To mark the Kunstverein Tiergarten’s 20th anniversary, the publication and exhibition project RE:VISION brings together the names of all 2193 people and institutions who have actively participated in exhibitions and events at Galerie Nord over the past 20 years and in so doing, provided relevant aesthetic impulses and initiated socio-political discourse.

WE ARE FED UP
And extremely so - fighting meat consumption, industrial animal factories and dumping in relation to animal exports
Demonstrating during the Green Week at the Wir Machen Euch Satt protest for substantial agricultural revolution

‘Meat’ refers to the raw steak in the supermarket display, “meat” is part of all our bodies. Usually well wrapped up in skin and clothing, we are hardly aware of it in everyday situations. Only when illnesses, injuries or dissatisfaction with our body image force us to confront our own flesh does it emerge from obscurity.

The artists Elisa Canducci and Fabrizia Vanetta have taken the festival theme of ‘flesh’ as an opportunity to create a completely new print. It covers the entire surface of the advertising pillar at Theatre X on the REFO Campus and transforms it into an object that raises the question of how we deal with meat - our own and that of others - in public spaces.

The advertising pillar with the print work by Canducci and Vanetta can be visited and viewed independently of opening hours and beyond the duration of the festival until mid-October.

Drawings, prints, collages and paintings by Marika Voß as well as photography by Alsane Koite can be seen at the SOS Children's Village family centre/multigenerational house. You can also play chess with pieces that are made out of wood and clay and were designed by the children of the ‘Farbspiennen’ art workshop.

One can justifiably ask about the meaning of “Umriss” in Karen Scheper's drawings. The negation of figure appears on almost all of the sheets of paper; they refuse to be unambiguous and rarely reveal anything reliably legible. Yet, a new series of drawings shows a headless person performing a strange act with her hand. On each sheet of paper she is surrounded by various graphic structures, and at the same time, the white shirt she is wearing seems to merge with her torso in such a way that it depicts flesh tones.

A body with neither a face nor an identity initially only shows its carnality. Its mass corresponds to the materiality of a foreign body that exists in a conflicting state of tension. For some years now, Scheper has been working with images of bodies that seem to represent nothing other than found objects, objects in the landscape, bodily matrices that are trapped in a whirlwind or attacked by accumulations of graphic missions. One might view this as an act of dissolution or even Frankensteinian animation, yet it could just as well be the mere interaction of bodies and latent spaces. Text: H. Kann

Karen Scheper's artistic practice encompasses drawing, site-specific installation and spatial staging. Her work is characterised by the exploration of discontinuity and the drawing process. She uses conceptual drawing as a medium for analysing what she has seen or read as well as techniques of decomposition and collage. The text and image material used can be found in books or films, her own photographic archive and in online publications. It is dissected both shamelessly and conscientiously, transformed into variable spatial structures of lines or transferred into a graphic void.

Meat is animal, meat is human.
Flesh is plant, fruit ...
Flesh is creation, flesh is sin.
Using AI, we explore different definitions of flesh, explore new perspectives and challenge perceptions.
Skin and taxidermy will each play a decisive role in this process
How do I define flesh? What is beautiful? What is real?
Find out!

An exhibition that explores questions about the golden fleece, crocodiles, pictograms, sad trees and bulging lips. What remains of what was and is.

Gleb Bas
www.glebbas.com

Thomas Lang
@langkunst

Caroline Bayer
www.css.carolinebayer.de

Sabine Hoffmann
www.collision-squad.de

‘Die Radkappe’ is a travelling studio and exhibition space. Due to its mobility, the work successfully raises the fundamental question of what an exhibition space actually is, what it can and must achieve. Compared with classically immobile institutions, how suitable is it for storing and communicating art and culture? How can recipients be reached if there is no fixed visitor base? What possibilities are there for finding new locations for each exhibition, thereby creating permeable spaces where culture and everyday life meet? The ‘flesh’ and bone structure of cultural production under today's conditions are dissected. On educational trips, ‘Die Radkappe’ continues to serve as a mobile studio in which living and working spaces merge. Living, working, exhibiting and presenting come to be the objects of research and are part of the artistic working process.

