/// NEWS ///

EXHIBITION

THIS IS POOR! Patterns of Poverty at KINDL, Berlin
/ / / OPENING March 23rd 2024, 6pm / / /

Running time
24.3.24 – 14.7.24

Opening hours
Wed, 12:00 – 20:00

Thu – Sun, 12:00 – 18:00

 
 
 
 
 

ARTIST TALK/SCREENING/BOOK LAUNCH

in conversation with Victoria Carrasco curator of
REMEMBER, PERFORM, FORGET: Binding Space Through Utopia at PHI Foundation
/ / / August 24th 2023, 6pm / / /

PHI
407 Saint-Pierre St
Montreal, Quebec, H2Y 2M3

 
 
 
 
 

EXHIBITION/PROGRAM

REMEMBER, PERFORM, FORGET: Binding Space Through Utopia
at PHI Foundation , Montreal
/ / / 16-27 August 2023 / / /

The notion of public art is a utopian and contradictory concept that can only be achieved through extraordinary circumstances, as it is meant to be fully public, made by the people, for the people, as Lucy Lippard wrote in her 1977 essay, “Art Outdoors, In and Out of the Public Domain.” [1] At that time, only one example had achieved this democratic form of art, which will be presented as part of this program of events in the film Brigada Ramona Parra (1970). It encapsulates a political utopia at a given moment that will serve as the basis for an ideal political climate for this project. Is art best created under certain political conditions?

REMEMBER, PERFORM, FORGET: Binding Space Through Utopia is a program of gatherings with Kerstin Honeit, The Society of Affective Archives, and Rodolfo Andaur, that is grounded in historical references that problematize the notion of place and public art. In particular, this includes the issues of governance, freedom, gender inequality, accessibility, the permanence of objects, the ephemerality of collective memory, and the documentation and preservation of past events. Is it possible to preserve only through the performance of oral tradition? Do we rely more on objects than people to solidify a collective memory? These references will be examined in the presentation of a series of videos that groups archival and art video works that articulate history as well as a conception of the future.

Through the presentation of a series of videos, and various events comprising artist talks, publication launches, and outdoor activities, the program invites us to envision the notion of place and the role of public art through the lens of an idealized political climate wherein we can evolve. These issues are challenged by The Society of Affective Archives, Kerstin Honeit, and Rodolfo Andaur’s practices. They will each relate their research to their respective locations—Montréal being a connecting site for them— as well as their respective cultural and artistic backgrounds. What is made of a place is what the public makes of it: we build, reject, and create our own freedoms and powers. Through different narratives, words, actions, and curation, there will be a sharing of perspectives on how ecologies and economies are partly cherished and demonized. Ultimately, this program asks: can public art belong to everyone, and how do we inhabit spaces to make them ours?

Curated by Victoria Carrasco

1. Lucy R. Lippard, “Art Outdoors, In and Out of the Public Domain,” Studio International 193, no. 986 (March/April 1977): 84.

In her essay, Lippard states numerous times that public art does not exist under the idea of what public art really is, as it is supposed to partly fulfill the social needs of a specific environment and aesthetic intent of the artist. Lippard says of the most successful example: “Nothing has responded better to these needs in American cities than the burgeoning mural movement, modelled in part of the Chilean mural brigades, whose effectiveness was proven by the Junta’s haste to erase them when Allende’s government was overthrown.”

PHI
407 Saint-Pierre St
Montreal, Quebec, H2Y 2M3
Wednesday: 12 PM—7 PM
Thursday: 12 PM—7 PM
Friday: 12 PM—7 PM
Saturday: 11 AM—6 PM
Sunday: 11 AM—6 PM

 
 
 
 
 

DISTRIBUTION

VOICE WORKS / VOICE STRIKES at Good Press, Glasgow
/ / / August 2023 / / /

We are very happy that the publication Kerstin Honeit. Voice Works / Voice Strikes is represented by Good Press in Glasgow along with other chosen titles published by b_books Berlin.

Good Press is a workers cooperative dedicated to the promotion, distribution and production of independent or self published printed matter alongside co-projects Sunday’s Print Service and Lunchtime Gallery. They are a bookshop, events and gallery space, risograph printer and bookmaking studio.

All of the publications you find in-store and on-line are either self published or produced by an independent small press, gallery, group or organisation. They always have, and continue to operate an open submission policy.

Good Press
32 St Andrews Street
Glasgow, G1 5PD
11am to 6pm, Monday to Saturday
goodpress.co.uk
 
 
 
 
 

SYMPOSIUM AND WORKSHOP

ROUGH TRANSLATION – Language Arts between Exclusion and Solidarity
/ / / 14.04. – 16.04.2023 / / /

A joint project by the Institutes of Language Arts and Transcultural Studies at the University of Applied Arts in Vienna

ROUGH TRANSLATION as a collective process under heterogenous conditions will be the subject of our conference in April 2023.

During the process of translation, meanings get lost and new ones are generated. The non-reducibility of one language to the vocabulary of another points not least to the fact that any definition of culture and language is itself embedded in linguistic, social and political epistemologies, requiring it to be viewed and translated in terms of its context. In everyday life, unknown concepts from another language can be paraphrased; speakers may even take pleasure in the richness of continued paraphrasing. When dealing with a work of language art, such as a poem in a book, things are more complicated. But in both cases, the following question poses itself: Who translates what, how, for whom?

Language articulates power structures. For this reason, far from being romantic, many translating activities involve struggles, tensions, misunderstandings, voids, noise and silence – as well as interesting conflicts that may find expression in a translator’s afterword or explanatory footnotes. Translation can mean violent usurpation, forced assimilation and integration, it can foster the suppression of smaller languages by a dominant language, as is currently being seen in India. But it can also contribute to the ideal of a practice based on solidarity, allow people to participate in debates, enable them to read literary works from other languages, and encourage multilingualism.

The title Rough Translation covers these contrasting aspects of translation, between exclusion and solidarity, that are key to our approach. Roughness is allied here with a basic affirmation of the unfinished that remains open to change. The practice of rough translation implies a collective procedure in several stages. A result is only obtained via the interplay of all those involved. Not least, however, the roughness in Rough Translation also points to crude forms of cultural appropriation that exploit content for commercial gain while bypassing those who produced it.

In our view, Rough Translation is a productive concept in spite of its contradictions. It facilitates rapid understanding that goes beyond one’s own radius; it relates one’s so-called “own identity” to another identity and mediates between the two. The notion of identity first appeared in the twelfth century; as a theological concept, it stood for the qualities that various elements of a group had in common. “But this new word was derived not from idem, the same, but from the late Latin identidem, ‘repeatedly’. … In this light, identity literally means belonging to something similar: it stands for repetition and replication.” (Groebner 2018: 111) Something similar may be taking place in translation: a situation is repeated and replicated – elaborated in a different language. We would like to explore the difficulties and possibilities of this procedure.

To do justice to our understanding of translation as something unfinished, a quality that allows it to make a political impact, we wish to develop a collective practice as a long-term dialogue between science and art.

An initial conference in April 2023 will feature contributions both from external scholars and artists and from students.
 
 
 
 
 

SCREENING

[ˈzi:lo]5 at Babylon Cinema Berlin
/ / / 08.12.2022 / / /

Die Decke hat ein Loch [The Hole in the Blanket] is an exhibition and research project by the artists annette hollywood, Jana Müller and Moira Zoitl, in collaboration with the Kunstverein am Rosa- Luxemburg-Platz Berlin/Susanne Prinz, in which (auto)biographical narratives are used to examine material, contemporary and cultural histories that lie outside of mainstream society. The working methods of the participating artists overlap in questioning archival inventories using different research and artistic-scientific methods. In artistic works, traces of archive materials are linked, reworked and made visible to form new narratives. Artefacts, documents and other narratives from institutional archives are consciously intertwined with knowledge and objects from the private sphere. The constructed, porous and temporary state of the nature of archives is addressed, a condition that distorts or completely omits the perspective of many realities of life. In accordance with the children’s clap­ping game that gives the title, and which continues to rhyme with “… da sah ich sie dann doch.” […I then saw her after all.], the exhibition project follows the idea that only by looking once again through the holes and fractures of historical archives, a more accurate and diverse picture of society emerges.
With ALEF BLA, NOMBUSO DOWELANI, ANNETTE HOLLYWOOD, LAURA HORELLI, SVEN JOHNE, JANA MÜLLER, ALINA SIMMELBAUER, OFW/PHILIPP URRUTIA, SIMON WACHSMUTH, MOIRA ZOITL

Filmprogramm mit / Film program with Mohammad Shawky, Hassan, Kerstin Honeit, Betina Kuntzsch, Simon Wachsmuth, mit anschließendem Gespräch / followed by a discussion.
BABYLON (Rosa-Luxemburg-Str. 30, 10178 Berlin)
 
 
 
 
 

LECTURE SERIES at UDK / HzT Berlin

The Performativity of Class
/ / / 01.12.2022 / / /

Kerstin Honeit: Voices at Work, Bodies on Strike.
Struggles and Strategies of an artistic search for Aesthetics of Class and Poverty beyond representation

Using examples from her artistic research and the publication Voice Works / Voice Strikes, Kerstin Honeit will present the (film) voice in its role as worker. The lecture will explore the work the voice does between the moving images, how the voice in mainstream cinema additionally cements a white bourgeois supremacy acoustically and how working class voices are silenced on film soundtracks.
Rather than focusing on the production of standardisation, this lecture looks at producing non-unambiguity. This is a process that is also inherent in the mediated and disembodied voice; as in lip-synching on queer stages in the encounter with bodies. Here the voice works to resist shallow visual representation and thereby against the white bourgeois desire to secure its power through the permanent and violent reproduction of taxonomies. In this context, Kerstin Honeit will talk about the difference between ‘voice drag’ and ‘voice passing’, about activist-artistic practices and survival strategies. Kerstin Honeit’s latest work will examine the causes of structural poverty and the consequent exclusion from the (German) artistic and cultural industry. With this in mind, the artist is trying out aesthetic strategies in the representation of economic poverty and social exclusion which refuse to accept the taxonomic logic of representation. The lecture will conclude with an invitation to a discussion that, in addition to examining artistic and activist possibilities, will look at (infra-)structural preconditions for breaking the huge classism in the art and culture industries.

Kerstin Honeit is an artist working with experimental documentary moving image formats. She lives in Berlin, where she studied visual arts and stage design at the Weißensee Kunsthochschule. In her film works she researches the mechanisms of representation in the production of hegemonic image worlds, in connection with cultural as well as linguistic modes of translation, especially in the cinematographic context. The focus here is on the politics of the (film) voice and especially on how voice as a queer event within moving images can unsettle the gaze regimes of dominant culture. Against the background of Honeit’s artistic practice, the publication Kerstin Honeit. Voice Works / Voice Strikes (ed. McGovern) has just been published by b_books. Honeit has taught at various art academies and is currently sharing the professorship for spatial concepts at the HBK Braunschweig with Candice Breitz. Her work is regularly presented at film festivals and in exhibitions internationally.

The lecture series is jointly curated and organised by Prof. Dr. Sandra Noeth (MA SODA/HZT Berlin) and Prof. Dan Belasco Rogers (UdK Studium Generale).

SODA Lectures with artists and theorists
Winter Semester 2022/23 Lecture Series The Performativity of Class

How do class and classism manifest themselves in bodies? How do experiences of exclusion, isolation, assimilation or shame translate into somatic experiences or bodily positions and gestures? What do ’social advancement‘ and ‚belonging‘ taste and smell like? The lecture series takes an intersectional look at the comeback of the concept of class today with a focus on educational and work realities in the field of body-based performing arts: Areas in which social inequality and privilege are often reproduced, not dismantled. In dialogue with experts from art, science and education, it explores how class positions determine relationships among students, teachers and in a larger social context, how social privileges translate into understandings of knowledge and the body, into speaker positions and structures, and what role performative and artistic (counter-) strategies play in this.

Place: HZT Berlin, Campus Uferstudios, Uferstraße 23, 13355 Berlin – Studio 11 & Live Stream
 
 
 
 
 

RETROSPECTIVE & EXHIBITION / SPOTLIGHT at KFFK

KERSTIN HONEIT – VOICE WORKS, VOICE STRIKES – DIE STIMME ALS ARBEITER*IN
/ / / 16.11.2022 / / /

VERNISSAGE + VIDEOINSTALLATION
JOINT PROPERTY

JOINT PROPERTY ist ein Match zwischen Selbstbestimmung und Zuschreibung. Es beginnt mit dem Auftritt beider Figuren, performt von Kerstin Honeit, die wie Spieler*innen eine Arena betreten und dann beginnen, sich props (Requisiten) bzw. properties (Attribute) zuzuwerfen.

Zwischen Wurf und Fang scheinen die Accessoires wie Abwaschhandschuhe oder Schlipse durch den Ausstellungsraum zu fliegen. Nachdem die adressierte Figur die ihr zugewiesenen props angezogen hat, wird anschließend ein Begriff ausgerufen, z. B.: Economy! Unklar bleibt, ob die Begriffe den gerade zugewiesenen Gegenstand kommentieren oder den darauffolgenden ankündigen.

VERNISSAGE:
MITTWOCH, 16.11. · 20:30 Uhr · FILMHAUS

VIDEOINSTALLATION
MITTWOCH, 16.11. — SAMSTAG, 19.11. · 17 — 23 Uhr · FILMHAUS
SONNTAG, 20.11. · 13- 17 Uhr · FILMHAUS
 
 
 
 
 

LECTURE / UNI KASSEL

TRACES: Art Work(er)s
Die Stimme als Arbeiter*in -Strategien einer künstlerischen Suche nach Ästhetiken von Klasse und Armut jenseits der Repräsentation
/ / / 15.11.2022 / / /

In den Bewegtbild-Arbeiten von Kerstin Honeit spielt die (Film-)Stimme eine zentrale Rolle. Vor dem Hintergrund der gerade erschienenen Publikation ‚Voice Works / Voice Strikes‘ und entlang von Beispielen ihrer Recherche sowie ihrer künstlerischen Praxis stellt Kerstin Honeit die Stimme in ihrer Rolle als Arbeiter*in vor: Besprochen werden stimmliche Verbindungen zu strukturellen Ausgrenzungen ebenso wie widerständige und emanzipatorischen Gesten.

Transdisziplinäres Forschungszentrum für Ausstellungsstudien (TRACES)
Universität Kassel
Mönchebergstraße 19
34109 Kassel
 
 
 
 
 

TEACHING / HBK BRAUNSCHWEIG

Visiting Professor for Spatial Concepts together with Candice Breitz
/ / / October 2022 / / /

 

 
Institute for Visual Arts at HBK Braunschweig
 
 
 
 
 
 

BOOK LAUNCH / PUBLICATION

Kerstin Honeit. Voice Works / Voice Strikes
/ / / 27.06.2022 / / /

 

As part of the montagsPRAXIS at b_books, the new publication: Kerstin Honeit. Voice Works / Voice Strikes will be presented and celebrated. Come along, have a drink and meet the lovely team that made this book happen.

Kerstin Honeit. Voice Works / Voice Strikes
Ed. by Kerstin Honeit / Fiona McGovern
With contributions by Dela Dabulamanzi, Kerstin Honeit, Benjamin Liberatore, Yasmine Modestine, Marc Siegel

The voice labours constantly. It is particularly a worker when it is silent and on strike.

Against the background of Kerstin Honeit’s artistic practice, this publication examines the (film) voice from the aspect of labour. It discusses vocal connections to structural exclusions, as well as resistant and emancipatory gestures: the voice as a worker. From different perspectives and working practices, it illuminates forms of (translational) labour that are applied to the disembodied voice of cinema and its mediated extensions. In doing so, the contributors devote themselves to the hidden processes of a ‘voice normalisation’ as it is practised in commercial film dubbing in a racialising or classist manner. Equally, this publication is interested in the queering potential that is inherent in the disembodied voice too. The production processes involved in creating coherences between bodies and voices are made visible here; as fluid and in relation to structures and politics, therefore condense ways of seeing and hearing into ambiguous, multiple resonances.
Via an augmented reality app, excerpts of Kerstin Honeit’s video work become accessible on film.

Contributions:
Dela Dabulamanzi; We don’t have to wait for Hollywood anymore / Es ist hinfällig, auf Hollywood zu warten
Kerstin Honeit; The Voice as a Worker / Die Stimme als Arbeiter*in
Benjamin Liberatore; Strike and Instrument / Sich verweigernde Stimmen und anschlagende Streiks
Yasmine Modestine; Un (acoustique) délit de faciès / (Akustisches) Racial Profiling
Marc Siegel; Dubbing and the Dandy / Dubbing und der Dandy

Editor of the publishing house: Michaela Wünsch (b_books)
Translation: bellu&bellu (English) / Daniel Belasco Rogers (Deutsch)
Copy editing: Michaela Richter (Deutsch) / Emma Cattell (English)
Graphic design: Anna Voswinckel
Photos, images and printer’s copy: Carsten Eisfeld (Eberle & Eisfeld)
AR-App: Carla Streckwall & Alexander Govoni – Refrakt

Supported by the Berlin Department of Culture and Europe

ISBN 978-3-942214-40-7 112 pages, publishing b_books, distribution/ buying x@bbooksz.de
English/German, art/film, queer, decolonial/anti racist

Book Launch: Monday, June at 8pm, hosted by b_books, Lübbener Str. 14,10997 Berlin

 
 

SCREENING

at the Internationales Frauen* Film Festival Dortmund / Cologne
/ / / 29.03-03.04.2022 / / /

 

Short film programme: Films That Heal Curators
Esteemed colleagues give seven filmic responses to the question: Which film healed you and why? The curators explain their own personal choice in the cinema – from silent movie and experimental film to music video.

A selection from Stefanie Görtz, Maxa Zoller, Betty Schiel, Ines Johnson-Spain, Miriam Gossing, Natascha Frankenberg, Jessica Manstetten, in Cooperation with Blonde Cobra

With films by Kerstin Honeit (Panda Moonwalk or Why Meng Meng Walks Backwards), Minkie Spiro (Rat Women), Heidi Tikka (On the Threshold of Liberty), Alice Guy (Madame’s Cravings), Shirley Clarke (Ornette Coleman: A Jazz Video Game), Joey Carducci (A Video Letter to Barbara Hammer), Kim Gehrig (Like Sugar – Chaka Khan)
 
 

TRAILER for the 35. Stuttgarter Filmwinter

Festival for Expanded Media

/ / / 07.-16.1.2022 / / /

Director: Kerstin Honeit
Performance: Kerstin Honeit / people and dogs from Alexanderplatz (Berlin)
Camera: Ben Brix
Editing Support: Emma Cattell
Sound Mix: Poleposition d.c. – Jochen Jezussek
Quotes from: Die bitteren Tränen der Petra von Kant (Fassbinder) / Petra (Groß, Huber, Schall, Turanskyj) /Learn German with Petra von Kant (Wong)

It is not a repetition, and it is not a loop either. The distinctive first notes of the song „Smoke Gets In Your Eyes“ (The Platters) keep jumping back to the start, but in this way, they open up the possibility of continuous new baselines. Because even if all the three Petras – before whom they bow on wobbly heels – were unthinkable without their wigs and camp exaggerations, they are still very different, just like the contextual settings that brought them forth. From Fassbinder’s „Petra von Kant“, where every other pair of high-heels on the flokati heralded a drama, to the critical-feminist Petra of the Hangover Ltd* collective with Tatjana Turansky, who we miss dearly. To the queer post-migrant appropriation of the Petra character à la Ming Wong, another wig, increasing the range of this speculative femininity to experiences not yet told. And what if these thoroughly diverse Petras were to team up, make their mutualized wig arsenals accessible, and encourage us to stage new beginnings “together”? So, keep your high heels at the ready.Kerstin Honeit

 

RINGVORLESUNG

Geschlechter – Verhältnisse in öffentlichen Räumen

/ / / 13 & 14 Dezember / / /

RINGVORLESUNG: GESCHLECHTER Verhältnisse in öffentlichen Räumen
Kommunikationsdesign // CrossMedia Spaces // Innenarchitektur // in Kooperation mit IMPACT RheinMain

Kuratiert von Prof. Holger Kleine (Innenarchitektur) und Prof. Dr. Theo Steiner (Kommunikationsdesign).
Vorträge:
13.12. | 11:00 UTA BRANDES \\ Designing Gender. Ein Streifzug durch die Welt sexistischer, verwirrender und gender-sensibler Gestaltung
13.12. | 14:00 CHRISTOPH MAY \\ Männermonotonie: Aussteiger-Programm für Einsteiger
13.12. | 17:00 NEO SEEFRIED & XAN EGGER \\ Queer-feministisch Sprechen über ein Design des nicht-(ent)sprechens

14.12. | 11:00 NEHA SINGH \\ Why I believe women loitering in public spaces is a feminist revolution
14.12. | 14:00 KERSTIN HONEIT \\ (not) passing through – Von künstlerischen Versuchen Räume zu (durch)queeren
14.12. | 17:00 CORNELIA WILD \\ Passantinnen. Weiblichkeit, Auftreten, Stadtdiskurs

Diese Ringvorlesung ist Teil einer Reihe, die abwechselnd oder gemeinsam von den Studiengängen Kommunikationsdesign, CrossMedia Spaces und Innenarchitektur veranstaltet wird.

Ausgehend von Arbeitsbeispielen aus Kerstin Honeits künstlerischer Forschung, in der sie die Repräsentationsmechanismen in der Produktion von hegemonialen Bilderwelten untersucht und mit filmischen Gegenästhetiken konfrontiert, stellt Honeit unterschiedliche Praxen räumlicher Aneignung und Durchqueerens vor. Hierbei lädt sie ein, sich gemeinsam und mit intersektionalen Perspektiven der Raumkörperbewegung des Flanierens in einer Gegenüberstellung zum (Not-)Passing zu nähern.

Termin: 13. & 14. Dezember 2021 // 11:00 – 19:00 Uhr

 

SCREENING


’PANDA MOONWALK‘ at Jubilee-Screening of KFFK Cologne
»Screening 15 (films) from 15 (years)«
/ / / KFFK at Filmhaus Cologne, 16th – 21st November, 2021 / / /

Şeyda Kurt picked Panda Moonwalk: „An astute as well as witty discourse analysis of sexist and colonial racist narratives that even a panda bear is not safe from.“

15 films: That means 15 different views of film and the world we live in. 15 (former) festival staff members have selected their favourite films from 15 years. This time, however, not only the views of those who usually curate the KFFK are on display, but also the views of (former) interns, designers, drivers or the management. The favourites are as diverse as the short film itself.

 
 

 

book PUBLICATION Throwing Gestures

Protest, Economy and the Imperceptible

/ / / out now / / /

Image: ich muss mit ihnen sprechen, Kerstin Honeit, exhibition view

The publication Throwing Gestures documents an exhibition and international symposium of a two-year interdisciplinary research project investigating the interdependencies that exist between gestures and ubiquitous, globally networked technologies. Participating artists were:

Larry Archiampong & David Blandy, Jakob Argauer, Florian Bettel, Dina Boswank, Justine A. Chambers, Jeremy Deller, Timo Herbst, Kerstin Honeit, Irina Kaldrack, Silas Mücke, Marcus Nebe, Tobias Schulze, Konrad Strutz, Bahaa Talis, Nasan Tur, Laurie Young

Throwing Gestures examines the recent intensification of interest in gesture and the entanglement between gesture, media, and politics. The gestures discussed pass from body to body and between states of medial representation. Protest movements, the respective aesthetics specific to those movements, the perpetuation of socio-economic crises over many decades, the plight of gig workers in precarious employment and mechanisms for the quantification of work and leisure are some of the issues addressed.

Fourteen contributors from diverse fields ranging from visual and performing arts, cultural studies, and cultural history, to media theory and political science, shed light on the many aspects that comprise mediatized gestures today. Developed from independent approaches brought together through interdisciplinary collaborations, Throwing Gestures combines conversational, artistic, and essayistic contributions with scientific articles. Image and text are juxtaposed. Readers are invited to leaf through the collection or approach the volume as a flipbook.

The book is published by VFMK.
The editors are: Florian Bettel, Irina Kaldrack, Konrad Strutz.
ISBN 978-3-903572-25-6

 

book PUBLICATION Was wir filmten

Filme von ostdeutschen Regisseurinnen nach 1990
/ / / out now / / /

International Womans Film Festival Dortmund / Cologne: We are happy to announce that our first book publication WAS WIR FILMTEN – Filme von ostdeutschen Regisseurinnen nach 1990 (What We Were Filming – Films by East German Women Directors After 1990) is now out. This book project is a continuation of the film programme After the Reunification: Germany 1990|2020, which the curator Betty Schiel presented at the 2020 festival in Cologne. This unique film programme showed a carefully curated selection of films by women directors from East Germany after the Fall of the Berlin Wall, an important but much ignored chapter in East – West German (film) history.

Different writers will read excerpts from their essays, which will be followed by a screening of the feature film Herzsprung from 1992 by director Helke Misselwitz (Tickets available via Wolf Kino).

About the book:
Three generations of East German women directors talk about their films made in the years after the German reunification. Their films and words are valuable counter-memories; they do not romanticise the past, nor do they allow for the historical simplification of a period that has been too often overgloryfied in terms of a Western victory over the so-called Unrechtsstaat. This book opens up the space for an overdue investigation of filmmaking in and about this decade from an East German perspective.

This anthology provides eyewitness reports, interviews and detailed film analysis and shows how important the debates of the last three decades are today

With contributions by and about: Madeleine Bernstorff, Annekatrin Hendel, Hilde Hoffmann, Kerstin Honeit, Ines Johnson-Spain, Cornelia Klauß, Johanna-Yasirra Kluhs, Therese Koppe, Grit Lemke, Helke Misselwitz, Angelika Nguyen, Christine Schlegel, Cornelia Schleime, Gabi Stötzer, Tamara Trampe and many more.

The book is published by Bertz + Fischer in October.
The editors for the IFFF Dortmund+Köln are Betty Schiel and Maxa Zoller.
ISBN 978-3-86505-267-4, Picture: Herzsprung by Heike Misselwitz (c) DEFA Stiftung

WAS WIR FILMTEN – book launch & reading in Berlin, 23rd October 2021, 04.10.2021
4:00 pm -6:00 pm Film: Herzsprung
Wolf Kino, Weserstraße 59, 12045 Berlin

 

EXHIBITION


'[ˈzi:lo]5′ at the group show ‚iruru, muyu, perímetro, umfang‘
/ / / CAC, Quito September 23’rd 2021 – 6th Feburary 2022 / / /

Iruru muyu / perímetro / umfang: a group exhibition of artists from Ecuador and Germany

The Centro de Arte Contemporáneo de Quito -CAC- in Ecuador, presents ‚iruru muyu / perímetro / umfang‘:
A group exhibition of artists from Ecuador and Germany. The opening will take place on Thursday, September 23, at 11:30, at the CAC.

The works in this exhibition construct a line of thought that addresses issues related to the concepts of perimeter, spatiality, migration, modernity, coloniality, gender, ecologies and technologies; and examine the complex ways in which notions of territory, extractivisms and the relationship of human beings with their natural environment are configured.

