the dance performance I AM REAL LIFE that  we talked about earlier this week.  I will take some photographs of the artwork created by TMNK.  The dance Performance is today and tomorrow at the Schwere Reiter – Tanz Theatre Musik Dachauer Strasse 114, Munich Germany.

Women’s Work – If you are not into dance, maybe you are into meeting women artists at the Frauenforum.(In a platonic way of course.) A few Munich Artists including Lidia Cordeiro, Bobbie Dunn, Nutan Jaeger, Julie Olsson and Angelica Zeller-Michaelson will be showing select pieces on the theme Women’s work. Their vernissage starts at 1900 today. Here is the Facebook page for the event. The show is open for a few weeks in case you are unable to make it to the party.


Artup Store is happening at the FRIDA GALLERY.  You can enjoy Whiskey and Art together for one day more because today is the last day for this Whiskey Art Mix.  The artwork on the wall is Leonie von Carnap, Tanja Hirschfeld and Christoph Grothgar. The event page says it goes on until Friday at 2300 so swing by and take a swig of whiskey and check out the art.  Baaderstrasse 15, 80469 Munich, Germany. (Please note this is not the Friday Gallery but the Frida Gallery like the artist a few blocks away from the Friday Gallery like the day.)

Deadline Urban Art Festival is always a good choice too if the weather stays nice.  We talked about the festival here.

Curator Lulia Gradinaru has organized an exhibition at Galerie Am Maxmonument Thierschstraße 42 D-80538 München.  I don’t know the opening hours for this weekend but I’m sure Ms. Gradinaru will tell you if you ask nicely.


UAMO Festival 2016 “Fortress” is going on this weekend.  Their image tells what is exactly going on. If you can’t read the tiny type, you can visit their Facebook page.  I plan to see that art battle on Sunday at 1500.


Art Garage on Wilhelm Riehl Strasse 13 will be having the annual exhibition of the Blende 1 Fotoclub e.V.  This is the 27th time so that is something to celebrate! Their vernissage is today at 1900 in the Westend.  They will have a whole lineup of events happening on April 3oth so check out their Facebook event page for details.


See, what did I tell you… so many things to do on a Friday.  Now on to Saturday…


Diessener Ateliertage April 30 & May 1st.  This is an open studio event  outside of the Munich City limits. You will love heading into the Bavarian countryside and enjoying an artsy weekend outing to Diessen. Here is a link to the Ammersee art website for more information.

Ateliertage web


If you have an event this weekend and I didn’t put it onto our Facebook page listing did you send me an invitation to a public event on Facebook?  I add events that are open to the public and when I have time, I make a post like this for the weekend that are art related.  If you give special discounts to Munich Artists, you may get an individual post about your event. Note: Sending me an email invitation or an invitation by post makes it harder for me to share the content. Make life easy for me and I will try to share your event with Munich. I also tend to forget to put invitations sent by post into my calendar so, lets use Facebook.



Painting 2.0 @ Museum Brandhorst


The Exhibition

The whole museum Brandhorst is being used for this exhibition so it was great luck that I rented the audio tour for 3 Euro. If you are going to the museum, I suggest you rent the audio guide to immerse yourself in the exhibition (especially if you are unfamiliar with the German artists.)

The exhibition catalogue costs almost 40 Euro. I purchased the book because I wanted to remember the artists and look again at the artwork where my brain started to melt. (There is a lot of artwork to see on the three floors of the museum.)

Inspiring Artists for Munich Artists

Here are a few of the artists I found inspiring and which you should see before the exhibition ends.

Martin Kippenberger


Mimmo Rotella


Jacque de la Villegle


Raymond Hains

Louise Fishman


Albert Oehlen

Christopher Wool


Michael Majeurs

Example of Majerus work from the series untitled – Not specifically the work on display at museum

Monika Baer


Charline Von Heyl

Nicole Eisenman  (Her work is located on the ground floor and the top floor)


Sigmar Polke

A.I.R. Gallery

Rosemarie Trockel

Michaela Eichwald




Ingrid Mueller is a Munich Artist Exploring “Home”

Ingrid Mueller with a two sided screen -Original artwork mixed media acrylic and paper collage on canvas – For Sale: 1500 Euro inc. VAT

Yesterday I visited Ingrid Mueller at the Kunsttreff Quiddezentrum to see the exhibition space that Munich Artists will be using from April 20 until May 5, 2016 for a TBA group exhibition/party.