The S9Kollektiv exhibits. 11 artists, 11 positions.

PARADISE LOST presents works by the artists ANAT HOMM and NADINE LOHOF. In AHs sculptural works, she deals with the transitions of carnality, sublimity and the transience of bodies. She carefully moulds each corpus from wax, layer by layer, as vulnerable and sensitive as human skin. The act of going underneath the skin has violent, scientific and erotic connotations. Where the epidermis breaks, we see gaping wounds and exposed intestines, while other injuries to flesh, such as bruises or contusions, lie beneath the surface. With anatomical fascination, the artist devotes herself to phenomena such as ‘wild flesh’ and, at the same time, manages to wander through the overlapping and merging body parts on the border between pleasure and pain, carnal desire and human destruction.

The project “Among Unicorns” explores new artistic-critical positions on non-normative gender identities (including queerness, non-normative forms of masculinity and femininity) in contemporary art from the MENA region in a global context.

The S9Kollektiv exhibits. 11 artists, 11 positions.

Photomontages of newspaper headlines, online news and some magazines, etc.. Read, watch and talk about our personal way of analysing this conflict in Palestine.

For the first time in Berlin, Haus Kunst Mitte dedicates an exhibition to the German-British artist Rebecca Fontaine-Wolf (born in Australia in 1982). In ‘Woman, Flesh & the Mirror: The Self-Portrait of Rebecca Fontaine-Wolf’, the Portugal-based artist explores female identity and sexuality, gender norms and the self-image in the digital age. In response to the coronavirus pandemic, she focuses on the portrayal of self in workcycles. With her unique physical-digital mixed media technique, she integrates the growing tensions between digital and physical realities into her creative process. Working from a female perspective but within patriarchal structures, she explores current trends such as self-fetishisation or how historical, religious and mythological symbols shape our sense of identity today. Her combination of universal archetypes with personal introspection lends her works a timeless, unique and moving power.

EROS EMBODIED - a multimedia reflection on flesh and being, characterised by physicality, love, queerness and religion. It explores the interfaces between sacred and profane forms of love. Julian Larger questions whether and how traditional views on sin and morality can be placed in the context of modern queer experiences. EROS EMBODIED is a visualisation of an inner conflict about how carnality and spiritual identities shape our understanding of intimacy and self, performed through painting, photography and installation.

Curated by Raphia Lina Zouaoui.

Flesh is a symbol of both vulnerability and transience. It represents a connection to physicality and the natural needs of man, flooded with life and energy - from still life to fleshy nudes, from abstract feeling, from red to blue-green. Contemporary painting. 6 artists. Current. Inviting dialogue.

Welcome to the dark world of my art, a world that does not shy away from the shortcomings of humanity, but exposes them with provocative self-assurance. I am a painter whose brushstrokes are meant to act like whiplashes on the souls of viewers, a painter who illuminates the dark corners of human existence with sharp precision and unrelenting rigour.

My paintings are not images of beauty, but a mirror that reflects the abysses of our own souls. They show the addictions, the self-destruction, the lies and the hatred that surround us and dominate us. The seven deadly sins - greed, pride, lust, envy, anger, gluttony and sloth - are my faithful companions on my journey through the human soul. They are the demons that lurk within each of us, just waiting to be unleashed.

My art is a biblical appeal to the do-gooders and hypocrites of this world, a call to truth and honesty. I penetrate the superficial facades and reveal the dark secrets hidden behind the masks. Because I, the artist myself, am not an innocent victim, but a monster who has the courage to become aware of her own abysses.

There are no idyllic landscapes or harmonious scenes in my paintings, but the harsh realities of life: war, violence, deceit and ruin. Yet in this darkness there is also a certain beauty - the beauty of truth, authenticity and liberation from illusion.

Look at my works with open eyes and a courageous heart. For only by confronting our own demons can we achieve true change. Welcome to my world of human abysses - may it shake you, challenge you and ultimately lead you to a deeper realisation of yourself.

