Public Art: The Right to Remember and the Reality of Cities
Conference in the framework of the project Symposion Urbanum Nuremberg
October 22–24, 2021
22. 10. 2021 Neues Museum - State Museum for Art and Design Nuremberg
23. + 24. 10. 2021 Historic City Hall in the Old Town Hall, Nuremberg
Direction: Andreas Wissen in cooperation with Ellen Seifermann
Concept: Jörg Heiser with Gürsoy Do ğtaş and María Inés Plaza Lazo
Organized by the Planning and Building Department of the City of Nuremberg and sponsored by the Department of Culture of the 2nd Mayor of the City of Nuremberg, in cooperation with the Kunsthalle Nürnberg in the KunstKulturQuartier and the Neues Museum – State Museum for Art and Design Nuremberg. With the kind support of the Kost-Pocher'sche Foundation and the Rudolf and Eberhard Bauer Foundation.
Public Art: The Right to Remember and the Reality of Cities
The international conference approaches the present and future of art in public space in light of current debates about the past. One focus will be on the following questions: What can a public culture of remembrance look like that takes into account the fact that, for example, the relatives and friends of victims of the murders committed by the neo-nazi terrorist group NSU or the racist attacks in Halle and Hanau still have to fight for more and appropriate attention?
How does this aspect of recent memory relate to the confrontation with the crimes against humanity of National Socialism, and their traces in urban space? And both in turn to the confrontation with the crimes under German colonial rule? How can a multi-perspective commemoration emerge that neither offsets nor plays off?
What does this mean for the current urban space, against the background of restorative tendencies, but also progressive change through social networking by means of the formation of common property („commons“)? And what is the ultimate role of art in public space?
These questions will be discussed with theoreticians, activists, representatives of victims and their relatives, and artists not only in an abstract-discursive form, but in the context of concrete political-social developments and artistic projects.
Friday, October 22nd, 2021
Neues Museum - State Museum of Art and Design Nuremberg
Dr. Simone Schimpf, Director Neues Museum Nuremberg
Daniel F. Ulrich, Planning and Building Officer
of the City of Nuremberg
Introductory lecture: Public Art revisited, within the framework of cultures of commemoration
Jörg Heiser, University of the Arts, Berlin
The lecture will introduce the topics of the conference and outline the current debates about what an extension of commemoration without false relativizations could look like – and what role art has to play in this.
Keynote: What connects art practice, political activism, and the crisis of representation, IRL and URL? Physical and Virtual Struggles for Commons and Undercommons.
María Inés Plaza Lazo, Editor Arts of the Working Class (AWC), Berlin
The definition of public art – art in public space, as well as building-applied art – has become rather uninteresting as a discipline. This definition stagnates in a working model that follows state budgets and functions. Thus, it is at the same time a working model that implies a Eurocentric view of what is and what is not public. It is against this backdrop that Arts of the Working Class looks at the deepening connection between art practice, activism, and representation, and for the first day of the symposium aims to assert how categorically indifferent it can be whether a particular practice is considered public art or not. To understand this social and epistemic shift, it is important to find ways to let go of the status quo. Accordingly, the lecture focuses on negotiation and redistribution within socio-economic concepts of commons and undercommons - as unmapped and unmappable un-places, respectively, where collective forms of knowledge production and sustainable cohabitation seek to replace precarious living and working conditions inside and outside the art world.
What is Common on this Ground?
Zoë Claire Miller, artist
Simon Fujiwara, artist -
Cassie Thornton (dig.), artist, L'Union des Refusés
Moderation: Oliver Koerner von Gustorf, art critic
In different ways, Zoë Claire Miller, Simon Fujiwara and Cassie Thornton interrogate the role of art in the public sphere, seeking to create physical, virtual and symbolic spaces that offer more sustainable and ethical alternatives to the status quo. Art critic Oliver Koerner von Gustorf serves as moderator, interviewing Fujiwara about his recent exhibition at Fondazione Prada (Milan) and the Instagram account of his avatar named WHO?; Zoë Claire Miller about Matriarchal World Domination publications and posters; and Cassie Thornton about The Hologram, a post-capitalist, feminist peer-to-peer system of care.
