Nico Anklam studied art history, aesthetics and cultural history in London, Berlin and as a Fulbright scholar in New York. He taught 20th century art at the Berlin Perspectives programme of Humboldt University and is currently a guest lecturer in Art and Theory at UdK Berlin. He conceived exhibitions in Germany, Denmark, and Sweden, as curator in residence at Kunsthal 44 Møen and YEARS Copenhagen in 2013, at the Cologne-based project space Bruch und Dallas and Skånes konstföreningen together with KHM Gallery, Malmö in 2014. He is currently head of institutional relations at WENTRUP Berlin and since 2008 part of the educational team of the Deutsche Guggenheim, now Deutsche Bank Kunsthalle. At TANAS - Space for Contemporary Turkish Art Berlin he developed from 2010 through 2011 the interdisciplinary roundtable series “TANAS talks”. He has published catalogues and contributions for monographs in magazines such as African Arts (MIT Press) and SAVVY art.contemporary.african, including texts on artists such as Sarkis, Timm Ulrichs and Kendell Geers. He is currently working on an exhibition project around the late Fluxus composer Henning Christiansen, to open and travel in 2016 and 2017.
Ariane Beyn is an art historian and curator based in Berlin. Since 2008 she has been head of the visual arts at the daad’s Artists-in-Berlin program. In 2004-06 she had a teaching position at the University of the Arts, Berlin and was visiting curator at the CCA Wattis Institute for Contemporary Arts, San Francisco. She curated Michael Snow “Hearing Aid” at Klosterfelde, Kunstwerke Berlin; the Berlin section for “Deutschland sucht…”, a project by Jens Hoffmann and Kathrin Rhomberg at Kunstverein Cologne; “Transatlantic Impulses” – 10th anniversary exhibition of the Villa Aurora residency programme in Los Angeles and Martin Gropius Bau, Berlin; “Speakers’ Corner”, Cuboid at Kunstverein Braunschweig; “Virtuosic Siblings” in Berlin, LA - Film/ Art Festival with co-curator Zaia Alexander at Redcat Gallery, Goethe-Institut, as well as Villa Aurora in Los Angeles. In 2008 she was Artistic Director of the first edition of “abc – art berlin contemporary” at Station Berlin. As head of the visual arts at the daad Artists-in-Berlin programme, she has realised numerous exhibitions, projects and publications including Dan Graham “Death by Chocolate”, daadgalerie, Berlin; Annika Eriksson “Wir sind wieder da”, daadgalerie, Berlin; Cyprien Gaillard, “Neon Indian”, Public project at Alexanderplatz; Jennifer Bornstein “New Waves”, daadgalerie, Berlin and Anna Boghiguian “Unstructured Diary for an Autobiography”, daadgalerie, Berlin.
The Berliner Künstlerprogramm – Artists-in-Berlin Programme – is one of the most renowned international programmes offering grants to artists in the fields of visual arts, literature, music and film. From the beginning, the Berliner Künstlerprogramm has defined itself as a forum of artistic dialogue extending beyond cultural, geographical and political borders.
Ellen Blumenstein, born in Witzenhausen, Germany, lives and works in Berlin. She has been chief curator of the KW Institute for Contemporary Art, Berlin since January 2013. In her first year, she realised the exhibitions “Relaunch”, “Kader Attia: Repair. 5 Acts” and “Real Emotions: Thinking in Film”, as well as launching comprehensive public programmes and professional partnerships. In her second year she premiered the first solo exhibitions in Germany of artists Ryan Trecartin, Kate Cooper, Channa Horwitz and Elin Hansdóttir. Before KW, she was an independent curator, member of the curatorial collective THE OFFICE and founder of the project space Salon Populaire. Between 1998-2005 she worked as a curator for KW Institute for Contemporary Art, where she realised the exhibition project "Regarding Terror: The RAF-Exhibition" (with Klaus Biesenbach, Felix Ensslin, 2005). Since, she curated the exhibition "Between Two Deaths" at ZKM in Karlsruhe (with Felix Ensslin, 2007), and in 2011 she curated the Icelandic Pavilion at the Venice Biennial (Libia Castro and Ólafur Ólafsson).