The exhibition ‘the art of everyday - absurd, funny, sustainable’ presents a collection of sculptures, installations and objects.
The inspiration for these works of art is life itself - in all its bizarre and absurd splendour, tragedy and humour. The creative process often begins with an everyday object that would otherwise have been ignored or thrown away. These can be materials such as construction foam, interesting packaging, a liquor bottle ... or other remnants that would normally end up in the rubbish bin.

How do we perceive angels, spirits and saints? Do we compare ourselves with them by looking for parallels or do we abstract ourselves completely from such phenomena? What is our personal relationship to the supernatural?
In my paintings and graphics I try to find an answer to such questions.

‘With ‘Menschenbilder’ I work on the theme of humans in different variations. My main theme is mythological sculptures based on ancient archetypes. Conversations with Claudia Maluenda about dance inspired me to create my dancer figures.’

I would like to crochet a large pelmeni from chenille. There is a small accompanying booklet with a text about how the processing of meat is considered a cultural practice in the context of food culture and how (female) care is often reflected in the preparation of food. I would like to use my own family to illustrate this. I will describe how I was taught to prepare pelmeni as a child by my grandmother and how this is part of our cultural memory and a tradition that spans generations.

Small objects made of paper are installed in a shop window. Everyday objects make up the material. These objects are reshaped and combined with each other to create new forms, whilst the original object still remains recognisable. The work develops its message from the tension between the new complex form and the simplicity of the stereometric original bodies.

The reference to the theme of ‘flesh’ lies in the corporeality of the original objects and their transformation.

The musicians featured in the (jazz) concerts that the photographer attends make up the central themes of his work. Over a period of more than 40 years, a large amount of black and white portraits came into being, a selection of which is now being shown: Beginning with the New Jazz Festival in Moers on the Lower Rhine in the 1980s shot on an analogue camera, through to the jazz festivals and jazz clubs in Berlin in the 2020s shot on a digital camera. The pictures’ subject is always a single musician. Their extraordinary skill and the variety of instruments they play have become part of them, part of their body. This too is impressively captured in the photographs in the exhibition. And what better place for this theme than in a music school!

In her photo series "Landsend," Saskia Hubert presents photographic compositions that combine organic and architectural elements. Her images depict man-made structures and rugged natural landscapes as interwoven, interrelated contrasts. Through her experimental approach, the artist invites viewers to reflect on human intervention in nature. Using complex photographic techniques—both digital and analogue—along with layering and compression, she creates images with a unique, deep colour palette and a strangely otherworldly, perhaps even fairy-tale-like appearance.

Photographer Saskia Hubert received her training at Lette Verein Berlin and at the Academy of Visual Arts (HGB) in Leipzig. Since 2010, she has been working as a freelance photographer in Berlin.

Kunstfleisch explores the diversity of today's meat industry within a contemporary multimedia setting.

Merit Fakler
@merit.fakler
merit-fakler.de

Mo Frank-Auth
@mofrankauth

Agnes Sauter-Wellnhofer
@aswagnes

Dietmar Spiller
@spiller.dietmar
einbildungszeit.de

Ernst Wellnhofer
@kunstatelierwerkstatt

The central theme in the contribution VULNERA (Wounds) is "Chechnya". A large group of mourning men stands by the body of Natalya Estemirova, a Russian journalist and human rights activist who was abducted and murdered in 2009. To this day, the crime remains unsolved. This is not an isolated incident—in totalitarian systems, critical voices are silenced. The stronger the spirit, the more vulnerable the flesh. The body is fragile. Other contributions include "Hebron," featuring three boys at border checkpoints, representing all children who are prevented from freely developing due to physical threats. "Italy" recalls the protective measures associated with the first wave of COVID-19, while "MRI" illustrates that our bodies are vulnerable even independently of global catastrophes. The images are sourced from press photos. The neutral gold background in the life-sized painterly interpretations focuses attention entirely on the human subject, highlighting the universal within the individual.