Life Art Forms
Johannes Paul Raether, artist, Academy of Fine Arts Nuremberg,
in conversation with Jörg Heiser
Johannes Paul Raether directs the newly created postgraduate master's program Live Art Forms at the AdBK Nuremberg. What understanding of community, digitality and the public sphere will be brought to bear there?
Saturday, October 23rd, 2021
Historic City Hall in the Old Town Hall
Prof. Dr. Julia Lehner, 2nd Mayor, Department of Culture
Prof. Dr. Julia Lehner, 2nd Mayor of the City of Nuremberg, Department of Culture
Introductory lecture: On the Culture of Remembrance of the Privileged
Gürsoy Doğtaş, art critic and curator
Racism manifests itself not only as a concrete, violent and distinctive misconduct of individuals who intentionally exclude, discriminate and dehumanize, but has a systemic level that points beyond those individual cases. Inscribed in historically established power relations, this structural racism shapes the social order. Both the political and economic structures of this social system and its conceptions of law bring it about. The institutions of society are also subject to the same structural bias, be it the media, the judiciary or cultural institutions such as museums or theaters. The permanent discrimination of social groups by supra-individual norms and routines, one of the basic features of institutional racism, remains active even when these institutions want to commemorate the victims of the assassinations of the right-wing extremist terror group of the National Socialist Underground. For example, the Munich Documentation Centre for the History of National Socialism can commission an artwork for the exterior facade of the city’s Criminal Justice Center (where the main trial of the crimes of the National Socialist Underground took place between 2013 and 2017) and and call for the responsibility of remembering without the victims of racist violence being able to recognizably participate or become involved.
Panel: The Violence after the Violence
Ayşe Güleç, co-curator of the exhibition “Offener Prozess” (Open Process, Nuremberg State Theater), documenta fifteen team
Ulf Aminde, artist, Weißensee Academy of Art Berlin
N.N., representative of Initiative Das Schweigen durchbrechen! (Initiative "Breaking the Silence!")
Moderation: Gürsoy Doğtaş
In Liegnitzer Straße in Nuremberg, where Enver Şimşek became the first murder victim of the NSU, the memorial plaque commemorating his racist murder has already been stolen three times. Once it was recovered in the forest and could be reattached, twice it remained missing. On Scharrerstraße, where İsmail Yaşar fell victim to the NSU on June 9, 2005, the slogan “No Forgiveness” was blacked out. At the corner of Siemensstraße and Gyulaer Straße, where Abdurrahim Özüdoğru was murdered in his alterations tailor shop on June 13, 2001, the only reminder of the murder is still the plaque affixed by the “Break the Silence!” initiative. From the inscription “murdered by Nazis” the word “Nazis” had been completely scratched away. The perpetrator or perpetrators thus scratched against the truth, just as the investigating authorities had ruled out right-wing terror as a motive for the murders and attacks for years. It was not until 2011 that it became clear that both attacks were committed by the right-wing terrorist NSU network and that their racist ideology was clearly aimed at unsettling post-migrant society. In a perpetrator-victim reversal, those affected by the NSU murders were suspected of being behind the attacks themselves, instead of listening to them and acknowledging their knowledge. Those affected in Cologne speak of the “bomb after the bomb” referring to the racist investigations against themselves and recalling the 2004 nail bomb aimed at mass murder. “The violence after the violence” picks up on this formulation and emphasizes that even the memory of the victims is under attack. This makes it clear that Enver Şimşek, Abdurrahim Özüdoğru, Süleyman Taşköprü, Habil Kılıç, Mehmet Turgut, İsmail Yaşar, Theodoros Boulgarides, Mehmet Kubaşık, Halit Yozgat and Michèle Kiesewetter are still targets of violence even as dead people. In the refusal to mourn the dead, the violent power relations that previously denied the relatives of the victims and those affected the “right to remember” continued.