The exhibition is presented as an organic inclination towards other ways of creating symbolic universes and other narratives about places and how our bodies inhabit them.

Sofía Acosta Varea / Angélica Alomoto / Patricio Dalgo-Toledo / Kerstin Honeit / Manai Kowii / Dominga Antun & Pacha Alta / Mario Pfeifer / Julian Rosefeldt / Pola Sieverding / Gonzalo Vargas M. / Tobias Ziels
Curatorship: Eduardo Carrera R.

The exhibition will remain open until Sunday, February 6, 2022, from Thursday to Sunday,
from 10:30 to 17:30 (last admission at 16:30).

CAC – Centro de Arte Contemporáneo de Quito
Montevideo y Luis Dávila
Montevideo, Quito, Ecuador

 

SCREENING


’my castle your castle‘ at screening series
»What we filmed: Women directors with East German perspectives«
/ / / Halle (Saale),Cinema Zazie September 27th – 30th, 2021 / / /

IFFF Dortmund+Köln: Our last year’s focus program is evolving. On the occasion of the reunification celebrations on October 3rd in Halle (Saale), the Bundeskunststiftung (Federal Cultural Foundation) invited us to present a series of films there.

Under the title »What we filmed – women directors with East German perspectives« we are showing works by women directors from three generations. The film series brings together perspectives, experiences and memories that have been neglected in public discourse for over 30 years. With films by Tina Bara, Julius Günzel, Susann Maria Hempel, Kerstin Honeit, Juliane Jaschnow, Ines Johnson-Spain, Therese Koppe, Helke Misselwitz, Maja Nagel, Angelika Nguyen, Phương Thanh Nguyễn, Petra Tschörtner and others.

Following the film screenings, there will be an opportunity to talk to the participating artists and the curator Betty Schiel.

A series of events organized by the Federal Cultural Foundation in cooperation with the Zazie Kino & Bar in Halle (Saale), Internationales Frauen* Film Fest Dortmund+Köln and the Werkleitz Gesellschaft e.V.
Filmstill: Herzsprung by Helke Misselwitz (GER 1992) © DEFA-Stiftung

27th to 30th September 2021, Zazie Kino & Bar, always from 7:00 p.m.; Complete program (in German)
Tickets at www.kino-zazie.de

SCREENING


PANDA MOONWALK at the 15th Edition of XPOSED Queer Film Festival Berlin
/ / / August 8th – 15th, 2021 / / /

Programme: Some kind of Animal Strange

The magical, the weird and the wonderful can sum up pretty much all animals, yet the correlation with human behaviours is reflected tenfold in this strange but familiar short film program. In a dream-like state, we imagine the peculiar and are able to transform a vivid reality into a horrific palette of colours and forms. A place with no escape, similar to a zoo where creatures are observed in their lockdown lives. Observations take on another meaning after 2020; mosquitoes and relationships are put to the test with epidemic undertones. The metamorphoses of a foley artist and animal greet us in an empty theatre, so let’s return to a reality where a man‘s body is inhabited by ants.

Katrina Daschner / Pedro Neves Marques / Kerstin Honeit / Inés Espinosa / Ann Oren / Viet Vu

Moviemento Cinema Berlin
13.08.2021 – 8:15pm
14.08.2021 – 11:15am

SCREENING


’my castle your castle‘ at screening series ‚Vorstellungsräume‘
/ / / August 5th 2021, Metropolis Cinema Hamburg / / /

Metropolis Cinema: »Es ist alles möglich und alles denkbar und alles machbar« sagt die Stimme aus dem Off in Exhibition Talks, während die Kamera durch leere Räume wandert und uns Zuschauenden damit die Möglichkeit gibt, unsere eigenen Wünsche in diese hineinzuprojizieren. In my castle your castle wird die Baustelle des Berliner Stadtschlosses humorvoll-kritisch in Szene gesetzt.

Sasha Pirker & Lotte Schreiber / Thomas Draschan / Kerstin Honeit

Donnerstag, 5.8., 20:00 Uhr
Mit Podiumsdiskussion

Martin Aust, Geschäftsführer der Kinemathek Hamburg
Anja Ellenberger, Film-/Kunsthistorikerin und Kuratorin

TOURING EXHIBITION


’my castle your castle‘ was selected for this year’s edition of Artists’ Film International

/ / / Touring Exhibition starting at the Crawford Art Gallery, May 7 – June 7, 2021/ / /

Artists’ Film International is a collaborative project featuring film, video and animation from around the world. Established by the Whitechapel Gallery in 2008, AFI includes 22 global partner organisations. Each organisation selects an exciting recent work by an artist from their region which is shared amongst the network.

The Berlin art institution n.b.k. selected the video piece my castle your castle by Kerstin Honeit as its contribution to this years edition of Artists’ Film International. The programme is adapted to every venue and is shown over the course of a year. Artists Film International 2021 programme responds to the theme of care.
International partner institutions are:

Neuer Berliner Kunstverein (n.b.k.), Berlin
Whitechapel Gallery, London
Ballroom Marfa, Texas
Bonniers Konsthall, Stockholm
Crawford Art Gallery, Cork
Contemporary Art Centre, Vilnius
Belgrade Cultural Center, Belgrade
Fundación Proa, Buenos Aires
GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo, Bergamo
Hammer Museum, Los Angeles
Hanoi Doclab, Hanoi
MAAT – Museu de Arte, Arquitetura e Tecnologia, Lissabon
Istanbul Modern, Istanbul
Museum of Modern Art, Warschau
Para Site, Hongkong
Project 88, Mumbai
Tromsø Center for Contemporary Art, Tromsø
Whitworth Art Gallery, Manchester
and others

Participating artists of this year’s edition are:
Himali Singh Soin, David Soin Tappeser, Kiri Dalena, Polina Kanis, Sajia Sediqi, Thania Petersen, Kenneth Tam, Mihály Stefanovicz, Patty Chang, Giulio Squillacciotti, Julia Sbriller, Joaquín Wall, Kerstin Honeit, Agnė Jokšė, Neda Kovinić, Victoria Verseau, Clare Langan, Rehana Zaman, Sena Başöz, Wojciech Dada, Katarzyna Górna, Rafał Jakubowicz, Anastasia Sosunova, Bojan Fajfrić, Ergin Çavuşoğlu, Yao Qingmei, Francesco Pedraglio, Leticia Obeid

The touring exhibition of ‚my castle your castle‘ starts at the Crawford Art Gallery in Cork, Ireland and, due to the current pandemic, is available as an online screening.

Crawford Art Gallery
Emmett Pl, Centre
Cork
Irland

 

SCREENING


PANDA MOONWALK at the 13th Hong Kong Independent Film Festival

/ / / May 1st – May 18th, 2021 / / /

PANDA MOONWALK at the 13th Hong Kong Independent Film Festival

Black Peter (1963) by Miloš Forman and PANDA MOONWALK (2018) by Kerstin Honeit

Miloš Forman’s feature film debut is less of a cruel story of youth, but more of a reality check for a generation at a loss for freedom and catharsis. In a 1960s summer, sixteen-year-old Peter starts his job as a supermarket trainee, whose duty is mainly to keep an eye on any potential theft in the shop. Meanwhile, his father lectures him daily on the importance of seizing power—the mark of a real man, he says. A young man like Peter has no chance to grow up according to his own will because power has replaced truth in a world where injustice is met with silence. The film captures Peter with handheld camerawork that features long takes following the protagonist across town—leaving room for the audience to ponder the inner life of the helpless teenager. Forman’s impressive first film is a foundational work of the Czech New Wave. Walking between the lines of documentary and fiction, it is a youthful picture that maintains a laid back rhythm. This film cements Forman’s style of using non-professional actors, improvised dialogue, and location shooting in his later films, such as The Firemen’s Ball (1969). Everyday anguish and society’s travesty are vividly presented in this documentary-like fictional film.

Panda Moonwalk or Why Meng Meng Walks Backwards tells the fascinating story of a panda in the Berlin Zoo. Meng Meng the female panda will only walk backwards, and the human interpretation of her odd habit gives rise to discussions of social and gender issues.

Louis Koo Cinema
Hong Kong Arts Centre
2 Harbour Rd
Wan Chai
Hongkong

 

SCREENING


PANDA MOONWALK at the THIS IS SHORT Festival

/ / / Online Screening April 1 – June 30, 2021 / / /

An eclectic selection of award winning films and other important works from the past few Oberhausen editions.
Works to be revisited and newly discovered.

THIS IS SHORT is a collaborative project by the European Short Film Network. It is a central access point for mainly European short films: with joint programming, shared programs, and one common gateway to the online presentations of four European film festivals, thus creating a joint online festival experience.

The project was developed as a truly European vision, at a time when solidarity and cooperation seem more important than ever and rethinking Europe and the European film and festival landscape seems inevitable. The first edition of THIS IS SHORT is launched on April 1, 2021 and will be active until June 30, 2021.

PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS will be screened as part of FESTIVAL WINDOWS. The network’s four festivals have invited nine other renowned film festivals to join forces to open up an insight into the variety and diversity of the European short film and festival landscape. Each of the 13 curated programs is available for one week.

VIDEO COLLECTION of the n.b.k.


‚PANDA MOONWALK‘ and ‚my castle is your castle‘‚ as part of the new acquisitions

/ / / Online screening February 26 – March 26, 2021 / / /

Online screening with works by Endre Aalrust, Dario Azzellini / Oliver Ressler, Anca Benera / Arnold Estefan, Candice Breitz, Arnold Dreyblatt, Kerstin Honeit, Natascha Sadr Haghighian, Judith Hopf and Florian Zeyfang, Wolf Kahlen, Karin Sander

From February 26 – March 26, 2021, n.b.k. presents a selection of the newly acquired video works for the collection of the n.b.k. Video-Forum. Founded in 1971, the Video-Forum is one of the oldest collections of video art in Germany and comprises over 1,700 works of video art from international artists. The comprehensive collection is yearly extended by several new works. In the year 2020, the purchase of video works for the collection was made possible by financial resources from the artists’ funding scheme by the Senate of Berlin’s Department of Cultural Affairs and by the financial means from the institutional funding of the n.b.k.

Online screening

 

SCREENING at the LA DOC Filmnetzwerk

‚ich muss mit ihnen sprechen‘ in the film programme of the Netz<>Werk conference
curated by Madeleine Bernstorff

/ / / 5-7 March 2021 / / /

Sasha Pirker / Ariane Kessissoglou / Laure Prouvost / Adina Camhy / Kerstin Honeit / anonym /
Christiane Gehner / Katharina Huber / Riki Kalb

Digitale Kommunikation hat in den vergangenen Monaten ihren gesellschaftlichen Stellenwert extrem erhöht und uns alle in nie dagewesener Dauerschleife vor den Bildschirm gesetzt.
Aber wie gleichberechtigt sitzen wir vor unseren Computern, wie verteilt sich Aufmerksamkeit und wer gestaltet die digitalen sozialen Netzwerke und Räume? Mit der LaDOC-Konferenz Netz<>Werk / Radio gehen wir diesen Fragen nach, erfinden dafür ein neues Format und erlösen alle Teilnehmer*innen von Stunden vor dem Laptop.

LA DOC Filmnetzwerk, das Filmprogramm der Konferenz Netz<>Werk

 

SCREENING
at Rencontres Internationales 2021 Paris/Berlin

[ˈzi:lo]5 as part of „Capital Cluster“ screened live from the Louvre

/ / / 23-28 February 2021 / / /

„Capital Cluster“: Lukas Marxt / Kerstin Honeit / Anna Ådahl / Gregory Bennett

The next event will take place from 23 to 28 February 2021 in a hybrid form, live from the Louvre auditorium, with events and programmes filmed and broadcast live on our website, simultaneously accessible in a new immersive space developed for the occasion: Based on 3D scans and photogrammetry of the Louvre auditorium, this space for exploration and experimentation will offer visitors, via their web browser, real-time access to the programme taking place at the same time in the physical spaces, as well as to specific programmes only available in these online spaces.

Saturday
Feb. 27, 9pm
Online screening of the programme „Capital Cluster“

 

book PUBLICATION Sprach / Medien / Welten

Wissen und Geschlecht in Musik * Theater * Film
/ / / out now / / /

Der Band Sprach/Medien/Welten in Musik*Theater*Film* spannt einen weiten Bogen. Die Beiträge reichen vom Queer Reading über faire und geschlechterinklusive Sprache zu einer Sprache als Akt der Befreiung hin zu Genderspezifika in der filmischen Erzählung und „Helden von der Stange“. Texte über Musik und Performanz im Melodram um 1800, Liebe und Weisheit in der Musikanalyse sowie eine akustische Selbsterkundung einer Komponistin schließen an. Ein Streifzug durch Queer-feminische Medien(aktivismus) rundet den Parcours ab. Mit Beiträgen von Wilbirg Brainin-Donnenberg, Sandra Bohle, Susanne Hochreiter, Annegret Huber, Katharina Klement, Annette Jael Lehmann, Tamara Metelka, Melanie Unseld, Karin Wetschanow und Vina Yun.

Wilbirg Brainin-Donnenberg beginnt ihren Beitrag über ‚Sprache als Akt der Befreiung in den feministischen Avantgardefilmen und -video‘ mit einem Zitat von VALIE EXPORT ‚I turn over the pictures of my voice in my head‘. Dieser Titel eines Videos (2008) von EXPORT steht symptomatisch für die unterschiedlichen fünf Künstlerinnen_, die Brainin-Donnerberg in einer Art Collage vorstellt. Die von ihr ausgewählten Filmemacherinnen_ bzw. Videomacherinnen_ arbeiten mit je unterschiedlichen Zugängen und Methoden und brechen mit ihren medialen Artefakten vor allem herkömmliche Sehgewohnheiten und Erwartungshaltungen auf.

Die Bandbreite dieser Auswahl reicht von der Pionierin der Medienkunst und des feministischen Aktionismus VALIE EXPORT zur queeren Konzeptkünstlerin Kerstin Honeit, von der Super-8 Films Anne Charlotte Robertson zur Video-Sprach-Musik Performern Sabine Marte und den hyperrealistischen, Hochglanz-Filmen und Installationen von Eija-Liisa Attikas. Das Besondere an Brainin-Donnenberg Zugang zu den jeweiligen Künstler_innen ist, dass sie Gedanken, Reflextionen, Bilder und Texte aus den besprochenen Arbeiten zu einer Art Collage zusammenfügte, die in ihrer spannenden Vielfalt auch sinnlich erlebbar ist.

Herausgeberinnen*: Andrea Ellmeier, Doris Ingrisch, Claudia Walkensteiner-Preschl

Seit dem Jahr 2010 erscheint die Buchreihe mdw Gender Wissen im Wiener Böhlau Verlag. mdw Gender Wissen möchte dazu beitragen, die Wirkmächtigkeit von Gender (soziales Geschlecht) in Wissens- und Kunstproduktionen von Musik • Theater • Film sichtbar zumachen.

 

online EXHIBITION at the Kunstverein am Rosa-Luxemburg-Platz

Tegel: Speculations and Propositions
/ / / now online / / /

Kerstin Honeit, Hondartza Fraga, Miguel Santos, Liane Lang, Stella Flatten, Jon Klein, Karl Heinz Jeron, Bryan Eccleshall, Robert Gschwantner, Giorgio Cappozzo, Gill Hobson, Joachim Stein, Ashley Metz, Boris Riedel, Julie Westerman, Irene Pätzug, Natasja Keller, Stephan Hüsch, Águeda Simó, Michelle Atherton, Jeff Luckey, TC McCormack, Nick Crowe, Ian Rawlinson, Jamie Crew, Dale Holmes, Gary Simmonds, Renata Kaminska, Robert Partridge, Jane Harris, Sharon Kivland, Amy Patton, Margarita Gluzberg, Jaspar Joseph-Lester, Karina Nimmerfall, Amanda Beech, Diann Bauer, Rachel Garfield, Janet Hodgson.

Over a period of eighteen months, a selected group of international artists and writers focused their attention on Tegel TXL airport; they observed how it was used, they engaged in new activities and imagined how the empty building might function in the future. Now when Tegel airport has finally closed eight years later than originally planned (Berlin’s new Airport BER could not open due to the biggest building related corruption scandal in Germany) the video works which were produced in 2012 to say goodbye to the architecturally iconic airport can be revisited in the Online-Exhibition.

Online-Exhibition: Tegel: Speculations and Propositions

AWARDED the Norman Jury Prize for [ˈzi:lo]5

34. Stuttgarter Filmwinter – Festival for Expanded Media
/ / / 17th of January 2021 / / /

Jury Statement – Norman Award 2021 (International Competition) for [ˈzi:lo]5 by Kerstin Honeit

This movie really thinks inside the box. But inside that box is another box. And then another. And what is it that must be kept so well hidden? Shapeshifting objects, that can either be symbols of resistance or dominance, of cultural freedom or appropriation. It all depends on how we pack or unpack them. For a layered yet playful work dealing with colonial and patriarchal heritage the jury awards [‘zi:lo]5 by Kerstin Honeit.

Award Ceremony of the International Competition

SCREENING at 34. Stuttgarter Filmwinter
– Festival for Expanded Media

[ˈzi:lo]5 runs within the International Competition Short Films 6

/ / / Fri, 15.01.2021 – 21:00 / / /

[ˈzi:lo]5, Deutschland / Kanada 2019, 17:17 Min.

Regie: Kerstin Honeit
Drehbuch: Kerstin Honeit, Jessica Páez
Kamera: Ben Brix

“Silo 5”, once the largest granary in the world, was celebrated by Le Corbusier as the building of the future. Now it is an industrial ruin and monument to colonial global exploitation. The video work takes the abandoned Montreal granary as an opportunity to approach different gestures, recipes and technologies of preservation and collection.

International Competition Short Films 6

 

SCREENING at 30 Jahre Goldrausch Künstlerinnenprojekt

PANDA MOONWALK runs within BLOCK IV

/ / / 6. Dezember 2020 / / /

Elly Clarke, Carolina Hellsgård, Michelle-Marie Letelier, Vassiliea Stylianidou aka Franck-Lee Alli-Tis, Susanne Weirich, Laure Catugier, Katrin Glanz, Annette Hollywood, Anja Kempe, Christine Kriegerowski und Karl Heinz Jeron,Yvon Chabrowski, Bettina Hoffmann, Susanne Huth, Annelies Kamen, Gabriele Stellbaum, Ella Ziegler, Marlene Denningmann, Linda Franke, Kerstin Honeit, Jana Schulz, Dagmar Weiß

Kollaboration, Zusammenhalt, Selbstorganisation

Am Wochenende vom 5. und 6. Dezember 2020 stellen wir in vier Zeitblöcken eine Vielzahl an Videoarbeiten von ehemaligen Goldrausch Teilnehmerinnen online. Die einzelnen Arbeiten in den unten dargestellten vier Blöcken können nur an dem jeweils genannten Tag und zur jeweils genannten Uhrzeit angeschaut werden.

Die Goldrausch Alumnae wurden per Open Call aufgerufen, passende Arbeiten zum Thema Kollaboration, Zusammenhalt, Selbstorganisation einzureichen. Das finale Programm wurde von einer Auswahlkommission in einem kollaborativen Prozess kuratiert. Dieser gehörten an: Yalda Afsah, Künstlerin und Goldrausch Alumna 2014, Kira Dell, Projektkoordinatorin Goldrausch Künstlerinnenprojekt, und Olaf Stüber, Galerist, Kurator und Sammler im Bereich Bewegtbild. Als kuratorische Assistenz stand dabei Anna-Sophia Emminger unterstützend zur Seite.

Das Format des Videoprogramms hat sich über das Jahr 2020 hindurch gewandelt. Eingangs als Kino Special geplant, später als hybride Präsentation im Studio 1 / Kunstquartier Bethanien sowie parallel auf unserer Website, ist es nun aufgrund des derzeitigen Shutdowns kultureller Einrichtungen auf eine digitale Präsentation reduziert.

Umso deutlicher liegt in diesem von der Pandemie gezeichneten Jahr der Fokus auf Kollaboration, Zusammenhalt, Selbstorganisation – gerade für Künstler:innen, die oftmals als Solo-Selbständige arbeiten. In den gezeigten Arbeiten werden diese Themen breit verhandelt, manchmal ganz zentral fokussiert und manchmal auch nur gestreift.

Wir möchten anlässlich 30 Jahren Goldrausch Künstlerinnenprojekt Ausschnitte der künstlerischen Produktion ehemaliger Teilnehmerinnen in Form vielfältiger Video-Arbeiten zeigen. Damit werfen wir ein Licht auf diese Community von mittlerweile 447 Goldrausch Künstlerinnen. Sie alle teilen einen gemeinsamen Wissens- und Erfahrungsschatz, welcher nicht nur in der Selbstorganisation als Künstlerin wertvoll ist, sondern hoffentlich auch immer weiter zu Kollaboration und Zusammenhalt anregen wird.

Goldrausch Künstlerinnenprojekt
November / Dezember 2020

SCREENING at 37th Kassel Documentary Festival

[ˈzi:lo]5 within the screening block ‚Filed Under‘

/ / / 17.-22. November 2020 / / /

Short film section Filed Under (online Edition)

Among the many objectives science has, one of the most ambitious is to decipher and to comprehend the complexities of our world.
Systems, categories, rules, and criteria order whatever we encounter in our habitat.

Beyond their intended purpose these classifications produce hierarchies expressing dominant ideologies and power structures. The following films focus on the taxonomy natural sciences applied to establish normative orders for plants and creatures alike: they range from medieval to contemporary times, from educational film to seed archives, and from amimal trial to beasts of all sorts.

37th Kassel Documentary Film and Video Festival

 

SCREENING at Short Film Festival Cologne

[ˈzi:lo]5 im Deutschen Wettbewerb V

/ / / ab 20. November 2020 / / /

REFRAMING IMAGES – Deutscher Wettbewerb V (online Edition)

Durch welche Annahmen ist unsere Realität besetzt? Welche Rolle spielen Bilder bei der Kommunikation von Ideen und bei unserer Erfahrung von Welt? Wie kann man einer Wirklichkeit, die immer unfassbarer erscheint, filmisch überhaupt noch habhaft werden?

Wir befinden uns in einem tiefen Pool soziopolitischer Deutungsmöglichkeiten. Räume werden geöffnet und inszeniert. Bewegung findet zwischen Unsichtbarkeit und physischer Präsenz statt. Personen werden zu Figuren. Es wird mit Mitteln des Genres und der Parodie gespielt. In der Übergangszone zum Erwachsenwerden formen Selbstzweifel und Ängste eine Wirklichkeit, die mehr auf Gefühlen als auf Fakten basiert.

Wir sind verletzlich und sollten uns dies behalten. Einsamkeit kann überwunden und Nähe hergestellt werden. Die Chance eines Kurzfilmprogramms besteht darin, dass der Blick frei ist und verschiedene Perspektiven einnehmen kann. Wir laden ein, offen zu bleiben und die eigene Wahrnehmung neu zu justieren. Dadurch wird die Gestaltung einer ungebrauchten neuen Vorstellung möglich.

Nicole Rebmann
KFFK / Short Film Festival Cologne N°14

EXHIBITION at Uferhallen Berlin

Pigs in Progress at Uferhallen Manifest

/ / / 10 – 25 October 2020 / / /

Stefan Alber / Elena Alonso Fernández / Oscar Mauricio Ardila / Quirin Bäumler / Anke Becker / Rasmus Bell /
 Ilaria Biotti / John Bock / Peter Böhnisch / Daniela Brahm,Les Schliesser / Peter Dobroschke / Maria Eichhorn / Larissa Fassler / Heiner Franzen / Wolfgang Ganter / Matthias Galvez / Katrin Glanz / Kerstin Gottschalk / Asta Gröting / Harriet Groß / Sebastian Gumpinger / Kerstin Honeit / IOCOSE / Peter Klare / Fabian Knecht / Pantea Lachin / Sidsel Ladegaard / Angelika Levi / Werner Liebmann / Lupus 2000 / Rainer Neumeier / Manfred Peckl / Robert Prideaux / Hansjörg Schneider / Kerim Seiler / Andreas Siekmann / Mirjam Thomann / Lena von Goedeke,Sascha Appelhoff / Ria Wank / Klaus Weber / Pete Wheeler / Karin Winzer / Norbert Witzgall / Ina Wudtke

Im August 2019 haben die Uferhallen-Künstler*innen in Form einer Ausstellung Eigenbedarf angemeldet und damit den Kampf um den Erhalt ihres Kulturstandortes öffentlich gemacht. Nun laufen die Verhandlungen zwischen den Künstler*innen, den Investoren und der Stadt. Gleichzeitig spitzt sich die Situation in Berlin insgesamt zu: Innerhalb kürzester Zeit wurden einige Atelierstandorte geschlossen und die Spekulationen mit Arbeits- und wohnraum geht weiter.

Daher wird der Blick in diesem Jahr auf städtische (Kultur-) Räume und auf Stadtentwicklungsprozesse gerichtet: Wohin führt der Verdrängungs- und Verdichtungswettbewerb und was hat das für Konsequenzen für die Kultur der Stadt? Wie kann eine verantwortungsvolle Stadtplanung gegensteuern? Wie können Freiräume geschützt und neue geschaffen werden? Wie lassen sich neue Visionen und Utopien präzisieren?

Das Uferhallen-Manifest besteht aus 45 themenbezogenen künstlerischen Arbeiten von Uferhallen- und externen Künstler*innen. Es bezieht mit künstlerischen Mitteln Position und eröffnet Denkräume jenseits der vorherrschenden neoliberalen Verwertungslogik. Als Inspirationsquellen für die teilnehmenden Künstler*innen dienen auch die vielzähligen geschriebenen Manifeste zu den Themen Raumnutzung, -erhaltung, -verdrängung und -verteilung. Besitzen diese teilweise Jahrzehnte alten Forderungen noch Aktualität?
Lassen sie sich in die Gegenwart übersetzen?

10.-25. Oktober 2020
Sa & So 12:00-18:00
Do & Fr 16:00-20:00

Uferhallen
Uferstraße 8
13357 Berlin

COLLABORATION

with FEM_ARC
/ / / Podcast is out now / / / /

F_WALKS a Collaboration with FEM_ARC

How can we collectively experience feminist spatial practices despite physical distance?
During a walk guided by binaural sound recordings, we encounter a variety of female perspectives on daily-life in cities. The walk is a compilation of very different situations from very different places. While quietly walking the streets of the town they’re in, participants will experience emancipatory practices and spaces together with different narrative characters that guide them. Narrated spaces and the physical environment blend into each other. What can we learn from each other no matter the distance that separates us? Recorded spaces resonate in the real space. What would that be like if we’d use the same practices right here? The audiowalks collect perspectives that are often times invisible, inaudible, and not payed attention to in city planning. Topics addressed include access/exclusion to/from spaces, culture of remembrance in public space, autonomous spaces, and urban economies.

LINK TO F_WALKS PODCAST

fem_arc is a collective, a group of female architects working on intersectional projects. We’re all based in Berlin, but we each have different backgrounds and interests. In our projects we use this multitude of perspectives to question norms and standards in the built environment and in our profession.