Concrete and Abstract
Colours and Forms

For the past five years, our painting groups have been meeting to "create something creative." We explore different techniques for creating images, get to know ourselves in the creative process, and exchange ideas about what works, what fits, and what fits less well, among other things.

The discussions also provide us with sociability, inspiration for everyday life... We look forward to welcoming new participants.

We are showcasing images created over the past two years.

The Treff am Ottopark is an open recreational facility for people aged 40 and above from the local area. (Funding body: Mitte District Office; Sponsor: Moabiter Ratschlag e.V.)

We offer local activities such as Computer and English courses, painting groups, sports, yoga for seniors, Qi Gong, afternoon games sessions, a cooking group, a sing-along group, and an improv theatre group, as well as advice and lectures on topics relevant to pensioners, joint visits to cultural events, art tours, and much more. Our courses and activities are free for visitors, although some courses may charge for materials.

For the third time, Isa Zappe and Jakob Urban will project onto the brickwork site-specifically, critically playful and with the necessary touch of humour. Footnotes on bricks, carved face sausage, or simply a ride into the sweet sunset—This ain't Texas, this is for the cowgirls and -gays!

Isa Zappe
readymag.website/u1546198418/IsaZappe
@isa_zappe
@mediaisa.ai

Jakob Urban
jakoburban.com
@ja.kob.ur.ban

We will create a shop window installation that recreates a scenario at a meat counter. Using papier-mâché and drawing, we will model a display of sausages with humorous, emancipatory elements. Through the meat counter, we invite viewers to approach the goods like potential consumers and, upon closer inspection, find references to value production in the workplace, particularly in the art world, within the materials and prices.

The textile exhibition will predominantly be inspired by repetition and our everyday needs. Let’s talk about the fact that we are living in a big (rich) city. In it, the temptation of consumption is present on every corner. “2 for the price of 1” is supposed to attract us. Meat and sugar are legally oversold, which also causes the growing numbers of immunity diseases. “Quality over quantity!” should push us to consume in a way that is more conscious of our health and environment!

In recent years I have faced multiple medical issues that have affected my ability to paint as well as my relationship with art. I was prescribed glasses, then I had an eye infection and then a Covid infection that left me with chronic inflammation in my nose and ears. When I could paint again, I developed a wrist injury due to overworking. Not always being able to work has made me appreciate it much more and it has made me see how even the most conceptual and pre-thought requiring art has a physical, anatomical and carnal body behind it.

There are no spare parts for the human body, but luckily there are practical tools. In addition to glasses that help me see better, I bought a painter's wrist support that I had only seen in old artists' self portraits. It has eased the wrist pain and using it makes me feel connected to the artists before me. For this year's Ortstermin I would like to showcase art's power to emerge from any type of body in both sickness and in health.

Hair In The Dish is a photographic series depicting a scenario, where food made for usual human consumption is replaced with hair. A structure that consists of keratin, a protein that our digestive system cannot decompose. The series is inspired by trichophobia, the fear of hair. It tells nightmare-like and humorous stories about the symptoms of globus sensation, a scratchy feeling of having hair in the back of your throat, caused by stress and anxiety. The series plays with the idea of this uneasiness, making the daily act of consuming food both odd and impossible to perform. The Hair In The Dish exhibition displays seven self-portrait photographs and an installation that showcases an eerie dining scenario, which consists of colourful bowls and tableware covered in hair.

With their interdisciplinary works, 18 international artists reflect on 18 years of project space work at Kurt-Kurt.

Visible 24h: Installation in the outdoor

To mark the Kunstverein Tiergarten’s 20th anniversary, the publication and exhibition project RE:VISION brings together the names of all 2193 people and institutions who have actively participated in exhibitions and events at Galerie Nord over the past 20 years and in so doing, provided relevant aesthetic impulses and initiated socio-political discourse.

WE ARE FED UP
And extremely so - fighting meat consumption, industrial animal factories and dumping in relation to animal exports
Demonstrating during the Green Week at the Wir Machen Euch Satt protest for substantial agricultural revolution

‘Meat’ refers to the raw steak in the supermarket display, “meat” is part of all our bodies. Usually well wrapped up in skin and clothing, we are hardly aware of it in everyday situations. Only when illnesses, injuries or dissatisfaction with our body image force us to confront our own flesh does it emerge from obscurity.

