Exhibition "Matrix-Ost"

Ost-Berlin | Museum Kesselhaus Herzberge Link

Vernissage: August 02, 2025
Exhibition: August 03, 2025 – September 07, 2025


Intro

In the context of the growing popularity of decolonial approaches across various disciplines, the critique of Eurocentrism is gaining momentum. Yet, an essential aspect often remains overlooked—the inherent diversity within the concept of “Europe” itself. Today’s map of Eurasia displays regions such as Western, Central, Northern, Eastern, and Southern Europe, but the boundaries and relations within this seemingly homogeneous space have always been fluid and complex.

Historically and politically, Eastern Europe has been subject to varying definitions and interpretations. For the purposes of this project, we adhere to the broad division established post-1945, where Europe was split into the "Western World" and the "Eastern Bloc." The division left lasting marks on cultural, political, and artistic landscapes, encapsulated by the unique experience of Berlin—a city symbolizing both separation and convergence.

Inspired by the enduring relevance of theorists like Slavoj Žižek, who described Eastern Europe as the West’s idealized Other, this project seeks to revisit and reactivate discussions on the intersections and divergences between the two Europes. Over the decades, cultural integration efforts following the dissolution of the Eastern Bloc have often been marked by a wave of Westomania. This imposed homogeneity overshadowed the nuanced and multifaceted visual cultures of Eastern Europe. The historian Karl Schlögel calls for constant critical self-reflection if we want to adequately understand the conflicts and thus the foreignness of the present. "The East is a kind of Pompeii", which should be excavated with great curiosity and zeal.

Through the Matrix-Ost project, we aim to recontextualize contemporary Eastern European visual art within this historic and political framework, fostering dialogue and reflection on the shared and distinct artistic experiences of Eastern and Western Europe.



"The self-evident nature of the intact discourse has finally been called into question."
- Karl Schlögel



Museum Kesselhaus Herzberge & Association

Our museum is a historic boiler house and European cultural heritage site on the grounds of the Königin Elisabeth Herzberge Hospital. The building is home to over 100 years of historical industrial technology, which supplied the psychiatric ward with heat and electricity. Today, it serves as a platform for deconstructivist thinking and innovative philosophies of life. Site-specific themes characterise our cultural programme, whereby we see ourselves as part of Eastern Europe, albeit a hybrid between the worlds in East Berlin. As a laboratory for diversity and a place of unsteady evolution, we want to be part of the ‘third landscape’. As a socio-cultural platform, we face a challenging future.

For artists looking for a site-specific approach, the Museum Kesselhaus offers an ideal framework for the joint creative process due to its own history in Herzberge and its institutional networking with the various players in the neighbourhood. The museum's work encompasses both classical methods and wild archaeology. The entire city, the social living space in Herzberge, and ultimately the thoughts, feelings and actions of each individual become potential archaeological excavation sites.

Museum Kesselhaus Herzberge - Kesselebene Kesselebene - © Luisa Bajanaru

More images of the site www.museumkesselhaus.de/fotoband.html


Psychiatric hospital in the Herzberge Landscape Park

The psychiatric hospital Königin Elisabeth Herzberge is located in a small urban forest and 100-hectare nature reserve, surrounded by the industrial complexes and multi-lane motorways of Berlin-Lichtenberg. Founded in 1893 as the ‘Irrenanstat Herzberge’(Herzberge Lunatic Asylum), the institution has not only changed its name frequently over the last 130 years, but also its ideological and medical orientation. Originally opened in the spirit of progressive reforms, it fell into ‘dark times’ under National Socialism. After the Second World War, part of the facility became a municipal hospital of the GDR and another part a Protestant hospital, which was also financed by the political West.

main building hospital Main hospital building - © Lucas Lacerda (po:era collective Link)

Artists

INTRO

Danja Akulin

Akulin composes his mostly untitled works from memory; without photographic models. The artist works with pencil and graphite on paper or with charcoal directly on canvas, ultimately creating works with a powerful presence. ‘Danja Akulin's works are landscapes of states of mind, images of the soul caught between silence and uncertainty, calm and unease,’ (Olena Balun). Through the artist's virtuoso technique, in which he skilfully juxtaposes sharp and blurred areas, fine lines and rough strokes, forests, fields, clouds and water attain a great immediacy that radiates tranquillity. CV: Born in St. Petersburg in 1977, he has lived and worked in Berlin since 2000. From 2000 to 2005, he studied fine art under Prof. Georg Baselitz at the Berlin University of the Arts, and from 2005 to 2006, he completed his master's degree under Prof. Daniel Richter. In 2017, he was awarded the Canadian Elizabeth Greenshields Foundation Award. His works have been exhibited in Germany, the USA and Russia, and most recently the artist participated in the exhibition ‘The End of Painting. Karl Hagemeister and Painting Today’ at the Bröhan Museum in Berlin. Akulin's works are in private and public collections, including the art collection of the German Bundestag.