KW Institute for Contemporary Art is a place for the production and presentation of contemporary art, where the pressing questions of our time can be openly formulated and discussed. It is a centre for the introduction of recent developments in national and international contemporary culture, and for further development, working together with artists and institutions, and commissioning new work.
Jörn J. Burmester is a performance artist, author and organiser. He lives in Berlin and works throughout Europe. His artistic practice includes group and solo performances, writing, fine art works, as well as exploring new presentations and formats of reflections within the field of performance art. The production and organization of performances as well as the networking of actors play an integral part in this artistic practice. He is founder and host of the performance art network Performer Stammtisch, and has been invited to the performance series Burmester and Feigl show performance art, BuFzP, together with Florian Feigl at the Volksbühne Berlin, and is a member of the organization team of MPA-B - Month of Performance Art Berlin. Together with Feigl, he has organized several symposia on performance art.
Performer Stammtisch shows artistic practices and live performances from the international Live Art and performance art scene. Besides the live events, Performer Stammtisch is a network of artists, critics, scholars, curators and an interested public. The aim is to establish a place dedicated to performance art and Live Art in Berlin. It is a forum for the professional international exchange of artistic practices and strategies. Additionally, Performer Stammtisch aims to be a platform to facilitate the exchange of information regarding the organizational, financial and administrative side of professional artistic work in the fields of performance art and Live Art.
Sol Calero was born in Caracas and studied at Universidad Complutense de Madrid and Universidad de La Laguna, Tenerife. Her work has been included in solo and group exhibitions at Laura Bartlett Gallery, London; Mostyn, Llandudno, Wales; Frutta Gallery, Rome; Nogueras Blanchard, Barcelona and The Taut and Tame at Lüttgenmeijer, Berlin.
Christopher Kline was born in Kinderhook, NY. He studied at the Rhode Island School of Design. He has recently exhibited and performed at venues such as Grimmuseum, Berlin; Lüttgenmeijer, Berlin; TOVES, Copenhagen; HAU2, Berlin; Tenerife Espacio de las Artes (TEA), Tenerife; and as part of Based in Berlin, Atelierhaus Monbijoupark, Berlin.
Kinderhook & Caracas
Kinderhook & Caracas is a Berlin project space founded in 2011 and run by Calero and Kline. It is named after their hometowns of Caracas, Venezuela and Kinderhook, New York. The programme focuses on the presentation of solo exhibitions, collaborations, and co-curated projects with an emphasis on creating a cohesive, in-depth, new body of work without concern for its functionality in the commercial gallery landscape or within a traditional institutional framework. Also presented are archival and research-based exhibitions with a focus on new methods of knowledge production and preservation. All projects are presented alongside researched texts developed with the artists to offer tangential and alternate readings of the work.
Ricarda Ciontos was born in Hermannstadt, Romania, and moved to Heidelberg in 1978. She studied at the University of Music and Performing Arts in Saarbrücken. Ciontos has lived and worked as an actress in Vienna, Stuttgart, Frankfurt, Bochum and Bucharest. Since 2002, she has been based in Berlin. In 2006, she established the Nordwind Festival, which soon became one of the major platforms for the Nordic Performing Arts in Europe.
Nordwind is an interdisciplinary platform for the Nordic arts and culture and acts as a network, co-producer and discoverer. Nordwind’s aim is to raise the profile of Nordic and Baltic artists, theatre and culture-makers in Germany and to introduce them to an international audience, to embrace and share new artistic impulses as well as to promote a Europe-wide exchange between Germany and the Nordic and Baltic countries.