The artists Elisa Canducci and Fabrizia Vanetta have taken the festival theme of ‘flesh’ as an opportunity to create a completely new print. It covers the entire surface of the advertising pillar at Theatre X on the REFO Campus and transforms it into an object that raises the question of how we deal with meat - our own and that of others - in public spaces.

The advertising pillar with the print work by Canducci and Vanetta can be visited and viewed independently of opening hours and beyond the duration of the festival until mid-October.

Drawings, prints, collages and paintings by Marika Voß as well as photography by Alsane Koite can be seen at the SOS Children's Village family centre/multigenerational house. You can also play chess with pieces that are made out of wood and clay and were designed by the children of the ‘Farbspiennen’ art workshop.

One can justifiably ask about the meaning of “Umriss” in Karen Scheper's drawings. The negation of figure appears on almost all of the sheets of paper; they refuse to be unambiguous and rarely reveal anything reliably legible. Yet, a new series of drawings shows a headless person performing a strange act with her hand. On each sheet of paper she is surrounded by various graphic structures, and at the same time, the white shirt she is wearing seems to merge with her torso in such a way that it depicts flesh tones.

A body with neither a face nor an identity initially only shows its carnality. Its mass corresponds to the materiality of a foreign body that exists in a conflicting state of tension. For some years now, Scheper has been working with images of bodies that seem to represent nothing other than found objects, objects in the landscape, bodily matrices that are trapped in a whirlwind or attacked by accumulations of graphic missions. One might view this as an act of dissolution or even Frankensteinian animation, yet it could just as well be the mere interaction of bodies and latent spaces. Text: H. Kann

Karen Scheper's artistic practice encompasses drawing, site-specific installation and spatial staging. Her work is characterised by the exploration of discontinuity and the drawing process. She uses conceptual drawing as a medium for analysing what she has seen or read as well as techniques of decomposition and collage. The text and image material used can be found in books or films, her own photographic archive and in online publications. It is dissected both shamelessly and conscientiously, transformed into variable spatial structures of lines or transferred into a graphic void.

Meat is animal, meat is human.
Flesh is plant, fruit ...
Flesh is creation, flesh is sin.
Using AI, we explore different definitions of flesh, explore new perspectives and challenge perceptions.
Skin and taxidermy will each play a decisive role in this process
How do I define flesh? What is beautiful? What is real?
Find out!

An exhibition that explores questions about the golden fleece, crocodiles, pictograms, sad trees and bulging lips. What remains of what was and is.

Gleb Bas
www.glebbas.com

Thomas Lang
@langkunst

Caroline Bayer
www.css.carolinebayer.de

Sabine Hoffmann
www.collision-squad.de

‘Die Radkappe’ is a travelling studio and exhibition space. Due to its mobility, the work successfully raises the fundamental question of what an exhibition space actually is, what it can and must achieve. Compared with classically immobile institutions, how suitable is it for storing and communicating art and culture? How can recipients be reached if there is no fixed visitor base? What possibilities are there for finding new locations for each exhibition, thereby creating permeable spaces where culture and everyday life meet? The ‘flesh’ and bone structure of cultural production under today's conditions are dissected. On educational trips, ‘Die Radkappe’ continues to serve as a mobile studio in which living and working spaces merge. Living, working, exhibiting and presenting come to be the objects of research and are part of the artistic working process.

The S9Kollektiv exhibits. 11 artists, 11 positions.

PARADISE LOST presents works by the artists ANAT HOMM and NADINE LOHOF. In AHs sculptural works, she deals with the transitions of carnality, sublimity and the transience of bodies. She carefully moulds each corpus from wax, layer by layer, as vulnerable and sensitive as human skin. The act of going underneath the skin has violent, scientific and erotic connotations. Where the epidermis breaks, we see gaping wounds and exposed intestines, while other injuries to flesh, such as bruises or contusions, lie beneath the surface. With anatomical fascination, the artist devotes herself to phenomena such as ‘wild flesh’ and, at the same time, manages to wander through the overlapping and merging body parts on the border between pleasure and pain, carnal desire and human destruction.