The space is located in Neuperlach in a deserted shopping center.  My first thought was “How cool! I want a studio here.” That was a gut reaction without my brain joining in on the discussion because I live in Sendling and work near Viktualienmarkt so a studio in Neuperlach would make no sense whatsoever but, I do have a car and a love of oldish buildings where I can make artsy messes and where I can see street art everyday.

This building reminds me of my deluxe lego set which I played with for hours building square buildings with little windows for my matchstick cars.  The building also feels hipster and cool and a great place to kick back with a coffee and a camera and a few Munich Artists. (Bring your own thermos because the place is empty except for art studios and the gallery spaces. There are no hipster coffee shops here BUT maybe we can do a popup Foodie event on the evening of our gathering?)

Heading to Kunstreff-Quiddezentrum
Quiddezentrum – balconies perfect for coffee drinking or Graffiti art.


an artists studio at Quiddezentrum
Inside Kunsttreff

Getting out of my car, I glimpsed this art piece on the side of the building:

street art Neuperlach

and then this one:


and then this one!


After snapping the three art pieces, I wondered where the other street artists were hiding? Why was this building naked? In other cities this building would have been coated with art because the walls can be reached without a cherry picker and everybody knows the building is eventually going to be torn down.  Hello? Street artists? Anybody wanting to go pimp this building before the exhibition in April?  The building is going to be torn down this year. Time is running out!

Ingrid Mueller

Ingrid Mueller is a Bavarian artist. Here is all the bio stuff that might interest you. Her website is called “Moments of Human experience.”  Don’t Google for an Ingrid Mueller website because that does not belong to this Ingrid Mueller and I don’t want you to be confused between the two Ingrids.  The bavarian Ingrid Mueller has a website entitled “”

I met Ingrid Mueller at the Kunsttreff to see the exhibition space and then we walked over to her studio and she showed me her current work which is very different from her prior work. (I took not a single photo of her older work.)

The photos below are of my favourite piece. It is two sided and Ingrid used acrylic on canvas with these cutouts she made from books.  The cutouts on this piece are cut from the text of an art encyclopedia.  I like that German artists are treading into old book manipulation & using them as raw art material. Books are much more valuable to Germans than to Americans so this seems to mean more for some reason. German artists are now willing to destroy a book to make something new from it.  I wonder what dark and dingy trail art historians will go down from this observation.


I really like these monkeys


I love these monkeys.  They are my favourite part of this panel.


Here are a few more pieces in this mixed media style:

Looking at Ingrid’s older works, I could not believe it was the same artist.  I asked her if she had some kind of epiphany but she just shrugged.  That is an ok answer for me. Who really cares why an artist goes from straight figurative to exploring “Heimat” in a mixed media format in a flat two dimensional way that has nothing to do with “real life” figures as long as it is the same artist and it is a pivot in her art production/style development and she continues to explore her theme without falling back into her safety zone classic figurative artwork.

Ingrid has a few pieces where the artwork is based on the text of the book she destroyed. one art piece has Kafka’s cockroach story which I figured out (kind of) because I saw a transformation from human to something else but I didn’t get the cockroach until she mentioned Kafka.

There were lots of A3 collages with animals and flowers done on paper. I thought these would make good collaboration pieces for other people to work on using Ingrid’s piece as a starting point. I also thought Ingrid could work with her husband on these type of collaged art pieces using his nature photography and her new style.

I enjoyed visiting with Ingrid and practicing my German. If you like to see Ingrid’s work or want to meet her at her studio, you can connect with her at the following :

Atelier Müller

Quiddestraße 45, 81735 München

Don’t Let the Rain Stop Your Artsy Plans

Today it is raining.

What do you like to do when it is pouring? I like to sit in my kitchen and create art while a soup simmers on the stove.  That is the plan for later this afternoon after I grab a hard drive and start backup my computers for their annual clean.

If you are feeling like buying something artsy instead of creating art, there are a few places to  go this weekend.  You can:

Drive to Regensburg for the Kunstmesse Regensburg from Friday – Sunday.


or stay in town and visit April McGee-Riess and Katrin Klug on Sunday at Selbstgmacht – Die Kreative Dult @ Hofbräukeller München Innere Wiener Straße 19, 81667 Munich, Germany from 1000 to 1900.

Not feeling like shopping?  How about experiencing art in action. On Saturday, Super + Flug Des Phoenix will be in the Pinakothek der Moderne from 1000 until 1400.