Katharina Dohm studied art history with minor studies in archaeology and civil law at Ruhr-Universität Bochum. In 1997-98 she was granted a Socrates/Erasmus scholarship to the Université Paris-Sorbonne. During her studies she focussed on contemporary art and made first important working experiences at Fridericianum Kassel under direction of René Block (1999-2000). After her studies in 2002 she started working as project manager for “Centre of Attraction – 8th Baltic Triennial of International Art” in Vilnius, Lithuania curated by Tobias Berger. She was assistant curator at Halle für Kunst Lüneburg e.V. (2003), followed by a short insight into gallery work at Konrad Fischer Galerie, Düsseldorf, before coming to Schirn Kunsthalle Frankfurt in 2004. There she started working as assistant curator and curated several exhibitions like “Art machine Machine art” 2007, “Peter Doig” 2008, “Haris Epaminonda” 2010, “Bettina Pousttchi” 2012 and “Philip-Lorca diCorcia” 2013. Since 2012 together with her colleague Matthias Ulrich she has curated the “double feature” film programme at Schirn.
Schirn Kunsthalle Frankfurt
The Schrin Kunsthalle Frankfurt is one of Germany’s most renowned exhibition institutions. Since its founding in 1986, the SCHIRN has mounted approximately 200 exhibitions, including major survey shows devoted to the Vienna Jugendstil, Expressionism, Dada, and Surrealism, to women Impressionists, to subjects such as “shopping—a century of art and consumer culture,” the visual art of the Stalin era, new Romanticism in contemporary art, and the influence of Charles Darwin’s theories on the art of the nineteenth and twentieth centuries.
Power Ekroth (SWE/NO) is independent curator, critic, as well as an editor based in Berlin. She is founding editor of the recurrent publication SITE and an Art Consultant for KORO, Public Art Norway. She has published frequently in Artforum.com, Contemporary, Flash Art, Frieze and many other international magazines. During 2012 and 2013 she curated the Momentum Biennial, Moss, Norway, and in 2013-14 held an interim position as external curator at Telemark Kunstnersenter, Skien, Norway. Her curatorial vision is to initiate a change of mindset within the viewer: to mediate art that entails visions, ideas, dreams and phantasms, which thus formulate a meta-structure of reality.
Recent projects include High on Low-Life, Telemark Kunstnersenter, 2014, Skien, Norway; Six Impossible Things Before Breakfast, Momentum Biennial 2013, Moss, Norway; The Turku Biennial 2013; IDYLL (co-curated with Karolin Tampere, Ellen Friis, Æsa Sigurjónsdóttir and Laura Boxberg/Eeva Holkeri/Silja Lehtonen/Johanna Lehto-Vahtera); The Nordic Pavilion in the Dak'Art Biennial, Into the Rabbit Hole, Dakar, Senegal 2012 (a residency and exhibition, co-curated with Marita Muukkonen); Nordic Art Today: Conceptual Debts, Broken Dreams and New Horizons at Etagi, St Petersburg 2011 (co-curated by Kari Brandzæg, Birta Guðjónsdóttir, Simon Sheikh, Anna Bitkina and Aura Seikkula); FAMES: Family Vaudeville (2010/2011) at DARB 1718, Cairo, Egypt (a residency and exhibition co-curated by Juan-Pedro Fabra Guemberena).
Francesca Ferguson is a curator, journalist and founder of urban drift projects, an international platform for the communication of new architecture and urban design practice. She was director of the Swiss Architecture Museum in Basel, commissioner of the Deutschlandscape - the German Pavilion at the Architecture Biennial in Venice, and Talking Cities at Zeche Zollverein in Essen (Entry 2006). She is currently launching a new architecture and urban design festival for Berlin in 2015, entitled MakeCity.
urban drift is a network for the development of trans-cultural urban strategies. Concentrating on urban voids, gaps and residual, or peripheral zones and public spaces, members of urban drift act as tacticians for a contemporary urban praxis, developing a discourse within Berlin as one of the primary cities of flux. Its aim is to communicate architecture and urban design to a wider audience, to extend the boundaries of architectural discourse, and to maximise the potential of interdisciplinary practice. urban drift speculates on the need to point the way to contemporary architectural practice and urban design as the steering and managing of processes; on the need to move from formalism to flux management.