Talya Feldman (dig.), artist, survivor of the racist and anti-Semitic attack in Halle, initiator of the web platform Wir Sind Hier (We Are Here)
İbrahim Arslan (dig.), activist, survivor of the racist arson attacks of Mölln
Moderation: Sophie Goltz (dig.), International Summer Academy of Fine Arts Salzburg
Project Description “Wir Sind Hier” (We Are Here), Talya Feldman: Over the last decades, survivors of right-wing terror in Germany and families of the victims have fought to reclaim the memory of those lost to racism and antisemitism after 1945. These fights have been with city officials, with neighbors, with politicians, with media figures, and with artists. These fights have been for the right to be heard, to be seen, and to activate change in politics, justice, and civil society. These fights have been for physical spaces: street names, park circles, rooms of solidarity, schools, parks, and monuments. These fights have been for language -- and for the right to remember victims of terror in the ways that they should be -- by those most affected, by their families and friends. Wir Sind Hier, a new project by Talya Feldman in collaboration with the Solidaritätsnetzwerk and initiatives across Germany combating right-wing terror -- examines what it means to remember and claim remembrance in a digital space, that which cannot be claimed in the physical. The digital space allows for a reclamation and reimagining of our cities and city maps -- through the voices of those continuing to confront and instigate change. It includes video footage of city streets as well as layered maps with outlined sites that a growing network of solidarity amongst survivors, families of victims, and initiatives across Germany have been fighting to claim. Online, remembrance exists as an active past, present, and future.This platform therefore, begins both at the end and the beginning -- with the names of victims of the most recent right-wing attacks, scrolling upwards to the names of victims from 1979. This project is ongoing and will be updated regularly. Just as memory changes, so too do the demands for remembrance, so too are more survivors and families activated to remember and to speak. We Are Here is a statement in deference to those remembered, but also to those continuing the fight for remembrance and for a future without violence in our cities. Names will be added as they are claimed. Voices will change over time. This space for remembrance -- as a digital space -- will exist forever. A space of collective mourning and resistance. This platform is designed by Talya Feldman in collaboration with Tuan Quoc Pham.
Critical walk to NSU-related sites
with Birgit Mair, Institute for Social Science Research, Nuremberg
We will visit two NSU crime scenes in Nuremberg's Südstadt, Gyulaer Straße and Scharrerstraße. At the corner of Siemensstraße and Gyulaer Straße, the family man Abdurrahim Özüdoğru was murdered in 2001. The same weapon was used to shoot İsmail Yaşar, father of three children, on Scharrer Street four years later. We will learn, among other things, to what extent evidence of neo-Nazis at both crime scenes was ignored by the police investigators and what consequences the one-sided investigations had for the families of the murder victims. Afterwards, we will visit the central memorial for the victims of the NSU at Kartäuser Tor (U-Bahn Opernhaus). There we will receive further information about the deeds, the victims and the social process of coming to terms with them and learn which questions are still open today.
Keynote Lecture: Identity, Art, and the Aesthetic Effusiveness of Racialized Possibility
Monique Roelofs, art theorist and philosopher, University of Amsterdam
Bringing a historical perspective to identity and the arts, we notice that white European subjectivity and experience have prominently governed scrips of address between artists, works, and publics. These scripts lock into social institutions including global market formations and play an organizational role apart from the identities of given addressors and addressees. Revising them and crafting alternative scripts demands intricate aesthetic strategies. While identity is an inescapable presence in the arts, the relevant scripts do not operate in monolithic fashion, creating one-to-one match-ups between artworks and given publics/identities. Aesthetic form and experience take on a more complex character. Looking briefly at texts by Borges and Eltit to mark distances and proximities between selves in art and life that call for critical reading and implicitly emplace “sudacas” and “kanakes” in the same commodified structures of publicity as the white European middle and working class, this talk goes on to explore involved figurations of identity in works by Kara Walker, Pope.L, and Isaac Julien that aestheticize race on alternative terms. I show how the aesthetic is central to our capacities to inhabit our racial identities in open-ended ways and to meet restrictive normative cultural delineations with an embrace of the effusive aesthetic possibilities yet to be realized.
Lecture/Performance: Pope.L (dig.), Artist, Chicago
For several decades, Pope.L has intervened in public spaces with provocative, amusingly disarming, and at times quiet performances in North America and other parts of the world.
Through art, he questions the prevailing concepts of THE public sphere, and the discourses that define it. These include social categorizations such as identity or race AS A PHENOMENOLOGY, or A system such as nationHOOD OR language. With courage, perseverance and humor, he breaks through homogenous spaces on behalf of a counter-public OR HIS EGO, WE ARE NOT SURE. In his lecture, he will HOPEFULLY discuss selected interventions to explore his working methods as well as their political circumstances OR THE LACK THERE OF...