Here is some information for next week just in case I don’t post early enough in the week and you need to plan more than a few days in advance.


  • The platform will have an event “Fliegen Retten in Deppendorf” @ Kistlerhofstr. 70, 81379 Munich, Germany.  The event is a talk with Frank and Patrik Riklin and Dr. Reckhaus.
  • Kunstverein München is presenting “Feminist Land Art Retreat, Two Too Serious Ladies” on Monday November 23rd from 7.00pm to 9.00pm Galeriestraße 4, 80359 Munich, Germany


Go see the opening show for the Frida Gallery (Frida Galerie) The gallery is a coop showing artwork from member artists including Tanja Hirschfeld.  The space is located at Baaderstrasse 15.  The event starts at 1800.


Short time Galerie begins their annual Holiday existence at St. Anna Platz showing works by Tanja Hirschfeld I Yeonsoo Kim I Steffen Kern I Martin Sander I Pia Winkenstern I Michaela Wühr I Peter Boerboom & Carola Vogt I Julia Pfaller

Ray Moore is having a party on Friday November 27th at Miao, Dachauerstrasse 14, 80469 Munich, Germany. Maybe he will be wearing his new fashion line and singing his rap song?

There is also a benefits concert-Munich Musicians for Refugees @ IG Feuerwache, Ganghoferstr. 41, 80339 Munich starting at 1900.



Applaudissement has organised an exhibition at Arthaus Neuhausen showing works from Joachim Lischka, Peter Kohout, Max Ackermann, Stefan Schlotterbeck, Heike Wiebke, Gerd Matschke, Jürgen Bauer, Elwood, Brigitte Yoshiko Pruchnow, Ulli Schmeling, Peter Adacker, Emmy Ann Horstkamp, Justin Koller, Susanne Nawroth, Manuela Illera,gabriele, Iliana Beshkova, Niko Vartiainen, Knut van Bris, Elzemieke de Tiége, Hazel Ang, Hubertus Breuer, Nina Schmid, Wencke Rowek, stan lafleur, Bobbie Komarek, Stefan Maier, Katrin Klug, Josef Maria Hader, Bärbel Wolfmeier, Christian Engelken, Maud Gravereaux, Knut van Brijs, Tina Schlegel

The exhibition opens with a party on November 28th and artwork will be up on the walls until January 10th.

Party starts @1900 Nibelungenstr.3, 80639 Munich, Germany (very close to the Rotkreuz Platz Ubahn stop).

Enough already? Enough already.  Put these dates in your calendar and I look forward to seeing you at some of them.  Just remember, I’m an early bird so you will rarely see me hanging out til the end of anything except when I’m the hostess with the mostest.

Have a great weekend.

PS I will explain Applaudissement in a post tomorrow. Promise.  Not that you were worried or wondering but I think you should know about it and support it and maybe even buy an issue of this tiny art magazine Bernhard prints them.




Long Night of the Museum @ Goethestrasse, Munich – 53 Dahoam is Dahoam is wo? Exhibition

If you were unable to make it to Goethestrasse 53 yesterday to see the “Dahoam is Dahoam is Wo?” exhibition, here are some images of the artwork presented.  It is always exciting to watch people interacting with the artwork and I love seeing Munich Artists in action.  Great job everyone. I hope to see more of your work during the coming year.

Friday in August. What Artsy Thing Will I Do This Weekend in Munich?

Nina Schmid – Produce photos for Munich Artists Self Portrait Challenge

What to do. What to do.   Here are a few things that you can do over the weekend.

Friday August 7, 2015

fountain fest viktualienmart
fountain fest viktualienmart

Annual Fountain Festival at Viktualienmarkt. – Starts at 1100 to 1700

Decorated Fountains and Singing Musicians.  ( I love Munich in the Summer. This is definitely a reason to be at Viktualienmarkt at 1100 today. I will take some photos and post them later!

A Walk in the Park Exhibition – Schloss Nymphenburg 43, 80638 Munich, Germany

The two painters Barbara Schricke and Florian Weingärtner show recent works in geraniums house in Nymphenburg Palace Park. The contrast between the abstract (Schricke) and figurative painting (tenants) of artists, both with studies among others, Markus Lüpertz, shows very different positions in the debate with color and canvas but also with the translation of experiences and emotions, and the appearance of these. Thus creating the two painters an interesting tension in the light-flooded exhibition space of geraniums house, right next to the Castle Cafe at the Palm House of the Nymphenburger Palace. Opening the exhibition is open daily from 10-18 clock. The artists are alternately present. Vernissage, Friday, 08.07.2015 18-20 clock associated with the invitation to a sundowner.