Kordula Fritze-Srbic is an independent curator living and working in Berlin and artistic coordinator of GROSSES TREFFEN at the Nordic Embassies in Berlin since 2013.
She studied Performance Art and Contemporary Dance in Berlin and at ArtEZ art academy Arnhem, Netherlands, and Art History as well as Theatre, Film and Media Studies at the University of Vienna.
She is guest curator at Kunstverein Göttingen where she curated “Ring-Pass-Not, Lea Porsager” (2015); “Moment!”, 2015; “Cluster – Viktoria Binschtok”, 2015; “When You Light A Lantern In The Summer Night Many Strange Things Come Flying – Kirstine Roepstorff”, 2014; and “movement matters”, 2014. For the Berlin Art Week 2015 she was artistic coordinator of “XCHANGE - Project Space Festival Berlin”. In 2013 she was curator of the exhibition and performance series „Water– Nuno Vicente”, and assistant curator for “Enten-Eller /Either-Or” at Kunsthallen Nikolaj, Copenhagen, Haus am Waldsee Berlin. She co-curator the group exhibition “Faraway, So Close!” at Fichtebunker Berlin in 2012.
At Node Center for Curatorial Studies Berlin she was curator in residence 2012.
In Vienna she was project consultant for art institutions and festivals such as KÖR – art in public space, WUK – Theater/Tanz, Jaccuzzi – some days of performance, music and public, and WIEN MODERN – festival for contemporary music. She worked for the dance and performance festival ImPulsTanz, where she managed the first EU prize „Pris Jardin d'Europe“ for young choreographers, 2008, and was jury member for the Studio Grant District Berlin 2014 and Certamen Coreografico Madrid 2008.
Anna Goetz, born in Basel, Switzerland, studied Art and Cultural Mediation as well as Art Theory and Cultural Studies at University of Bremen, Hamburg and Basel. Since 2013, she has been working at MMK Museum für Moderne Kunst Frankfurt am Main. Currently she is preparing an exhibition with Isa Genzken for 2015. In 2012-13 she was appointed project coordinator for the German Pavilion, 55th International Art Exhibition – La Biennale di Venezia.
Amongst curating independent projects, she was also involved in the exhibitions Arte Essenziale (with Karla Black, Thea Djordjadze, Jason Dodge, Ian Kiaer, Helen Mirra et al.) a coproduction of Collezione Maramotti and Frankfurter Kunstverein as well as Demonstrations: Making Normative Orders (with Discoteca Flaming Star, Dani Gal & Achim Lengerer, Nicoline van Harskamp, Sharon Hayes, Marcello Maloberti, Yorgos Sapountzis et al.) also at Frankfurter Kunstverein as well as being part of the curatorial team of Kunstverein Harburger Bahnhof.
MMK Museum für Moderne Kunst Frankfurt/Main has in the space of less than two decades established a firm place for itself in the international museum scene. Ever since MMK first opened in 1991, it has played a major part in the cultural and social life of the city and offers a major platform with its post-modern architecture. Today, the MMK Collection includes over 5,000 works of international art, ranging from the 1960s to the immediate present.