Moderation and Q&A with Roelofs following Pope.L's performance: Kerstin Stakemeier, art theorist, Academy of Fine Arts Nuremberg.
Sunday, October 24th, 2021
Historic City Hall in the Old Town Hall
Panel: Dealing with Right-Wing Spaces, Decolonization of Cities
Stephan Trüby, architect, University of Stuttgart
Andrea Pichl, artist
Noa K. Ha, urban researcher, DeZIM Institute and Weißensee School of Art Berlin
Marc C. Kücking, architect, Initiative BauLust e.V. Nuremberg
Oliver Hardt, filmmaker
Moderation: Jörg Heiser
Questions that will touch the entire conference in one way or another are at the center of this panel's discussion: How to deal with “right-wing spaces” – recent restorative, reactionary, even radical right-wing tendencies in current architecture and urban development – or rather, how to change or fight them? How to make other spaces possible – especially under the premise of decolonization (which is by no means to be understood only as the critical renaming of streets, or the criticism of historical monuments, but above all as an observation of structural power relations in urban space)? How do collaborative, community-based approaches and subjective artistic interventions relate to each other?
Olu Oguibe (dig.), artist, Das Fremdlinge und Flüchtlinge Monument / Monument for Strangers and Refugees (documenta 14–ongoing), in conversation with Jörg Heiser.
On October 3, 2018 – the Day of German Unity and almost a year after the end of documenta 14 – the mayor of Kassel, Christian Geselle (SPD), had an obelisk removed from the centrally located Königsplatz. Work began at 4 a.m. and was finished by lunchtime. The press spoke of a “hush-hush nighttime action”. The obelisk was the artwork by Olu Oguibe entitled Das Fremdlinge und Flüchtlinge Monument / Monument for Strangers and Refugees, which had been erected there as part of documenta 14. The obelisk bears an inscription from the Gospel of Matthew in Arabic, German, English and Turkish - the languages most commonly spoken in Kassel: "I was a stranger and you sheltered me." The removal had come under pressure from the right-wing party AfD, whose city councilor Materner had called it “ideologizing and distorting art” – alluding to the term “degenerate art.” Although a private fundraising campaign had raised the funds for the purchase, a majority of SPD, CDU and AfD decided to dismantle it. However, after negotiations, the monument returned in April 2019 and has now been permanently installed in nearby Treppenstraße. What observations can be made based on these events? How does the artist himself analyze the situation?
Closing discussion with contributors of the conference
Ulf Aminde is an artist and filmmaker. His productions often negotiate public space and are also shown there. Many of them initiate collaborations and collective learning environments. In his filmic work he negotiates the potential of self-empowerment through the performative camera, alienation effects in the documentary and strategies of subjectification. His film works are usually also characterized by a collaboration with the protagonists and experimental settings. His most recent works deal with memory and resistance. In Cologne, he is developing a cinematic and, through the use of Augmented Reality, participatory memorial to the memory of the racist bombings of the NSU terrorist network in Probsteigasse, 2001 and Keupstraße, 2004. He is also a professor of Performative Spaces at the Weißensee Kunsthochschule Berlin. There, together with Miriam Schickler, he initiated the *foundationClass for artists who had to flee their home countries.
İbrahim Arslan survived the racist arson attacks in Mölln in 1992, in which his grandmother Bahide Arslan, his sister Yeliz Arslan and cousin Ayşe Yılmaz lost their lives. He has been involved in anti-racism work for many years, reporting from the perspective of those affected at events, conferences and, above all, in schools as a political education speaker throughout Germany. Through the “Möllner Rede im Exil” (Mölln Speech in Exile), which he has been organizing since 2013 together with his family and circle of friends in memory of the racist arson attacks in Mölln in 1992, he established a new culture of remembrance in Germany that actively involves the relatives of racist murders and attacks and fights against forgetting. İbrahim Arslan is an ambassador for democracy and tolerance. (Taken from the website of the Heinrich Böll Foundation.)