11.-13.9.2020, Linz, STWST
19.09.2020, Berlin, Eine feministische Perspektive für Berlin heute! Wie könnte eine nicht-sexistische Stadt aussehen?
04.10.2020, Berlin, Living the City / Stadt leben

COLLABORATION

with Emma Wolf-Haugh and Line Skywalker at Grazer Kunstverein
/ / / 24 September – 20 November 2020 / / / /

Domestic Optimism a collaboration between Emma Wolf-Haugh, Kerstin Honeit and Line Skywalker Karlstroem

Domestic Optimism is an exhibition by Emma Wolf-Haugh about mangled and mistold modernist legacies. The project begins with furniture, inanimate objects that come loaded with social connections and invisible histories. Through the displacement of cultural detritus Emma Wolf-Haugh retells modernist architectural history in the collective key of queer-feminist and decolonial practices, continually unearthing filth in times of hygiene, and complicating things that were never simple to begin with.

Wolf-Haugh is a visual artist and educator. Weaving together installation, performance, publishing and collaborative workshop techniques, she is interested in reorienting attention towards cultural narratives by developing work from a questioning of ‘what is missing’. Her work is informed by how spaces, identities and social relations are generated temporarily in theatre, drag performance and queer DIY club scenes, via aesthetic and somatic practices.

For this exhibition colonial aesthetics, obscenity trials, hysterical masculinity, crime scene photography, sexology, the production of the lesbian throughout modernity and the current collapse of social housing projects, all intersect in a critical, queer, working class reading of architectural and design modernism. The project underscores the importance of solidarity, friendship and collectivity, for our communion and survival in the world today.

Emma Wolf-Haugh Domestic Optimism Act One: Modernism – A Lesbian Love Story

Grazer Kunstverein /Palais Trauttmansdorff
Burggasse 4
8010 Graz, Austria
Hours: Wednesday–Sunday 11am–6pm

PUBLICATION

PANDA MOONWALK in HMKV Videos of the Month 2014–2020

/ / / out now / / /

All Hartware MedienKunstVerein (HMKV) Videos of the Month 2014-2020 complete – in one magazine!

This magazine documents the HMKV Video of the Month series, which has presented current video works of international artists in a monthly rhythm since March 2014.

The nearly 80 videos tell stories about strange clowns, speculative technologies, posthuman machines and degrading talent shows, as well as about animals and the old, “new” right. Another thematic field is (the history of) technology and artificial intelligence. Several works look back at socialism and discover unexpected links with the present. As if they were anticipating the current corona pandemic, several protagonists wear masks, dance wildly in isolating balloon suits, and an orchestra plays in an empty concert hall.

Curated by Inke Arns.

Publisher: Verlag Kettler
Free download

DISCUSSION & SCREENING at IFFF Cologne

my castle your castle at FOCUS:NACH DER WENDE 1990|2020«

/ / / 13 September 2020 / / /

Wir rücken ostdeutsche Erfahrungen im Filmschaffen von Regisseur*innen ins Licht und befragen Filmemacher*innen und Kurator*innen, welche Filme für sie relevant sind, um die jüngere deutsche Geschichte zu verstehen. Das Programm bietet eine vielstimmige Bestandsaufnahme, die Raum öffnet für Brüche, Neuanfänge und marginalisierte Perspektiven. Es stellt Menschen in den Mittelpunkt, die sich subversiver Strategien bedienen, um ihre Spielräume auszuweiten. Was kann man davon auch heute noch lernen? Filme von Frauen aus drei Generationen dienen als Bausteine, mit denen wir eine Brücke schlagen, die uns die heutige Situation begreifbarer macht.

Susann Maria Hempel / Kerstin Honeit / Thanh Nguyen Phuong / Maja Nagel, Julius Günzel / Else Gabriel

4pm onwards / Screening 7pm
Academy of Media Arts Cologne
Peter-Welter-Platz 2.
50676 Köln

SCREENING at Film Fest Dresden

PANDA MOONWALK at German Competition

/ / / 8 – 13 September 2020 / / /

FILMFEST DRESDEN was founded in 1989, even before the political turnaround. It is dedicated to short film in all its facets and is today considered one of the most important festivals of the genre in Germany.

PANDA MOONWALK Screening Dates
Wednesday 10pm – Schauburg; Königsbrücker Str. 55, 01099 Dresden
Thursday 1pm – Schauburg; Königsbrücker Str. 55, 01099 Dresden
Friday 20pm – Programmkino Ost; Schandauer Str. 73, 01277 Dresden
Saturday 7pm – Schauburg; Königsbrücker Str. 55, 01099 Dresden

EXHIBITION at HaL Berlin

my castle your castle at
Faraway, So close

/ / / 28 August – 8 November 2020 / / /

Said Baalbaki / Catherine Biocca / Yvon Chabrowski / Manaf Halbouni / Kerstin Honeit / Ali Kaaf /
 Ahmed Kamel / David Krippendorff / Andréas Lang / Beatrice Minda / Peles Empire / Yafei Qi / Henrik Strömberg / Susa Templin / Walter Yu

The exhibition brings all the fifteen scholarship holders together who have been supported by the artist in residence program since 2016. The project, which was co-founded in 2015 by Frank-Walter Steinmeier, the German foreign minister at the time, and Werner Tammen, chairman of the Galleries Association of Berlin (LVBG), is the first artist residency program in a German federal ministry, and is the first of its kind anywhere in the world. The residency is primarily aimed at artists who come from abroad or who apply themselves to global issues in their work. The program is part of the ministry’s cultural and educational policy that forms the „third pillar“ of German foreign policy next to political and economic relations.
Each year, a jury of independent experts selects three artists who are invited to the roof studio of the Foreign Office for three months at a time and receive a scholarship and financial support for this period. Galleries can apply if they are members of the LVBG. In 2020, the selection of applicants was expanded to include Berlin galleries that are nominated by an invited expert for this purpose.

*“Faraway, So Close!“ is the title of the film by Wim Wenders that was released in 1993 as a sequel to „Wings of Desire“ (1987) and is set in the period following the fall of the Berlin Wall.
In cooperation with the Federal Foreign Office (AA) and the Berlin Galleries Association (LVBG).

Haus am Lützowplatz
Lützowpl. 9
10785 Berlin

SCREENING at Kunsthalle Bonn

PANDA MOONWALK at Filmnächte auf dem Dach der Bundeskunsthalle

/ / / 28 August 2020 / / /

Mit einer internationalen Filmauswahl gastiert das FILMFEST DRESDEN, am Freitag, den 28. August in diesem Jahr wieder in Bonn.
Das Publikum kann sich auf ausgezeichnete Kurzfilme wie auch Festivallieblinge freuen.

Bundeskunsthalle
Helmut-Kohl-Allee 4
53113 Bonn

SCREENING at Technische Sammlungen Dresden

my castle your castle at Utopien auf Zeit / Critical Care

/ / / 22 August 2020 / / /

Ökologische Katastrophen und soziale Probleme setzen die Menschheit unter Druck. Klimawandel, soziale Verwerfungen und Gentrifizierung – all dies verändert langfristig und besonders in den Städten unser Zusammenleben. Architektur und Urbanismus haben ihren Anteil an den Krisen. Wie die Ausstellung „Critical Care. Architektur für einen Planeten in der Krise“ in den Technischen Sammlungen Dresden an ausgewählten Beispielen zeigt, kann Architektur aber auch eine Problemlösung sein. Das FILMFEST DRESDEN hat zwei Kurzfilmprogramme zusammengestellt, welche die Ausstellung begleiten und kommentieren.

Gimny Moskovy / Dimitri Venkov / Kerstin Honeit / Michal Banisch / Michael Klein / Sasha Pirker / Aline Höchli

Technische Sammlungen Dresden
Junghansstraße 1-3
01277 Dresden

EXHIBITION at Kunstverein in Hamburg

PANDA MOONWALK
at BEING LAID UP WAS NO EXCUSE FOR NOT MAKING ART
Humor nach #MeToo

/ / / June 27 – 16 August 2020 / / /

Kunstverein in Hamburg
Klosterwall 23
20095 Hamburg

VIDEO CONTRIBUTION

Short Film Fest Oberhausen Blog commission ‚Can and should one make films now?‘

/ / / International Short Film Fest Oberhausen 13th – 18th May 2020 / / /

‚Why or Why not?‘ is a commissioned work by this year´s International Short Film Festival in Oberhausen. Lars Henrik Gass, Oberhausen’s festival director, asked filmmakers for a video contribution for the festival´s blog, commenting on the question: ‚Can and should one make films now?‚

…With the blog, the International Short Festival Oberhausen is launching an experiment with which it responds to the current crisis, a forum in which many voices will speak up and many issues be discussed, with contributions on a variety of topics, sometimes in German, sometimes in English.

The blog thus makes the process of the crisis visible, as well as those who are affected by it. Last but not least, the blog is intended as a prelude to and framework for the online festival in mid-May, in which Oberhausen expects to screen around 350 films online. Until the end of May, one or two posts a day are planned. The Festival cooperates with numerous institutions, from the Oberhausen Theatre to the New York art platform e-flux, all of which will contribute to the blog…

Can and should one make films now?

In addition, German filmmakers contribute to a series entitled „Can and should one make films now? The condition: the making of their films must not take more than one hour. So far, Oberhausen award-winners such as Max Linz, Brenda Lien, Alexandra Gerbaulet, Kerstin Honeit, Franz Müller, Dietrich Brüggemann and many others have agreed to contribute…

Further information at: www.kurzfilmtage.de

 

 

ONLINE EXHIBITION at Hartware MedienKunstVerein

PANDA MOONWALK is Video of the Month

/ / / 1st – 30th April 2020 / / /

In the series HMKV Video of the Month, HMKV presents current video works by international artists for the duration of one month each – selected by Inke Arns.

NEW at HMKV #HMKVatHome: From now on you can watch the series „HMKV Video of the Month“ online on our website! Since you can no longer visit us at level 3 at Dortmunder U, we are coming to you!

In April we will be showing Kerstin Honeh video „Panda Moonwalk or Why Meng Meng Walks Backwards“ (2018):
Since 2017, two giant pandas from China have been awarded to the Berlin Zoo for a million. An advertising measure that literally backfired: Meng Meng, the female panda, is only running backwards – probably in protest against her captivity. Kerstin Honeh Video connects Meng Meng’s protest to other protesting bodies that use public space movements to address issues.

Former Videos of the Month where shown by: Ina Wudtke, Magdalena von Rudy, Maya Schweizer, Clemens von Wedemeyer, Sven Johne, Csilla Könczei, Sohrab Hura, Jeroen van Loon, Warren Neidich, Silke Schönfeld, Matt Goerzen & Ed Fornieles, Vanja Smiljanić, Weekend & Plaste, Katarina Zdjelar, Stefani Glauber, Alla Rumyantseva, Aleksandra Domanović and many more.

 

 

SCREENING at Internationale Kurzfilmwoche Regensburg

German Competition #4 – Man and Nature

/ / / 11th – 18th March 2020 / / /

In the years 2018 and 2019, words such as „Dead Zone Repu-blic“ and „Fridays for Future“, and taboo words such as „Cli-mate Hysteria“ and „Anti-Deportation Industry“ emerged in Germany. What do these words have in common with the Ger-man competition? All the 600 short films that were submitted for this competition were also made during this period. The selection of all these brilliant short films would have sadly gone beyond the scope of the program. That is why we are presenting a selection of 35 films from all submissions, distri-buted over four programs. Just like the taboo words of the ye-ar, the films reflect the many facets of the events and in-terests of the last two years in Germany. They depict visions, perspectives, artists and emotions, as well as they present the German culture in a positive and a negative light. There was also a remarkable number of submissions that defied re-ality through exploring and mastering alternative cinematic techniques.All this is presented through a colorful mix of different films in the German Competition. The diverse selection of anima-tions, experimental films, documentaries and short feature films promises to captivate, surprise and delight.

German Competition #4 – Man and Nature: Why pandas sometimes walk backwards and other strange things about nature, people and animals.

Fr/13.03.2020/Filmgalerie/8pm
Mo/16.03.2020/Filmgalerie/9pm
Bertoldstraße 9
93047 Regensburg

 

 

SCREENING at BLONDE COBRA #2

film series for queer & experimental cinema

/ / / 14th – 15th December 2019 / / /

FILMS, PERFORMANCES, WORKS and THOUGHTS by: Jack Smith, Birgit Hein, Marc Siegel, Susanne Sachsse, Zia Anger, Mike Hoolboom, Matthias Müller & Christoph Girardet, João Pedro Rodrigues, Karin Michalski, Vika Kirchenbauer, Kerstin Honeit, NEOZOON, Ale Bachlechner, Janina Warnksinn, Felix Zilles-Perels, Stefan Ramírez Pérez, Gossing/Sieckmann, Phil Collins

BLONDE COBRA #2 – a film series for queer & experimental cinema – was established by Colgne based studio and art collective SCHALTEN UND WALTEN. With a focus on experimental and queer aesthetics, BLONDE COBRA brings together filmmakers with artists, performers and theorists while combining historical and contemporary film and art practices.

The BLONDE COBRA winds around Emotion & Affect, Aesthetics of Performance, Ritual and Codes, The meaning of Style, Fetish & Love, Activism & Nature, Perversion & Theory.

Curated by Miriam Gossing, Lina Sieckmann, Lara Nickel

Turistarama / Lupe 2
Mauritiussteinweg 102
50676 Cologne

 

 

PUBLICATION

„Sonntag“ – Kunst and Cake

/ / / December 2019 / / /

Sonntag is a nomadic project initiative founded by the artists, Adrian Schiesser and April Gertler in 2012 and takes place in different private Berlin apartments. Sonntag is a platform for Berlin-based artists to develop their artistic activities; a place to present works of art to a wider public in connection with the German tradition of getting together over coffee and cake on a Sunday afternoon.

Instead of relying solely on the exhibition of works of art as the sole format, Sonntag relies on the artist’s favorite cake as a special starting point for discussions between artist and guests. The flavors of the cake are transmitters of memories and experiences of the artist, a taste of home in a foreign land, a taste associated with an important event in the life of the artist and often flavors that relate to the works. In keeping with the Proust phenomenon, flavors and smells as trigger stimuli can unleash involuntary memories and excitement, creating a subc­onscious connection between the guests and the artist, thus providing a basis for communication.

Private apartments in Berlin as a venue for Sonntag, complete the concept, as an ideal sphere for exchange. With each version of Sonntag, the artists respond to the interior design of the premises in an innovative and surprising way, which at times leads to a mixture of newly installed works of art in direct relationship to the objects in the apartment. Sonntag is thus continuing the tradition of Berlin, known as the city for its dynamic, free art scene with exhibition spaces in converted spaces, the capital of temporary use.

Sonntag in book format, highlights the work of 44 previous Sonntag artists. New work made especially for the book by each artist, in addition to their favorite cake recipe, will be the foundation of the Sonntag book. The book will highlight a wide variety of nuances of the project, including closely examining Sonntag as a social sculpture which harnesses not only dialogue about art making in a private space, but takes a look at how food and the architecture of a home can contribute to a greater experience, simultaneously by the exhibiting artist and the viewer.

The Green Box, Berlin 2019
ISBN 978-3-96216-000-5

 

 

AWARDED Jury Prize for Panda Moonwalk

Short Film Festival Cologne KFFK

/ / / 18th – 22nd November 2019 / / /

Jurybegründing

„Was tun wenn die tierische Investition nicht tut, was sie soll? Das Medienspektakel um eine Panda Lady in Gefangenschaft ist Ausgangspunkt einer vielschichtigen, spielerischen Reflexion. Weil nicht sein darf, was nicht sein soll, erfinden die Verantwortlichen und Beobachter_innen Erklärungen für das Verhalten der Bärin im Berliner Zoo, in denen vor allem die Ressentiments der Erklärenden sichtbar werden. Gegenüber einer Bärin zeigen sich Vorurteile, Sexismen und Rassismen ganz ungehemmt.

Die Arbeit zwischen Film und Kunst im öffentlichen Raum kombiniert Elemente des Found-Footage-Films, der Reportage und des Musikvideos mit fulminanten queeren Reenactments von Interviewpassagen mit Passant_innen vor dem Berliner Zoo zu einer Gegenerzählung. Meng Mengs Rückwärtsgehen wird zum Akt der Rebellion.

Der Film macht vielfältige Bezüge auf: von der chinesischen Pandadiplomatie über die Tierhaltung in Zoos bis zu den Mechanismen medialer Spektakel.
Ein spielerisch tanzendes Gruppenreenactment schlägt Verbindungen zur Medialisierung von Gefängnissen. Bei alledem bleibt „Panda Moonwalk“ ein visuell mitreißender, politischer und humorvoller Experimentalfilm.

Wir freuen uns sehr, „Panda Moonwalk or Why Meng Meng Walks Backwards“ von Kerstin Honeit mit dem 3. Jurypreis des Kurzfilmfestivals Köln auszuzeichnen.“

Jury: Miriam Gossing / Lina Sieckmann, Wiktoria Pelzer, Fabian Tietke

 

 

SCREENING

12. Kurzfilmnacht „Oberhausen trifft Paderborn“

/ / / 14th November 2019 / / /

Studierende der Universität Paderborn veranstalten am Donnerstag, 14. November, um 19.30 Uhr die Kurzfilmnacht „Oberhausen trifft Paderborn“ in der UCI Kinowelt. Die Veranstaltung, die nun bereits zum zwölften Mal stattfinden wird, beinhaltet eine Auswahl an Kurzfilmen von den „65. Internationalen Kurzfilmtagen Oberhausen“. Alle Interessierten sind hierzu herzlich eingeladen. Tickets gibt es im Vorverkauf ab dem 29. Oktober für jeweils 5 Euro im Foyer der Universitätsbibliothek sowie in der UCI Kinowelt. An der Abendkasse kosten die Tickets 6 Euro.

Seit April arbeiten insgesamt elf Studierende an der Gestaltung der zweistündigen Kurzfilmnacht, die in diesem Jahr das Motto „Wir holen die Welt nach Paderborn“ trägt. Unterstützt werden sie dabei von den beiden Paderborner Dozentinnen Prof. Dr. Annette Brauerhoch und Elena Fingerhut. Die Kurzfilmnacht zeigt u. a. Werke der Regisseurinnen Kayako Oki und Eva Stefani sowie vom russischen Regisseur Alexander Sokurow. Darüber hinaus wird die Filmemacherin Kerstin Honeit am Abend vor Ort sein und für Fragen zu ihrem Film „Panda Moonwalk or Why Meng Meng Walks Backwards“ zur Verfügung stehen.

14.11.2019 | 19.30 Uhr | UCI Kinowelt | Paderborn

 

 

SCREENING at Interfilm Festival 2019

35th International Short Film Festival Berlin

/ / / 5th-10th November 2019 / / /

interfilm Berlin organises the Berlin International Short Film Festival as well as interfilm Short Film Distribution. Established in 1982, the festival has years of experience and a growing number of contacts in the international cultural and short film sectors. This has enabled interfilm to forge ongoing links with several significant institutions and hold frequent, regular events, testifying to the festival’s success at bringing the short film format to an ever wider audience.

interfilm’s goal is to search out skilled and creative filmmakers and bring their work together –  presenting them in an international, culturally political framework in order to best facilitate the exchange of imaginative ideas. interfilm offers a wide variety of short live-action, animation and documentaries to enthusiastic audiences who value the short film format in its own right.

PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS at Interfilm
Screening Dates:

08.11.19, 22:00h Volksbühne, Rosa-Luxemburg-Platz, 10178 Berlin
06.11.19, 13:30h Babylon 1, Rosa-Luxemburg-Str. 30, 10178 Berlin
07.11.19, 20:00h Kino der Königstadt, Straßburger Str. 55, 10405 Berlin
09.11.19, 20:00h, II Kino, Nansenstraße 22, 12047 Berlin
10.11.19, 19:30h, Zeiss Großplanetarium, Prenzlauer Allee 80, 10405 Berlin

 

 

PANEL at 3hd Festival

Wor(l)d Making: Fluid Fictions

/ / / 26th October 2019 / / /

Panel with Sarah M. Harrison, Kerstin Honeit, Tarek Lakhrissi, Magareth Haunes. Curated and moderated by Isabel de Sena.

That storytelling, as Hannah Arendt writes, “reveals meaning without committing the error of defining it“ is perhaps the main reason why it offers an alluring playing field for artists and authors eager to negotiate their encounter with the world, while not forgoing to do some worldmaking and worldbreaking of their own.

This panel invites poets, visual artists and fiction writers with divergent approaches to storytelling to explore how fiction constructs reality, as well as the power that affords and how the building blocks used to erect dominant narratives can be cracked and reassembled to spawn more fluid fictions.

Straddling Sci-Fi, parafiction, speculative fiction, (self-)mythology, Eco-Fiction, legend, fable and fantasy, these practitioners create new fictional realities and alter existing ones through their incursions into the shapeshifting, transmutational possibilities fiction offers.

Oct. 26, 5–6.30pm
Postscheckamt
Hallesches Ufer 40–60
10963 Berlin

 

 

NOMINATION

Best Edited Short Film – Filmplus Festival 2019

/ / / 25th – 28th October 2019 / / /

The heart of cinema is situated between the shots. Editing determines the rhythm, dictates the order of the images and the timing of the story. They say good cuts need to stay invisible. That’s a matter of opinion. Yet its makers and the rules of their art should by no means stay invisible.

Filmplus is the oldest film festival in Europe that focuses exclusively on the art of film editing. Since 2001 it offers the German speaking editing and postproduction industry an annual event as a platform for presentation and discussion.
Filmplus pays tribute to the life’s work of a well-deserved film editor. In a small film programme, the homage presents examples from their oeuvre and offers the audience the possibility of an exchange about the specific style of their work.
Filmplus propels the dialogue between filmmakers and with the audience. Each year, panel discussions, workshops and lectures are dedicated to a special topic, aiming at reflecting both theory and practice of film editing.

Filmplus is Europe. Inviting guests from all over Europe and dedicating a special evening event to them, we are each year putting another European editors’ association as well as the work of one of their editors at the centre of attention.

Museum Ludwig / Filmforum
Bischofsgartenstraße 1
50667 Köln

 

 

CURATORIAL PRACTICE

Monitoring – Exhibition for Time-Based Media Art 2019

/ / / 13th – 17th November 2019 / / /

The exhibition Monitoring is a section of Kassel Dokfest and presents up to 20 art installations that are based on cinematic, audiovisual or digital approaches. It provides a platform for time-based media art in the three-dimensional space as a complement to the film program of the festival.
Installations of any topic and form can be submitted. A selection committee of cultural professionals, artists and curators decides which installations are to be presented in the exhibition.

Selected artists: Ulf Aminde, Elko Braas, Cihad Caner, Kapwani Kiwanga, Paulette Phillips, Kristin Reiman, Kristin Reiman, Silke Schönfeld, Clarissa Thieme, Dagmar Weiß, Clara Winter, Mark Oliver, Veneta Androva, Kim Kielhofner, Malin Kuht, Jan Peters, Catharina Szonn, Taietzel Ticalos, Guanyu Xu.

Südflügel KulturBahnhof
Rainer-Dierichs-Platz 1
34117 Kassel

Kasseler Kunstverein
Friedrichspl. 18
34117 Kassel

 

 

CURATORIAL PRACTICE together with Kira Dell

Goldrausch Künstlerinnenprojekt Exhibition 2019 HYDRA

/ / / 22 October – 8 December / / /

The Goldrausch Künstlerinnenprojekt exhibits the works of 15 international women artists in cooperation with the Haus am Kleistpark. With Hydra – Goldrausch 2019, the professional development programme presents the final exhibition of its 29th year.

Like the many heads of the snake-like Hydra, the works of the individual artists grow together to form an organic system, but as independent entities they also demand individual readings. Through the media of performance, photography, illustration, sculpture, sound installation and painting, the up-and-coming artists refer to a multitude of perspectives and positions from current discourses in contemporary art. As an additional fluid and ever-changing figure, a varied supporting programme complements the exhibition and invites visitors to become part of Hydra – Goldrausch 2019.

25. October–8. December 2019
Haus am Kleistpark | Berlin
Opening hours: Tues to Sun 11 am–6 pm
Grunewaldstraße 6-7, 10823 Berlin

 

 

SOLO EXHIBITION

Werkleitz – Videoarama

/ / / 1st – 30th September 2019 / / /

Videorama is an exhibition space for video art, experimental 
film and media art as well as video installations. It has a curated programme and frequently shows works by contemporary video artists. On its wide panorama window the Videorama offers media art to passers-by in public space.

Videorama at Werkleitz
Schleifweg 6
06114 Halle

 

 

EXHIBITION / SCREENING

Ruhrtriennale 2019

/ / / 21st August – 29th September 2019 / / /

The construction set made up of sections of planes and buses will be reassembled and the square in front of the Jahrhunderthalle reconfigured by raumlaborberlin. This year the Third Space uses culinary delights, communal cooking and hot debates to bring everyone together around one table and puts the topic of communal meals and dialogue on the menu. A wide-ranging programme of a writer’s room and of performances, concerts, readings, workshops, submitted film shorts and parties are complemented by numerous event formats that work through the audience’s stomachs. As well as a meeting point, building site and stage, this year the Ruhrtriennale’s festival centre will also operate as a works canteen where you’re welcome to join in the conversation.

Within this framework ten filmmakers have been invited to present their short films at Third Space. Those films are based on the concept of the Third Space  (Homi K. Bhabha):

Krzysztof Honowski, Daliah Ziper, Kerstin Honeit, Salvador Miranda, Paola Buontempo, Ania Pachura, Yuyen Lin-Woywod, Liza Spivakovskaya + Nastya Dzyuban, Lisa Domin, Igor Shin Moromisato

Permanent exhibition at Third Space ruhrtriennale (Jahrhunderthalle Bochum) 21- 29 September
Screening at Jahrhunderthalle Bochum 15 September 7 – 10pm

An der Jahrhunderthalle 1
44793 Bochum

 

 

PUBLICATION Exhibition Catalogue

Palast der Republik – Utopie, Inspiration und Politikum

/ / / July 2019 / / /

Der Volksmund nannte ihn nach dem damaligen Staatschef ‚Erichs Lampenladen‘ oder auch ‚Last der Republik‘. Während seiner kurzen Nutzungsdauer ab 1976 als Regierungsgebäude mit dem Saal der Volkskammer und zugleich zentrales Kulturhaus der DDR-Hauptstadt war der ‚Palast der Republik‘ ein Begriff. Nach dem Ende der DDR wurde er von der Politik dem Abriss anheimgegeben, aber noch einige Zeit für künstlerische Aktivitäten genutzt; er polarisierte bis zuletzt. Die Ausstellung ‚Palast der Republik – Utopie, Inspiration, Politikum‘ in der Kunsthalle Rostock zeigt Ausstattungsstücke und Kunstwerke, die sich mit dem oft kontrovers diskutierten Gebäude auseinandersetzen. Die Besucher sind eingeladen, sich zu erinnern oder den ‚Palast‘ und seine vielen Facetten neu zu entdecken. Die Kunst und das Design, die ihn einst zum Strahlen brachten, werden durch die Blicke diverser Künstler auf den ‚Palast der Republik‘ erweitert und zeigen ihn als Inspirationsquelle bis in die Gegenwart. Begleitend zur Ausstellung erscheint dieser reich bebilderte Katalog. Mit Texten von Bazon Brock, Irina Liebmann, Elke Neumann, Olaf Reis, Peter Richter und Matthias Weghaupt.