The project “Among Unicorns” explores new artistic-critical positions on non-normative gender identities (including queerness, non-normative forms of masculinity and femininity) in contemporary art from the MENA region in a global context.

Das S9Kollektiv stellt aus. 11 Künstler:innen, 11 Positionen.

Photomontages of newspaper headlines, online news and some magazines, etc.. Read, watch and talk about our personal way of analysing this conflict in Palestine.

For the first time in Berlin, Haus Kunst Mitte dedicates an exhibition to the German-British artist Rebecca Fontaine-Wolf (born in Australia in 1982). In ‘Woman, Flesh & the Mirror: The Self-Portrait of Rebecca Fontaine-Wolf’, the Portugal-based artist explores female identity and sexuality, gender norms and the self-image in the digital age. In response to the coronavirus pandemic, she focuses on the portrayal of self in workcycles. With her unique physical-digital mixed media technique, she integrates the growing tensions between digital and physical realities into her creative process. Working from a female perspective but within patriarchal structures, she explores current trends such as self-fetishisation or how historical, religious and mythological symbols shape our sense of identity today. Her combination of universal archetypes with personal introspection lends her works a timeless, unique and moving power.

EROS EMBODIED - a multimedia reflection on flesh and being, characterised by physicality, love, queerness and religion. It explores the interfaces between sacred and profane forms of love. Julian Larger questions whether and how traditional views on sin and morality can be placed in the context of modern queer experiences. EROS EMBODIED is a visualisation of an inner conflict about how carnality and spiritual identities shape our understanding of intimacy and self, performed through painting, photography and installation.

Curated by Raphia Lina Zouaoui.

Flesh is a symbol of both vulnerability and transience. It represents a connection to physicality and the natural needs of man, flooded with life and energy - from still life to fleshy nudes, from abstract feeling, from red to blue-green. Contemporary painting. 6 artists. Current. Inviting dialogue.

Welcome to the dark world of my art, a world that does not shy away from the shortcomings of humanity, but exposes them with provocative self-assurance. I am a painter whose brushstrokes are meant to act like whiplashes on the souls of viewers, a painter who illuminates the dark corners of human existence with sharp precision and unrelenting rigour.

My paintings are not images of beauty, but a mirror that reflects the abysses of our own souls. They show the addictions, the self-destruction, the lies and the hatred that surround us and dominate us. The seven deadly sins - greed, pride, lust, envy, anger, gluttony and sloth - are my faithful companions on my journey through the human soul. They are the demons that lurk within each of us, just waiting to be unleashed.

My art is a biblical appeal to the do-gooders and hypocrites of this world, a call to truth and honesty. I penetrate the superficial facades and reveal the dark secrets hidden behind the masks. Because I, the artist myself, am not an innocent victim, but a monster who has the courage to become aware of her own abysses.

There are no idyllic landscapes or harmonious scenes in my paintings, but the harsh realities of life: war, violence, deceit and ruin. Yet in this darkness there is also a certain beauty - the beauty of truth, authenticity and liberation from illusion.

Look at my works with open eyes and a courageous heart. For only by confronting our own demons can we achieve true change. Welcome to my world of human abysses - may it shake you, challenge you and ultimately lead you to a deeper realisation of yourself.

The exhibition ‘the art of everyday - absurd, funny, sustainable’ presents a collection of sculptures, installations and objects.
The inspiration for these works of art is life itself - in all its bizarre and absurd splendour, tragedy and humour. The creative process often begins with an everyday object that would otherwise have been ignored or thrown away. These can be materials such as construction foam, interesting packaging, a liquor bottle ... or other remnants that would normally end up in the rubbish bin.

How do we perceive angels, spirits and saints? Do we compare ourselves with them by looking for parallels or do we abstract ourselves completely from such phenomena? What is our personal relationship to the supernatural?
In my paintings and graphics I try to find an answer to such questions.