Marc Allgaier

I investigate questions of authorship, relevance and reproduction. My intention is to find several results of imagery research, which are presented in particular arrangements. This concept refers to the close relationship between experimental photography and the the interrelation of constructive models. Structural remains from the past are material evidence of the past and an important part of a memorial landscape. I follow the idea of art as an experiment, which forces me to include unpredictable things, randomization or chaotic structures. I am fascinated by the ancient ruins in a physical sense resulting inability for mankind to forecast or regulate it in a controlled manner.

Maria Arendt

I am a nomad artist. I travel a lot and find inspiration in every new place I stay. And my main luggage is my work. I work with textiles using the technique of "drawing with thread on canvas." They are light and do not take up much space. They are my memories and my protection, my mobile architecture and my prayer rug, my magic carpet. I cover myself with them on my travels to protect myself against the cold or the heat. I also try to fit them into new realities. Lots of my works are dedicated to migration, cultural phenomena, architecture, everyday life moments, and some up-to-date issues I am interested in.

Inna Artemova

In my work I develop architectural visions of the future. In the process, utopian landscapes and spaces emerge, reflections on the future of living spaces and human relationships. The concept of utopia here stands for a space of possibility in human consciousness, in which the crucial questions must always be answered anew: Is the reality in which we live without alternative, what will we do in the future, do we necessarily have to fail in our ideals?

Liudmila Belova

About the work exhibited at Matrix Ost: "THE COMPELLED FORESHORTENING", video installation, 2000-2005: Three screens - three video sequences, as if placing the viewer in situations where he and his gaze become prisoners of circumstances. On the first screen - what a baby sees walking in a stroller; on the second - the field of view of a driver stuck in a traffic jam, on the third - a patient on a hospital gurney. Three angles of view, corresponding to birth, life and death are shown on the screens simultaneously, breaking the linearity of the narrative. Which video will be the beginning of the viewing also depends on the viewer-Observer.

Carolina Dutca & Valentin Sidorenko

Since 2019 the artist duo Carolina Dutca (*1995, Bender, MD) and Valentin Sidorenko (*1995, Gornyak, RUS) live and work in Moldova. Dutca studied art and documentary photography at the Fotografika Academy (St. Petersburg). Sidorenko studied animation in Russian State University of Cinematography (Moscow) and graduated from the Fotografika Academy (St. Petersburg). In their works they create a sacral world. They work with photography, documentary films and text. They observe the disruptions in the usual order of events where the distinctions between good and evil, life and death, are sometimes blurred. In this torn world, they try to make connections through art. They have participated in many internationally renowned festivals and exhibitions. Winners of Contemporary Talents 10th Fondation François Schneider (France), Contemporary Photography Funding The Alexander Tutsek-Stiftung Foundation (Germany), Prix Les Nuits Photo Freelens (France) etc. The works are in the collection of Fondation François Schneider (France), Frac Normandie (France).

Cristian Fierbinteanu

Cristian Fierbinteanu is a Brussels based independent artist, member of art-pop group Fierbinteanu, active in music, sound & video art. He performed on European scenes, including Berlin Konzerthaus, and released records via independent labels. Works by Fierbinteanu have been presented and/or awarded in international festivals: Phonurgia Nova (Paris), Prague Biennale, Nuit de la fiction sonore à Arles (France), Arts and Science days (St. Etienne/France), 60 Seconds Radio (Montreal), Grand Prix Nova (Bucharest), Dvorak Marathon (Berlin Konzerthaus), Dvorak remix (The Czech Cultural Center/Bucharest). His works are constantly being presented via the Romanian podcast platform for sound art, radio art and field recording SEMI SILENT. “Un auteur à suivre” - Phonurgia Nova; "An artistic duo that sincerely deserves total fascination" - Art7; "One of the most eccentric creatures of the independent music made in Romania" - DILEMA veche; "The oddest and most experimental duo of the Romanian electronic music" - VICE Romania.