Gürsoy Doğtaş is an art historian, publicist, and curator working at the intersections of institutional critique, structural racism, and queer studies. He received his PhD from LMU Munich on Chantal Mouffe's theory of democracy in the exhibition discourse of biennials (2020). Since 2014, he has taught courses and lectured at the Academy in Berlin and Munich, Fachhochschule Potsdam, among others. He curated the discursive program of Public Art Munich (2018) and exhibitions such as “Die kalte Libido” (The Cold Libido) at Haus der Kunst/Munich (2015); “Das Kleid sitzt nicht” (The Dress Doesn’t Fit), Curated by, Vienna (2013). From 2007 to 2013 he was the editor of the artistzine “Matt Magazine”. In the framework of ICI (Independent Curators International) in New York, he co-edited the publication The Politics of the Melancholic Voice - Zeki Müren's 'Kahır Mektubu' (Letter of Sorrow) about the culturally specific melancholy of the Turkish singer Zeki Müren. He is a researcher at the University of Applied Arts in Vienna.
Talya Feldman is a media artist from Denver, Colorado (USA). She received a B.F.A. from the School of the Art Institute of Chicago and is currently studying at the Hochschule für bildende Künste Hamburg. She received the 2021 DAGESH Art Prize for her installation “The Violence We Have Witnessed Carries a Weight on Our Hearts” at the Jewish Museum Berlin. A survivor of the attack in Halle (Saale) on October 9, 2019, Feldman received recognition for her subsequent projects against right-wing terror.
Simon Fujiwara’s work can be described as a highly personal exploration into the industry of the individual in a hyper capitalist, socially mediated world. In this seductive yet fraught arena, the British-Japanese artist is drawn to investigate and reveal the paradox of our simultaneous quest for fantasy and authenticity in the culture we consume. His work, which ranges from video and installation to sculpture and drawing, often references and replicates real world forms of education or entertainment, such as theme park rides, models and miniatures, or wax works. In his recent exhibitions – which include a full-scale reconstruction of the Anne Frank House (Hope House, 2017), a “rebranding campaign” of his former high school art teacher (Joanne, 2016-2018) and a theme park ride that takes you into the world of YouTube (Empathy I, 2018) – we observe a distorted reflection of the real world through the artist’s fantastical and sometimes disturbing universe.
Sophie Goltz lives and works in Salzburg and Berlin as a curator, art educator, and writer. In 2020, she was appointed director of the Salzburg International Summer Academy of Fine Arts. From 2017 to 2020, she taught as an Assistant Professor in the new Museum Studies and Curatorial Practice (MA) program at the School of Art, Design and Media at Nanyang Technological University Singapore and served as Deputy Director of Research and Academic Education at NTU Center for Contemporary Art Singapore (NTU CCA Singapore). From 2013 to 2016, she was the Artistic Director of Stadtkuratorin Hamburg. From 2008 to 2017, she worked as a curator at Neuer Berliner Kunstverein (n.b.k.), where she also became the Head of Communications and Art Education until 2013. Most recently, Goltz published Culture City. Culture Scape. (co-authored with Ute Meta Bauer and Khim Ong, NUS Press, 2021) and Passages. Art in Public Space Hamburg since 1981 (forthcoming, Spector Books), which reflects on her time as Artistic Director of Stadtkuratorin Hamburg.
Ayşe Güleç is an educator, author and research activist at the intersections of anti-racism, migration, art and art education. Currently, Güleç is part of the Artistic Team of documenta fifteen. From 2015 – 2017, she was a documenta 14 staff member as a community liaison in the artistic director's department. From 2018 to 2019, she was the head of art education at the Museum of Modern Art in Frankfurt am Main. She was active in the collective movement „NSU-Komplex auflösen“ (unraveling the NSU-Complex) and was involved in the preparation and coordination of the tribunal „NSU-Komplex auflösen“, which took place in Cologne in May 2017. From 1998 to 2016, she led the development, management, and implementation of (inter)cultural aesthetic activities, educational opportunities, and European networking at the Kulturzentrum Schlachthof Kassel. For documenta 12, she developed the documenta 12 advisory board to develop and link the show with individuals, groups in Kassel and subsequently became the spokesperson. She became an advisory member of the Maybe Education of documenta 13 and trained a group of art mediators.
Dr. Noa K.