Showing the Unsayable. Artists as Warner and Wiitnesses – First exhibition at the New National Socialist Documentation Center “Show the unspeakable.” 120 works by well known and unknown artists.

City Museum  – Stadtmuseum – New York 60s – Sepp Werkmeister – From 31st July to 27th September 2015  St.-Jakobs-Platz 1 80331 München

An exhibition just opened at the Munich City Museum “Muenchner Stadtmuseum” As a street photographer, I’m super happy to see an exhibition of Sepp Werkmeister’s work from the 60s and 70s.  The museum always has interesting photography exhibitions and I’m sure this one will be just as Fab.  I plan on going next week. Because the weekend is going to be so warm, I would suggest seeing the exhibition and then having a cool drink in the outdoor cafe found right outside the museum doors.

Saturday August 8, 2015

arte caliente fest

Art Caliente Fest

SO.CAL Drink & Dine is hosting the event Which unites local and Latin American artists.

Three young filmmakers will present Their Short Films – two premieres and a piece selected at the Cannes Short Film Corner 2013. The art exhibition will feature artists from Germany, the United States, Chile, and Colombia.

Gastronomy, arts, and music meet to create in intercultural environment with film in the afternoon and food and drinks at night. Arts, California cuisine, and cocktails together make a perfect evening!  € 5 with a frozen cocktail.

PROGRAMOPENING EXHIBITION ARTISTS: Andreas Hirsch, Alejandra Hernández, Brigitte Pruchnow, Emmy Horstkamp Jessica Dettinger, Manuela Illera, Miguel Canal, Santiago Figueroa, 

SHORT FILMS 17h LOS VIAJES DE JUNIMARÉ El Sueño Del Chontaduro Mama film / 21 min / 2015 (BOG) A SOLAS Valentina Romero & Esteban Rivera / 30 min / 2013 / (BOG) RIOTLoida García, Ariadna Lagarsi & Javier Grajales / 15 min / 2015 / (BAR) DJ GONZÁLEZ 100% vinyl! (Kúmbale, electropical label)

Munich Radlnacht starts at 1700 at Odeonsplatz.  Thousands of cyclists will be touring the city starting at Odeansplatz.  The tour goes around the old town ring which is about 12km.   This is an excellent opportunity to take your camera and photograph bikes, people, Munich and a summer evening.   I will share with you some of the photographs I take after the Art Caliente Fest.


cindy sherman red

Goetz Collection
Oberföhringerstr. 103
81925 München
Tel. 089-95 93 96 90
Fax 089-95 93 96 96 9

  • Thursday & Friday: 2 – 6 p.m.
  • Saturday: 11 a.m. – 4 p.m.

Here is the Press Release:

The staging of female role models is the central theme of Cindy Sherman’s work, in which the American artist explores stereotypes of the collective visual memory in a media-driven society. With her photographs, Cindy Sherman (born 1954 in Glen Ridge, New Jersey, U.S.) has had a lasting influence on 20th century art. Much like an actress, she portrays herself in different roles before the camera. Although Sherman’s photographs are self-portraits in the traditional sense, they do not reveal much about the artist’s personality. Rather, her primary concern is the deconstruction of gender roles and stereotypes. Sherman developed early in her childhood an obsession for disguise and masquerade, which she further pursued at the Art Academy in Buffalo. The artist became known with her black and white series, Untitled Film Stills (1977-1980), in which she embodied stereotypical female characters from fictional scenes of the 1950s. Later, she created large-format color photographs, which explored topics such as fashion photography, fairytale characters, horror scenes and society ladies. The Goetz Collection has extensive work groups from nearly all phases of Sherman’s artistic career. With approximately 60 works, the retrospective, which was designed in close collaboration with the artist and is presented in the Gallery Building, provides an excellent overview of her entire work.

Sunday August 9, 2015

It is going to be warm this weekend I plan on creating art. If you are stuck and don’t know what to do in Munich on a Sunday, go to the Museums between visits to the cafes and beergardens.