Ewa Finn

About the painting ‘Slavs in the Green’, exhibited at Matrix-Ost: (...) My group is completely harmless and defenceless, perhaps even thoughtless. It is as if the figures do not really perceive reality, as if they are simply living there, as if they are only there by chance, without any urge for the true life that others have declared to be the true life. So they float in the darkness, four potential soldiers similar to those in the womb. True life surrounds them intensely on all sides (...) (by Ewa Finn)

Stanko Gagrčin

As an interdisciplinary artist, I primarily explore the aesthetic possibilities of new media through interactive virtual audio-video installations and experimental films. My work often subverts conventional perceptions of video games, transforming them into a potent medium for engaged discourse on complex themes such as national, supranational, ethnic, regional, gender, and sexual identity, particularly within the current landscape of techno-feudalism and over-arching corporate-technological mega-entities. My creative process, though intuitive, is grounded in a robust theoretical foundation from my formal education in interior design and scenography, allowing me to contextualize my art within broader historical and cultural frameworks. This approach fosters a diverse range of media and artistic genres, positioning my work within the vast pluralism of contemporary aesthetics. Honored with the Prince Claus Fund Award in 2022, my moving image creations have been internationally exhibited and screened in the UK, Netherlands, Spain, Italy, Hong Kong, Croatia, and Portugal.

Adrian Ghiman

Adrian Ghiman, born in 1989, is a graduate of University of Art and Design from Cluj-Napoca, Romania. Regarding his artistic practice, Adrian Ghiman uses drawing as a method of documenting reality. The graphic representation is the process that creates new and fresh ideas, being a tangible extension of thinking. It is flexible, honest and spontaneous and connects the imagination with the observation. Perception creates the path between the brain activity and the mechanical action of the hand. It is an inner and direct path having an experimental and temporary character. The drawing holds the essence of imagination, outlining new transgressive territories with personal touch. He creates his own mythology with representation from surroundings, personal archive, movies, music, absurd situations and bizarre stories.

Daria Gnatchenko

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Eleonora Hrybniak

Eleonora Hrybniak combines memory, resistance and intimacy in her artistic practice. Born in 1999 in Odesa, Ukraine, she has been living and studying at the University of Art and Design Linz since 2022. In her work, she uses text, textiles and photography to visualize personal narratives that are situated in larger political and social contexts. She is interested in the materiality of memory, in making structural violence in the everyday visible and in the potential of supposedly feminine gestures - such as crocheting, embroidery, collecting - as feminist actions.

Iryna Kalenyk

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Iga Koncka

In my practice, I am interested in the folklore traditions of Poland, rituals and repetitions. I play with the materials like a child would. Through the medium of a large soft sculpture installation, I aim to explore the handmade and crafty aspects of art. I made this work in response to the legislation of anti-abortion laws in Poland. When they encounter my work, I hope audiences feel uneasy and alert. I also hope for questions about the presence of women’s bodies in public, as that’s what is important to me.

Anton Laiko

​​Anton Laiko is a conceptual artist whose work reflects on history, philosophy and politics. He creates installations using painting, photography and project-specific objects. A lifelong fascination with ambiguity and contradiction continues to underpin his artistic practice. Born in Moscow, he has spent half his life in Germany and currently lives in Berlin.

Ema Lančaričová

​​Ema Lančaričová (*1993, Trnava, Slovakia) is a visual artist who works mainly with analog and instant photography while basing her work on a philosophical context and experimental approach. In her works, she searches for the essence of photography. She focuses on variables such as time, light, and space and their negations. In theoretical works, she explores the changes in the photographic medium today. In 2024, she completed her doctoral studies at the Academy of Fine Arts in Bratislava, where she works as a pedagogue. She has participated in dozens of solo and group exhibitions in Slovakia and abroad. Among others, she has exhibited at the Fotohof Gallery in Salzburg, at the Rotlicht Festival in Vienna, at the Photon Gallery in Ljubljana, at the Fotografic Gallery in Prague, and the Gandy Gallery in Bratislava.

Lea & Adrian

We are two persons but one artist. Fluid identities, ambiguities and the notion of contingency lie at the core of our understanding of art. Nothing is or means something necessarily, and what someone or something means always is dependent on other someones and somethings. We are researchers. In our artistic research we are focused on the visualisation of traces and relationships, in detail as well as in the larger context of the world. Traces and relations that are contingent – everything could be different. Things are not necessarily as they are; concepts, practices and privileges depend on fundamentally changeable ideas and developments. Thus we usually combine several works in different media, which comment on each other, relativize, question, and as a combination open an ambivalent space of possibility for the recipient.