‘With ‘Menschenbilder’ I work on the theme of humans in different variations. My main theme is mythological sculptures based on ancient archetypes. Conversations with Claudia Maluenda about dance inspired me to create my dancer figures.’

I would like to crochet a large pelmeni from chenille. There is a small accompanying booklet with a text about how the processing of meat is considered a cultural practice in the context of food culture and how (female) care is often reflected in the preparation of food. I would like to use my own family to illustrate this. I will describe how I was taught to prepare pelmeni as a child by my grandmother and how this is part of our cultural memory and a tradition that spans generations.

Small objects made of paper are installed in a shop window. Everyday objects make up the material. These objects are reshaped and combined with each other to create new forms, whilst the original object still remains recognisable. The work develops its message from the tension between the new complex form and the simplicity of the stereometric original bodies.

The reference to the theme of ‘flesh’ lies in the corporeality of the original objects and their transformation.

The musicians featured in the (jazz) concerts that the photographer attends make up the central themes of his work. Over a period of more than 40 years, a large amount of black and white portraits came into being, a selection of which is now being shown: Beginning with the New Jazz Festival in Moers on the Lower Rhine in the 1980s shot on an analogue camera, through to the jazz festivals and jazz clubs in Berlin in the 2020s shot on a digital camera. The pictures’ subject is always a single musician. Their extraordinary skill and the variety of instruments they play have become part of them, part of their body. This too is impressively captured in the photographs in the exhibition. And what better place for this theme than in a music school!

In her photo series "Landsend," Saskia Hubert presents photographic compositions that combine organic and architectural elements. Her images depict man-made structures and rugged natural landscapes as interwoven, interrelated contrasts. Through her experimental approach, the artist invites viewers to reflect on human intervention in nature. Using complex photographic techniques—both digital and analogue—along with layering and compression, she creates images with a unique, deep colour palette and a strangely otherworldly, perhaps even fairy-tale-like appearance.

Photographer Saskia Hubert received her training at Lette Verein Berlin and at the Academy of Visual Arts (HGB) in Leipzig. Since 2010, she has been working as a freelance photographer in Berlin.

Kunstfleisch explores the diversity of today's meat industry within a contemporary multimedia setting.

Merit Fakler
@merit.fakler
merit-fakler.de

Mo Frank-Auth
@mofrankauth

Agnes Sauter-Wellnhofer
@aswagnes

Dietmar Spiller
@spiller.dietmar
einbildungszeit.de

Ernst Wellnhofer
@kunstatelierwerkstatt

Zentrales Motiv im Beitrag VULNERA(Wunden) ist „Tschetschenien“.
Eine große Gruppe trauernder Männer steht am Leichnam von Natalja Estemirova, russische Journalistin und Menschenrechtsaktivistin, 2009 entführt und ermordet. Bis heute ist die Tat nicht aufgeklärt. Kein Einzelfall – in totalitären Systemen werden kritische Stimmen eliminiert. Je stärker der Geist, desto gefährdeter das Fleisch. Der Körper ist verletzlich.
Weitere Beiträge sind „Hebron“, 3 Jungs an den Grenzanlagen, stellvertretend für alle Kinder, die aufgrund ihrer physischen Bedrohungssituation gehindert werden, sich frei zu entfalten.
„Italien“ erinnert an die Schutzmaßnahmen im Zusammenhang mit der ersten Coronawelle und „MRT“ zeigt, dass unser Körper auch unabhängig von den globalen Katastrophen verletzlich ist.
Die Motive sind Pressefotos entnommen. Der neutrale Goldgrund bei der malerischen Umsetzung in Lebensgröße richtet den Fokus ganz auf den Menschen, auf das Allgemeingültige im Individuellen.

Concrete and Abstract
Colours and Forms

For the past five years, our painting groups have been meeting to "create something creative." We explore different techniques for creating images, get to know ourselves in the creative process, and exchange ideas about what works, what fits, and what fits less well, among other things.