Contributing artists :
Rudolf Austen, Sibylle Bergemann, Árpád Bondy & Margit Knapp Cazzola, Günther Brendel, Kurt Buchwald, Stefanie Bürkle, Gerd Danigel, Fritz Diedering, Georg Eckelt, Christoph Eckelt, Nina Fischer & Maroan el Sani, Thomas Florschuetz, Claas Gutsche, Doug Hall, Ernst Hassebrauk, Harald Hauswald, Bernhard Heisig, Kerstin Honeit, Jo Jastram, Irina Liebmann, Katrin von Maltzahn, Maix Mayer, Arwed Messmer, Ronald Paris, Andrea Pichl, Gertraude Pohl, Bettina Pousttchi, Lars Ø. Ramberg, raumlabor/ EXYZT, Jörn Reißig, Christoph Rokitta, Fred Rubin, Thomas Sandberg, Wilhelm Schmied, Willi Sitte, Emma Stibbon, Jan Stieding, Annette Streyl, Daniel Theiler, Werner Tübke, Anna-Monika Tzschichhold, Dieter Urbach, Ulrich Wüst

Herausgeber: Kunsthalle Rostock, Elke Neumann 
ISBN 978-3-96311-187-7

 

 

 

 

LECTURE PERFORMANCE at Interiors to Being Festival

Together with Surya Gied

/ / / July 13, 2019 / / /

INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
INTERIORS TO BEING  spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.

The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.

The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.

The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.

Contributing artists and curators: Uli Aigner, Courtney Asztalos, Bill Berger, Cynthia Bittenfield, Lemia Bodden, Lucile Bouvard, Marcus Brownlow, Andrew J. Burford, Nati Canto, Amanda Coimbra, Valentina Culley-Foster, Mark Curran, Jeremiah Day, Hannah Dougherty, Övül Durmusoglu, Catherine Evans, Fernanda Figueiredo, Elise Gardella, Ayala Gazit, Surya Gied, Rhys Himsworth, Brittney Hollinger, Kerstin Honeit, Ng Hui Hsien, Melanie Irwin, Stine Marie Jacobsen, Charlie Jouvet, Jesi Khadivi, Susanne Kohler, Teena Lange, Nancy McCormack, Lotte Møller, Bonaventure Ndikung, Hester Oerlemans, Solvej Helweg Ovesen, Heiko Pfreundt, Piotr Pietrus, Ana Catarina Pinho, Lucy Powell, Fabiana Sala, Adrian Schiesser, Joachim Schmid, Aleks Slota, Sydney Southam, Stevie Southard, Henrik Strömberg, Etienne Turpin, Emma Wolf-Haugh, Ilyn Wong, Grant Yarolin, Ella Ziegler

INTERIORS TO BEING
Artistic Director: Pauline Doutreluingne, Managing Director: April Gertler, Curators: Conny Becker, Pauline Doutreluingne, April Gertler, Kaetha (hannah goldstein and Katja Haustein), Teena Lange, Lotte Møller

Surya Gied & Kerstin Honeit at 13 July, 5pm
Horse & Pony, Altenbraker Str. 18, 12053 Berlin

INTERIORS TO BEING
Hidden Treasures

 

 

 

 

EXHIBITION at Kunsthalle Rostock

Palast der Republik – Utopie, Inspiration, Politikum

/ / /  June 1st – October 13th, 2019 / / /

Utopie, Inspiration, Politikum

Errichtet zwischen 1973 und 1976 auf dem Gelände des ehemaligen Berliner Stadtschlosses, war der Palast der Republik das Regierungsgebäude der DDR mit dem Sitz der Volkskammer und zugleich öffentliches Kulturhaus mit einer Vielzahl von Veranstaltungsräumen und gastronomischen Angeboten. Täglich fanden hier Veranstaltungen im Großen Saal, den Restaurants, der Disko im Jugendtreff, dem Theater und dem Spreebowling statt. 1990 wurde der Palast der Republik wegen Emission krebserregender Asbestfasern geschlossen, von 2006 bis 2008 wurde das Bauwerk abgerissen. 2019 soll auf dem Schlossplatz das Humboldt Forum im neu errichteten Berliner Schloss eröffnen.

Die von der Kulturstiftung des Bundes geförderte Ausstellung Palast der Republik – Utopie, Inspiration, Politikum in der Kunsthalle Rostock zeigt Ausstattungsstücke und Kunstwerke, die sich mit diesem kontrovers diskutierten Gebäude auseinandersetzen. Kunst, die das staatliche Symbol stützte, wird derjenigen gegenübergestellt, die staatliche Entscheidungen kritisch hinterfragte und hinterfragt. Bildende Kunst wird so erkennbar als Gegenüber und zugleich Teil der Politik in der DDR und in der Bundesrepublik. So schufen Bernhard Heisig, Ronald Paris, Willi Sitte, Werner Tübke und viele andere Werke für Foyer, Restaurants und Sitzungssäle des Palastes. Diese Arbeiten sind ebenso Teil der Ausstellung wie Werke, die während der Bau- und Nutzungszeit des Palastes entstanden und die die Bedeutung des Gebäudes im kulturellen Leben der DDR und Ost-Berlins künstlerisch spiegeln. Ein dritter Teil der Ausstellung setzt sich mit dem Abriss des Gebäudes auseinander und versammelt zeitgenössische künstlerische Reaktionen. Auch die Ausstattung des Palastes wird durch historische Einrichtungsgegenstände erlebbar. Die Ausstellung nähert sich dem verschwundenen Gebäude auf verschiedenen Wegen und eröffnet den Diskurs um eine gemeinschaftliche Erinnerung an den Palast der Republik.

Beteiligte Künstlerinnen und Künstler
Rudolf Austen, Sibylle Bergemann, Árpád Bondy & Margit Knapp Cazzola, Günther Brendel, Kurt Buchwald, Stefanie Bürkle, Gerd Danigel, Fritz Diedering, Georg Eckelt, Christoph Eckelt, Nina Fischer & Maroan el Sani, Thomas Florschuetz, Claas Gutsche, Doug Hall, Ernst Hassebrauk, Harald Hauswald, Bernhard Heisig, Kerstin Honeit, Jo Jastram, Irina Liebmann, Katrin von Maltzahn, Maix Mayer, Arwed Messmer, Ronald Paris, Andrea Pichl, Gertraude Pohl, Bettina Pousttchi, Lars Ø. Ramberg, raumlabor/ EXYZT, Jörn Reißig, Christoph Rokitta, Fred Rubin, Thomas Sandberg, Wilhelm Schmied, Willi Sitte, Emma Stibbon, Jan Stieding, Annette Streyl, Daniel Theiler, Werner Tübke, Anna-Monika Tzschichhold, Dieter Urbach, Ulrich Wüst

Die Ausstellung wird kuratiert von Elke Neumann.

Kunsthalle Rostock, Hamburger Str. 40, 18069 Rostock

 

 

 

ARTIST TALK and FINISSAGE at balzer projects Basel

On Destruction and Preservation

/ / / May 24, 2019, 6pm / / /

 

Geoffrey de Beer, Maija Blåfield, Bram Braam, Stefanie
Bühler, Gabriella Disler and Kerstin Honeit

The exhibition “On Destruction and Preservation” presents six artists who work in different areas of representation and means of production. They share the deep reflection on parameters of change – sometimes obvious, but also subtle and even hidden. The exhibition does not pretend to solve problems and give answers to urgent questions; instead, it aims to open lines of communication.
The exhibition is political, but not programmatic and by no means comprehensive. The art itself remains the focus of the show and works are selected for their artistic and poetic qualities, in addition to their political message. Several pressing issues are being highlighted: Destruction and preservation in urban and natural environs, the perceived need to modify political and social architecture and the utilization of architectural meanders for political propaganda. Capitalism, corruption, inflated technological advancement, but also ignorance and negligence bringing ecological and humanist catastrophes of unexpected dimensions… This is the underlying subtext of this show.
Destruction and preservation in urban environs are explored by Gabriella Disler, Bram Braam and Geoffrey de Beer. The perceived need to modify political and social architecture – dealt with by Kerstin Honeit, Gabriella Disler and Stefanie Bühler as well as the use of urban planning for political propaganda. Capitalism, corruption, inflated technological advancement and greed bringing ecological and humanist catastrophes of unexpected dimensions – a gradual move into the Anthropocene and the change in ecology brought on by man-made environmental interventions are especially explored by Maija Blåfield (her film gave the exhibition its title) and Stefanie Bühler.

balzer projects,
Wallstrasse 10, 
4051 Basel

 

SCREENING at Kino Wolf Berlin

my castle your castle as part of Made in Germany 2: Stadtleben – Oberhausen on Tour

/ / / May 22, 2019, 7pm / / /

 

Made in Germany 2: Inner City Life” the second part of our series with the best German short films of the past ten years, takes a fresh look at the city and its architecture. At the centre of this programme is the winner of the 2015 German competition, “Shift”, which weaves together the director’s personal family history with a portrait of the city of Salzgitter. The film combines analysis and imagination as it follows the stream of revealed histories. Kerstin Honeit invites construction workers to a coffee party among the skeleton construction work of the Berlin City Palace for a grotesque staging of the demolition and reconstruction of nationalistic myths. Marian Mayland, on the other hand, recalls a demolished apartment block in Manchester by furiously combining documentary material with excerpts from cultural counterprojects of the early techno and acid house scene.

And Maximilian Villwock shows us how love in octurnal Berlin turns into a power struggle when the ego takes the upper hand. Finally, “Please Say Something” animates the city in a way you have never seen and sets off an enigmatic and futuristic fireworks display of images about the relationship between a cat and a mouse in the internet era. All these works were festival favourites in Oberhausen and elsewhere.

Kino Wolf Weserstraße 59, 12045 Berlin

 

 

REVIEW Süddeutsche Zeitung about PANDA MOONWALK

Kurzfilm – Wenn der Panda rückwärts läuft

/ / / May  7, 2019 / / /

Juliane Liebert writes for Süddeutsche Zeitung about PANDA MOONWALK as part of the German Competition at the 65. International Short Film Festival in Oberhausen.

 

 

SCREENING at International Short Film Festival Oberhausen

PANDA MOONWALK in the German Competition 2019

/ / / May 2-6, 2019 / / /

Since 2017 the two Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China. Unfortunately for the Zoo this profit seeking attraction did not work out as planned – in fact it worked backwards. Meng Meng, the female Panda will only walk backwards. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Date of Screening:
Saturday, May 4, 12:30pm 2019 | German Competition

International Short Film Festival Oberhausen
Lichtburg Cinema
Elsässer Str. 26
D–46045 Oberhausen

 

 

PUBLIC ART – Competition Monument

Place for the Commemoration and Acceptance of Diversity in Gender and Sexuality

/ / / Dusseldorf 2019 / / /

 

The Forum Düsseldorfer Lesben-, Schwulen-, Bi- und Trans*-Gruppen (forum of Düsseldorf’s lesbian, gay, bi and trans* groups) is a working group which has been convening regularly for information transfer and exchange for over 20 years. The Forum has been demanding appropriate commemoration of the discrimination and persecution of lesbian, gay, bisexual and trans* people in Düsseldorf for more than 10 years. As a part of urban society, this demand is now to be realised in coordination with policy makers. The aim is to commemorate that there have been people and associations in Düsseldorf for over 150 years who have been advocating for an open and emancipated society without discrimination or persecution of lesbian, gay, bisexual and trans* people.(www.forumlstduesseldorf.de). The Mahn- und Gedenkstätte Düsseldorf für die Opfer nationalsozialistischer Gewaltherrschaft [Düsseldorf memorial hall for the victims of National Socialist tyranny] has been accompanying the Forum LSBT*-Gruppen in its considerations for more than 10 years. As a cultural institute of the state capital Düsseldorf, the Mahn- und Gedenkstätte is a museum, research institution and an archive. It is dedicated to interviewing contemporary witnesses and documenting as well as analysing the era of National Socialism in Düsseldorf. It features an extensive archive and collection inventory as well as a reference library with more than 8,000 volumes on contemporary history (www.gedenk-dus.de).

Invited Artists:
Christoph Brech, Coven Berlin, Sharon Hayes, Lena Henke, Flora Hitzing, Kerstin Honeit, Jonathan Horowitz, Erez Israeli, Mischa Kuball, missing icons, Christian Philipp Müller, nbdbkp, Jens Pecho, Claus Richter

Commissioned by the City of Dusseldorf

 

 

 

SCREENING at IFFF Dortmund / Cologne

PANDA MOONWALK at International Women’s Film Festival Dortmund

/ / / April 9-16, 2019 / / /

From 9 to 14 April, around 130 new and historical films from 38 countries, performances and discussions will be part of the programme at Dortmund | Cologne International Women’s Film Festival 2019, which takes place this year in Dortmund. Dr Maxa Zoller, who took over as Artistic Director of the Festival in autumn 2018, presents this year’s thematic programme entitled „Image traps: Illusion, camouflage, masquerade“.

April 12, 2019, 7:30 pm, domicil
Programme: Image Traps
Hansastraße 7-11,
44137 Dortmund

EXHIBITION at balzer projects Basel

On Destruction and Preservation

/ / / March 29 – May 24, 2019 / / /

Geoffrey de Beer, Maija Blåfield, Bram Braam, Stefanie Bühler, Gabriella Disler, Kerstin Honeit

The exhibition “On Destruction and Preservation” presents six artists who work in different areas of representation and means of production. They share the deep reflection on parameters of change – sometimes obvious, but also subtle and even hidden. The exhibition does not pretend to solve problems and give answers to urgent questions; instead, it aims to open lines of communication.

We hear and read the following statement on a daily basis and we cannot act as we did not know this before: The world as we know it now will no longer exist in the near future! We have entered a period of instability when many of our cherished assumptions and certainties are questioned. Every day, expectations and predictions – political and otherwise – are called into question. This should always be kept in mind while looking at the different artists‘ work.

The exhibition is political, but not programmatic and by no means comprehensive. The art itself remains the focus of the show and works are selected for their artistic and poetic qualities, in addition to their political message. Several pressing issues are being highlighted: Destruction and preservation in urban and natural environs, the perceived need to modify political and social architecture and the utilization of architectural meanders for political propaganda. Capitalism, corruption, inflated technological advancement, but also ignorance and negligence bringing ecological and humanist catastrophes of unexpected dimensions…. This is the underlying subtext of this show.

The conceptual core is shared by Kerstin Honeit’s film “my castle your castle” (2017) and the film “On Destruction and Preservation” (2018) by Maija Blåfield.

“On Destruction and Preservation“ consists of five separate stories. The narration ranges from essayist film to direct documentary while stories vary from a sex scene of fungi to a sightseeing tour into the signs of global warming in the arctic Svalbard. This guided tour takes place on a mild and rainy February day. The focus of the sightseeing changes to something not originally intended and becomes an introduction to the climate change. The identifiable and endearing humanity of the characters makes the topic easier to address. The rest of the stories correspond and react to this setting in different ways. Essentially, “On Destruction and Preservation” tells about humanity and how it feels like to live somewhere between destruction and preservation.” (Text: Maija Blåfield)

“my castle your castle” investigates the construction site of the Berlin Stadtschloss, which was rebuilt on the substructure of the demolished Palace of the Republic – the parliament of the GDR, as a place where national hegemonies supposedly transform into identity-generating architectures and so appear as spaces which can be conquered and restaged. „However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe.” (Text: Suza Husse)

Destruction and preservation in urban environs are explored by Gabriella Disler, Bram Braam and Geoffrey de Beer. The perceived need to modify political and social architecture – dealt with by Kerstin Honeit and Stefanie Bühler as well as the use of urban planning for political propaganda. Capitalism, corruption, inflated technological advancement and greed bringing ecological and humanist catastrophes of unexpected dimensions – a gradual move into the Anthropocene and the change in ecology brought on by man-made environmental interventions are especially explored by Maija Blåfield and Stefanie Bühler.

Finissage and Gallery Talk with Artists | May 24 | 18 to 20.30h

balzer projects
Wallstrasse 10
4051 Basel Opening hours:
Tuesday to Friday | 14 to 18h
Saturday | 11 to 16h and by appointment

 

 

 

BOOK LAUNCH Bärenzwinger Berlin / Traces – Architectures – Projections

with Contributions by Kerstin Honeit

/ / / March 23, 2019, 7 pm / / /

Bärenzwinger Berlin | Traces – Architectures – Projections

At the end of the exhibition programme „Traces – Architectures – Projections“, which took place from September 2017 to January 2019 at Berlin’s Bärenzwinger, the catalogue of the project will now be published with a comprehensive documentation of the exhibitions and events.

The former animal enclosure at Köllnischer Park housed several generations of brown bears for about eighty years and has been open since September 2017 as a space for site-specific art. The publication „Bärenzwinger Berlin | Traces – Architectures – Projections“ documents the sensitive transformation of the Bärenzwinger, whose contemporary exhibition programme examined the particular historical and architectural features of the location from an artistic perspective. The book also includes contributions from the symposium on the bear pit, which took place at Märkisches Museum in October 2018 and brought together artistic, scientific, and urban positions to discuss the past, present, and future use, function, and significance of the site.

Artists: Katharina Bévand, Natalie Czech, Mariechen Danz, EASTER, Andreas Greiner, Kerstin Honeit, Miriam Jonas, KAYA, Anne-Sophie Kneer, Julia König, Alaa Abdullatif, Linda Kuhn, Alex Lebus, NEOZOON, Pätzug / Hertweck, Lawrence Power, Reto Pulfer, Johannes Paul Raether, Marten Schech, Sarah Ancelle Schönfeld, Mirjam Thomann, Alvaro Urbano

Text by: Stefan Aue, Sandra Bartoli, Ellen Blumenstein, Claudia Bosse, Dr. Hanna Engelmeier, Evelyn Gregel, Dr. Nele Güntheroth, Sebastian Häger, Julia Heunemann, Anne Hölck, Dr. Sacha Kagan, Alexander Koch, Marie-Christin Lender, Dr. Constanze von Marlin, Dr. des. Christina Katharina May, Prof. Dr. Natascha Meuser, Dr. Ute Müller-Tischler, Jessica Páez, Nadia Pilchowski, Dr. Christoph Rauhut, Sarah Sander, Nandita Vasanta, Christopher Weickenmeier, Hanns Lennart Wiesner, Sven Wirth, Dr. Imke Woelk

Editor: Bezirksamt Mitte von Berlin, Department of Art and Culture, Dr. Ute Müller-Tischler
Design: Viktor Schmidt, Berlin
ISBN 978-3-7356-0563-4
17,00 x 24,00 cm, 152 Pages
49 colored and 7 b/w illustrations
Hardcover, bound
Languages: German, English
Publisher: Kerber Verlag

With kind support of the Senate Administration for Culture and Europe, cross-disciplinariy funding.

 

 

 

SCREENING at 32. Stuttgarter Filmwinter

Panda Moonwalk at Festival for Expanded Media

/ / / January 17, 2019, 20 pm / / /

For over 30 years, the Festival has been devoted to crossing the border between cinema and media art with an adventurous international programme comprising films, workshops, Expanded Media exhibition and performances for people of all ages.

The Festival’s core are the international competitions for short film, Media in Space and Network Culture – flanked by a comprehensive programme.
Every year, the Filmwinter Stuttgart has a new motto that is reflected in the design, supporting programme and the whole aura of the festival. For this year’s edition, the Festival Motto is ‚Wake Me Up’.

© Theater tri-bühne
Eberhardstraße 61a
70173 Stuttgart

 

 

 

PERFORMANCE at VAM Festival, Babylon Cinema, Berlin

Sounding Stills from Utopias. A concert – Kerstin Honeit with Paul Hankinson

/ / /  December 14-16, 2018 / / /

 

Starting from her work-in-progress (a utopian sci-fi) Kerstin Honeit, in collaboration with Paul Hankinson, takes on the presence and absence of Utopias within moving images.

Since VIDEOART AT MIDNIGHT was founded in 2008, on 99 nights up to now, artists have seized the opportunity to show their film and video works outside of the usual exhibition context for once: at the cinema, on the big screen, before a big audience that views the entire work together, focused, and from beginning to end. In the ten years of its existence, the series has developed into an internationally renowned platform for artist films and video, highly appreciated not least by the artists living in Berlin. The 100th edition is a cause to celebrate— the anniversary, cinema, art, and of course the artists themselves.

At the center of the anniversary is a two-day artist film and video program at Kino Babylon in Berlin Mitte: 100 Artists—100 Films. The program kicks off on Friday night with the 100th edition of VIDEOART AT MIDNIGHT with Ed Atkins. For the festival program on the following Saturday and Sunday, all of the artists who have been guests over the years are once again invited to show a new piece of work or one that is particularly important to them. Many of them will be attending in person and presenting their work to the audience.

VAM Festival Artists:
Ulf Aminde / Yuri Ancarani / Julieta Aranda / Marc Aschenbrenner / Michel Auder / Yael Bartana / Bewegung Nurr / John Bock / Pauline Boudry/ Renate Lorenz / Martin Brand / Ulu Braun / Klaus vom Bruch / Erik Bünger / Candice Breitz / Filipa César / Chicks on Speed / Chto Delat / Christoph Draeger / Phil Collins / Alice Creischer / Keren Cytter / Shahram Entekhabi / Köken Ergun / Annika Eriksson / Theo Eshetu / Simon Faithfull / Christian Falsnaes / Harun Farocki / Omer Fast / Fischer & el Sani / Christian Friedrich / Dani Gal/ gelitin / Christoph Girardet / Niklas Goldbach / Delia Gonzalez / Douglas Gordon / Manuel Graf / Andy Graydon / Assaf Gruber / Isabell Heimerdinger / Benjamin Heisenberg / Kerstin Honeit / Christian Jankowski / Sven Johne / Hiwa K / Anja Kirschner / Knut Klaßen / Cyrill Lachauer / Annika Larsson / Armin Linke / Melissa Logan / Dafna Maimon / Antje Majewski / Melanie Manchot / Lynne Marsh / Bjørn Melhus / Eléonore de Montesquiou / Matthias Müller / Chris Newman / Bettina Nürnberg & Dirk Peuker / Marcel Odenbach / Stefan Panhans / Mario Pfeifer / Oliver Pietsch / Agnieszka Polska / Ulrich Polster / Reynold Reynolds / Mario Rizzi / Mathilde Rosier / Anri Sala / Eran Schaerf / Erik Schmidt /Jeremy Shaw /Maya Schweizer / Amie Siegel /Andreas Siekmann / Pola Sieverding / Martin Skauen / Hito Steyerl / Guido van der Werve/ Joep van Liefland / Safy Sniper / Vibeke Tandberg / Mathilde ter Heijne / Rebecca Ann Tess / Wolfgang Tillmans / Clemens von Wedemeyer / Ming Wong / Shingo Yoshida / Katharina Zdjelar / Stefan Zeyen /Tobias Zielony

Babylon Cinema Berlin
Rosa-Luxemburg-Straße 30
10178 Berlin

 

 

 

 

EXHIBITION at Kunstquartier Bethanien

Throwing Gestures – Protest, Economy and the Imperceptible

/ / / December 7 2018, 7 pm / / /

The exhibition and the international symposium are the finale of a two-year interdisciplinary research project investigating the interdependencies that exist between gestures and ubiquitous, globally networked technologies.

To display and displaying oneself gains greater significance within the context of the unrestricted and instantaneous global exchange of video material as well as in an everyday world increasingly defined by sensors and computers. Thus the meaning of presence and publicness changes, evolves and new forms appear.

Over the course of two years a group of scientists and artists have collaborated in international workshops bringing together their various fields of research and artistic media, such as: Visual art, dance, sound and performance art, as well as media studies, history of technology, and social sciences. Against this background, the final exhibition presents our artistic-scientific results to a broader public. The symposium shall enable a further and in-depth discussion on our findings, methods and work processes.

Artists participating in the exhibition: Larry Archiampong & David Blandy, Jakob Argauer, Florian Bettel, Dina Boswank, Justine A. Chambers, Jeremy Deller, Timo Herbst, Kerstin Honeit, Irina Kaldrack, Silas Mücke, Marcus Nebe, Tobias Schulze, Konrad Strutz, Baha Talis, Nasan Tur, Laurie Young.

Studio 1 / Kunstquartier Bethanien
Mariannenplatz 2
10997 Berlin

open daily
12 am – 8 pm– until 16 Dec 2018

 

 

 

TALK at Neuer Berliner Kunstverein

Kerstin Honeit: Meming Architectures – Schlösser, Silos und queere Cowboys

/ / /  A discussion with Kerstin Honeit & Nanna Heidenreich, December 6 2018, 7 pm / / /

In her video works, Kerstin Honeit addresses, among other things, architecture as a storage medium for various hegemonic constructions. In this respect, in her work my castle your castle, the construction site of the Berlin City Palace becomes a stage: using the example and background of the controversial project, questions about the social architectures behind the spaces and their historical invocations are formulated. In Honeit’s latest work, a gigantic silo complex in Montreal is the starting point for reflections on the politics of preservation, which are staged in the video. Based on first excerpts from this work titled SILO5 and the video my castle your castle, Nanna Heidenreich and Kerstin Honeit talk about architectures of storage and the recurring topics in Honeit’s artistic research: work, language, and gestures of drag.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Nanna Heidenreich is a scholar of media culture, a curator and a professor of Digital Narratives/Theory at the international film school Cologne. As a curator she has worked, among others, for Forum Expanded at the Berlin Film Festival (2009–2017) and for Haus der Kulturen der Welt, Berlin (2015–2017). Since 2018, she has been a member of the Academy of the Arts of the World, Cologne. Her fields of work include critical research on migration, postcolonial theory, politics and art, as well as feminist, queer and experimental cinema.

The production of SILO5 has been supported by the Berlin Senate Department of Culture and Europe.

Neuer Berliner Kunstverein
Chausseestrasse 128/129
10115 Berlin

 

 

 

SCREENING at Kassel Documentary Film and Video Festival

Festival Premiere of Panda Moonwalk or Why Meng Meng Walks Backwards

/ / / November 17, 2018, 3:30 pm / / /

 

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing were hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this PR campaign did not work out as planned – in fact it worked backwards. Meng Meng, the female Panda will only walk backwards – possibly protesting the fact that she was abducted and is kept in captivity. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behaviour on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kulturbahnhof Bali Kino
Rainer-Dierichs-Platz 1
34117 Kassel

 

 

SCREENING at Video Art at Midnight

#99 Videoart at Midnight, Babylon Cinema, Berlin

/ / / November 23 2018, midnight / / /

Deploying video, performance, and installations in her artistic research, Kerstin Honeit examines hegemonic image production within the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms.
Kerstin Honeit shows:

Panda Moonwalk or Why Meng Meng Walks Backwards (2018), 8:00 min
Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing were hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this PR campaign did not work out as planned – in fact it worked backwards. Meng Meng, the female Panda will only walk backwards – possibly protesting the fact that she was abducted and is kept in captivity. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behaviour on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

my castle your castle (2016/2017) in collaboration with Jessica Páez, 15:00 min
‘my castle your castle‘, tackles the debate about rebuilding the Berliner Stadtschloss, the former royal palace in the centre of Berlin, over the foundations of the Palace of the Republic. Artist Kerstin Honeit invites two building workers who were deeply involved in the construction or demolition of the Palace to take part in a discussion resembling a TV chat show held on the site. This is partly an allusion to the fact that the large building site resembles a stage, a platform used by a broad range of participants and stakeholders. At the same time, this reference is undermined and caricatured by a musical interlude performed by two queer cowboys. The palace, described as an emblematic structure that will restore identity to a nation, is turned into a space occupied by new actors whose voices are otherwise drowned out of the debate.