Oscar Lebeck

I investigate questions of authorship, relevance and reproduction. My intention is to find several results of imagery research, which are presented in particular arrangements. This concept refers to the close relationship between experimental photography and the the interrelation of constructive models. Structural remains from the past are material evidence of the past and an important part of a memorial landscape. I follow the idea of art as an experiment, which forces me to include unpredictable things, randomization or chaotic structures. I am fascinated by the ancient ruins in a physical sense resulting inability for mankind to forecast or regulate it in a controlled manner.

Agate Lielpētere

The text refers to works exhibited at Matrix Ost: When we focus on culture in agriculture, we talk about cultivation or management. Globalised demands force us to encroach on natural habitats. Efficiency-oriented agriculture reduces the number of indigenous varieties, causing part of our culture and identity to disappear. Historically, Latvia has been a nation of enthusiastic potato consumers. Local potato varieties are particularly popular. They are often named by the mostly male breeders after women, in honour of mothers, wives or daughters. The works in the exhibited series are portraits of women and the Latvian potato varieties that bear their names. The artist also includes the once popular Slovenian variety Igor, which was almost wiped out by the Y virus. In an effort to preserve the potato varieties in our collective memory – and in the hope of inspiring new love – Lielpētere introduces them to Magdelēna, Laimdota and others.

Maksym Malylo

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Karolina Majewska

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Patricia Morosan

Patricia Morosan is a visual artist who works with photography as an expanded medium through film, poetry, text, collage, and sound. In her work, she negotiates the duality of intimacy and identity. Her artistic work deals with multiple realities and polycentric practices, which are often collaborative and participatory. She artistically explores ideas and methods of emotional geography, ecology and posthumanism, migrations and ceremonies. She studied photography at the Ostkreuzschule in Berlin and at the Academy of Visual Arts in Leipzig. CV: Her work has been exhibited internationally, including at Les Rencontres de la Photographie d'Arles /Off, Fotohaus Paris-Berlin, Pavillion Populaire Montpellier, Goethe Institut Bucharest and many more. She has received numerous scholarships and has been awarded several prizes. Her work can be found in both public and private collections. She has also published three monographs.

Neringa Naujokaite

Neringa Naujokaite (born in Kaunas, Lithuania) is a media artist and filmmaker based in Dusseldorf, Germany: In my projects, I reflect on our social and urban present: individuals within their environments; the tensions and banalities of everyday life; and the ways in which the mass media influence our understanding of the private and the public. I am interested in social issues and the interaction between the self and society, historical memory as well as communication between people and its intercultural aspects, like migration, integration, and misunderstanding. I see my work as documentation of the everyday, as fragmentary portraits of society in which the boundaries between the personal and the collective become blurred.

Nenad Nedeljkov

Although he is interested in exploring different contents and forms, he always returns to the human figure as a motif and the center of his interest. He is particularly attracted to human existence, including phenomena such as duration, disappearance and oblivion. The static nature of the body about constant movement, as well as the relationships between multiple bodies in conditions such as encounters and reactions between them, seem to be the main points that this phenomenon is addressed.

Anastasiia Nedoluzhenko

Anastasiia Nedoluzhenko – Ukrainian designer and artist. Works in the genres of installation, sculpture, photography.Was born in 1993 in Zaporizhzhia, Ukraine. Nowadays lives and creates in Odesa, Ukraine. About work on Matrix Ost: “Mathematical Methods in Biology” The canvas plays the role of a kind of chronicle, or rather infographic, which seems to document the victims of tragedies. When the numbers of human losses cease to trigger consciousness, symbols become a dry number of statistics, and it is already quite easy to estimate the number of victims "+/-", juggling with mathematical signs, losing the value of each human life. For some reason, I naively thought that such games of symbols and signs remained in the last century, that humanity then understood something and changed forever. But, human nature is still stronger than humanism.

Darija S. Radakovic

– (1975) is a Bosnian-born, Calgary-based, interdisciplinary artist whose work is predominantly conceptual. She earned a BFA at the Academy of Fine Arts at the University of Arts in Belgrade. Her experience of being a refugee in Belgrade in the ’90s, and being an immigrant in Canada two decades after the war shapes her art in how she questions issues of identity, equality, social conflict, war, trauma, etc.