The discussions also provide us with sociability, inspiration for everyday life... We look forward to welcoming new participants.

We are showcasing images created over the past two years.

The Treff am Ottopark is an open recreational facility for people aged 40 and above from the local area. (Funding body: Mitte District Office; Sponsor: Moabiter Ratschlag e.V.)

We offer local activities such as Computer and English courses, painting groups, sports, yoga for seniors, Qi Gong, afternoon games sessions, a cooking group, a sing-along group, and an improv theatre group, as well as advice and lectures on topics relevant to pensioners, joint visits to cultural events, art tours, and much more. Our courses and activities are free for visitors, although some courses may charge for materials.

For the third time, Isa Zappe and Jakob Urban will project onto the brickwork site-specifically, critically playful and with the necessary touch of humour. Footnotes on bricks, carved face sausage, or simply a ride into the sweet sunset—This ain't Texas, this is for the cowgirls and -gays!

Isa Zappe
readymag.website/u1546198418/IsaZappe
@isa_zappe
@mediaisa.ai

Jakob Urban
jakoburban.com
@ja.kob.ur.ban

We will create a shop window installation that recreates a scenario at a meat counter. Using papier-mâché and drawing, we will model a display of sausages with humorous, emancipatory elements. Through the meat counter, we invite viewers to approach the goods like potential consumers and, upon closer inspection, find references to value production in the workplace, particularly in the art world, within the materials and prices.

"Red Fibers" is a 5x5 metre installation made of old bed sheets, transformed through the Japanese Shibori technique and dyed with madder roots to create rich red hues. These deep red hues reflect the festival's theme, "Fleisch". Just as madder roots dye the fabric, meat consumption, industrialisation and its societal impact colour our cultural fabric. This piece explores the intertwined histories of consumption, industrialisation, and human connection. The labour-intensive Shibori method mirrors the complex social patterns related to meat -- from sustenance to symbol, luxury to necessity. The red hues evoke flesh, blood, and the intimate bonds within families and communities, symbolising both nourishment and exploitation. "Red Fibres" also addresses sustainability by repurposing old bed sheets, highlighting the cycle of life, death and rebirth.

The textile exhibition will predominantly be inspired by repetition and our everyday needs. Let’s talk about the fact that we are living in a big (rich) city. In it, the temptation of consumption is present on every corner. “2 for the price of 1” is supposed to attract us. Meat and sugar are legally oversold, which also causes the growing numbers of immunity diseases. “Quality over quantity!” should push us to consume in a way that is more conscious of our health and environment!

In recent years I have faced multiple medical issues that have affected my ability to paint as well as my relationship with art. I was prescribed glasses, then I had an eye infection and then a Covid infection that left me with chronic inflammation in my nose and ears. When I could paint again, I developed a wrist injury due to overworking. Not always being able to work has made me appreciate it much more and it has made me see how even the most conceptual and pre-thought requiring art has a physical, anatomical and carnal body behind it.

There are no spare parts for the human body, but luckily there are practical tools. In addition to glasses that help me see better, I bought a painter's wrist support that I had only seen in old artists' self portraits. It has eased the wrist pain and using it makes me feel connected to the artists before me. For this year's Ortstermin I would like to showcase art's power to emerge from any type of body in both sickness and in health.

Hair In The Dish is a photographic series depicting a scenario, where food made for usual human consumption is replaced with hair. A structure that consists of keratin, a protein that our digestive system cannot decompose. The series is inspired by trichophobia, the fear of hair. It tells nightmare-like and humorous stories about the symptoms of globus sensation, a scratchy feeling of having hair in the back of your throat, caused by stress and anxiety. The series plays with the idea of this uneasiness, making the daily act of consuming food both odd and impossible to perform. The Hair In The Dish exhibition displays seven self-portrait photographs and an installation that showcases an eerie dining scenario, which consists of colourful bowls and tableware covered in hair.

With their interdisciplinary works, 18 international artists reflect on 18 years of project space work at Kurt-Kurt.

Amazons and Fish Flesh
A connection is made