Dr. Noa K. Ha is an urban researcher. Since October 2021, she has been teaching at the Kunsthochschule Berlin-Weißensee in the MA Spatial Strategies with Prof. Dr. Bonaventure Ndikung and Prof. Nasan Tur, and is leading the National Discrimination and Racism Monitor (NaDiRa) at the DeZIM Institute (German Center for Integration and Migration Research, Berlin) as a substitute until February 2022. From July 2020 to September 2021, she was acting Scientific Director at DeZIM. From 2018 to 2020, she led the Center for Integration Studies at TU Dresden as Executive Director and Junior Research Group Leader. From 2013 to 2017, she was a research associate and post-doc at the Center for Metropolitan Studies (CMS) at TU Berlin. She is a founding member of the society for racism-critical, postcolonial and decolonial research and practice (DeKolonial e.V.i.G.). and is active in the Asian-German association korientation e.V..
Oliver Hardt is a director and filmmaker. For many years, his documentary films have explored Black history and culture, often with a focus on contemporary art, architecture and design. His internationally acclaimed films include Black Germany (2006), an intimate study of the thoughts and feelings of a not-so-small minority in Germany; The United States of Hoodoo (2012), a road trip to the spiritual sources of African American culture; David Adjaye - Collaborations (2015), a portrait of the Ghanaian-British star architect; most recently, The Black Museum (2018), a documentary about the National Museum of African American History and Culture in Washington, D.C., whose creation Hardt filmed over several years. Hardt's films have been screened at film festivals and on television around the world, as well as in the context of exhibitions, including at the Haus der Kunst in Munich, the Art Institute of Chicago, the Garage Museum in Moscow, the Museum of the African Diaspora San Francisco, and the Guggenheim Museum Bilbao.
Jörg Heiser is an art critic, university lecturer, curator and musician. At the University of the Arts in Berlin, he is Dean of the Faculty of Fine Arts and Executive Director of the Institute for Art in Context. For twenty years he worked as an editor for the magazine frieze. His books include All of a Sudden. Things That Matter in Contemporary Art (2008) and Double Lives in Art and Pop Music (2019). Since 2004 he has curated numerous group exhibitions, including Romantic Conceptualism (2007/08, Kunsthalle Nuremberg and Bawag Foundation Vienna, catalog); in 2018 he was co-curator of the Busan Biennale in South Korea (catalog). The second album by the band La Stampa, of which he is a member, was released in 2018 by Vinyl Factory, London. Most recently, his book Freiheit ist kein Bild (2021) was published.
Initiative “Das Schweigen durchbrechen!”
In spring 2014, the anti-fascist initiative “Das Schweigen Durchbrechen!” (Breaking the silence!) was founded as an initiative to remember the victims of right-wing terror in Nuremberg with the goal of establishing a permanent memorial in Nuremberg. Since then, the initiative organizes annual rallies at the crime scenes to commemorate the murdered. In doing so, it is important to name the social conditions under which the National Socialist Underground was able to emerge and murder. The initiative does not want to neglect the active commemoration of those murdered by the NSU and the demand for a dissolution of the NSU complex, nor does it want to remain silent about virulent anti-racist, feminist and other social disputes.
Oliver Koerner von Gustorf
Oliver Koerner von Gustorf is a freelance writer and art critic living in Berlin. He writes for magazines such as Monopol, Blau, AD and daily newspapers such as taz, Freitag, Welt. Koerner has been working freelance in the field of corporate publishing for the art department of Deutsche Bank for 20 years. In 2007 he founded the gallery SEPTEMBER in Berlin, which closed in 2014. His recent catalog publications include essays in Rainer Fetting, Blumen & (Hatje Cantz, 2021) and Marc Brandenburg, Hirnsturm (Kerber Verlag, 2021).
Mark C. Kücking
Dipl-Ing. Mark C. Kücking is a landscape architect and chairman of the association BauLust Initiative für Architektur & Öffentlichkeit e.V. The Nuremberg-based association has set itself the task of sensitizing the urban public to the architecture of the city. In addition to panel discussions, lectures and exhibitions, the association is also concerned with projects aimed at improving life and architecture in Nuremberg. Furthermore, the association takes a stand on sensitive architectural building projects. This includes the question of how to deal with the Nuremberg Nazi Party Rally Grounds.
Birgit Mair holds a university diploma in social science and is co-founder of the Nuremberg Institute for Social Science Research, Education and Consulting e.V. (ISFBB), co-author of the international study on Nazi forced labor “Hitlers Sklaven” (“Hitler's Slaves”), authored several publications on Holocaust survivors as well as extreme right movements. She conceived the nationally acclaimed exhibition “The Victims of the NSU and Coming to Terms with the Crimes” and conducted more than three hundred eyewitness interviews with Holocaust survivors. In 2012 and 2013, she observed the Bavarian NSU parliamentary investigative committee, and later the Munich NSU trial.