Sophie Goltz has been working at Neuer Berliner Kunstverein (n.b.k.) as curator from 2008 to 2013. Her curatorial tasks comprised the contentual and strategic conception and the implementation of new commissions of time-based, performative and other practices with younger artists [e.g. Karolin Meunier, Discoteco Flaming Star, Ming Wong, Azin Feizabadi (all 2010), Laura Horelli (2011), Julieta Aranda, Anja Kirschner and David Panos (both 2012), as well as Alejandro Cesarco and Conversation Pieces (both 2013)]. From 2014, she will continue to work with n.b.k. as well as realizing independent projects [at among others Galeria Vermelho, São Paulo (2014), Kunsthaus Dresden (2015)]. Earlier, she has worked as a freelance curator and art educator with major international exhibitions of contemporary and modern art [Documenta 11 (Kassel, 2002), the 3rd Berlin Biennale (Berlin, 2004), Projekt Migration (Cologne, 2004–06) and Documenta 12 (Kassel, 2007)] as well as on her own thematic priorities [Global (Post-) Conceptualism (since 2010), Archival Practices (since 2007–12), Art and Sustainability (2001–08)]. Working with such thematically focused and often large-scale projects on a high international level not only inspires her, but also shapes her understanding and knowledge of how art and its discourses can affect our present. Goltz is also a lecturer at the Kunsthochschule Berlin-Weißensee and writes regularly for art magazines, e.g. Texte zur Kunst, springerin, art agenda. In 2013 she was appointed as the Stadtkuratorin (City curator) of Hamburg for 2014 and 2015.
Mika Hannula is a writer, curator, teacher and art critic. Currently, he is a professor for artistic research at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg, Sweden. In 2000-05 he was director of the Academy of Fine Arts, Helsinki, Finland, while acting as the chair of KUNO, Nordic network of Art Academies.
He holds a PhD in Political Science and is the author of numerous articles and of several books on contemporary art. He was the curator of the Estonian Pavilion at the Venice Biennial 2007 and curated the show Situated Self with Branko Dimitrijevic in Belgrade and in Helsinki in 2005. He also curated a show on artistic research called Talkin’ Loud and Sayin’ Something – Four Perspectives into Artistic Research in Gothenburg in 2008. Again with Dimitrijevic, he curated the 53rd October Salon in 2012 in Belgrade.
Recent books include: Tell It Like It Is – Contemporary Photography and the Lure of the Real, University of Gothenburg (2011), Politics, Identity and Public Space, Expothesis (2009), The Politics of Small Gestures, art-ist, Istanbul (2006), It’s All or Nothing – Critical Theory, Contemporary Visual Art and Culture (2003) and Rock the Boat – Localised Ethics, the Situated Self, and Particularism in Contemporary Art (2003, with Tere Vadén). Hannula lives and works in Berlin.
Anja Marina Henckel, co-director of Import Projects, is based in Berlin and Vienna. Prior to completing her Fine Art studies at the University of the Arts London she studied history and geography in Berlin. She has written for publications including Sleek and Grand Tour Magazine. Committed to cultural exchange, Anja has worked as Tour Director for EF Educational Tours throughout Europe since 2006 and conducts cultural tours for NICHE Art & Architecture Tours Berlin since 2012. In 2014 she was Assistant Curator of Antarctopia: The Antarctic Pavilion at the 14th Venice Biennale of Architecture.
Nadim Julien Samman read Philosophy at University College London before completing a doctorate in art history at the Courtauld Institute of Art. In 2012 he curated the 4th Marrakech Biennale with Carson Chan. Projects in 2014 include Antarctopia: The Antarctic Pavilion, 14th Venice Biennale of Architecture, and Treasure of Lima: A Buried Exhibition - a unique site-specific exhibition on the remote Pacific island of Isla del Coco. Nadim is Co-Director of Import Projects, Editor of Near East Magazine and Curator at Thyssen-Bornemisza Art Contemporary.
Anja and Nadim co-founded the non-profit curatorial initiative Import Projects in 2012. Hosting exhibitions, performances and symposia, IMPORT provides an experimental platform for contemporary cultural production and debate, primarily exploring the intersection of technology, personal identity and community.
Jule Hillgärtner is director of Kunstverein Braunschweig and co-curator for RAY 2015 photography projects Frankfurt/RhineMain, a triennial for international contemporary photography with exhibitions spanning several cities throughout the Frankfurt area, which after its initial installation in 2012 will continue in 2015. As curator and writer she has worked in various contexts of contemporary arts and taught a class on photography theory at the Offenbach University of Art and Design since 2009. Besides being an author for numerous exhibition catalogues, Hillgärtner is a regular editor for Album, Magazin für Fotografie, a biannual publication featuring works of young and emerging photographers.