Munich Artists Event Planning Stammtisch – Friday July 17th

Life - Drawing without an eraser by photo Emmy Horstkamp


Our next Stammtisch will be on July 17, 2015.   We will have mockups of the first colouring book (binder with artwork organised before I send the file to the printer) for comments.  I will talk about deadlines for various book projects and I will take suggestions for the series of colouring books.  The second book will be dealing with street notes left around Munich. If you want to participate in this, you better get cracking!  I posted the #letsplayagame on Instagram. Do you follow our Instagram feed? The game is to print the photo I’m posting online and then tape it somewhere in the city and snap a cool photo.   I don’t care if you leave the image there or take it home with you.  I’m interested in the photograph you snap.  Please if you play this game and send me a photo, you must give me permission to print it for commercial use. It must state this specifically in the email you send me or I will not use it.

The third book subject is up for grabs.  I want these books to be coming out each month starting sometime in August.  The books will be a hybrid “bookzine” because we are making them print by demand and I don’t want to date the content. I was thinking it would be fun to have an Oktoberfest book for September.   What do you think?

November 15th Art Event

We are organising an art event for November 15th (tentative date).  I’m submitting the request this week to see if we can secure the location for the event/exhibition and get Munich’s blessing and cooperation.  Think Stand for your Art but 10x as many artists and no standing but lots of opportunities to have fun which should clarify nothing which is the point… I don’t have permission yet so can’t go into details.  (Because of the size, there will be a cost between 100 to 300 Euro per artist.) We will be making a book from this project and we will have a dedicated website where all participating artists will be showcased.

I need organised individuals willing to be in charge of various parts of this project because it is too big for me to handle alone.  Here is the beginning list:

  • Publicity
  • Entertainment
  • Volunteers
  • Sponsorship/Donations
  • Workshops (8 hours)
  • Sales (Be in Charge of the two sales locations)
  • Book/Catalogue
  • Marketing materials
  • Participatory art  project (2)
  • Food

These are not paid jobs…. just like me, you will be wearing a volunteer hat.  If we get enough sponsorship, there may be some compensation but you can’t take on these roles thinking about that.   It will be really cool and hopefully we will be able to repeat this kind of exhibition on a yearly basis and attract the sponsors we need to pay you for your time.

The event will be juried by artists.  I will be asking established artists to take on this role.  Those artists will automatically be included in the event.  You can suggest an artist you respect to be one of the jury members.  I will select the list of artist jury members to be involved by the end of July 2015.

The theme of this event will be the prismed zeitgeist.  You can read about it on this post talking about prismed zeitgeist.  Artists will be asked to create new works based on idioms that don’t translate from German to another language.  Here is an example:

Tomaten auf den Augen haben.

A more detailed explanation which is being sent to the city will be posted here.  Once our idea has been approved, we will be making an open call for artists to exhibit for the event.  Because it is being juried, please do not be upset if your artwork is not selected. You are welcome to participate in another way.  We will have workshops & participatory art as an integral part of this event and will need artists who love to deal with people interacting with the public. You can hand them as many business cards as you want as long as they don’t end up in the art projects.

We will discuss the idioms on July 17th, how many we should have because this will determine how we organize the artwork.  Also, I need feedback about the location (which will be announced one we hear back from the city).

We are submitting our application this week but I need to know how much “work” an artist is willing to do for a one day event or if they are willing to pay for security to make it a two day event. (Sat/Sunday)  Once we have city approval, I can give more information about the exhibition. For now, please reserve July 17th for the planning meeting “Stammtisch” and November 14 and 15 as the tentative date(s) for the event ( Saturday/Sunday).

Have a Great Monday.  A newsletter shall soon be following.





Artsy Events for Feb 19th – March 2015


  • A play in French… Danny and the Deep Blue Sea. I’m organising a group on Meetup to go to the event.  Here is a link to the event page.
  • Interested in some visual art?  Wander over to Robert Weber Gallery for an exhibition tonight. Galerie Robert Weber Gabelsbergerstrasse 70, 80333  For the exhibition, you will need a QR Code scanner installed on your smart phone – it is one of those kind of exhibitions. I’ve tried making people use those things for an exhibition.. hopefully he has better phone reception at his gallery so things work a bit faster than at my QR Code installation at the Provisorium or the app fail at the Long Night of the Museum.


  • Meditative Workshop – Marbling – Here is a link to the event page if you are interested in marbling paper. Costs around 30 Euro.
  • Sophia Mainka has an exhibition. Milchstraße 4, 81667 München.
  • Manuela Illera, a Colombian artist and new to Munich, will be having an exhibition for one week at the gallery am Isartor.  Remember, the gallery is in the entranceway.  You don’t have to go into the dark club/party room because the art isn’t there but if you go to exhibitions to party, wander in and get a few free drinks.  I walked over on Monday to see the current exhibition and liked not having to go inside.  All the information about the artists is posted in the windows including some of the prices. You can visit the windows whenever you want, they are within spitting distance of the Sbahn exit and you can then wander back away impressed with your dedication to the arts.