Zoë Claire Miller
Zoë Claire Miller, born 1984 in Boston, is an artist / curator / activist who lives and works in Berlin. She is a spokeswoman of the bbk berlin (berufsverband bildender künstler*innen berlin e.V., the professional association of artists), and co-founded the Berlin Art Prize. Her recent work includes a horticultural-sculptural collaboration for the Bergen Assembly in Norway, a community effort to exorcise capitalism via raku ceramics at Floating University and The Society for Matriarchal World Domination (self-explanatory).
Andrea Pichl lives and works in Berlin. Studied Fine Arts at the Berlin Weißensee School of Art and at Chelsea College of Art, London. Solo exhibitions among others: Kunsthalle Rostock, Museum Dieselkraftwerk Cottbus, Landesmuseum Brandenburg, Galerie Weißer Elefant, L40 Kunstverein am Rosa-Luxemburg-Platz, Krome Gallery, Luxembourg, IG Metall, in collaboration with Haus am Lützowplatz, Berlin, Museum Moritzburg, Halle /Saale, Landesmuseum Sachsen/Anhalt, M HKA, Museum for Contemporary Art, Antwerp, Irish Museum of Modern Art, Dublin, National Gallery Tashkent, Uzbekistan, Mies van der Rohe Haus, Berlin, Volksbühne am Rosa-Luxemburg-Platz, Berlin (stage design), Künstlerhaus Bethanien, Berlin, Contemporary Art Centre Vilnius, Lithuania, Kumu Art Museum, Tallinn, Estonia. Group exhibitions among others: Kunsthalle Wilhelmshaven, Prater Galerie Berlin, Kunsthalle Rostock, Werkleitzfestival Dessau, ZKR, Center for Art and Public Space, Schloss Biesdorf, Berlin, Saarländische Galerie, Berlin, Hartware Medien Kunstverein, Dortmund, L40 - Kunstverein Rosa-Luxemburg-Platz, Krome Gallery, Luxembourg, Deutsches Haus, NY University, New York, Skulpturenmuseum Glaskasten, Marl, Kunsthistorisches Museum Schloss Ambras, Innsbruck, Hamburger Bahnhof, Berlin.
Olu Oguibe is a multi-media artist whose work often straddles minimalist formalism and social engagement. His work has been widely exhibited in museum and gallery shows, as well as biennials and triennials. He has also created several public works in many countries. In 2017 his “Strangers and Refugees Monument”, a public sculpture in Kassel, Germany, received the Arnold Bode Preis for documenta 14.
María Inés Plaza Lazo
María Inés Plaza Lazo, born 1989, enjoys developing curatorial and communicative strategies for others, individuals and institutions alike. She grew up in Guayaquil, Ecuador, and lives and works in the streets of Berlin and the world. Trained as an art historian at the Ludwig-Maximilians-University of Munich and the Catholic University of Eichstätt, she is founder and editor of Arts of the Working Class, together with Paul Sochacki and Alina Ana Kolar, a multilingual street newspaper for poverty, wealth and art. Since 2018 Arts of the Working Class is published bi-monthly and features contributions from artists and thinkers from different fields and countries. It is aimed at the working class, at everyone, and it is about everything that belongs to everyone. Everyone who sells it makes money. Street vendors keep the full price. Every artist whose work is advertised helps to create it.
Pope.L, born 1955, is a visual-PERFORMNACE artist AND EDUCATOR from the United States CURRENTLY living in Chicago. He has been teaching visual arts at the University of Chicago since 2010. PRIOR HE TAUGHT THEATER AND FILM FOR TWENTY YEARS AT BATES COLLEGE IN LEWISTON, MAINE, USA. He has a long record of both solo and group exhibitions. Recent exhibitions include "Misconceptions" at Portikus Frankfurt (2021); "Pope. L: Instigation, Aspiration, Perspiration," three complementary exhibitions in New York, at the Whitney Museum of American Art, the Museum of Modern Art, and with the Public Art Fund (2019-2020); "Whispering Campaign" at documenta 14, Athens and Kassel (2017); "Claim" at the Whitney Biennial (2017); "On the Tip of the Tongue" at the Museum of Modern Art Warsaw (2016); "Baile" at the 32. Biennial de São Paulo (2016); "The Public Body" at Artspace, Sydney (2016). Pope.L has received numerous awards and fellowships, including the United States Artists Rockefeller Fellowship, the Solomon R. Guggenheim Fellowship, and the Andy Warhol Foundation Fellowship. HE IS A BASTARD.