Hillgärtner studied theatre, film and media sciences as well as art pedagogy at Goethe-Universität in Frankfurt/Main. In 2005-08 she received the DFG-postgraduate-fellowship “Zeiterfahrung und ästhetische Wahrnehmung” (experiences of time and aesthetic perception) and completed her doctoral thesis on photography and video in embedded journalism in July 2009. In 2010 she joined the F/Stop Photography Festival Leipzig as managing editor. From 2001-14 she was a key member of the art education department at the Museum für Moderne Kunst (MMK) in Frankfurt/Main, developing workshops and concepts for exhibition-projects. In 2012-13 she was the interim senior-curator at the Frankfurter Kunstverein and in 2013-14 exhibition manager for “lens-based sculpture”, an exhibition on how photography influenced sculpture showing at the Akademie der Künste in Berlin.
Susanne Husse, born in Görlitz, Germany, is a curator, cultural researcher, and author. She lives in Berlin, studied literatures, art history, philosophy as well as arts and media management at Sapienza – Università di Roma, Freie Universität Berlin and Humboldt Universität Berlin. Since 2012 she has worked as artistic director for District Kunst- und Kulturförderung in Berlin, where she realizes collaborative projects like ổn định động. Mobile Academy, Vietnam/Berlin with Simon Starling, Städelschule Frankfurt (2013), the series of ‘rehearsals’ and archives (Dis)playing paper, hours and constellations (2013) or SAY IT LOUD: on words and actions, curated with B.S.B. Ndikung and M.M. Steinman (2012). Her current investigations are involved with forms of engagement with the political and cultural heritage of the Cold War period in contemporary art and theory production (e.g. Lập Lòe solo exhibition of Tran Luong, 2013 and The Forgotten Pioneer Movement curated with U. Gerhardt, 2014). Together with Lorenzo Sandoval she developed the ongoing project dissident desire (since 2013). In 2012 she was awarded a curatorial research grant by the Goethe-Institut for her research on collective art production and urban activism in South Korea. She worked with Ute Meta Bauer on the exhibition The Future Archive at Neuer Berliner Kunstverein (2012) and taught art in public space at Kunsthochschule Weißensee/ the master course Space Strategies (2012). She organized The Arts and the City for Berliner Kunsthalle e.V. in collaboration with the Heinrich Böll Foundation (2009-2011). Since 2011 she has co-curated the project space NOTE ON (News about the Apocalypse, project series with U. Gerhardt and F. Hamann, 2012).
Nora Mayr, born in Austria, is a Berlin-based freelance curator and co-director of the independent exhibition space insitu. She studied Art History and Science of Communication at the University of Vienna and Utrecht University, and wrote her master thesis on the topic of art interventions in public space. Following a half-year trainee programme for emerging curators and cultural producers at Künstlerhaus Bethanien Mayr moved to Berlin in 2008. Since then she has been realizing various curatorial projects and worked as coordinator of the International Studio Programme at Künstlerhaus Bethanien in 2010-13. In 2013 she founded the art space insitu with her colleagues Marie Graftieaux, Gilles Neiens and Lauren Reid. For its inaugural year insitu realised the exhibition "cycle I" with seven episodes dealing with fundamental questions surrounding the production of art: from the blank wall of the studio to the jungle of the art market. For its programme "cycle II" (2014-15), insitu plans to be a catalyst to form relationships, networks and connections and therefore sets up exhibition frameworks that respond directly to each other or invite exchanges. Additionally Mayr co-founded the "Project Space Festival Berlin", which had been realised with 30 project spaces in August 2014 for the first time. Furthermore she curated the projects: “Home Stories” at Villa 102, Frankfurt am Main (co-curator Dr Nicola Müllerschön, 2013) and “Kann es Liebe sein?” at Grimmuseum, Berlin; Cercle Cité Luxembourg; Sammlung Lenkius and Künstlerhaus Wien, Vienna (co-curator Gilles Neiens, 2012).
insitu is a non-profit space for contemporary art in Berlin, founded in April 2013. The two-room souterrain is located at Kurfürstenstrasse 21-22, in the middle of the new gallery district of Schöneberg. The name insitu refers to the curatorial team’s understanding of curatorial practice as being necessarily “in situ” in terms of cultural, social and geographical spaces. For its inaugural year insitu has planned an exhibition cycle of six episodes dealing with fundamental questions surrounding the production of art: from the blank wall of the studio to the jungle of the art market.