Talking Business (2014 / 2015) in collaboration with Gisela Fritsch u. Ursula Heyer, 13:00 min
In ‘Talking Business’ two lip synchronisers meet again after 30 years. They had both used their voices to dub iconic figures in the TV series Dynasty, popular in the 1980s. In an intricately edited sequence – the video also exists as a 3-channel installation – Honeit illustrates the conflicted relationship between voice and embodiment, between women’s views of themselves and their representation (in the media).

Pigs in Progress (2013), 12:00 min
Pigs in Progress was triggered by the processes of gentrification that are forcing long-standing residents out of many neighbourhoods in Berlin. At the same time wild boar have been staking out their territory by intruding into front gardens in the wealthy outer boroughs of the city. Honeit entwines an interview with an (illegal) feeder of wild boar in the forest of Grunewald with original recordings of outraged middle-class residents alongside activists from the tenants’ campaign group Kotti & Co in Kreuzberg.  She then stages a performance among the forest animals.

Möhrenstrasse, 23:00 (2008) in collaboration with JB Rathke_Justin Time, 15:00 min
Two rabbits rename the underground station and street signs in ‘Mohrenstraße’ (‘Blackamoor Street’) in the Mitte district of Berlin at night.

Pudelskern / A Dirndl A Poodle – A Trauma (2006) in collaboration with Emma Cattell, 11:00 min
’A Dirndl, A Poodle – A Trauma’ is a docu-drama revenge story. Based on footage from the family Super8 archive (filmed by the Honeit’s uncle in the 70’s), the film deals with a childhood trauma involving the family poodle.

Babylon Cinema Berlin
Rosa-Luxemburg-Straße 30
10178 Berlin

 

 

SYMPOSIUM at Bärenzwinger Berlin

/ / / October 26 – 27 2018, 10 – 5 pm / / /

 

On the 26th and the 27th of October, the curators of the Berlin Bärenzwinger are hosting a conference, bringing together various artistic, academic and political perspectives. The aim is to critically discuss and assess the past, present and future of this historically and culturally significant building.

Two years after the death of its last inhabitant, the Bärenzwinger has been transformed into a temporary exhibition venue for contemporary art, and as such has enjoyed ever growing attention. The curatorial concept centers on inviting artists to respond to the building’s rich architectural and discursive history.

During the first day (26.10.), the focus is on the current exhibition program with its three parts “Traces of the Animal(istic)”, “Architectures of Segregation” and “Projections of Indistinguishability”.

On the second day (27.10.) we aim to open the discussion to more general questions concerning the conditions, possibilities and challenges that define temporary cultural uses.

Programm
Freitag, 26.10.
Hoffmann-Saal, Märkisches Museum, Köllnischer Park 
10 – 17 Uhr
14:25 – 14:50 Uhr Kerstin Honeit – Shifting the spectacle? – Spektakel des Ausstellens
Samstag, 27.10.
Hoffmann-Saal, Märkisches Museum, Köllnischer Park
 10 – 17 Uhr

Am Köllnischen Park 5
10179 Berlin

 

 

SCREENING at MMOMA Moscow Museum of Modern Art

3 D’EST #3 Cosmos Cosmetics: Unsettling Memoryscapes and Corpofictions
/ / / September 12 2018, 6pm / / /

The most revealing instances of this complex intersection of postcommunist, postimperial and postcolonial discourses and imaginaries are to be found not in scholarly publications or official state policies, but rather in the arts, cinema, theatre and fiction. 
–Madina Tlostanova, 2012

Questions about the significance of the post-socialist transformation for today’s global condition have been met with unsatisfactory answers. Launched by District Berlin in the spring of 2018, D’EST: A Multi-Curatorial Online Platform for Video art from the former “East” and “West” maps artistic forms of post-socialist historiography from collective, horizontal, gender-critical, and post-conceptual perspectives.

The title D’EST (“From the East”) is borrowed from the eponymous 1993 work of recently deceased filmmaker Chantal Akerman (1950–2015). In From the East’s sensitive, cinematic travelogue of transformation, the artist captures emblematic images of women waiting in a moment of hiatus just after the end of the Cold War.

Throughout the year 2018, the online platform introduces mostly female producers and artist collectives and publishes six screening chapters which will be accessible online until the end of 2020. Along several thematic focal points, these curated chapters reflect post-socialist transformation in relation to time, language, and semantics, corpo-fictionality and urban cosmetic rejuvenation practices, indexical reading exercises, familial bonds and Eastern futurological experiments of thought. Via deconstructing certain clichées, myths and stereotypes surrounding “the East” and “the West,” the prolog O’ Mystical East and West (curator: Xandra Popescu) sets the stage for chapter #1 The Suspension and Excess of Time (curators: Kathrin Becker, Jana Seehusen) which reflects anachronical phenomena such as the “feeling of being in transition,” and for chapter #2 Performing Words, Uttering Performance (curators: Creative Association of Curators TOK (Anna Bitkina & Maria Veits), Inga Lāce), which performatively investigates the different functions of language before and after the 1990s. Whereas chapter #3 uncovers subcutaneous layers of post-socialist cityscapes (Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions, curators: Miona Bogović, Suza Husse, Suzana Milevska), in chapter #4 the body takes agency as an indexical reading tool for the visual “pollution of history” since 1989 (The Body as an Indexical Reader, curators: Eva Birkenstock, Ulrike Gerhardt, Naomi Hennig). Shedding light on the lives of children of generations of socialism-builders and welfare state beneficiaries, the upcoming chapter #5 We Are Family (curators: Nataša Ilić, Jelena Vesić) will concentrate on the notion of family as an extended signifier before the closing chapter #6 ReTopia (Katja Kobolt, Bettina Knaup) will search for radically different futures.

Participating artists are: Marwa Arsanios, Željka Blakšić aka Gita Blak, Pauline Boudry & Renate Lorenz, Irina Botea Bucan, Marija Bozinovska Jones, Nicu Ilfoveanu, Anetta Mona Chişa & Lucia Tkáčová, Ioana Cojocariu, Cooperative Shvemy, CORO Collective (Eglė Budvytytė, Goda Budvytytė, Ieva Misevičiūtė), Alexandra Croitoru, Larisa Crunțeanu, Maja Čule, Anna Daučíková, Vukica Đilas, doplgenger, Ira Eduardovna, Factory of Found Clothes, Harun Farocki, Gery Georgieva, Melanie Gilligan, Gluklya (Natalya Pershina-Yakimanskaya), Lynn Hershman Leeson, Kerstin Honeit, Ana Hušman, Sanja Iveković, Polina Kanis, Barbora Kleinhamplová, Sasha Litvintseva, Maha Maamoun, Goshka Macuga, Lene Markusen, Ivana Mladenović, Marge Monko, Henrike Naumann, Katrīna Neiburga, Ilona Németh, Katrin Nenasheva, Phuong Linh Nguyen, Rachel O’Reilly, Sasha Pirogova, Renata Poljak, Marta Popivoda & Ana Vujanović, Eglė Rakauskaitė, Tabita Rezaire, Anca Munteanu Rimnic, Józef Robakowski, Ulrike Rosenbach, Elske Rosenfeld, belit sağ, Selma Selman, Shelly Silver, The Bureau of Melodramatic Research, Clarissa Thieme, Milica Tomić, and Katrin Winkler.

MMOMA
Ermolayevsky per., 17, Moscow, Russia

6 October 2018, 7 pm

Screening Chapter #3: Cosmos Cosmetics: Unsettling Memoryscapes and Corpofictions
 curated by Miona Bogović, Suza Husse and Suzana Milevska

 

 

TALK at La Centrale

3 video works by Kerstin Honeit / Screening and Artist Talk
/ / / October 6 2018, 7pm / / /

 

Using video works, performance and installations in her artistic research, Kerstin Honeit (Berlin) examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms.

At present she is in Montreal working together with Emma Cattell and Ben Brix to gather material and to produce film footage for her newest work in progress: SILO5, which talks about the notion of archives, collections and heritage in an post-industrial and post-colonial globalised world within the aesthetics of a queer-feminist Sci-Fi.

La Centrale / Powerhouse
4296 St Laurent Blvd
Montreal, QC H2W
Canada

 

EXHIBITION

CAA Art Museum
/ / / September 12 – 22 September 2018 / / /

 

Exhibiting Artists: Bjørn Melhus, Jan Peters, Joel Baumann, Kerstin Honeit, Yuki Jungesblut, Kerstin Meyer, Clara Winter & Miguel Ferraéz, Annika Glas, Lisa Dreykluft, Miguel Wysocki, Julia Charlotte Richter, Jenny Michel, Daniel von Bothmer, Joengmoon Choi, Romina Abate, Isabel Paehr and Jasper Meiners, Echo Can Luo, Felix Böttcher, Lea Schönfelder, Volko Kaminsky, Nicole Voec, Tobias Bilgari, Katty Leitner, Holger Jenss.

China Academy of Art Museum
218, Nanshan Road,
Shangcheng District
Hangzhou
China

RESIDENCY

Montreal Arts Interculturels
/ / / September 1st – 10th 2018 / / /

Neither an institution nor an artist-run centre, MAI is often referred to as that strange beast for its multifaceted modus operandi and mandate specificity: an inclusionary, pluricultural, pluridisciplinary presenter also operating an artist-driven mentorship program, and the conveyor of an annual community exchange/public development program entitled Public +.

Advocating for, and in support of the development, creation, presentation and promotion of intercultural arts (hybrids created through a blending of forms, genres, styles, disciplines and languages) for diversified audiences; offering programs that catalyze conversations about intercultural, intergenerational, interdisciplinary arts, and accompanying themes; promoting community and intercultural exchange along lines of gender, race, class, ability, sexual orientation, religion, age, language or other such sectarian axes of identity, marked and unmarked. In other words, the MAI is a space where dualities and pluralities are bridged. The ultimate goal is that MAI’s programming and public development/community exchange activities champion inclusiveness, offering a differing version of what ‘us’ looks like; of being home to artists for whom showing their culture while in conversation with another’s is an imperative.

3680 Jeanne Mance St
Montreal, QC H2X 2K5
Canada

 

SCREENING

CODE Art Fair Copenhagen
/ / / August 30 – September 2, 2018 / / /

 

Film program Borderlands at CODE Art Fair Copenhagen

In the auditorium you can enjoy the film program Borderlands dealing with this same theme in both literal and metaphorical ways.
The film program has been curated by Caroline Berner Kühl from Code Art Fair.

Hans Op de Beeck, “The Girl”, 2017 (Galerie Krinzinger)
Heba Y. Amin, “As Birds Flying (Kama Tohalleq al Teyour)”, 2016 (Zilberman Gallery)
Kerstin Honeit, “my castle your castle”, 2016/2017 (Balzer Projects)
PARKing CHANce, “Believe it or not”, 2018 (Kukje Gallery), Commissioned by Asia Culture Center, A MOHO Film Production
Felix Kiessling, “Endpunkt Europa”, 2017 (alexander levy)
Mika Taanila, ”The World”, 2017 (Balzer Projects)
M+M (Marc Weis & Martin De Mattia), “7 Tage (7 Days)” (Nir Altman Galerie)
Carlos Aires, “Sweet Dreams are Made of This”, 2015 (Mario Mauroner Contemporary Art)

Center Blvd. 5
2300 Copenhagen
Danemark

 

EXHIBITION A Strong Desire

PS120 Berlin
/ / / July 26th – August 26th 2018 / / /

Exhibiting Artists: Kenneth Anger, Trisha Baga, Carrick Bell, Dante Buu, Andrey Bogush, Monica Bonvicini, Guglielmo Castelli, Michael Elmgreen & Ingar Dragset, Kerstin Drechsel, EVA & ADELE, Claude Eigan, Leon Eisermann, Tom of Finland, Gerrit Frohne-Brinkmann, GeoVanna Gonzalez, Monika Grabuschnigg, Luki von der Gracht, Daniel Greenfield-Campoverde, Gordon Hall, Constantin Hartenstein, Florian Hetz, David Hockney, Andrew Holmquist, Karl Holmqvist, Kerstin Honeit, Christa Joo Hyun D’Angelo, Maren Karlson, Svenja Kreh, Sholem Krishtalka, Martin Maeller, Anastasia Muna, Kayode Ojo, Przemek Pyszczek, Karol Radziszewski, Jimmy Robert, Aura Rosenberg, Michael Rocco, Oskar Schmidt, Miray Seramet, Dimitri Shabalin, Andrzej Steinbach, Daniel Topka, Anna Uddenberg, Young Boy Dancing Group, Young-jun Tak, Peter Welz, Queer Zines from the collection of Philip Aarons and Shelley Fox Aarons co-organized by Dr. Peter Rehberg and Schwules Museum

Co-curated by Justin Polera and Aleksandr Blanar

“Queer is a continuing moment, movement, motive–recurrent, eddying, troublant. Keenly, it is relational, and strange.”(1)

The exhibition A Strong Desire explores body politics and the commodification of relationships and sexual identity whilst living under a capitalist regime. The exhibition sets out to challenge heteronormativity and toxic masculinity by presenting artworks that present a kind of deterritorialization from this – through reevaluating power structures, slipping through the cracks of gender constructs, and for some, ultimately escaping the material body altogether through dreams, fantasy, and altered states of mind.

I know how cold your body is, I burnt my hands on it
I know how cold your body is, I burnt my feets on it
I know how cold your body is, I burnt my eyes on it
I know how cold your body is, I burnt my heart for it
–Oklou, “Friendless”, from the album The Rite of May

I want to tell you some of the things I have desired, but I am trying to navigate through a reality where desires are constructed for us to grasp on to, like Rapunzel’s braid reaching down to the bottom of a dark well, promising hope and light once we start climbing. I have fallen for many of these constructs and bought into them. It has given me pleasure to buy clothes, make-up, healthy vegan food, books – all things that I could use to groom my image into what I want it to be. The idealized version of myself is toned, glowing, busy but able to make time for friends and deep relationships – a real catch.

I have desired to be in relationships as cutting and tragic as the poetry of the Romantics. After my imaginary lover dies, I want to cut my hair and wear black for six years like Fanny Brawne.

“It is my desire I desire, and the loved being is no more than its tool.” – Roland Barthes, A Lover’s Discourse: Fragments, 1977

Small details of past others reveal themselves to me in the present. I have desired:

a chipped front tooth
a patch of skin on a thigh newly shaved, surrounding a fresh tattoo
an old t-shirt in a vacuum sealed envelope sent to me from China, that the other had
slept in for a few days, still sweat-scented
skin softer and hairier than mine
a voice recording of the words “good night”
complete anonymity

I hold on to these momentary disruptions, too instantaneous to be normalized.

(1) Maggie Nelson quoting Eve Kosofsky Sedgwick in The Argonauts , 2015

Curatorial Text by Christina Gigliotti

PS120
Potsdamer Straße 120
10785 Berlin
Thur.–Sat.,11 AM–6 PM and by appointment

 

TALK at Picture Berlin

têtê Berlin
/ / / July 23 2018 / 8pm / / / /

 

PICTURE BERLIN, founded in 2009, is a not for profit artist-initiated hybrid residency/art academy. PICTURE BERLIN currently offers two residency sessions; 7 week Summer Session and 10 day Fall Session.

têtê
Schönhauser Allee 161A
10435 Berlin

 

TALK at Daphne – Lesben Kunst Salon

Schwules Museum Berlin
/ / / July 6 2018 / / /

 

Wir laden zum Daphne – Lesben Kunst Salon ein, um in Artist Talks, Vorträgen und Performances die Ausstellung Lesbisches Sehen zu reflektieren. Im Salon wollen wir in lockerer Atmosphäre über „lesbische“ Sujets, Frauen* in der Kunst und Kunstgeschichte, die Darstellung von queerer Sexualität aus nicht-heteronormativer Perspektive und die Möglichkeit eines anderen feministischen Blicks auf Weiblichkeit_en und Körper, diskutieren.

Im Juli geht die Reihe weiter mit einem Artist Talk mit den Künstlerinnen Kerstin Honeit und Noemi Yoko Molitor. Sie sprechen darüber, welche Perspektiven ihre Arbeiten in der Ausstellung eröffnen und wie sie ihre Arbeit im aktuellen Diskurs über queere Kunst situieren.

Talk: July 6, 6.30pm

Schwules Museum
Lützowstraße 73
10785 Berlin

 

FINISSAGE exhibition Swinger

Baerenzwinger Berlin
/ / / June 29 2018 / / /

 

The architecture of the Bärenzwinger constructs a specific reality: Movements and encounters between bears and humans were regulated through perfect mechanisms: Security grating systems determined the animals‘ path, and keepers would operate them, thus maintaining the scenery in the outdoor enclosures for the visitors‘ view.

Today, these systems form the backdrop for another staging of movement and a new choreography of encounter. To what extent does architecture structure the relationship between humans, animals and objects? How is behavior shaped by spacial structures, and how can these established conditions be disrupted and re-negotiated?

In the exhibition Swinger, former demarcations are revised. The mechanically animated installation Pagodenwackeln by Pätzug / Hertweck moves throughout the interior and exterior of the Bärenzwinger and challenges a positioning in relation to the space and its voids. In Kerstin Honeit’s Video work Panda Moonwalk or Why Meng Meng Walks Backwards, human and inhuman bodies actively and resistantly assert themselves in the context of social injustices. The works touch, overlap, interrupt each other and outline modifiable structures, so that the Bärenzwinger’s construction of eality collapses and can be re-interpreted in a never-completing loop.

Curated by Stefan Aue, Anne Hölck and Jessica Páez

Finissage: June 29, 7pm
with Lecture Performance by Prof. Dr. Stefanie Wenner and music by Frinda di Lanco

Baerenzwinger
Im Köllnischen Park
10179 Berlin

 

SCREENING my castle your castle

Rencontres Internationales Berlin at Haus der Kulturen der Welt
/ / / June 23 2018 / / /

 

Bjørn Melhus examines today’s post-socialist Vietnam by connecting two past media events: images from the Vietnam War in the 60s, the first war broadcast as a TV show, and, at the same time, the earth seen from the moon, an iconic image of global ecological awareness. Mauricio Saenz questions the value attributed to remnants of the past, and what remains of this ideal in the present. Past utopias seem unable to resist existing forces. Dan Boord and Luis Valdovino interpret Gertrude Stein’s idea according to which it is typically American to design a space overloaded with movement. Dan Boord and Luis Valdovino therefore present a world, from the footsteps of 19th century pioneers to remote drive-ins in landscapes in Utah or Arizona. Through reflections Rawane Nassif examines the Venice neighbourhood in Qatar. Kerstin Honeit proposes a retro talk show in a studio made of concrete and metal rods, the framework of a Prussian castle under construction on the site of the former East German Parliament. Masbedo addresses heritage and cultural transmission, and the fragile relationship with culture. In Cairo Dunne Bryony follows Ahmad Ali Badawi, a writer, translator and researcher, who describes himself as an eternal student. His surroundings, the spaces through which he passes, are indications of what remains, within the impermanence of lives and things.

Screening: June 23, 9pm

Haus der Kulturen der Welt
Rencontres Internationales Berlin
John-Foster-Dulles Allee 10
10557 Berlin

 

TALK
f_talks – Vortragsreihe

Universitaet der Kuenste Berlin

/// May 24 2018 ///

Mit den f_talks wird ein Raum geschaffen, endlich ein Gespräch zu provozieren und weibliche Perspektiven sichtbar zu machen. Die Vorträge finden auf deutsch und englisch statt.

Im Zuge der öffentlichen Debatte und des aktuellen Genderdiskurses in verschiedenen Berufsfeldern sehen wir uns dazu veranlasst als Studentinnen der Architektur an der Universität der Künste aktiv zu werden. Die Architektur ist immer noch ein männlich dominiertes Feld. Das Ungleichgewicht in der Genderverteilung in dieser Profession ist nicht nur an Universitäten auffällig, sondern auch in gängigen Veranstaltungsformaten sowie in Ausstellungen und bei Auszeichnungen. Es fehlt an weiblichen Vorbildern.

Vortragende: Kerstin Honeit

In ihrer künstlerischen Forschung untersucht sie in Form von Videoarbeiten, Performances und Installationen die Produktion hegemonialer Bilderwelten in den Medien der Informationsgesellschaft und Popkultur. In ihren jüngsten Arbeiten bildet vor allem die Auseinandersetzung mit Architekturen den Ausgangspunkt zur Befragung von Konstruktionen gesellschaftlicher Normen.

Der Vortrag wird auf deutsch gehalten.

May 24, 2018, 7pm
Universitaet der Kuenste
Gebäude Hardenbergstraße
Hardenbergstraße 33
10623 Berlin

 

EXHIBITION
Architecture of Segregation – Swinger

Baerenzwinger Berlin

/// May 19–July 1st 2018 ///

Kerstin Honeit and Valentin Hertweck + Irene Paetzug

The architecture of the Baerenzwinger constructs a specific reality: Movements and encounters between bears and humans were regulated through perfect mechanisms: Security grating systems determined the animals‘ path, and keepers would operate them, thus maintaining the scenery in the outdoor enclosures for the visitors‘ view.

To what extent does architecture structure the relationship between humans, animals and objects? How is behavior shaped by spacial structures, and how can these established conditions be disrupted and re-negotiated?

In the exhibition „Swinger“, former demarcations are revised. The mechanically animated installation „Pagodenwackeln“ by Pätzug / Hertweck moves throughout the interior and exterior of the Bärenzwinger and challenges a positioning in relation to the space and its voids.

In Kerstin Honeit’s Video work Panda Moonwalk or Why Meng Meng Walks Backwards, human and inhuman bodies actively and resistantly assert themselves in the context of social injustices. The works touch, overlap, interrupt each other and outline modifiable structures, so that the Baerenzwinger’s construction of eality collapses and can be re-interpreted in a never-completing loop.

Curated by Stefan Aue, Anne Hölck and Jessica Páez

Baerenzwinger
Im Köllnischen Park
10179 Berlin

Hours
Tuesday–Sunday 12–6 pm

 

EXHIBITION
Lesbian Visions

Schwules Museum Berlin

/// May 10–August 20 2018 ///

Lou Albert-Lazard, Ursula Bierther, Gisela Breitling, Kerstin Drechsel, Martina Minette Dreier, Leonor Fini, Yori Gagarim, Susu Grunenberg, Nilbar Güres, Grit Hachmeister, Renate Hampke, Lena Rosa Händle, Corinna Harl, Risk Hazekamp, Doli Hilbert, Hannah Höch, Kerstin Honeit, Ingrid Kerma, Evelyn Kuwertz, Lotte Laserstein, Kate Millett, Noemi Yoko Molitor, Gerda Rotermund, Ebba Sakel, Gertrude Sandmann, Ceren Saner, Lene Schneider-Kainer, Sarah Schumann, Simon & Simone, Renée Sintenis, Milly Steger, Erika Stürmer-Alex, Anja Weber, Augusta von Zitzewitz

The exhibition LESBIAN VISIONS brings into view artistic positions by queer FLTI* (females, lesbians, trans, inter) from over 100 years and displays works by more than 30 artists across six generations. As part of the annual theme Year of the Women* the Schwules Museum undertakes a first attempt to acknowledge these artists and their work. We present a “hidden museum” of queer art from a perspective beyond hegemonic masculinity: a milestone, not only for the “Gay” Museum, whose foundation originated in the exhibition Eldorado. Homosexuelle Frauen und Männer in Berlin 1850–1950 (Eldorado. Homosexual Women and Men in Berlin 1850–1950).

LESBIAN VISIONS references legendary exhibition projects by feminist cultural activists, for instance Künstlerinnen International 1877–1977 (Female Artists International 1877–1977) in (West) Berlin, in 1977, initiated by Ursula Bierther, Evelyn Kuwertz, and Sara Schumann, amongst others. Another inspiration is the groundbreaking exhibition Das Verborgene Museum (The Hidden Museum) from 1987, which documented women’s art in the Berlin art collections and was curated by Evelyn Kuwertz, Gisela Breitling and others. LESBIAN VISIONS was inspired as well by the Great American Lesbian Art Show (GALAS) in the Woman’s Building in Los Angeles, in 1980, with works by artists such as Tea Corinne, Harmony Hammond, and Kate Millett.

These projects were programmatic for the struggle of FLTI* people for representation in the art world. They equaled a protest against the uneven distribution of economic and cultural capital which are still determined by heteronormativity, gender binarism, class relations and racism.

The exhibition project was motivated by the observation that there are hardly any “lesbian” subjects in art history as well as by the question what we should look for: The self-definition of the artist? The content or form of an art work? The production conditions, the social contexts giving rise to art? Or the interpretations by the beholder? How can we perceive anything from a “lesbian” perspective in a culture fundamentally defined by the “male gaze’s” regime? Or would or should we rather use the term “queer” in discussing all this today?

The exhibition conceptualizes a utopian and melancholic gallery that follows the tracks of lesbian forms of pleasure and experience as well as lesbian identity constructions and lifestyles. In this context, we understand and recognize the term “lesbian” in its broadest sense, which is to say that desire and gender can be fluid.

curated by Birgit Bosold and Carina Klugbauer

Schwules Museum
Lützowstraße 73
10785 Berlin

Hours
Sunday, Monday, Wednesday & Friday 2–6 pm
Thursday 2–8 pm, Saturday 2–7 pm
Tuesday closed

 

SCREENINGS my castle your castle

Rencontres Internationales Paris and Fajr International Film Festival Tehran

/// April 11 (Tehran) April 14 (Paris) & 17 2018 ///

 

my castle your castle at the Fajr International Film Tehran
April 11 2018
No. 2454, Valiasr St., Tehran, Iran

my castle your castle at Rencontres Internationales Paris
April 14, 5.30pm
Forum des images
Forum des Halles, 2 Rue du cinéma, 75001 Paris

 

EXHIBITION
We can’t come from nothing – eight strategies of
undoing borders and rethinking identities

HaoHaus in Taipei

/// 8–April 29 2018 ///

Fei Hao Chen, Núria Güell, Yu Pin Guo, Kerstin Honeit, Che Yu Hsu, Verena Kyselka, Yi Chi Lin, Clara Winter .