J.P. Raether is an artist and professor at the Academy of Fine Arts Nuremberg. In his artistic work he cares for a system of constructed identities (Avataras, AlterIdentities or SelfSisters) that appear in various places in public space where they research, teach and tell stories. These so-called aLifveForms - Transformella, Protektorama, and Swarm Beings - challenge conventional assumptions about identities, bodies, and technology. Works and performances have been on view at the 9th Berlin Biennale, Palais de Tokyo in Paris, Fridericianum in Kassel, and transmediale 2017 in Berlin, among others. Solo exhibitions have taken place at Kraupa-Tuskany Zeidler in Berlin, Kunstverein Düsseldorf, Transmission Gallery in Glasgow, and Ludlow 38 in New York City, among others. At AdBK Nuremberg, Raether directs the newly created postgraduate master's program Live Art Forms, which connects performative and aesthetic practices in public, digital, and global spaces - within the visual and performing arts and beyond.
Monique Roelofs is Professor of Philosophy of Art and Culture at the University of Amsterdam. Her research focuses on the relation between aesthetics and politics, attending especially to facets of race, gender, nation, coloniality, and the global. She is the author of Arts of Address: Being Alive to Language and The World (2020) and The Cultural Promise of the Aesthetic (2014). Her articles have appeared in numerous venues, including differences, Confluencia, Flash Art and Texte zur Kunst. Roelofs has recently completed a new book manuscript, Aesthetics, Address, and the Politics of Culture. She is also coauthoring a book on aesthetics and temporality in Latin(x) America and coediting the anthology Black Art and Aesthetics: Relations, Interiors, Reckonings.
Kerstin Stakemeier, Professor of Art Theory (Academy of Fine Arts Nuremberg), works in teaching, organizes exhibitions and writes. In September 2021 she opened the exhibition and publication project Illiberal Arts with Anselm Franke at the Haus der Kulturen der Welt Berlin. With Bill Dietz, the seminar Universal Receptivity resulted in an online and print publication (March 2021), with M. Ammer, E. Birkenstock, J. Nachtigall, and S. Weber she developed the exhibition series and journal Class Languages (2017/18), and with Marina Vishmidt she wrote Reproducing Autonomy (2016). In 2017, b_books PoLYpen published the monograph Entgrenzter Formalismus. Procedures of an anti-modern aesthetics.
Cassie Thornton is an artist, activist and writer who makes a “safe space” for the unknown, for disobedience and for unanticipated collectivity. She uses social practices including institutional critique, insurgent architecture, and “healing modalities” like hypnosis and yoga to find soft spots in the hard surfaces of capitalist life. Cassie has invented a grassroots alternative credit reporting service for the survivors of gentrification, has hypnotized hedge fund managers, has finger-painted with the grime found inside banks, has donated cursed paintings to profiteering bankers, and has taught feminist economics to yogis (and vice versa). Her 2020 book, "The Hologram: Feminist, Peer-to-Peer Health for a Post-Pandemic Future" is available from Pluto Press.
Stephan Trüby is professor of architectural and cultural theory and, since 2018, director of the Institute for the Foundations of Modern Architecture and Design (IGmA) at the University of Stuttgart. He has taught architecture, architectural history and theory, and scenography/spatial design, including at HfG Karlsruhe, Zurich University of the Arts, TU Munich, and Harvard University. He is also a permanent staff member of ARCH+ and initiated the research project "Right-Wing Spaces".
Friday, October 22nd, 2021
Neues Museum – State Museum for Art and Design Nuremberg
S 1-5, U 1-3, Tram 5, 7, 8, Bus 43, 44, 340 (Stop Hauptbahnhof)
Saturday, October 23rd, 2021 + Sunday, October 24, 2021
Historic City Hall in the Old Town Hall
Bus 36, 37, 46, 47 (Stop Town Hall), U 1 (Stop Lorenzkirche)