Bonaventure Soh Bejeng Ndikung (PhD), born in Yaoundé, Cameroon, is independent art curator and biotechnologist. He is founder and artistic director of the non-profit art space SAVVY Contemporary Berlin - a laboratory for conceptual, intellectual, and artistic production and exchange that takes up the challenge of investigating the ‘threshold’ between, as well as critically reflecting on and questioning discourses around “Western art” and “non-Western art”. He worked as independent curator, artistic director and publisher for Berlinische Galerie, Tensta konsthall Sweden, Goethe-Institut, Institute für Auslandsbeziehung (ifa), Kunstraum Kreuzberg/ Bethanien, Arsenal Kino Berlin, 7. Berlin Biennale, dOCUMENTA 13 / Konrad Adenauer Stiftung, District Berlin, KfB Kulturstiftung or Akademie der Künste Berlin. He was fellow of the 2013 Einstein Foundation’s Berlin der Begegnung and speaker at the forum of the 1:54 Contemporary African Art Fair in London. He is panellist of DEsFIGURES TOXIQUES at Les Laboratoires d'Aubervilliers, 2013 and the IKT Lab #3 at the Calouste Gulbenkian Foundation, Paris 2013.
Upcoming projects include If You Are So Smart, Why Ain't You Rich? On the Economy of Knowledge for the Marrakesh Biennial Satellite; Giving Contours to Shadows at the Neue Berliner Kunstverein (n.b.k.), Hebbel am Ufer (HAU) Berlin, Gemäldegalerie, SAVVY Contemporary and five satellite projects in Lagos, Dakar, Johannesburg, Nairobi and Martil, Morocco; The Ultimate Capital is the Sun at NGBK. Ndikung has been living on and off in Berlin since 1997, where he studied food biotechnology at the University of Technology Berlin, did a doctorate in medical biotechnology at the Heinrich Heine University Düsseldorf / TU Berlin and a post-doctorate in biophysics in Montpellier.
Solvej Helweg Ovesen a curator and author, born in Hillerød, Denmark, 1974. She lives and works in Berlin and Copenhagen. She was educated at De Appel Curatorial Training Program, Amsterdam and holds a MA in Fine Arts, Cultural Studies and Communication from Copenhagen University and Humboldt University of Berlin.
Currently she is the artistic director of GROSSES TREFFEN, a yearly networking event where Nordic artist via an open call are selected to meet Berlin-based curators at the Nordic Embassies in Berlin. She is also working on a group exhibition at the Karen Blixen Museum in Nairobi, Kenya, and in Rungstedlund, Denmark, 2015.
She recently curated the wall painting project »How Far Away is the Horizon?« in public space in collaboration with CKU Images Festival, Copenhagen-Holbæk, 2013 DK, as well as the group exhibition »Enten-Eller / Entweder-Oder« on the occasion of the 200th anniversary of Danish Philosopher Søren Kierkegaard, at Kunsthallen Nikolaj, 2013 Copenhagen, and Haus am Waldsee, 2013 Berlin. She also co-curated »The Eye is a Lonely Hunter« – 4. Fotofestival Mannheim Ludwigshafen Heidelberg together with Katerina Gregos, 2011 DE, and the group exhibition »Never Odd or Even – a text spaced exhibition« at Grimmuseum in Berlin, 2011 DE, and at Museum of Contemporary Art in Roskilde, 2012 DK. She continuously collaborates with the Grimmuseum as an author and curatorial advisor.