The common practice of territorial demarcation creates categories of identity, which secure alleged claims of inclusion and exclusion, separate and prevent geographical and social cohesion. This hegemonic system of categorisation will be examined through the work of eight different artists.

The curatorial concept for the exhibition seeks to challenge this local and global principle of division, propose a critical debate about border demarcation and encourage collective consideration of a possible coming together. It seeks to transcend geographic, cultural and social borders and beyond the ‘divide and rule’ method, which is sadly enjoying a renaissance through the global acquisition of power by popular scaremongers.
Concepts like nation, gender and class are interrogated in the exhibition by the artists with their multiple, transnational perspectives and widely different backgrounds and treated as constructions rather than read as incontrovertible facts.

The exhibition We can’t come from Nothing presents four European artistic positions that deal critically with border demarcations in relation to national security (Núria Güell), the history of a divided Germany (Verena Kyselka and Kerstin Honeit) as well as post-colonialism (Clara Winter), while simultaneously demolishing gender boundaries. Four further viewpoints from Taiwan are represented that look at the topic of borders from a local and site-specific perspective, contextualising the exhibition within the complex political and territorial fabric of the regional context with their local expertise (Fei Hao Chen, Che Yu Hsu, Yu Pin Guo und Yi Chi Lin).

curated by Yen Lin-Woywod

HaoHaus Taipei
NO.113
Sec.1,Chongqing S.Rd.
Taipei City 100
Taiwan
Hours
11:00–19:00
(Mondays & holidays closed)

 

AWARDED

Special Mention for my castle your castle
at the Stuttgarter Filmwinter – Festival for Expanded Media

February 11, 2018
The experimental documentary short my castle your castle will be awarded with the “Special Mention” by the jury of the International Competition 2018 at the Stuttgarter Filmwinter – Festival for Expanded Media.

Award Ceremony
31. Stuttgarter Filmwinter – Festival for Expanded Media
Wilhemspalais, 70182 Stuttgart
February 11, 2018, 7pm

 

EXHIBITION
Drag Kings, Phantoms, Mirrors, Hands
(one hundred years of dis/appearances)

SixtyEight Art Institute in Copenhagen

/// November 24 2017–January 27 2018 ///

Bini Adamczak, Kader Attia, Kerstin Honeit and Michala Paludan.
A sketch for conversations proposed by Suza Husse.

Drag Kings, Phantoms, Mirrors, Hands (one hundred years of dis/appearances) is a constellation that resonates some of the historical entanglements and queer potentials that flicker in 1917 2017 and between. What follows is a bumpy line of thought towards what can be thought of as a sketch for conversations, not a concept, but hopefully something that gives you a feeling of the field of relations that we can enter together.

It begins on November 24 and 25 at SixtyEight Art Institute in Copenhagen, and is nurtured by the recent works of artists and writers Bini Adamczak, Kader Attia, Kerstin Honeit and Michala Paludan. Drag Kings, Phantoms, Mirrors, Hands (one hundred years of dis/appearances) is a sketch for conversations with the spectres of the (queer, communist, colonial, feminist, imperial) histories these works carry; for tellings and re-imaginings that emerge from unforeseen relations drawn between documents of feminist history in Arbejdermuseet (the workers’ museum) in Copenhagen and the disappeared Palast der Republik in Berlin, between the Prussian castle being re-built in its very place and the phenomenon of phantom limbs in the human psyche, between the mirrors used to repair the imagination while keeping injuries and absences present, and the glitter of camp cowboys dancing to the demolition of imperial castles, between the Drag Kings of the Russian revolution and the emergence of Jamaican Dub music, between the decentralization of speech in feminist organizing and the embodiment of ghosts in the architectures of our times.

Hoping that you will join the listening, talking, thinking, mourning and laughing.

Opening
Friday, 24 November 2017

18.00–21.00
Kerstin Honeit, my castle your castle
Video Installation, 2017
Bini Adamczak, Gender and the new man: Emancipation and the Russian Revolution? and On Circlusion
Texts, 2013 and 2016

Saturday, 25 November 2017

14.00–16.00
Michala Paludan, Cyklus
Collaborative presentation of excerpts from the installation

16.00–17.00
Kader Attia Reflecting Memory
Video essay, HD, color, sound, 45:56 min, 2017
Kerstin Honeit, my castle your castle
Video installation, HD, color, sound, 15 min, 2017

17.30–19.00
Kerstin Honeit, Suza Husse and Michala Paludan
Conversation

25 November 2017–27 January 2018
Exhibition
Opening hours: Wed–Fri 11–18, Sat 13–17

SixthyEight Art Institute
Gothersgade 167
1123 Copenhagen
Danemark

 

SCREENINGS my castle your castle

Kasseler Dokfest and Short Film Festival Cologne

/// November 16+17 2017 ///

my castle your castle at the Kasseler Dokumentarfilm und Videofest
Thursday November 16, 12am
BaLi Cinema, Rainer-Dierichs-Platz 1, 34117 Kassel, Germany

my castle your castle at the Kurzfilm Festival Cologne, Germany
Friday November 17, 9pm
Museum Ludwing / Filmforum
Bischofsgartenstraße 1, 50667 Köln, Germany

 

PANEL Fast & Furious & Female*

Die neue Unruhe in der Geschlechterlandschaft Film.

Drei Diskussionen zu Strategien.

/// November 9 2017 ///

Die Veranstaltung beleuchtet die Geschlechter-Ungerechtigkeiten hinter der Kamera, bei der Filmproduktion und die einschränkenden Genderrollen vor der Kamera innerhalb der Narration. In beiden Bereichen hat sich in den letzten Jahren eine aktivistische, kritische Diskurslandschaft entwickelt, sowohl bei Filmkonsument_innen als auch bei den Filmemacher_innen, die alternative Produktionsweisen gegen die üblichen Machtstrukturen im Filmbetrieb etablieren.

In drei Veranstaltungen soll den Studierenden die Möglichkeit gegeben werden durch persönliche Einblicke und konkrete Statistiken ihren Blick auf Film zu sensibilisieren. Durch die vortragenden Gäste werden konkret Hinweise auf bestehenden aktivistische Initiativen (z.B. Pro Quote Regie) und unterstützende Angebote (z.B. INTO THE WILD mentoring programm) gegeben und zusammen mit dem Publikum bei den Diskussionen Alternativen entworfen werden.

Gäste:
Isabell Šuba, Spielfilmregisseurin, Initiatorin des INTO THE WILD-Mentoring-Programms
Dr. phil. Skadi Loist, wissenschaftliche* Mitarbeiter*in, Institut für Medienforschung der Universität Rostock
Belinde Ruth Stieve, Schauspielerin, unabhängige Empirikerin, Expertin für Diversitätswandel
Kerstin Honeit, Künstlerin, Dozentin, Kunsthochschule Kassel
Julia Thurnau, Schauspielerin, Regisseurin, Künstlerin
Sheri Hagen, Schauspielerin, Autorenfilmerin, Produzentin

Moderation & Initiative:
Alice Escher, Medienkünstlerin, Kunstvermittlerin

Termine:
2. November, 9. November, 16. November 2017
4–7pm
Medienhaus, Grunewaldstraße 2–5, 10823 Berlin

 

EXHIBITION REVIEW Berlinische Galerie

TEXTE ZUR KUNST Fiona McGovern

/// September 2017, Issue 107 ///

In her article Lippenbekenntnisse, Fiona McGovern writes in this quarter’s edition of Texte zur Kunst about Kerstin Honeit’s exhibition in the video room of the Berlinische Galerie – Museum of Modern Art.

This issue’s description:
“Identity politics” has always been beleaguered territory. Yet recently the debate around “identity” has intensified and (with Trump) even developed new fronts. This issue examines the present state of identity politics in the West, finding the commodification of identity in mass culture (as in the art market) to be a leading influence. We also recognize a divide between, on the one hand, non-dominant communities cohering around identity so as to become visible together; and on the other hand, individuals aiming to stand out as special or “unique” by dint of membership in various non-dominant groups. Such ambiguity, in the face of current leadership (see issue cover) lends only all the more urgency, we feel, for a serious engagement with “identity” vis-a-vis “politics” now.

TEXTE ZUR KUNST
September 2017 / Heft 107
ISBN 978-3-946564-06-5 / ISSN 0940-9596

 

EXHIBITION Berlinische Galerie

3 Video Works at 12 x 12 Video Room

/// 28 June–24 July 2017 ///

Berlinische Galerie – Museum of Modern Art
Alte Jakobstraße 124–128
10969 Berlin Germany

Wednesday–Monday 10 am–6 pm
Tuesday closed

 

ART FAIR tape/basel

my castle your castle at tape/basel (photo basel)

/// 14–18 of June 2017 ///

 

tape/basel

We are pleased to introduce tape/basel, a new sector of photo basel devoted entirely to the moving image. This first edition of tape/basel features recent international works programmed by photo basel Director Sven Eisenhut and freelance Canadian and Swiss Basel-based Curator Chantal Molleur.

tape/basel is also inviting for this preview launch edition, a special guest, Basel gallery balzer projects. tape/basel featured artists are Mika Taanila (FIN), Kerstin Honeit (GER), Olivier Cheval (FR), Almond Chu (CN), Yvon Chabrowski (GER), Chou Ching-hui (CN), Stacey Steers (USA), Nemanja Nikolic (RS) and Deborah Oropallo (USA). These artists are concerned with issues related to performance, archival and found footage, 3D animation, animated collage and animated photo-montage. We are delighted to partner with photo basel exhibiting galleries for tape/basel: Grundermark/Nilsson Gallery Berlin & Stockholm (Germany, Sweden), La Galerie Paris 1839 (Hong Kong), Catharine Clark Gallery (USA) and Galerie Dix9 (France) bringing together photo/basel viewing experience towards the moving image.

Visitors will find tape/basel in the fair’s main hall on the balcony overlooking the fair.

photo basel takes place at
Volkshaus Basel
Rebgasse 12–14
4058 Basel
Switzerland

 

SCREENING Learning by Earning

Pigs in Progress at ASFA Athens (documenta14 Public Education)

/// 9th of June 2017///

 

EXHIBITION

my castle your castle at the Musrara Exhibition in Jerusalem

/// 6–8 June 2017 ///

 

Kerstin Honeit / Exhibition in Public Space

The video my castle your castle investigates the construction site of the Berliner Stadtschloss (the Berlin Castle), a Prussian baroque palace currently being rebuilt on the site of the “Palace of the Republic,” the now-demolished seat of the GDR’s parliament.
While significantly damaged during World War II, the Berliner Stadtschloss survived and was only finally torn down in 1950, following a decision of GDR authorities. Artist Kerstin Honeit looks at this loaded site as a place where national hegemonies supposedly transform into identity-generating architectures, and so appear as spaces which can be conquered and restaged.

The Naggar School of Art
9 HaAyin Het St.
Jerusalem 91323

 

AWARDED

Special Mention for my castle your castle at the International Short Film Festival Oberhausen

The experimental documentary short my castle your castle was awarded the “Special Mention” by the jury of the German Competition 2017 at the International Short Film Festival Oberhausen.

Jury Statement:
“Based on the debate surrounding the reconstruction of the Berlin City Palace, the film addresses the question of how meaningful historicisation in urban planning is. The result is a surreal and at the same time haunting tableau.”

 

FESTIVAL SCREENING

International Short Film Festival Oberhausen

///11.–16. May 2017///

my castle you castle investigates the construction site of the Berliner Stadtschloss, which was rebuilt on the substructure of the recently demolished Palace of the Republic – the parliament of the GDR, as a place where national hegemonies supposedly transform into identity-generating architectures and so appear as spaces which can be conquered and restaged.

International Short Film Festival Oberhausen
Lichtburg Cinema
Elsässer Str. 26
D–46045 Oberhausen

Date of Screening:
Sunday the 14 of May 2017 | 5pm German Competion

 

SOLO SHOW

A Game between I and me

/// 2. September – 8. October 2016 /// balzer projects Basel

balzer projects
Wallstrasse 10
4051 Basel Opening hours:
Tuesday to Friday | 14 to 18h
Saturday | 11 to 16h and by appointment

 

EXHIBITION

1.–3. Person singular / plural

/// 23. July–6. September 2016 ///  Kunstverein Leipzig

Pauline Boudry & Renate Lorenz, Peggy Buth, Kerstin Cmelka,
Pauline Izumi Colin, Simone Gilges, Olaf Habelmann, Nina Hoffmann,
Kerstin Honeit, Liz Johnson-Artur, Judith Hopf, Nico Ihlein, Annette Kelm,
Heinz-Peter Knes, Jonas Lipps, Kristin Loschert, Markues, Birgit Megerle,
Michaela Meise, Henrike Naumann, Barbara Proschak, Josephine Pryde,
Sabine Reinfeld, Ulla Rossek, Jana Schulz, Silke Schwarz, Heji Shin,
Su-Ran Sichling, Anna Voswinckel, Suse Weber.

Die Ausstellung Ich, du, er/sie/es zeigt zeitgenössische künstlerische Positionen zur Frage von Identität und Subjektivierung. Themenfelder wie Selbstbild, Begehren  und Genderkonstruktion werden näher betrachtet. Das Interesse gilt dabei vor allem  der Auflösung oder Verwischung normativer Kategorien.

In der zweiten Ausstellung wir, ihr, sie geht es um Fragen von Identität und Vergesellschaftung.  Untersucht werden Kleinfamilie, Gemeinschaftsrituale, visuelle Praktiken der Abgrenzung  und des Otherings. Die gezeigten Arbeiten verbindet die Suche nach Aufbrüchen und Grenzübergängen,  sowie die Praxis der teilnehmenden Beobachtung und künstlerischen Recherche.

Ausstellungsprojekt 1.–3. Person singular / plural:

ich, du, er/sie/es
23. Juli–9. August 2016
Eröffnung: 22. Juli 18.00

wir, ihr, sie
20. August–6. September 2016
Eröffnung: 19. August 18.00

KV Leipzig
Kolonnadenstrasse 6

 

RESIDENCY

Aritst in Residence, German Federal Foreign Office

/// 18. July–14. October 2016 ///

 

Work in Progress – mi castillo tu castillo, mein schloss dein schloss

Mit ihrem Residence-Vorhaben, der Recherche für die geplante Videoarbeit mi castillo tu castillo , widmet sich Kerstin Honeit vor dem Hintergrund aktueller Wiederbelebungen nationalstaatlicher Mythen einer Großbaustelle deutscher Geschichte: der umstrittenen Rekonstruktion des Berliner Stadtschlosses auf dem Fundament des Palastes der Republik der DDR.

Ausgehend von der Großbaustelle als Bühne für unterschiedlichste soziale und materielle Konstruktionen von Repräsentation, inszeniert Honeit einen Kaffeekranz mit drei Generationen von Arbeiter*innen; damalige Akteur*innen vom Bau des Palastes der Republik, Akteur*innen von dessen Rückbau, sowie aktiven Akteur*innen des Wiederaufbaus des Preußen-Schlosses. Die Rohbau-Kulisse Stadtschloss und ein singender Cowboy bilden dabei den Rahmen für eine Aufführung von Abriss und Aufbau von Mythen.

Auswärtiges Amt
Werderscher Markt 1
10117 Berlin

 

AUCTION

Institute for Queer Theory celebrates its 10th anniversary

/// 24. June 2016 ///

 

Embracing the Ridiculous – an evening dedicated to queer politics laughter

With an art auction, curated by Renate Lorenz, and contributions by Nana Adusei-Poku, Anna Daucíková, Naomi Rincón Gallardo, Giegold & Weiß, Judith Jack Halberstam, Werner Hirsch, Mindj Panther, Gin Müller, Nic Kay, Ismael Ogando, Redecker-Sissies, a concert by Rhythm King and her Friends and DJ*s SchwarzRund, shushu and Kan Chi.

Art auction, contributing artists:
Ana Hoffner, Pauline Boudry & Renate Lorenz, Chris Campe, Emily Roysdon, Giegold & Weiß, Ginger Brooks Takahashi, Hans Scheirl, Henrik Olesen, Julian Göthe, Kerstin Honeit, Laylah Ali, Kelebogile Ntladi, Petra Gall, Sabian Baumann, Tejal Shah

6:30pm – ?
Ballhaus Berlin
Chausseestr. 102
10115 Berlin

 

SCREENING

Pigs in Progress in Jerusalem at Musrara Mix Festival

/// 24.–26. May 2016 ///

 

Musrara Mix Festival

The Musrara Mix Festival is an international multidisciplinary event that takes place in the borderline neighborhood of Musrara, initiated and produced by the Naggar School of Art, Musrara. The festival is a hub of artistic and social happenings, embodying the political and cultural essence of Jerusalem and Israel. Every year the festival is based around one theme.
The 16th year of the festival is the year of Translocation-Bio-Art.

Pigs in Progress

 

Two phenomena of urban development are connected: Renovation processes that force tenants out of Berlin city center and the experience that suburban homeowners have with wild boars. A playback performance amongst wild boars.

Musrara Mix Festival
24.–26.of May 2016
9 HaAyin Het St.
Jerusalem 91323

 

OPEN LECTURE AND SCREENING

curated by Wilbirg Brainin-Donnenberg

Interdisziplinäre Gender-Ringforlesung Sprach / Welten

/// Friday the 15. April 2016 ///

 

“I turn over the pictures of my voice in my head”
Sprache als Akt der Befreiung in feministischen Avantgardefilmen und Videos

VALIE EXPORT, Sabine Marte, Anne Charlotte Robertson, Eija-Liisa Ahtila, Kerstin Honeit

Neben der speziellen Filmsprache im Avantgardefilm, die bewusst mit den herkömmlichen Sehgewohnheiten und Erwartungshaltungen konfrontiert, kommt gerade im feministischen Avantgardefilm der Sprache, dem Sprechen als kt der Befreiung eine besondere Bedeutung zu. Sei es ganz elementar das Finden der eigenen Sprache, die Reflexion über das Sprechen an sich wie in VALIE EXPORTS Videoarbeit I turn over the picturesof my voice in my head oder auch das Sprechen im Sinne des Ausbrechens aus dem Symbolischem der patriarchalen Kultur als Psychothriller-Poetry-Slam in Sabine Mates b-star untötbar. Oder aber ins Extrem getrieben: wie in Anne-Charlotte Robertsons Performance-Film Apologies, in dem das weiblich konnotierte Entschuldigen zu einem (befreienden) Redeschwall führt. Beispiel einer Sprach(nicht)Findung ist ein eindringlicher Voice-over-Monologe in Eija-Liisa Ahtilas Film Love is a treasure, dessen Ausgangspunkt Interviews mit psychotischen Frauen ist.

In der Collage Ich muss mit Ihnen sprechen reflektiert Kerstin Honeit Sprachermächtigung und gleichzeitig Normierung in von der immer gleichen Synchronsprecherin gedubbten Sätze schwarzer Schauspielerinnen.

Wilbirg Brainin-Dannenberg

Studio 2 (Filmstudio), Institut für Film und Fernsehen
Filmakademie Wien
mdw – Universität für Musik und darstellende Kunst Wien, 3.,
Anton-von-Webern-Platz 1
1030 Wien

Friday 15 April, 4:30–5:45 pm

 

ART FAIR – ART ROTTERDAM

“Talking Business” at „Projections” ART Rotterdam

/// 11.–14. February 2016 ///

cubus-m is pleased to announce to participate at Art Rotterdam 2016 – Projections.
We will present Kerstin Honeit’s work Talking Business.
Video art at Art Rotterdam

The fourth edition of Projections shows large-scale video works
by international artists.
The artist and gallery’s 2016:

Shana Moulton – 1646 (NL)
Persijn Broersen & Margit Lukács – AKINCI (NL)
Jakup Ferri – andriesse eyck galerie (NL)
Tamar Guimarães and Kasper Akhøj
Ellen de Bruijne Projects (NL)
Kerstin Honeit – cubus-m (DE)
Els Vanden Meersch – Annie Gentils Gallery (BE)
Liz Magic Laser – Wilfried Lentz Rotterdam (NL)
Hans Op de Beeck – Ron Mandos (NL)
Hajnal Németh – RAM (NL)
Chen Chieh-jen – Galerie Olivier Robert (FR)
Shezad Dawood – Galerie Gabriel Rolt (NL)
Emma van der Put – tegenboschvanvreden (NL)

Art Rotterdam
11–14 February 2016
Van Nellefabriek
Van Nelleweg 1
3044BC Rotterdam

Preview and Opening: 10 February 2016
cubus-m booth 111

www.artrotterdam.com

 

SCREENING

Ich muss mit Ihnen sprechen and Pigs in Progress

at Stuttgarter Filmwinter /// 14.–17. January 2016 ///

H E A D S
A C T I N G
I N D E P E N D E N T L Y
PART 1 – VISIBILITIES, STRUCTURAL
PART 2 – ECONOMIES, PUSHING

Shifting the shape to resist. Resisting the shifting shapes.

Programmed by Madeleine Bernstorff

In Japanese mythology, shapeshifters are ghosts and demons which are able to transform into something different in a particularly skillful way. Sometimes, they do it so virtuously that they turn it into a shapeshifting competition – like the vixen and the raccoon dog who cleverly transforms into a fresh baked scone with sweet filling and thereby wins against the vixen-turned-princess who cannot withstand the temptation to taste that scone. And there is another story about the giant mushroom monster that wanted to be a proper and glorious monster but instead lives in a house all by himself full of melancholy and eventually is overpowered with hot Miso soup. But the shapeshifters also appear in the form of politicians who turned into reptiles – all conspiracy with quite an amount of kitsch. They are – and they are not.

The spirits of the ghosts come back as morphing revenants referring to pending matters, ruptures, fears and also possibly superior invocations. The stream of commodities in a night full of wafts of mist, of “diffuse consensed milk” (René Pollesch). “It is not certain anymore that a subject is not an object.” (Achille Mbembe). Post-disciplinary flexibilisation comes along with short exerted attention rates that speak out in the exuberant Gif-production in (anti-)social media for instance. Click and it starts to fidget – repeatable without limits. Unstable, crisis-burdened conditions are accompanied by tugging requirements of creativity. We should face the disciplining fear to be made redundant which undermines our self-respect with even more self-confidence.

The film and video makers are competing to not only subvert themselves (is that possible after all?) but something supposedly factual. To explore, terminate and x-ray conventional functions and realities holding their ground through power with their form findings: shift, abandon, enhance. To express what has not been told yet and what cannot be made tangible by language alone, this is where the films come in line. They shape something out of a material that has not been put into a form before.

Two programmes: these films feature something about the world and they say: Look closely. And don’t fidget too much “in the performances that are life or power” (Pollesch). There are things that can be changed. And they are set in motion if you can see it.

Shape Shifter #6, part 1
17 January 2016–11:30am
Kunstraum34

Ich muss mit Ihnen sprechen
A miniature: phrases of black actresses in mainstream film and TV dubbed into German.
A constant raise of voice and starting to speak questioning acts of speech and authority.

Shape Shifter #6, part 2
17 January 2016 – 3:30pm
Theatersaal, Theater Rampe

Pigs in Progress
A wild boar feeder who’s not tolerated and the artist. Gentrification. Eviction from the city centre, tenant wars and the suburban mansion-inhabitants‘ fear of the wild boars.

 

AWARDED

Honorary Mention for Talking Business

at Monitoring / Kasseler Dokfest

 

The 3 channel Installation Talking Business was awarded by the jury of the Monitoring exhibition 2015 at the Kasseler Dokumentarfilm und Videofest:

“In Talking Business, Kerstin Honeit explicitly yet elegantly breaks through the hidden mechanisms of media presentation. Role playing is made obvious, re-staged, interpreted and recycled in form of artistic self-references. Icons are dressed down and cycled back into the whys and wherefores of everyday life. What do we mean when we speak the language of media – and who is speaking?”

 

EXHIBITION

Monitoring / Kasseler Dokfest

/// 10 –15 November 2015, Kassel ///

 

Monitoring provides a space for film and video-based installations and other time-based media works of recent years that require presentation formats beyond the classic cinema screen. This year (2015), the jury has selected sixteen works out of 266 international submissions: including works by artists from Germany, Russia, Switzerland, Turkey and the USA. The submissions followed an open call, without pre-set topics or restrictions concerning content or technical media. The works were chosen upon their ability to enfold in a spatial setting and the contemporary relevance of their topics. All works in the exhibition are nominated for the Golden Cube award for the best media installation, which is endowed with 3,500 €.

The Monitoring-exhibition is shown in the following places: Kasseler Kunstverein, KulturBahnhof (Südflügel & Stellwerk) and Galerie Coucou.

opening hours:

Kasseler Kunstverein (Fridericianum, Friedrichsplatz 18)

Wed / Nov 11 / 7–1 p.m.
Thur–Sat / Nov 12–14 / 11 a.m.–10 p.m.
Sun / Nov 15 / 11 a.m.–7 p.m.

KulturBahnhof Kassel (Rainer Dierichs Platz1)
und Galerie Coucou (Elfbuchenstraße 20)

Wed / Nov 11 / 7–11 p.m.
Thur – Sat / Nov 12–14 / 5–10 p.m.
Sun / Nov 15 / 5–8 p.m.

The exhibition is free of charge.

 

SCREENING / ARTIST TALK

at Image Movement, MOVES# 102

Kerstin Honeit Inside/Out – Viewing Berlin

/// 3 November 2015, Berlin ///

 

Image Movement is delighted to host an evening with Kerstin Honeit.

As a native Berliner the city forms a crucial backdrop for the staging of Kerstin Honeit’s practice in video work, performances and installations. Here she investigates intersections between representation and reception, real and fictional space and the body and its construction.

For the screening at Image Movement, Honeit will present four of her recent video pieces where the city of Berlin builds the framework for site specific interventions such as the animalistic activism of ‚Pigs in Progress‘ (Oberhausen German competition, 2014) or the reunion of the TV-heroines Alexis and Krystle Carrington from the 80’s series and camp classic Dynasty in Berlin-Zehlendorf (‚Talking Business‘ Monitoring, Kasseler Dokumentarfilm und Videofest, 2015).

Admission is free.

3 November, 8:30 pm
Oranienburger Str. 18
10178 Berlin

 

SCREENING

TALKING BUSINESS at Arsenal – Institut für Film und Videokunst

/// 18. October 2015, Berlin ///

 

For the 8th time, we are presenting film projects and grant-holders who have received funding from the Female Artists‘ Program of the Berlin Senate Chancellery for Cultural Affairs over the last two years. Festival success stories stand alongside projects still at a conceptual stage, for this event is a screening and a public discussion of work in one.

Titles such as MOVEMENT, FICTIONS AND FUTURES #1, or TALKING BUSINESS sketch out the range of questions the projects pose not just on reality but also on the medium of film. Other titles such as WITHOUT BORDER or DEIN HERZ (AT) link the abstract to concrete biographies and everyday situations.

We open the series with RAINBOW’S GRAVITY by Kerstin Schroedinger and Mareike Bernien, an investigation of Agfa Color New Film which was manufactured in National Socialist Germany. Taking the film’s three different layers of emulsion as its discursive thread, the work takes an in-depth look at the escapist landscape of color of the period and interrogates the material pre-requisites, ideological incorporations, and continuities of the Agfa color palette. The images projected in the former factory space do not just construct themselves, but also eyes for whom historicization has become a habit, attempting to make visible what color does not show.

