2004 Anke Gesell Ecko Grimberg Leipzig Robert Frank Tobias Laukemper Viktoria Binschtok

In 2004, the war on terror was in full swing and continued with the invasion of Iraq. During this time, the image of America got a crack for many people in Germany and Europe. I wanted an exhibition that would portray personal approaches, individual perspectives of young artists from here, from “old Europe” to the USA in their works.The exhibition was shown at the  Academy of Visual Arts Leipzig, from 09.12. to 19.12.2004.

From head to toe set on America, you stand to his country, you wear it on the body. Garments of all kinds wear a kind of national branding, a state-wearing sock by Viktoria Binschtok makes you smile, how much the total presence of the national flag in the US falls into the eye, as it would be unimaginable in Germany.

Everything is bigger in America. And the country has many white spots, all of which can be rediscovered in a monumental landscape. Anke Gesell shows footage of national parks in the state of Utah. The salt desert can be seen symbolically as the America of America: The Mormons were literally sent into the desert and founded one of the richest states in the United States of America.

Eiko Grimberg adds new photographs of US and especially New York stays. After previous publications and works, a deepening of the view on urban america is practiced again, urgent notices that make the mutual cultural exchange of the United States and Germany obvious.

“Embedded Journalism” became the buzzword of war coverage with the 2nd US Gulf War. Selected journalists are carried along by the fighting troops for propaganda-effective reporting in order to allow the viewer to participate directly in the event. In the installation “On Duty” Tobias Laukemper shows conspicuously unspectacular images of the staging of a controversial war.

About 50 years ago, the Swiss-based Robert Frank delivered a historical, genealogical reference to the exhibition with his famous photo series “The Americans.” It was the great reference that was shown in the form of the famous book.

Finally, there was my “freeman’s journal 3”, which shows pictures of American flags as a symbol carrier.

Rosebuds – Hidden Stories of Things

2017 2018 Constant Dullaart Cybernetics Elli Kuruş Francis Hunger Geert Lovink Georg Trogemann Hans-Christian Dany Honey Biba Beckerlee Lena Brüggemann Lisa Parks Marie-Eve Levasseur Mark Fridvalszki Morehshin Allahyari Olia Lialina Paul DeMarinis Ryan S. Jeffery Tris Vonna-Michell

28. 12. 2017 – 28. 01. 2018 
Opening 28. 12. 2017, 19h

D21 Kunstraum Leipzig
Demmeringstraße 21
04177 Leipzig

Morehshin Allahyari, Honey Biba Beckerlee, Hans-Christian Dany, Paul DeMarinis, Constant Dullaart, Mark Fridvalszki, Francis Hunger, Ryan S. Jeffery, Elli Kuruş, Marie-Eve Levasseur, Olia Lialina, Geert Lovink, Lisa Parks, Fabian Reimann, Georg Trogemann, Tris Vonna-Michell

27. 01. 2018, 10 – 17 h
Hans-Christian Dany, Olia Lialina, Zsolt Miklósvölgyi

curated by
Lena Brüggemann, Francis Hunger, Fabian Reimann

Lena Francis and me, all of us with different backgrounds as artists and curators, we intended to make a collection of things which would tell a media history. This was of such a complexity it make us talk and discuss a lot. We came up with the solution to put together an exhibition of personal objects belonging to international artists and thinkers. These guests and us we wrote down the stories of these objects we put together in an exhibition: sim-cards, selfie-sticks, a highschool yearbook, a flight jacket or a wedding cake. Within the symposium at the exhibition’s end Hans-Christian Dany, Olia Lialina and Zsolt Miklósvölgy were talking and discussing about artistic practices, media archeology and much more.


The Future was already here

2011 Heide Nord Leipzig Margret Hoppe Ralo Mayer

Starting with the term of a Second modernism, the hot time of the Cold war I’ve started the exhibition project by the title “Zukunft hatte begonnen” / “The Future was already here”, following Robert Jungk’s “Die Zukunft hat schon begonnen” / “The future is already here”.

After the end of World War II there had been parallel cultural evolution marking the end of the age of modernism. This era inhabits a specific focus on the term of future, a determination of things to come in a world of unity. The exhibition gathers some artist positions dealing with this ambiguity.

With Margret Hoppe, Ralo Mayer, Heide Nord und Fabian Reimann

Kunstverein Leipzig, 2011

Projekt Kaufhaus Joske

2008-2016 Cindy Schmiedichen Rebecca Wilton Till Gathmann




Together with Till Gathmann, Cindy Schmiedichen and Rebecca Wilton I started in 2008 to take a closer look at the history of a former department store, which used to be owned by a Jewish family and was located in Leipzig Plagwitz. This interest caused extensive researches and finally brought up the Projekt Kaufhaus Joske. The location of the former department store at Karl-Heine-Str. 43, 04229 Leipzig, turned into a temporarily venue. The most significant parts can be named as the History, Stripes, Posters, Space. All venues up to the final symposium are documented here


Ez Chaim

2017 Angelik Waniek Cornelia Siebeck Ines Weizmann

There is a void in the middle of Leipzig, a vast place on which once stood the largest orthodox synagogue. It  burned down at the Kristallnacht. In 2017 there was a parking lot. In this district the Kollonadenviertel of which I’m about to tell, there is a civic association, very committed to the coexistence and history of its own. Almost next door to this Bürgerverein is the KV Association for Contemporary Art. Through my cooperation in this association and the experiences from the Projekt Kaufhaus Joske I was as obvious as important to me wo publicly speak and discuss about this void. I developed an evening in cooperation of the two associations as part of the Jewish Week Leipzig 2017.

I invited Angelika Waniek to contribute a performance on the spot of the former synagogue. Afterwards there were lectures and discussions with Prof. Dr. med. Ines Weizmann, Cornelia Siebeck and all other guests in the KV.

As an intervention in reference to the destruction of Jewish shops and houses during the Reichsprogromnacht, I had a shop window removed. This blank space was the only entry and exit of the evening.