Munich Creative Business Week

Here is a link to the Munich Creative Business Week  The Friday Gallery is a Creative Spot during the week and we will be showing an art installation by Birgit Abt.

I will be giving a talk about Regional Branding and Social Media.  If you are trying to figure this out for your specific niche, please feel free to come pick my brain but you must RSVP for this event and pay a small fee. I will be filling your head with all kinds of information which might make you dizzy or sleepy or nauseated at how much you don’t know so I need to make sure I have the right number of chairs for this event.

WED Feb 25th  

Regional Brand Development in a Social Media Society is   the exact title of my talk.  Here is a link to the event page. The talk will be at the Friday Gallery frauenstrasse 18.  I changed the date from March 26th to the 25th because I’m going to be giving a speech at an exhibition and can’t physically be in two places at once.  You can email me at emmy@ if you have any questions.


The Behance Portfolio Show.  I will be giving a speech for about 15 minutes.   Here are theartists showing work during the exhibition.The artwork on the announcement is by Moran Haynal who combines his Jewish faith with Hebrew calligraphy to make his artwork.

Kerstin Klein

Moran Haynal

Sara Otterstaetter

Ralph Kretschmann

Mr. Woodland

The topic of my speech for the 26th?  Artists in Munich, their creative inspiration, art production and the challenges of being a foreign/German artist in Munich, Germany from a foreign/German point of view or now, I’m thinking about talking about outsider art.   I will let you know next week.

 FRIDAY Feb 27

Saturday Feb 28th @1400  

Creative Meditation  at  Atelier&Galerie PunktPunktKommaKunst Donnersbergerstraße 48, 80634 Munich, Germany

Mark Your Calendar for March 2015

Schmuck 2015 – March 11 – 17th  Jewellery artists are coming to town! We will have guest artists at the Friday Gallery and also at Kunst-Werkstatt-MUC.  Please feel free to stop by and see some innovative jewellery art.


Open Call for January 2015 Munich Artists Project – Art Installations for David Russo and Jasmine Morand Theatre Production

Remember me?  Remember getting together in December? Lets start 2015 with a bang by creating some art together. Here are LOTS of details:

Date: 13.1.2015 through 18.1.2015

Location: Schwabing/Maxvorstadt Munich at a Theatre Complex

Invited Artists: Munich Artists Group organised by Emmy Horstkamp

Project: Art Installation in association with David Russo and Jasmine Morand Theatre production

Information about David Russo’s and Jasmine Morand’s theatre production

Name: Grounds (s) Diptychon – Ground(s) is a diptych. Two pieces which exploit novel technologies in order to bring out specific atmospheres through the relationship between gesture and image, where motion, light and graphics operate in an inter-dependent and symbiotic way.

Underground –  Underground is an installation inspired by peep shows and danced in real time by a woman and a man in a confined, intimate space. Set in a semi transparent structure with diagonal slits through which you can see clearly, the piece is inspired by Japanese bondage art. Inside the structure, a man and a woman move slowly, maintaining distance at first, restraining their energies until their bodies are finally confronted with each other. The tangled bodies move slowly at first, then gently crescendo into a frenetic pattern, where fragments of full- blown eroticism can appear, perceived as quasi subliminal images. The action unfolds in almost complete silence, where any noise from the dancers triggers the lights to switch off. This effect enforces a strangely breathtaking kind of intimacy, where people are invited to watch something which is both minimal and aesthetic, while being witness to something truly intimate, humanistic.

Playground – Three dancers are involved in a reflex game with increasingly complex rules which eventually turns into war-like conflict when an “object of desire” is introduced.Playground is at the cross-roads between performance and dance, using fully interactive video-mapping as a dynamic scenic tool, combining gesture, sound and image in a synergetic way.