Additional projects will be presented by Shira Wachsmann, Anu Pennanen, Yalda Afsah/Ginan Seidl, Irene Schüller, Anja Dornieden, Juliane Ebner, Yvon Chabrowski, Minze Tummescheit, Kerstin Honeit, Kolja Barbara Kunt, Petra Lottje, Angelika Levi, Isabell Spengler, Catharina Göldner, Vika Kirchenbauer. A program brochure provides extra information on these and other funded works. (stss) (15.–18.10.)

Talking Business

18 of October 2015, 5pm
Arsenal – Institut für Film und Videokunst, Kino 2
Potsdamer Straße 2
10785 Berlin

 

ARTIST TALK

/// October 6 2015, Concordia University, Montreal ///

Berlin-based artist Kerstin Honeit will be giving a talk on Tuesday, October 6th at Concordia University in EV 3.655 at 6:30pm. The lecture is presented by the Photography Program with additional support from the DAAD German Academic Exchange Service and is free and open to the public.

 

EXHIBITION

Talking Business

/// August 28–October 10 2015, cubus-m, Berlin ///

In the work Talking Business, Kerstin Honeit continues her research on the phenomenon of the disembodied voice and applies herself especially to the reproduction and doubling that underlies the process of dubbing. Working in collaboration with the voice actors Ursula Heyer and Gisela Fritsch, a film script was developed based on the substantial amount of material they collected together.

It was these two voice artists who 30 years ago gave the fictional characters Krystle Carrington and Alexis Carrington Colby from the TV soap opera Dynasty their German voices. While the TV actresses achieved a great deal of media attention and fame, the two voice artists stayed relatively unknown. Their voices constructed a new hybrid identity of series characters who started to take on their own life with the growing popularity of the soap opera, mixing the Hollywood narrative with the lives of the voice actors themselves.

Honeit dissolves the familiar unity of sound and picture, voice and body in her 3-channel video work. The two voice actors appear in front of the camera as themselves while at the same time challenging the film characters by personifying a double role. Through asynchronous elements and fluid transitions between the roles of film character, actor and voice actor, Honeit orchestrates a multiple-voiced work that continues to question and redefine the issue of ‚who is talking‘.

Artist talk with Marc Siegel: September 30, 2015, 6.30 p.m.

 

Opening hours:
Wed–Fr 2–7 p.m.,
Sat 11 a.m.–7 p.m.
and by appointment

cubus-m
Pohlstraße 75
10785 Berlin

 

PUBLICATION

History is a Warm Gun

/// n.b.k. Band 7, Hrsg. Marius Babias & Britta Schmitz ///

“Taking Berlin as a site for contemporary art trends as a starting point, the publication reflects socially relevant subjects and perspectives of today’s generation of artists. By the example of 16 selected international artists living in Berlin, different working methods and artistic approaches dealing with their personal history as well as the German history are being revealed.”

n.b.k. BERLIN BAND 7: HISTORY IS A WARM GUN – BERLIN, NEUER BERLINER KUNSTVEREIN
ISBN: 978-3-86335-738-2

 

EXHIBITION

History is a Warm Gun

/// February 28–April 26, 2015, n.b.k. ///

Artists: Claudia Angelmaier, Dirk Bell, Bram Braam, Aleksandra Domanovic, Shahram Entekhabi, Christian Falsnaes, Dani Gal, Andreas Greiner, Assaf Gruber, Kerstin Honeit, Sven Johne, Eva Könnemann, Rivka Rinn, Sonya Schönberger, Pola Sieverding, Natalia Stachon

Curator: Britta Schmitz

With the exhibition History is a Warm Gun, Neuer Berliner Kunstverein in 2015 resumes the series of exhibitions by fellows of the Fine Arts Scholarship of the Berlin Senate. The art deals with life as such – directly and over again, reflecting experiences and responding on its own level of reflection. And yet, life in its diversity and unpredictability ensures that art always presents new questions and issues – History is a Warm Gun is an exhibition, expressing the experience of reality by artists, whose center of life and work is in Berlin, and who in 2014 were granted the Fine Arts Scholarship of the Berlin Senate. The exhibition maps out various perspectives on history by today’s generation of artists. In a playful manner, the title refers to the Beatles song Happiness is a Warm Gun and emphasizes the empowerment of the participating artists to develop, also contrary to established historiography, own historical narratives. History is a Warm Gun captures a current trend in art production and accompanies the selection of the artists in a seismographic way. The exhibition outlines a wide range of questions that are picked up by a younger generation of artists and that are dedicated to the mutual contemplation of past and present with recourse to historical and personal events. In doing so, it is discussed how and which history and stories are relevant and how they are communicated in paintings, sculptures, installations and films. How do artists, who live in Berlin, deal with their country of birth or the country in which they live, and how does an interest in one’s own biography express itself? Hitherto neglected historical events are interrelated with current and personal events and are repeatedly put in the focus of production. The artists took advantage of the scholarship in order to reflect their artistic practice and working methods, to conduct extensive research and to explore the influences of previous generations on their own artist generation. With references to history, ethnology or biology they discuss in videos, photographs, paintings, sculptures, installations, and performances diverse social, cultural and political issues.

Publication
The exhibition is accompanied by a publication as part of the n.b.k. book series “Berlin”, published by Verlag der Buchhandlung Walther König, Cologne, with a foreword by Tim Renner and Marius Babias, as well as texts by Jan Brandt, Britta Schmitz and Silke Wittig.

Public Program
Thursday, March 5, 2015, 7 pm
Back to the Future – Civilizational Histories in Visual Arts
Panel discussion with Susanne von Falkenhausen (Professor of Modern Art History, Humboldt Universität zu Berlin), Judith Welter (collection curator Migros Museum für Gegenwartskunst, Zurich) and Hilke Thode-Arora (curator, Five Continents Museum, Munich), moderated by Britta Schmitz (Chief Curator of Hamburger Bahnhof – Museum für Gegenwart, Berlin)

Thursday, March 19, 2015, 7 pm
Performance Reloaded
Panel discussion with Christian Falsnaes (artist, Berlin), Kerstin Honeit (artist, Berlin), and Sonya Schönberger (artist, Berlin), moderated by Kathleen Rahn (Director Kunstverein Hannover)

Sunday, April 26, 2015, 8 pm
Gut Plays Gut – Her History
DJ gig by Gudrun Gut

Neuer Berliner Kunstverein
Chausseestrasse 128/129
10115 Berlin

 

EXHIBITION

VIDEONALE. 15

/// 27. February–19. April 2015, Kunstmuseum Bonn. ///

 

Ayla Pierrot Arendt, Udita Bhargava, Pauline Boudry & Renate Lorenz, Jenny Brady, Karolina Bregula, Wim Catrysse, Jos Diegel, Wojtek Doroszuk, Mahdi Fleifel, Christoph Faulhaber, Fabien Giraud & Raphaël Siboni, Shaun Gladwell, Philipp Gufler, Amina Handke, Constantin Hartenstein, Kerstin Honeit, Vika Kirchenbauer, Thomas Kneubühler, Ihra Lill, Lieux fictifs (diverse artists), Elin Magnusson, Rachel Mayeri, Marianna Milhorat, NEOZOON,, Shelly Nadashi, Erkka Nissininen, Francois Nouguies, Alan Phelan, Christina Picchi, Florian Pugnaire & David Raffini, Mateusz Sadowski, The Otolith Group, Koen Theys, Gerhard Treml & Leo Calice, Anna Zett, Mikhail Zheleznikov, Tobias Yves Zintel

For the first time, with VIDEONALE.15, the Open Call for the Videonale competition featured a theme. With “The Call of the Wild”, Videonale asked what potential the concept of “the Wild” holds for the description and examination of the alien in the sense of unknown or till now unfamiliar fields of activity, image production or conceptual thinking. From the more than 1,200 submissions from 76 countries, 38 positions from 19 countries have been selected.

“What we are looking for with “Call of the Wild” is the exploration of the unstable territories in which the way to deal with new social, political, cultural and aesthetic constellations is being discussed and for which there is currently no adequate vocabulary at our disposal. In the VIDEONALE.15 exhibition, 38 international artistic positions have each found their own way to pose questions on this theme and give us food for thought: They cover a wide range, from the observation of the shifts and realignments within society, to the question about how the flaring up of worldwide trouble spots can affect personal circumstances on a small , and the political situation on a large scale; the question about how to handle the increasingly obvious blanket monitoring of our data- and communication channels and its effects is examined, as are the new aesthetic and artistic forms of using the surface of a digitally generated world”, says Tasja Langenbach, artistic director of VIDEONALE.15.

Videonale e.V. im Kunstmuseum Bonn
Friedrich-Ebert-Allee 2
53113 Bonn

Opening Hours of Kunstmuseum Bonn:
Tue to Sun 11am–6pm, Wed 11am–9pm

Special opening hours VIDEONALE.15 exhibition
Friday, 27th Feb 2013 11 am–9 pm
Saturday, 28th Feb 2013 11 am–9 pm
Saturday, 18th April 2013 11 am–9 pm

 

 

STAGE DESIGN

The Hooks in Zurich

/// 04.–05. February 2015, Gessnerallee ///

 

Damian Rebgetz, Paul Hankinson, Emma Cattell, Anna-Luise Recke, Neela de Fonseka, Kerstin Honeit, Johanna Höhmann, Marta Hewelt, Torsten Schwarzbach, Tobias Klette, Rahel Spöhrer, Timo Schmidt, Christina Ostrowsk

The Hooks explores the phenomenon and the mechanics of Hooklines*. While pop songs are ephemeral and while the preferences of the listeners change, the hookline, once it has settled into the circuits of memory, continues to exist subconsciously. As if it took its listeners captive, the melody writes itself into one’s memory for ever.
In his performances, Damian Rebgetz researches personal and cultural memories that arose from his work with hooklines and pop songs of the 1980s. Together with the composer Paul Hankinson, the dancer Anna-Luise Recke and the artist Emma Cattell he unfolds a complex fabric in which various black boxes are opened and put into connection with each other. Remixed pop songs of the 1980s become incantations of a “post-disco-topical” melancholy. “The Hooks” is a visual song cycle for vocals and piano and asks the question: To be hooked or not to be hooked.

The Hooks
04.–05.02.02.2015, 8pm

Gessnerallee Zurich
Gessnerallee 8
Ch–8001 Zurich

 

SCREENING

Pigs in Progress at Grande Filiale

/// 25.–29. December 2014, Speyer ///

 

Die Grande Filiale ist ein internationales Film- und Musikfestival, das im Jahr 1999 von der Gruppe Kommando Hasenpfuhlstrasse in Speyer am Rhein gegründet wurde.
Es ist ein unabhängiges und nicht kommerzielles Festival und versteht sich als Schauplatz neuer Perspektiven und experimenteller Erzählformen, welche den Film als eigenständige Kunstform betrachtet und als solche behandelt.

Pigs in Progress – Sa 27.12.2014 5pm
(Kurzfilmprogramm II)

Grande Filiale Filmfestival
Ludwigstraße 13
67376 Speyer

 

 

STAGE DESIGN

The Hooks at HAU Berlin /// 11.–13. December 2014, HAU3 ///

 

Damian Rebgetz, Paul Hankinson, Emma Cattell, Anna-Luise Recke, Neela de Fonseka, Kerstin Honeit, Johanna Höhmann, Marta Hewelt, Torsten Schwarzbach, Tobias Klette, Rahel Spöhrer, Timo Schmidt, Christina Ostrowsk

Who doesn’t know it, that song from last summer, that sound that brings comfort to the lonely moments, the constantly recurring soundtrack of one’s own memories or a melody that seems to embrace the whole of life? That’s exactly what constitutes a successful hookline in a song. The Hooks, the second HAU co-production with Damian Rebgetz, examines the phenomenon of hooklines and how they work. In this performance he investigates the personal and cultural memories that arise from the hooklines and pop songs. Working with the composer Paul Hankinson, the dancer Anna-Luise Recke and the artist Emma Cattell, he unfolds a complex web in which different Black Boxes are opened and linked up to. Newly adapted pop songs from the 1980s become evocations of a “post-discotopian” melancholy. The Hooks is a visual song cycle for voice and piano that asks the question: To be hooked or not to be hooked?

HAU3
Tempelhofer Ufer 10
10963 Berlin

11.,12.12.2015 – 8pm
13.12.12.2015 – 5pm

 

EXHIBITION

inheritance / act_out at gls Projekt

/// 18 October–1th of November /// Vernissage: 17.10.2014 ///

Elly Clarke / Kerstin Honeit / Lisa Jugert

What is it to inherit? What is inheritance? Who inherits?
Who leaves it for you?
Why you?

What if you don’t want to inherit? What if you don’t have room?
What do you do with all that stuff?
How do you carry it with you, from place to place, year to year?
What stories belong to it?
What if you don’t want to be reminded?
How do you hold on to it all?
How do you display it?
How do you describe it? Who to?
Are you describing it, or is it describing you?

Where is the boundary, between you and the things, the things and you? Or between her who gave or left you the thing in the first place, and the stories that are stuck to it, as well as those that fell away. Are histories dependent upon objects, or objects upon histories? What is the boundary between me and you, this thing and that part of your story? Is it my story, your story, their story or our story? What if we refuse it? Can we say no? Where are we without it? What do you do with it after you’re done?

What is inheritance?
What is it to inherit?
Why is there inheritance?
Why is there no inheritance?
Why are we bothering to re-write the story if it is not ours anyway?

What if we make it up?

Elly Clarke, The George Richmond Portrait Project (2008–ongoing)

Elly Clarke has been tracing portraits by her great-great-great grandfather George Richmond RA (1809–1896) to private homes across the UK (and occasionally beyond) for more than five years, photographing the portraits and the living descendants of those her ancestor portrayed in situ, and conducting audio interviews about what they know both of their ancestors and the portraits.

Kerstin Honeit, Becoming 10, (2007–10)

In the photo installation ‚Becoming 10‘ Kerstin Honeit performs her ‘un-met’ 9 half siblings from the former East and West of Berlin. Based only on the information of age, name, address Honeit stages herself in their real environments and apartment blocks in imagined poses, using the gesture of drag.

Lisa Jugert, History Vision Machines, (2010)

History Vision Machines turns the machine that records everything back on itself. Various camera models are presented both as subject and recording device. Matched with a mirror and a location fitting to each model, the series encourages a consideration of the manner in which our personal and political, individual and collective histories have been presented, and the influence of technology upon this.

Artist talk: 30.10. 19h

Opening hours: Wednesday–Saturday 12h–18h

GSL Projekt
Novalisstraße 7 / 10115 Berlin
U6 Oranienburger Tor / S Bahn Nordbahnhof

 

ARTIST TALK

/// Concordia University, Montreal (CA) Oct. 8 2014, 2pm ///

Artist talk and Q&A as part of the course: Photographic Vision: Theory & Practice II in the photography department
(Prof. Tema Stauffer), Concordia University, Faculty of Fine Arts, Montreal.

Engineering and Visual Arts Complex
Faculty of Fine Arts
1515 St. Catherine St W, Montreal
Québec, Canada

 

SCREENING Pigs in Progress at Berlin Art Week

/// Positions Berlin Video Lounge 16–21th September ///

supporting program VIDEOPOSITIONS

POSITIONS BERLIN daily presents:
a curated selection of contemporary video art at the video lounge.

opening reception
Thursday, 18 September 2014, 6–10 p.m.

public days
Friday, 19 September 2014, 1–8 p.m.
Saturday, 20 September 2014, 1–8 p.m
Sunday, 21 September 2014, 11 a.m.–6 p.m.

Kaufhaus Jandorf
Brunnenstraße 19–21
10119 Berlin

 

Exhibition SQUATTING

/// 12 September–14 December 2014 ///

Nassauischer Kunstverein Wiesbaden

 

Silva Agostini / Marc Bijl / Selket Chlupka / Thomas Eller /Larissa Fassler / Amir Fattal / Kerstin Honeit / Eva Kietzmann & Petra Kübert / Timo Klöppel / Stephanie Kloss / Kunst-Koffer / Alicja Kwade / Via Lewandowsky /Gordon Matta-Clark / Dominikus Müller & Kito Nedo /Manfred Peckl / Michalis Pichler / Tim Plamper / Verena Resch / Adam Saks / Salah Saouli / Andreas Schlaegel /Nina von Seckendorff / Daniel Segerberg / Marcus Sendlinger / Philip Topolovac / Fabrizia Vanetta / Adriana Vignoli /Annette Weisser / Sinta Werner / Martin Zawadzki

A group exhibition and program on the occasion of the 50th anniversary of the sister city partnership of
Wiesbaden and Berlin-Kreuzberg.

2014 is the 50th anniversary of the sister city partnership of Wiesbaden with Berlin-Kreuzberg (since 2001 Friedrichshain-Kreuzberg). One of the first inner-German sister city pairs, the relationship can be seen as an expression of solidarity historically bound by the experience of the Berlin Airlifts, in which Wiesbaden-based US planes dropped supplies on the city.

Superficially, the two sisters could not be more different:

On the one hand we have Wiesbaden, with its Kurhaus Casino, historic downtown, and large population of millionaires; and on the other we have the infamous Kreuzberg, which since 1968, during the time of student unrest, has been a place of societal and social upheaval. Squatting, anarchy, poverty, political agitation and parallel societies are associated with Kreuzberg, as well as cultural diversity, creativity, art, urban middle class and gentrification.

From 12.9 to 14.12.2014, the Nassauischer Kunstverein (NKV) will celebrate the anniversary of these two “antipodes” with an exhibition and program: For this two-city exhibition, “squatting” and gentrification are used as conceptual starting points, and abstracted into inverted symbolic forms by Kreuzberg and Berlin artists in Wiesbaden. The 19th century mansion on the “boulevard” of Wiesbaden that serves as NKV’s home will be “occupied.” Though the exhibition is traditionally curated, its run time turns the gallery into a dynamic space as participating artists create a dialogue with their work (through performance, video, graphic design, architecture, historical position, popular culture, etc.). They are “squatters,” manipulating the space with no influence from the Kunstverein “landlords,” other than logistics and organization. The gallery then becomes a dynamic space that changes in the same chaotic fashion as a city.

The theme of the exhibition is the phenomenon of gentrification, an acute social problem of today with great visibility, especially in Kreuzberg, as evidenced by the large amount of media coverage on the subject. A look at the history of Wiesbaden, however shows that gentrification is not merely an issue of the 21st century that has taken place in the hip neighborhoods of the capital: Kaiser Wilhelm II greatly influenced the city-building of Wiesbaden, and his regular visits to the “Nice of the North” brought numerous nobles, artists and wealthy entrepreneurs into the city where they permanently settled. The multiplying number of inhabitants and the influence of Prussia brought about the construction of buildings such as Kurhaus Wiesbaden with its casino and the Hessian State Theatre on Wilhelmstrasse, whose architectures characterizes the city today.

Is Wiesbaden the 20th century prototype to the process of gentrification?

Another question worth exploring is art’s role in gentrification. Artists and cultural workers wholesale low-income profession- are often paradoxically viewed as the alleged perpetrators of socio-economic restructuring, since their presence quarter can be attractive. Since 2006, for example the former Güterbahnhofs West has become an artists district. The exhibition will also aim to explore and challenge this school of thought that blames artists and dissidents for larger societal problems. While they want to offer new and critical perspective on the subject, the program of lectures and discussions take theoretical base into account.

Nassauischer Kunstverein Wiesbaden
Wilhelmstraße 15
65185 Wiesbaden

 

Artist Talk

PICTURE BERLIN at tête

/// July 30, 2014, 8:30 pm ///

 

JULY – PUBLIC PROGRAMMING

10 / 19.00 – Inaugural Exhibition Opening, tête, Schönhauser Allee 161a
11 / 10 – 18.00 – Presentation by PB artists at tête
16 / 20.30 – Artist talk by Hester Oerlemans (NL) at tête
17 / 20.30 – Artist talk by David Edward Allen (GB) at tête
19 / 10–18.00 – PB artists present work in progress at tête
20 / 14–18.00 – Sonntag presents Samuel Dowd (GB)
Gossowstrasse 10, Bell: Schiesser
21 / 20.30 – Artist talk by Joachim Schmid (DE) at tête
22 / 20.30 – Artist talk by Hannah Dougherty (US) at tête
23 / 20.30 – Artist talk by Delphine Bedel (NL) at tête
28 / 20.30 – Artist talk by April Gertler (US) at tête
30 / 20.30 – Artist talk by Kerstin Honeit (DE) at tête
31 / 20.30 – Curatorial presentation by Manuel Wischnewski (DE)
from Neue Berliner Raüme at tête

PICTURE BERLIN, now in its 5th year, is a 6 week summer program designed for emerging artists working in contemporary art and photography. A rigorous studio practice forms the heart of the program and working in community with other artist is its soul. The dynamic programming offers over 15 lectures by Berlin based artists, one-on-one discussions with over 10 international artists and curators, multiple exhibitions, group meals and work reviews, studio visits, a curatorial marathon, and 6 choreographed artist walks. The city shapes the program and is the springboard naturally flowing into the greater European art scene. As we mark the 5th year, the 2014 summer session offers the opportunity to participate in September’s PICTURE BERLIN Festival.

tête
Schönhauser Allee 161A
D–10435 Berlin

 

1001 Reality. Sequels for an unfinished novel
by Eran Schaerf at Berlin Documentary Forum 3

Radio play and live broadcast /// Berlin HKW

/// May 30, 2014, 9–11 pm ///

Eran Schaerf with Pauline Boudry, Elfriede Jelinek, Leonhard Koppelmann, Stephanie Metzger, Eva Meyer, Uriel Orlow, Andrea Thal and Tim Zulauf

In 1938, simulated news reports in Orson Welles’ radio play The War of the Worlds convinced many listeners that Martians were invading the earth. The episode sparked public outrage and brought into relief widely held assumptions about the truth claims of certain media: radio plays are considered staged fiction, while news reports traffic in documentation.

But how stable are these categories? What can a radio play document when it combines journalistic, essayistic, and biographical forms of narration? Which form of narration documents an existing society and which brings about a new one? Artist Eran Schaerf’s 1001 Reality. Sequels for an unfinished novel investigates such questions through a radio broadcast produced on location at the Haus der Kulturen der Welt and transmitted live on Bayern2.

It draws its source material from the philosopher Jacqueline Kahanoff’s unfinished novel Tamra, an account of a forbidden romance between a Muslim boy and its eponymous protagonist, a young woman of Jewish origin. Born in India and holding a British passport, Tamra lands as a teenager in colonial Cairo of the 1930s, where she experiences conflict with the members and ideology of her European­educated, privileged class. Schaerf, finding echoes of the novel’s themes in Kahanoff’s nonfiction writing – particularly her philosophy of Levantinism – uses the format of the radio play to continue the narrative of Tamra, querying the relevance of the Levantine model for postcolonial Europe.

Additional performers: Kerstin Honeit, Lara Körte, Karolin Meunier, Samuel Streiff

1001 Reality. Sequels for an unfinished novel was produced by BR Hörspiel and Medienkunst/ Berlin Documentary Forum 3

Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin

 

SCREENING PIGS IN PROGRESS
at the International Short Film Festival

Oberhausen, Germany /// May 4, 2014, 12:30 pm ///

Lichtburg
Elsässer Straße 26
46045 Oberhausen
Germany

 

SCREENING PIGS IN PROGRESS
at the International Womens Film Festival

Cologne /// April 12, 2014, 9:15pm ///

Pigs in Progress links two opposing phenomena within urban development: the current gentrification process in Berlin, where long-term tenants are displaced from the city centre to maximise real-estate profits; and the experience that house owners in the wealthier suburbs face with wild boars moving into their gardens. Swinish behaviour all- round!

Panorama / All Film-Nighter

Odeon
Severinstr. 81
50678 Cologne
Germany

 

PERFORMANCE + EXHIBITION FM Scenario:
Armchair – Attention – Life Signal
a intermedia project by Eran Schaerf

Zurich /// April 9, 2014, 6 pm ///

On 09. April 2014 Eran Schaerf’s exhibition FM-Scenario: Armchair – Attention – Life Signal will open at Les Complices* in Zürich. This intermedial project uses the Internet as a place of production in order to generate content for further media, such as radio broadcast, exhibition and publication.

“The exhibition ‘Concerning the Plurality of Time’ opened to the public in the Israeli Museum of Period Rooms last weekend. The exhibition includes more than 200 armchairs and stools offered to the museum after an armchair in the museum’s French Salon was destroyed. Among other exhibits on display are a stool stolen anonymously from Security Services headquarters, as well as designs for armchairs to be produced. Baron Rothschild’s declaration that the destroyed armchair is replaceable triggered a deluge of donations. The museum’s readiness to consider an armchair from any period as a replacement for the missing piece drew criticism from the Academy of History.” (Excerpt from montage by Bastian_996)

An audio montage compiled in the FM-Scenario online studio at www.fm-scenario.net serves Eran Schaerf as a script for the exhibition at Les Complices*. The exhibition consists of a conference setting that is used for the production of the exhibition. In this setting, four performers repeatedly execute three actions. The aim of these actions is to bring, by chance and in different rhythms, a sign – name, term, number, object – into play. If two identical signs are brought into play synchonously, then the game begins anew. The addressee of the performance is a camera. The performers take turns assuming the role of the cameraperson. A second camera accompanies the performance, yet acts independent of the script.

In FM-Scenario: Armchair – Attention – Life Signal variations of possible live-image-sound combinations can be experienced. A procedure that exemplifies Eran Schaerf’s praxis within FM-Scenario. The project shows the components of a mass-medial production of reality in which the combinatorics of texts and images constantly allows the occurrence of new narratives.

The exhibition is the fifth of six exhibitions of the project FM-Scenario – The Listener’s Voice by Eran Schaerf.

On the 11th of April 2014 at 9:03 p.m., several compilations by users of the online studio will be broadcast by Bayerischer Rundfunk on Bayern2 as part of the program hör!spiel!art.mix. Following the broadcast, the program can be downloaded as a podcast at www.hoerspielpool.de, where podcasts of all preceding broadcasts of previous compilations as well as background broadcasts can be found.

Exhibition curator:
Andrea Thal

Performance and image production: in cooperation with
Kerstin Honeit, Karolin Meunier, Stefan Pente, Andrea Thal, and William Wheeler

Les Complices*
Anwandstrasse 9
8004 Zurich
Switzerland

 

EXHIBITION Motives? That’s an Ugly Implication
at Gallery Sonntag Berlin

Berlin /// March 16, 2014, 2–6 pm ///

Kerstin Honeit will be presenting MOTIVES? THAT’S AN UGLY IMPLICATION an installation relating to her work in progress TALKING BUSINESS. Sonntag was started in 2012 by April Gertler and Adrian Schiesser. It is a social sculpture that takes place the third Sunday afternoon of every month in Berlin. For each Sonntag an artist is invited to show their work in Adrian’s apartment. The artist’s favorite cake is made by April and Adrian and is served with coffee and tea.