Anna (Ania) Ruszkowski

I’m a London-based artist exploring identity, belonging, and hybridity, with a particular focus on the Polish diaspora in the UK. Trained in portraiture at Art Academy London (graduated 2023). My work investigates the complexities of selfhood, cultural inheritance, and white othering, often drawing on personal and collective memory. While my practice is rooted in painting, it has expanded into sculpture, 3D installation, screen printing, and embroidery, embracing a non-linear, iterative process that reflects the fluid nature of identity. I often begin with a form, gesture, or material that carries historical weight, transforming it through a contemporary lens into something layered and new. Using reclaimed textiles and objects—once carefully made but now outdated—I explore themes of heritage, tradition, and reinterpretation. These materials serve as metaphors for the care of past generations and our shifting connections to cultural memory. Through a hybrid visual language that weaves together Polish folk motifs, British cultural references, and contemporary aesthetics, my work examines how identity is deconstructed.

Maria Sarkisiants (Pomidor group)

The Pomidor group was formed in Moscow in 2018 by artist duo Polina and Maria. Their work combines sewing, socially engaged practices, and public street art. After Russia’s invasion of Ukraine in 2022, Polina moved to London and Maria to Tel Aviv. Through their practice artists explore the relationship between individuals and the authoritarian state. The group uses the language of quotes, reflecting on personal experiences, facts, and legislative initiatives, narrating the history of repression in recent years.

Marina Schmitt

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Paulius Sliaupa

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Lana Stojićević

Lana Stojićević (1989, Šibenik, Croatia) is a visual artist working in the field of artistic research. She utilizes performative and staged photography, textile, costumes, and architectural models to explore themes such as illegal construction, architectural and industrial heritage, environmental pollution, contemporary neo-style tendencies, the devastation of cultural heritage, and the transformation of the landscape as a result of mass tourism. She graduated from the Department of Painting at the Arts Academy of the University of Split in 2012. She works as an assistant professor at the Visual culture and fine arts department of the Arts Academy in Split. She has won numerous professional awards, such as the Radoslav Putar Award, Institute of Contemporary Art, Zagreb (2021); the third-place Ivan Kožarić award, Museum of Contemporary Art, Zagreb (2021); the Metro Imaging Award at the New East Photo Prize exhibition, Calvert 22 Foundation, London (2016); and the Annual Award for Young Artists, Croatian Association of Artists, Zagreb (2015).

Yury Tolstoguzov

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Andrey Ustinov

I'm a Berlin-based performance and media artist, born in 1975 in Luga, former USSR, working on issues of technology and media, perspective and perception, property and the commons, power and energy. Most of my works have a performative approach. I perform or initiate technologically mediated situations that compel the invited audience or random, often completely unsuspecting passers-by to participate in a shared experience. This is how I develop my dance and walking performances, street furniture and posters, devices and apps, walk-through sculptures and installations, films and photographs, in which sound, light, image and electricity become artistic actors in their own right. CV: 2011 I graduated from the Academy of Media Arts Cologne / Germany. I received grants from Kunstfond Bonn (2022), Akademie der Künste Berlin (2021), IFA Stuttgart (2021), Goethe Institut (2016), was shortlisted for The Innovation Art Prize by NCCA Moscow / Russia (2007), participated in numerous international renowned exhibitions, biennials and festivals.

Van O

Van O (Ivan Isaev) has been working as an art photographer since 1999. His surrealistic photographs are full of fantasy and surprise with their depth and subtlety. His work, which focuses on the themes of objects inspired by the aesthetics of destruction and construction, is distinguished by subjective and visionary lighting. Van O was born in 1975 in Moscow, Russia, and graduated from the biological faculty of Moscow State University as well as the An. Vasiliev School of Dramatic Art. He worked as an actor in the theaters "Dance-model" and "Mystery of Costume," and as a club designer–creating avant-garde fashion collections such as "200 volt ago or Some aspects of individual luminosity...", "The Circus," and "Viniloplastika." Since 2009, I've been a member of the Russian Union of Art Photographers, and since 2015, he has been a member of the Creative Union of Russian Artists His work can be found in the Russian Museum in St. Petersburg, the Erarta Museum of Contemporary Art, and private collections. He won the "Heroes" contest at Marler Kunststern in 2017; the "From Selfie to Self-Expression" contest at Saatchi Gallery in 2017; and the Bio-Art Contest in Seoul in 2018.