At first, the piece developed as a simple reflex game between three dancers. Slowly the rules become more complicated, and transform the dynamics between the characters. The “playground” itself evolves and becomes a terrain where other, new rules develop and take over. Amid this, a cylindrical element is introduced and becomes an object of desire for these dancers and, naturally, the source of tensions and conflict. Invisibly, the playground becomes a war-game. The goal becomes to possess, win, to impose, to triumph. Gradually, as the alliances between the dancers are in turn made and undone, the fight for victory takes on more importance in the dynamic. As the rules and original causes of the conflict vanish from the game, the ultimate victory is taken by the dominating light and graphics which fight a war of shadows across the whole stage, dwarfing the embattled dancers by sheer size and intensity, underlining the absurdity of the conflicts unfolding on stage.

The video projections and sound-scape are influenced by the cylindrical element’s position in space, and react dynamically to movement. The graphics created and used in giant video projections were loosely inspired by the geometry of a chessboard and the constant opposition of light and darkness.

What happens when you take a popular game that everybody knows and modify one single element? Ryota Kuwakubo

Information about the Munich Artists Visual Artist Project

Munich Artists will create an art installation on the walls of the theatre foyer and the hallways leading to the two performances located in two different areas of the building.

All artists will be invited to come into the space on Tuesday and Wed to create artwork for themselves while the theatre artists are doing dress rehearsals.  The directors want you to be inspired by their artists and the theatre performances.

Installation : Group Wall Collage

The artists who decide to participate will be encouraged to drop some artwork into a box (box is part of the theatre concept) and those artworks will be collaged and hung on one wall where the book will be located (A very big wall.)  The artwork dropped off ideally will be created based on the visit to the space but artists will be encouraged to bring in old sketch books, art pieces, or found art to be ripped up and used for the collage.   All artists will be offered the opportunity to collage and add layers until the performance ends on Sunday.   All artwork brought to the theatre must be paper or canvas so that it will be light enough to hang from the wall without too much support.

Artists will be allowed to paint and draw on the collaged pieces. The only limitation for this collaborative art piece is that the subject matter must relate to the performance and whatever you add must make sense to the rest of the collage. (no bandstanding, advertising or tagging.) We will do minimal curation to remove inappropriate materials.

All supplies must be supplied by the individual artists.  If you want to paint on the collage, please use acrylics. NO spray paint or oils.  If you are a messy painter, bring a drop cloth. You will not be able to keep your selected art piece on the collaborative collaged piece.  all collaged art becomes part of the whole and will not be returned specifically to you.

Installation: The Black Line

Selected artists’ artwork will relate to a black line that will be taped across all the walls and will connect the theatre rooms. The line will be continuous but not straight. The black line must be incorporated into the art pieces of the selected artists.  The artists who create artwork off the line will be able to take their artwork home with them. All rights remain with the artists creating the pieces coming off the black line.

This part of the project is not open to all artists. If you want to be one of the ten artists working along the black line, please send an email to  emmy (at)  (If I don’t know you, please add a link to your portfolio.)  We started choosing artists to fill the space and I will make the final decisions over the weekend based on how the artwork will flow together through the available space. (If you want to work as a team that is ok but you must show me artwork that you created already as a team of artists.)

All artwork should relate to the ideas described above about the play.  Please do not use already created artwork. The directors want the energy to be from this specific site and performances.

Artists Book

Each registered artist (who comes in during the week) will be allowed to add a finished art piece based on the performance to a book which will be on display during the weekend.

The book will be a gift to David Russo and Jasmine Morand who are the theatre performance originators.  All pieces attached to the book will be no larger than an A4 size (or will have to be folded up and inserted into the book).  The artwork attached can be high quality digital prints of a piece created by the artist during the week or an original art piece. No art pieces attached to the book will be returned.  No exceptions.

The book and the wall collage will be open to all Artists but you must register to work on the art piece and get access to the theatre space. Sign up sheets will be posted on the website on January 6, 2015.

Please do not go to the theatre unless you have signed up for a specific day.  Please do not fret if I don’t pick you for one of the walls, you can work on the collage and put an individual art piece in the book for people to see. Please respect the performers preparing for their show. This is a stressful time for them and we are lucky to have this opportunity to invade their space.

Tentative Schedule

13.1.2015 Tuesday -Artists create art in space, add artwork to book and work on collage wall

14.1.2015 Wed –  Artists work on their selected spaces, create artwork based on the performances, work on collaged wall.

15.1.2015 Thursday – Art Exhibited

16.1.2015 Friday – Art Exhibited

17.1.2015 Saturday – Art Exhibited

18.1.2015 Sunday – (Take Down Art Pieces)


I will be making signup sheet where the artists will need to sign up for the days they would like to come in and do work. That way we know who is showing up and how many artists will be participating.  I will post the signup sheet tomorrow January 6th 2015.