Sonntag (Bell: Schiesser)
Gossowstrasse 10
10777 Berlin

 

PUBLICATION Tegel: Propositions and Speculations

Screening & Book Launch in Sheffield Site Gallery ///
17 December 2013, 6–8pm ///

Over a period of eighteen months, a selected group of international artists and writers focused their attention on Tegel airport, they observed how it is used, they engaged in new activities and imagined how the building might function in the future. This book and DVD is the outcome of what might be described as an open-ended enquiry and, as such, embodies new perspectives and approaches to the problem of urban renewal, regeneration, social organisation, mobility and the legacy of modernist architecture. This approach to site is central to imagining how art practice can slow down, re-orientate and redefine the successive cycle of masterplans and regeneration schemes so that we can begin to consider what is at stake in the spaces that we occupy.

Including artists and writers:
Peter Adey, Sean Ashton, Michelle Atherton, Diane Bauer, Amanda Beech, Federica Bueti, Maja Ciric, Jamie Crewe, Nick Crowe & Ian Rawlinson, Bryan Eccleshall, Elke Falat, Stella Flatten, Hondartza Fraga, Rachel Garfield, Margarita Gluzberg, Julian Gough, Robert Gschwantner, Giorgio Cappozzo, Jane Harris, Gill Hobson, Janet Hodgson, Dale Holmes, Kerstin Honeit, Ben Hope, Stephan Hüsch, Jaspar Joseph-Lester, Karl Heinz Jeron, Renata Kaminska, Natasja Keller, Sharon Kivland, Jon Klein, Liane Lang, Jeff Luckey, TC McCormack, Ashley Metz, Karina Nimmerfall, Irene Pätzug, Amy Patton, Susanne Prinz, Boris Riedel, Miguel Santos, Gary Simmonds, Robert Partridge, Águeda Simó, Joachim Stein, Ricarda Vidal, Julie Westerman.

The publication includes a DVD with a selection of 27 short films.

Site Gallery
1 Brown Street
Sheffield, S1 2BS

 

SCREENING PIGS IN PROGRESS at DOKFEST

/// Kassel /// November 17, 2013, 2:00pm ///

Sunday, November 17th 2013 AT 14:00 h

Großes BALi
Rainer-Dierichs-Platz 1
34117 Kassel
Germany

 

SCREENING / LECTURE PERFORMANCE
PIGS IN PROGRESS at LES COMPLICES

Zurich /// November 13, 2013, 7:00pm ///

Pigs in Progress: Kerstin Honeit
mit einem Gastbeitrag / Live-Zuschaltung der Mieter_innen-Initiative Kotti & Co

Suppe & Bar: 19 Uhr
Veranstaltung: 20 Uhr

Vor dem Hintergrund aktueller Gentrifizierungsprozesse in Berlin inszeniert die Videoarbeit Pigs in Progress und der performative Prolog von Kerstin Honeit eine Neuordnung zwischen Körper und Stimme: So sind beispielsweise auf der Audiospur der Arbeit Statements von Berliner Mieter_innen zu hören, die gegen ihre Vertreibung aus der für die Immobilien-spekulation lukrativen Innenstadt protestieren. Diese Stimmen sind jedoch dem Körper auf der Bildebene genauso wenig zuzuordnen wie die Erfahrungsberichte der Bewohner_innen der Suburbs, in denen Wildschweine sich Grund und Boden „zurück erobern“ und in den Stadtraum vordringen.

Anders als die oft im Zusammenhang mit „race, class, und gender“ homogenisierend wirkende mediale Strategie des Lip-Synchings oder Filmdubbings, legt es Kerstin Honeits Performance durch die Akzentuierung der Diskrepanzen zwischen Ton- und Bildebene darauf an, Spiel- und Handlungsräume für Fragen nach Aneignung, Zuschreibung und Eigentum zu eröffnen.

Mit dem performativem Prolog, der auch eine Live-Zuschaltung der Mieter_innen-Initiative Kotti & Co aus Berlin Kreuzberg beinhaltet und dem Screening, setzt Kerstin Honeit hier ihre Auseinandersetzung mit der medialen Verkörperung von Stimme fort und nimmt lipsynch-enderweise zwischen einer Rotte Wildschweine platz.

Les Complices
Anwandstrasse 9
CH–8004 Zürich

 

POSITION#1 in Zurich

Residency in Zurich (Citro Druck+Studios)
/// November 2 – 14, 2013 ///

I’m very happy to announce that from November the 2th onwards I will be artist in residence at the Citro Druck+Studios, Zurich. I have been invited to produce a new portrait for the Position #1 series which has been performed in Berlin, Chicago and Sheffield.

 

FM SCENARIO: Reality Race

Exhibition in Karlsruhe /// June 22–August 25, 2013 ///

fm-scenario – The Listener’s Voice is an inter-media project by Eran Schaerf, in which the Internet is used as the site of production so as to generate further media, such as radio broadcasts, exhibitions and publications.
The starting point of this inter-media project is comprised of Eran Schaerf’s news radio games of the fictive radio program The Voice of the Listener (2002). Based on an archive made available by Eran Schaerf, with audio modules the curator Margit Rosen creates a montage that serves Schaerf as a script for a performance-for-the-camera. Resembling the practice of news agencies, the reports from the fm-scenario montage are shown in images and simultaneously transmitted to the ZKM exhibition space. They are then presented by performers in performances-for-the-camera within a scenic exhibition structure.

Project curator: Joerg Franzbecker
Project management: Herbert Kapfer and Joerg Franzbecker
Exhibition curator: Margit Rosen
Project coordination ZKM: Annina Zwettler
Performance and image production: in cooperation with Kerstin Honeit, Karolin Meunier, Stefan Pente, Andrea Thal and William Wheele

ZKM
Lorenzstraße 19
D–76135 Karlsruhe

Opening hours
Wed–Fri 10am–6pm
Sat–Sun 11am–6pm
Mon–Tue closed

 

SAY IT LIKE IT IS

Exhibition in Berlin at Cubus-m
/// 26th April–01th June 2013 ///

open hours during the GALLERY WEEKEND BERLIN 2013:
April 26th–April 28th 2013 – 11 a.m.–8 p.m.

Thematically the three video works presented in the exhibition, Joint Property
(2013), Pigs in Progress (2013) and On & Off (2010), address the process of
gentrification in Berlin, along with questions of personal property and memory.
What unites the works is an examination of the medial embodiment of voice and
the implicit process of appropriation and attribution within it.

Galerie Cubus-m
Pohlstrasse 75
10785 Berlin
cubus-m.com

Opening hours
We–Fr 2–pm, Sa 11am–7pm

 

FM SCENARIO by Eran Schaerf

Exhibition in Dortmund in collaboration with
Kerstin Honeit, Karolin Meunier, Stefan Pente
and William Wheeler /// 16th Feb–01th April 2013 ///

fm-scenario – The Listener’s Voice is an intermedial project by Eran Schaerf which uses the internet as a place of production in order to generate content for further media – concretely: radio broadcast, exhibition, and publication. Eran Schaerf’s newscast radio plays, particularly The Listener’s Voice (2002), a fictive radio station that receives calls from listeners, constitute the intermedial project’s starting point.

On February 15, 2013, the second of the project’s five currently planned exhibitions will open at Hartware MedienKunstVerein in Dortmund. Each exhibition has its own structure and its own narrative. Drawing from the archive that is accessable at the online studio at fm-scenario.net, a curator compiles a montage which serves Schaerf as a script for a performance for the camera. This performance takes place in the exhibition space. Analogous to production in news agencies, the exhibition space is coded as a place of image production.

HMKV
Hoher Wall 15
D–44137 Dortmund

Opening hours
Tue–Wed 11am–6pm
Thu–Fri 11am–8pm
Sat–Sun 11am–6pm
Mon closed

 

FRAME_

Exhibition in Birmingham /// 17th Nov 2012–17th Feb 2013 ///

with contributions by:
Ron Athey | Dan Auluk | Alex Billingham | Jon Campbell | Elly Clarke | Jeanette Dean | Sue Dodd | Kim Donaldson | Freya Douglas-Morris | Tatiana Echeverri Fernandez | Carly Fischer | Linda Franke | Jo Gane | Caitlin Griffiths | Alexander Heaton | Kerstin Honeit | David Helbich | Nurul Huda | Harminder Judge | Lisa Jugert | Fiona Macdonald | Karen McLean | Anna Mields | Ayo & Oni Oshodi | Enda O’Donoghue | Rebecca Pittam | plan b – Sophia New & Dan Belasco Rogers | Adele Mary Reed | Alana Richards | Antonio Roberts | Fedora Romita | Liz Rosenfeld | Christian Sievers | Vajra Spook | Miriam Steinhauser | Karen Stuke | Cathy Wade | Ed Wakefield | Kym Ward | Edye Louise Wachler | Mo White | Martha Wilson

FRAME_birmingham is an Arts Council funded, mac birmingham supported Elly Clarke / Clarke Gallery project that sees unique and very small edition artworks by local and international artists installed into a variety of businesses across the city as a means of bringing art to new audiences, new audiences to art and new contexts in which art can be shown. It is also about provoking and stimulating conversations about and around the artworks, by a variety of people in a variety of different places.

Address_
Church Street
Birmingham
B3 2NR

 

SCREENING: ON & OFF

Medienwerkstatt Berlin goes Kino Central
/// 5–8 / 12–13 November 2012 ///

with contributions by:
Achim Kobe | Alessandro Maggioni | Andrea | Andrea Sunder Plassmann | Anja Roß | Barbara Wolters | Benjamin de Burca | Betina Kuntzsch | Bettina Rave | Christa Biedermann | Christina Hübner | Devon Elise Atkins | Dorothea Donneberg | Ewa Surowiec | Filipa Freitas | Fried Rosenstock | Gabriele Stellbaum | Gisela Weimann | Heidi Schnettler | Helga Franz | Ilka Forst | Ina Volmer | Jorn Ebner | José Noguero | Jutta Phillips-Krug | Karina Pospiech | Kerstin Honeit | Klara Hobza | Lauren Francescone | Lioba v.d.Driesch | Margret Holz | Martin Kusch & Marie Claude Poulin | Nastasja Keller | Nathalie Becher | Nicola Hochkeppel | Ninia Sverdrup | Nol Hennissen | Petra Weller | Roberto Duarte | Roland Fuhrmann | Sharon Paz | Susa Templin & Nada Sebestyen | Tobias Sjöberg | Tom Christie | Ulli Diezmann | Ulrike Bunge | Una Quigley | Wojtek Skowron

/// 5–8 / 12–13 November 2012 /// 3–4 pm
Kino Central, Haus Schwarzenberg
2. Hinterhof
Rosenthalerstr. 39
10178 Berlin-Mitte

 

FM SCENARIO

New Performance Piece by Eran Schaerf
/// 1–30 September 2012 ///

 

with Karolin Meunier, Kerstin Honeit, Stefan Pente, William Wheeler

Eran Schaerf’s project examines the constitution of the mass media and the space produced by it. The project offers users an Internet archive (fm-scenario.net) containing audio modules such as listener calls, features, and news, where they can compile stories. One such compilation will form the initial scenario for Schaerf’s installation. Located in the interpreter booths of the main conference room, an architecture which reflects translation processes, the borders between fact and fiction, sender and receiver, user and author, become blurred questioning the production of space by means of language.

Exhibition as part of Between Walls and Windows. Architektur und Ideologie.

Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin

September 1–30, 2012
Opening on September 01, 2012, 4pm.

 

DAS GEHORSAME WALROSS UND SEINE BETRACHTER

You are cordially invited to Turtlelab /// 14–18 July 2012 ///

 

with contributions by: Mirja Busch, Henrike Daum, Frederick Foert, Andy Graydon, Tina Isabella Hild, Kerstin Honeit, Michael Höpfner, Yuki Jungesblut, Judith Karcheter, Anna Martinetz, Bjørn Melhus, Reynold Reynolds, Sven Stuckenschmidt

Turtle Lab Open Days occupy the interim space between studio and exhibition, private and public, casual and serious, work in development and “finished products”. Their objective is to bring together a group of artists from in and around Turtle Lab and thus enter a “cross-media” symposium sporting a mixture of individual works and word-exchange possibly triggered by what is on display.
Turtlelab Berlin is a studio space at Schwedterstr. 262, currently shared by Henrike Daum, Andy Graydon, Michael Höpfner, Yuki Jungesblut and Anna Martinetz.

The theme for the first installment of Turtlelab Open Days is “Visiting the Zoo” or more specifically it is a set of associations triggered by the word Zoo. So on display are (obviously) unusual animals and creatures but also records of explorations, categorisations and ponderings. It is not so much the exhaustive treatment of the subject matter that is the aim of the show but rather to engage in the joy of discovery, curiosity and open discussion.

Schwedterstr. 262, 10119 Berlin (near U2 – Senefelder Platz)

opening 19 h, Friday 13th July with BBQ & Drinks (and some of the contributors)
opening hours: Sat–Tue 15–18 h
Wednesday from 16 h till 22h with drinks and cookies (and some of the contributors)

 

Costume Design for
INFINITE JEST BY DAVID FOSTER WALLACE

24 Hours Through The Utopian West
Hebbel am Ufer Theater Berlin /// 02.-27.06.2012 ///

 

With: Bianchi/Macras, Gob Squad, Peter Kastenmüller, Jan Klata, Chris Kondek, Anna-Sophie Mahler, Richard Maxwell, Mariano Pensotti, Philippe Quesne, She She Pop, Jeremy Wade, Anna Viebrock and the animated video „My Best Thing“ by Frances Stark

Infinite Jest is the title of a novel of now cult status by US author David Foster Wallace. Wallace’s suicide in 2008 was the focus of much attention in international literary circles. Infinite Jest was published in 1996 in the US, with a German translation by Ulrich Blumenbach following much later, in 2009. The novel describes a fictional pleasure-driven consumer society – which is increasingly afflicted by depression and individual isolation.
At an elite tennis academy, young people are pushed to the limit; and at a rehabilitation center, a motley crew comes together of people who have failed due to crime, drugs and depression. Their performance-driven mentality clashes with the fear of failure; yet failure is already the everyday reality.

Infinite Jest is also the title of the movie in the novel that so engrosses the members of its audience that they watch it over and over again, forgetting to eat, drink, sleep or go to the bathroom – and eventually die. Seen as the metaphorical superstructure of the novel, the movie also describes how the subject disappears due to a suggestive force in the pictures. At the same time, Wallace chases this very subject through the 1500 pages of his novel – one last great search for the self.

Unendlicher Spaß
nach dem Roman von David Foster Wallace
Deutsch von Ulrich Blumenbach
Dramaturgie: Kathrin Veser, Johanna Höhmann, Idee Architektur: Benjamin Foerster-Baldenius, Matthias Rick, Produktionsleitung: Silke zu Eschenhoff, Caroline Farke, Elisabeth Knauf.

Ausstattung: Tal Shacham, Kostüme: Emma Cattell, Kerstin Honeit.

 

SCREENING
Tegel – Fights of Fancy at Kino Babylon Berlin

Kino Babylon (Saal 2+3) /// 02.06.2012 /// 6.30–11.30 pm

TEGEL: FLIGHTS OF FANCY is a video programme that responds to the planned closure of Berlin’s Tegel Airport. The project is organised by Jaspar Joseph-Lester, Susanne Prinz and Julie Westerman and builds on a series of events, exhibitions and publications that have been realised through cross- cultural collaboration between artists based in the UK and Germany. The event will be hosted by Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz.

The closure of Tegel airport marks an important change in the way air travel is organised and experienced. The design of this airport is of a time when flight was associated with glamour, fantasy, technological progress, romantic chance encounters and fictional disasters. The building consists of a large concrete hexagonal structure circumnavigated by a corridor, punctuated with brightly coloured check-in desks. Viewing platforms and executive lounges populate the circumference of the building, inviting the traveller to enjoy a navigable thoroughfare instead of the shed-like enclosure with limited seating. There are commissioned art works, restaurants and bars, cafés and shops. The décor follows the distinctive bright colour schemes of its age all the way through to the plastic sinks and hand dryer in the restrooms.

Tegel Airport is closing and while there are rumours about the next incarnation of this elegant building, what it might become in the future remains uncertain. The 36 films selected for TEGEL: FLIGHTS OF FANCY speculate on both how the airport might be occupied in the future and what it symbolized in the past, they explore how air travel is hard wired into the imagination: the cinematic (disaster, romance and action movie all in one), and consider concepts of cultural
mobility, exchange and internationalism.

Artists: Michelle Atherton, Diane Bauer+Amanda Beech, Chloé Brown, Giorgio Cappozzo+Robert Gschwantner, Alison J.Carr+Kerstin Honeit, Steven Chodoriwsky, Jamie Crew, Nick Crowe+Ian Rawlinson, Harriet Davies, Bryan Eccleshall+Karl Heinz Jeron, Stella Flatten+Jon Klein+Liane Lang, Hondartza Fraga+Miguel Santos, Rachel Garfield+Janet Hodgson, Margarita Gluzberg, Jane Harris, Gill Hobson, Dale Holmes+Gary Simmonds, Dominique Hurth, Stephan Hüsch+Águeda Simó, Jaspar Joseph-Lester, Renata Kaminska, Natasja Keller+Irene Pätzug, Sharon Kivland, Olga Lewicka+Carsten Zorn, Jeff Luckey, T.C. McCormack, Ashley Metz+Boris, Riedel+Joachim Stein, Jon Moscow, Karina Nimmerfall, Robert Partridge, Amy Patton, Melody Panosian+Stéphane Querrec, Karin Ruggaber+Sarah Staton, Leon Seth, Julie Westerman.

Rosa-Luxemburg-Str. 30 10178 Berlin, Germany

 

LECTURE by Antke Engel at IFFF Dortmund / Köln 2012

Disobedient Obfuscation /// 18.04.2012

By means of film and video material – including material from Pauline Boudry/Renate Lorenz, Danica Dakic, Kerstin Honeit, Nguyen Tan Hoang – the lecture examines the issue of how far queerness is first and foremost aligned to the protagonists or to the narration. How else does it otherwise come into the picture? And to what extent can one talk about queer aesthetic strategies?

6pm Filmpalette – Filmkunstkino

 

Lübecker Str. 15
50668 Köln
IFFF Dortmund / Köln 2012

 

SHOWTIME goes Sheffield

OPENING EVENT: 01.03.2012 /// 29.02.2012–11.03.2012

Allie Carr and Kerstin Honeit were brought together by LoBe, Berlin, taking part in a residency together in June 2011 and a subsequent exhibition, “Showtime” in December 2011. As they prepared to work together they began to exchange “video letters”, which they continue to do. Their only rule is that they must respond to the video letter they receive.

Two ongoing dialogues have emerged out of this practice: “Video Letters: Voice” and “Video Letters: Body”. Over the course of these conversations a shared visual language has evolved in which the commonalities and differences of their respective practices are teased out in an intimate way. As the artists technically and visually quote one another, conceptual and geographic distances are bridged. However, because of the conversational back and forth structure, the two artist’s identities remain recognisably distinct.

The exhibition at Sheffield Institute of Arts will see the ”Video Letters” reconfigured for the new context. The video work will be supported by stills from the conversations installed as photographs on the walls of the gallery. The mezzanine will be used to show an accumulative project of Honeit’s: Position #1, a video work in which a static woman standing in front of a closed garage, whilst pedestrian and road traffic moves around her.

Honeit has created Position #1 in Berlin and Chicago and will add a new Sheffield instalment to create a three-channel piece on projectors.

10am–5pm everyday including weekends and until 8pm Wednesdays
Sheffield Institute of Arts Gallery
Cantor Building
Sheffield Hallam University
153 Arundel Street, Sheffield S1 2NU

LECTURE SERIES TRANSMISSION:
CATASTROPHE 29 February 5 to 7 p.m.
Guest: Kerstin Honeit, Host: Alison J. Carr

 

Pennine Lecture Theatre – Owen Building, Sheffield Hallam University
Howard Street, Sheffield, S1 1WB

 

MOBILITY PROJECT goes Coventry

OPENING DATE: 19.01.2012 /// 20.01.2012–19.02.2012

 

Simon Clark, Elly Clarke, Enda O’Donoghue, Kerstin Honeit, Rebecca Pittam, plan b/Sophia New & Dan Belasco Rogers, Fedora Romita and Kym Ward

at Clarke Gallery Birmingham / Berlin / Beyond, Coventry

Friday-Sunday 1–5 pm
Panel Discussion: 21.01.2012, 2pm – with all artists plus Alfredo Cramerotti
Meter Room, 58–64 Corporation Street, Coventry, West Midlands, CV11GF

Clarke Gallery is delighted and honoured to bring The Mobility Project to The Meter Room. This is the second stop of this exhibition, which began at Galerie Suvi Lehtinen in Berlin. We are extremely grateful for the support of Arts Council England, Coventry Council and Culture Ireland – without which this exhibition – and all artists – could not have come to Coventry.

 

SHOWTIME

OPENING DATE: 16.12.2011 /// 17.12.2011–14.01.2012

Allie Carr & Kerstin Honeit at Galerie LoBe London / Berlin, Berlin

Alison J Carr and Kerstin Honeit began working together at LoBe in June 2011. Their collaboration involves an ongoing exchange of “video letters”. These conversations commenced with dancing to Lady Gaga and descriptions of bodily affliction producingtwo ongoing dialogues: “Video Letters: Body” and “Video Letters: Voice”. As the conversations continue we see the artists perform for each other: dancing to music, intervening in gallery spaces, asking other people to help them explore themes like the gaze. The only rule the artists adhere to, is that they must respond to the video letter they receive with a follow up video. A shared visual language is evolving as the artists both technically and visually quote one another, mimicking the way in which a verbal conversation uses repetition to register understanding. The conversation explores public and private spaces, intimate performances and investigative encounters.

Private View Friday 16 December, 6pm – 10pm Exhibition continues until Saturday 14 January
Open Saturdays, 12pm–6pm or by appointment
LoBe Scherer Strasse 7 13347 Berlin +49 171 772 450 2
info@lobeart.eu
www.lobeart.eu

 

ARTIST TALK

25.11.2011 Birmingham /// 28.11.2011 Coventry

Video artist, filmmaker and photographer Kerstin Honeit (Berlin) will be presenting photographs from her series “Becoming 10”, followed by a discussion of image, identity, and memory, with curator and artist Elly Clarke.

The event is free, and we are pleased to be able to cover the travel and accommodation costs for any German studies postgraduate students who wish to attend; there is also the opportunity to meet the artist after the event.

Freitag, 25. November · 16:00–18:00 / The MAC, Cannon Hill Park, Birmingham B12 9QH

Monday, 28. November ·13:00–15:00 / Photography Lab (ETG10), Ellen Terry Building, Jordan Well, Coventry, CV1 5RW

 

OTHER PLACES

OPENING: 09.11.2011 /// 10.11.–10.12.2011

Kaucyila Brooke, Omar Gámez, Kerstin Honeit, Doug Ischar, Molly Landreth

Other Places, guest curated by Tema Stauffer, brings together different generations of international artists whose photographs contribute to a dialogue about individuals and communities—past and present—existing in social and political margins based on sexuality and sexual identity. A selection of work by five artists from the United States, Mexico and Germany serves as a foundation for examination of each of their larger series and continuing practices.

At The Camera Club of New York, The Arts Building, 336 West 37th Street, Suite 206, New York, NY
Gallery hours: Monday–Saturday 12–6 pm

 

FAST & FURIOUS – Goldrausch 2011

OPENING: 04.11.2011 /// 05.11.–10.12.2011

Mirja Busch, Surya Gied, Carolina Hellsgard, Kerstin Honeit,
Emma Waltraud Howes, Yun-Ting Hung, Bettina Hutschek,
Yuki Jungesblut, Frieda Knapp, Kathrin Köster, Jennis Li Chen Tien, Anna Mields,
Sharon Paz, Anja Claudia Pentrop, Petra Spielhagen

Fast and Furious – Goldrausch 2011 zeigt künstlerische Werke, die schnell und präzise aktuelle künstlerische wie gesellschaftliche Themen aufnehmen und etablierte Wahrnehmungsordnungen über Bord werfen. Präsentiert werden Filme mit großer atmosphärischer Dichte, dokumentarische und archivarische Strategien, photographische Bildentwürfe und raumgreifende Installationen.

Das Goldrausch Künstlerinnenprojekt ist ein postgraduales Stipendium für herausragende junge Künstlerinnen. Mit seinem umfassenden Programm, das beruflich relevante Themen wie Steuer- und Urheberrecht ebenso beinhaltet wie gezielte Strategien zur Sichtbarkeit der künstlerischen Arbeit, vermittelt das Projekt seit rund zwanzig Jahren „emerging artists“ eine umfassende berufliche Professionalisierung.

Über aktuelle Veranstaltungen im Rahmen der Ausstellung und die einzelnen Websites der Künstlerinnen wird unter www.goldrausch-kuenstlerinnen.de informiert.

At Halle am Wasser (Invalidenstraße 50/51, 10557 Berlin)
Öffnungszeiten: Di bis Sa 12–18 Uhr

 

MOBILITY PROJECT

OPENING: 24.06.2011 /// 25.06.–30.07.2011

 

Simon Clark, Elly Clarke, Enda O’Donoghue, Kerstin Honeit,
plan b / Sophia New and Dan Belasco, Fedora Romita
at Galerie Suvi Lehtinen, Berlin

ARTIST TALK: 20.07.2011 @ Galerie Suvi Lehtinen

 

“Keep connected, you are never alone, never alone with a mobile phone in your pocket.”

Over the last decade, particularly since the mass take-up of the mobile phone, the ever-increasing mobility – of people, goods, information and images– has radically altered the way we perceive, interpret, navigate and even describe the world. Notions of presence and absence, solitude and togetherness and even of geography are changing, as our personally tailored collections of contacts, communities, photos and politics are with us 24/7. The way we travel around the places we live in, and how we interact with others whilst we’re there, has a great impact on the way we understand not only where we arebut also who we are. Communication and movement are, and always have been, closely linked, dictating the scope of our influence. But today, in a world where one tweeted photo can be seen across five continents within seconds, that influence can reach areas and cultures of which we have no concept.

Here, six projects present six different approaches to the project of mobility. From Simon Clark’s epic cycle journey around the UK delivering postcards he picked up from the Galapagos Islands direct into people’s hands to plan b’s live redrawing of their GPS traces gathered over their past year in Berlin direct onto the gallery wall; from Enda O’Donoghue paintings created from low-res mobile phone photos found on the internet to Kerstin Honeit’s multi-city performance-experiments where she instructs women to stand on the same area of pavement for fifteen minutes – and finally from Fedora Romita’s audio recordings of the U-Bahn network of Berlin as a means of getting to know the city she just moved to, to my own five minute video showing an unexpected moment of stillness on the German autobahn – these are personal portraits of navigation. But, between them, they touch on wider issues that affect us all as we negotiate our way around the world C including gender, power, surveillance and the relationship between physical and virtual materiality.

Elly Clarke is an artist & curator based in Berlin and Birmingham, UK.

A series of artist talks and related events will take place during the run of this exhibition and a specially commissioned set of limitedCedition prints by each of the artists released at the opening. Please check the gallery website for further details and updates.