Igor Zaidel

Zaidel is an interdisciplinary artist with almost 4 decades of experience. His main interests include working with text and intertextuality, the relationship between linguistic and visual languages. Following the postmodernist tradition of appropriation, Zaidel expands the geography of referents, introducing symbolic elements from Middle and Far Eastern cultures into the European context. For the last 5 years he has focused his activities on his curatorial practice. Igor Zaidel favours exhibiting young artists, as he considers it important to pass on experience to the new generation, as well as giving them a voice. A key theme of his exhibitions is usually the confrontation of polar opinions, both on a contextual and visual level. This approach provides a safe space for discussion on complex and sometimes provocative topics. Works are presented in: Migros Museum, Zurich, Swiss, German Historical Museum (DHM), Berlin, Germany, Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey, USA

Satellite Zone

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Curators

We are convinced that the work of Eastern European artists has often been underestimated and has therefore remained hidden. Even today, much remains invisible. Even during the Soviet era, there was a lively cultural scene with artists with avant-garde ambitions whose work can be recognised as being of equal quality. artists whose work must be seen in retrospect as qualitatively equivalent to those who worked in the West.

Anna Petrova (Odesa - Ukraine)

https://www.annapetrova.de/ 

Anna Petrova is a dynamic art historian and curator with a proven track record in developing and managing cultural and educational projects in leading institutions across Europe. Specializing in the representation of Ukrainian contemporary art and Eastern European heritage, Anna brings a unique perspective to her work, combining academic rigor with innovative curatorial practices. With experience at institutions such as the Documenta Archive Kassel, SPSG and the Odesa National Fine Arts Museum, Anna has curated numerous high-impact exhibitions, facilitated cross-cultural collaborations, and contributed to groundbreaking research. Her efforts have been supported by international organisations such as the Goethe-Institut and through scholarships. Anna is passionate about promoting cultural dialogue and the global presence of Ukrainian art. Her expertise lies in connecting diverse audiences with meaningful artistic narratives.

Heinz-Hermann Jurczek (Bochum - Germany)

https://remix-paintings.jurczek.eu/ 

Even before 1989, Jurczek curated many group exhibitions with Eastern European artists, including at the Kunstpalast in Düsseldorf, where he headed the corresponding association for 20 years. From 2004 to 2012, Jurczek lived in Vilnius, the capital of Lithuania, together with an important curator for Central Eastern European art. He got to know many of the most important artists, curators and museum directors personally. He later became co-founder and co-organiser of the Art Vilnius art fair. This enabled him to make numerous trips to Central Eastern Europe with the aim of establishing contacts and inviting galleries.

Igor Zaidel (Moscow - Russia)

https://koloniewedding.de/projektraeume/bas-galerie/ 

Zaidel is an interdisciplinary artist with almost 4 decades of experience. His main interests include working with text and intertextuality, the relationship between linguistic and visual languages. Following the postmodernist tradition of appropriation, Zaidel expands the geography of referents, introducing symbolic elements from Middle and Far Eastern cultures into the European context. For the last 5 years he has focused his activities on his curatorial practice. Igor Zaidel favours exhibiting young artists, as he considers it important to pass on experience to the new generation, as well as giving them a voice. A key theme of his exhibitions is usually the confrontation of polar opinions, both on a contextual and visual level. This approach provides a safe space for discussion on complex and sometimes provocative topics. Works are presented in: Migros Museum, Zurich, Swiss, German Historical Museum (DHM), Berlin, Germany, Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey, USA

Peter Ameis (Berlin - Germany)

https://www.museumkesselhaus.de/ 

Ameis grew up in East Berlin before studying history, politics and social psychology in Würzburg. After returning from the ‘West’, he became involved in his home district Berlin-Lichtenberg and organised many cultural events, especially as director of the Museum Kesselhaus Herzberge. Also due to the feeling that the East is hardly perceived in its facets and depths in the West, he increasingly discovered art for himself as a bridge and what he felt was the only remaining tool for establishing a meaningful dialogue. He is not primarily concerned with making amends for past injustices. Rather, he also sees solutions or at least options for action for a self-confident Europe of diversity in the hidden, cultivated wastelands of post-communism.




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Sponsors

Supported by the Berlin Senate Chancellery, Förderverein Museum Kesselhaus Herzberge e.V. and Gisela - Freier Kunstraum Lichtenberg