The theatre will open up early on performance days so people can come see the artwork before the show. (If your friends and family want to see the artwork but do not want to attend the theatre event.)

For the ten artists working on the black line, All artwork must be removed at the end of the performance on Sunday. If you want to take your artwork home, please reserve this day to take it down otherwise you release your rights to the art pieces you created and I can toss it or keep it.  I will not hold artwork for anyone. (The space is just too big and I have a small car.)

If you want part of the group collage, I will be cutting the collage up into squares.  All artists who participated in the event can have a square but they must be registered and leave a physical address for the piece to be mailed.  No unregistered artists will receive recognition or a piece of the collaged artwork.  No exceptions.

The hallway leading up to the peep show needs to encourage viewers to be quiet.   This is a challenge for the artists given these walls to display their artwork.

I will be posting photos on January 6th of the space so you can see the walls we are working with for this installation.

Once you sign up for the project, you will be giving the location of the theatre.

David will have a press conference for the event and will talk about the artwork in addition to his theatre performance.

If you have any questions, please email emmy (at)


Emmy Horstkamp

Munich Artists Projects – Long Night of the Museum Installation

The following artists are working on the Munich Artists installation which will be showcased at the  Büro des Münchner Flüchtlingsrates, Goethestr.53 Erdgeschoß.

Emmy Horstkamp

Florencia Chueke

Martin Stonard

Corinna Naumann

Malta Dinkela

Karin Vogl

The installation focuses on the connection and disconnection of asylum seekers representing the asylum seekers symbolically through video, augmented reality and sculptural art forms.

There will be six videos placed in an augmented reality images.  Each video will represent a country of an asylum seeker.  Each sculptural pieces will represent ideas associated with asylum seeking as interpreted by the above artists.  We are letting the visual artists pursue their ideas on 2 m lighted columns and we will share their artists statements online and in a brochure so that you can understand each sculptural piece and how it relates to the overall theme of the installation.

I’ve asked the artists to keep the artwork in column form but they are welcome to manipulate the light element, the height (must be a minimum of 2m), and the materials used for the column.

Only a small percentage of the population knows how to use augmented reality.  We are using this technology in the exhibition to show the struggles asylum seekers face learning new skills needed to integrate into German society.  Augmented reality also points to the need for specific tools to connect the asylum seekers to German society.

A WordPress site will house the images of the sculptures and the videos so visitors can see the different elements of the installation together online.    

The exhibition will be organised as a circle of columns that represent trees.  The outer five trees will represent German society towering and rooted.  The middle column will be shorter and have no roots.  It will be images/words whitewashed to represent a new start and will contain a Zoetrope showing a simple scene. The zoetrope will need to be hand spun to work.  You must pass through the other sculptures to reach it.

This zoetrope sculpture represent the asylum seeker who is sheltered by Germany but has not roots and no German story yet to tell/show.  All is within the Asylum seeker and one must look closely to see what is inside. The zoetrope is a simple scene representing one of the needs requested by valid asylum seekers in Germany.

We will continue posting information about the installation each week. Next week, I will share some images of the different elements of the installation.

Here is our page for the Long Night of the Museum Exhibition Connected- October 18th, 2014 (Lange Nacht der Museen October 18 2014) which will be posted under Munich Artists Projects.


In our newsletter we announced an exhibition of Munich artists who attended the Akademie in Munich.

From June 6 until June 21 2014, the following artists will have artwork displayed in an exhibition curated by Anke Doberauer.

(The works shown in this blog post are examples and may not be the work in the exhibition. They are shown here so you have an idea of the style of each artist and the artistic mediums used. I will try to get over there and see what artworks are on display.)

Blanca Amorós

artwork by blanca amoros

Uli Ball

Jiyun Cheon 

artwork by Jiyuncheon

Stefanie Hubner

Stephanie Hubner

Hanne Kroll

Hanne Kroll  BCA Munich Artists

Analia Martinez

BCA Munich Artists Analia Martinez

Ana Pusica

Manuel Rumpf

Manuel Rumpf

Ivan Schmidt

Ivan Schmidt

Tom Schulhauser

Thomas Schulhauser

Brigitte Stenzel

Munich Artists Brigitte Stenzel

Lydia Thomas

Lydia Thomas

Antoinette von Saurma

Antoinette von Saurma

Adrian Wald

Munich Artists Adrian Wald

Yih-Han Wu

Munich Artist Yih Han Wu