Solvej Helweg Ovesen is board member of the festival organisation Golden Days in Copenhagen, a jury member of DZ Bank Künstler Stipendium 2013, selector of Van Bommel van Dam Price, Venlo, Van Bommel van Dam Museum 2013-2019 and selector of the Celeste Art prize 2014.
Heiko Pfreundt is part of the team of artists that runs the weekly shows at Kreuzberg Pavillon in Berlin every Saturday. He originally created Kreuzberg Pavillon as an artistic script for self-institutionalization for everyone and to introduce a certain rhythm of collective decisions. He graduated as a designer and makes decisions in the artist-run project spaces Kreuzberg Pavillon in Berlin and Tor 13 in Bremen. During the week he teaches
students of fine arts and media aesthetics at the University of Bremen, where he’s currently researching the origin of contemporary forms of exhibitions in terms of body politics and socialization.
With more than 80 exhibitions and 500 artists, Kreuzberg Pavillon has emerged since September 2010 to one of Berlin’s most active, independent non-profit project spaces with regular shows each Saturday. The team behind Kreuzberg Pavillon prosecutes active networking and sustainable exchange with artists, initiative persons, activists and further artistic and social projects in and outside Berlin. The open process in this field of interests complies with the desire of all participants to establish the pavilion as a model for an interesting, inclusive system of contemporary art. In 2013 Kreuzberg Pavillon won the prize for project spaces and initiatives from the General Administration for Cultural Affairs, Berlin.
The New York based collective DIS, composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro, has been appointed the curatorial team of the 9th Berlin Biennale. The 9th Berlin Biennale will take place in early summer 2016.
The cultural interventions of DIS are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions such as DIS Image Studio (2013, The Suzanne Geiss Company, New York, US), ProBio at EXPO 1: New York (2013, MoMA PS1, New York, US) or Dressing the Screen for the British Council (2012, UCCA, Beijing) to ongoing online projects which most notably include DIS Magazine, a virtual platform that examines art, fashion, music, and culture, constructing and supporting new creative practices. Recent ventures include DISimages, 2013, a fully operational stock photography agency that enlists artists to produce images available for private and commercial use, and DISown, a retail venture aimed at expanding creative economies. Across its various endeavours, DIS explores the tension between popular culture and institutional critique, while facilitating projects for the most public and democratic of all forums—the internet.
Born in Madrid, Lorenzo Sandoval lives and works in Berlin. He works at the crossing points of artistic practice, curatorial processes and spatial design. He holds a BFA and a Masters in Photography, Art and Technology from the UPV (Valencia, Spain). Sandoval has attended international residencies in Berlin, Portugal and Kenya. He was production manager of the EACC (Castellón, Spain). Within Transeuropa Festival, Sandoval organised the project ‘Visualising Transnationalism’ together with Emanuele Guidi. Sandoval has won several curatorial prizes such as: Inéditos for ‘Around is Impossible. An Exploration of the Unexpected in the Cartographical Systems of Google’ at La Casa Encendida (2011), the Can Felipa Curatorial prize for ‘(…) Science, Territory and Subjective Narratives’ and Curatorial Open call 2012 for ‘Case Report’ at Nogueras Blanchard. He has curated ‘The Rescue of the Effects: Notes for a Theory of the Reader’ at General Public (2012); ‘Field Studies’ (2012), ‘Osmosis’, together with Gabriela Acha, Club Transmediale Vorspeil and ‘Disruptive Patterns: Plans, Plots and Movements’ at Altes Finanzamt. He has participated in shows such as ‘’ at Instituto Cervantes (2012), ‘Say it Loud. On Words and Actions’ at District (2012) and ‘Handlungsbereitschaft’, Motorenhalle, Dresden (2013). He presented the project ‘Office Party: Multidimensional Spectrum of Voices’ at Rosa Santos Gallery (Valencia) and Kinderhook & Caracas (Berlin). In collaboration with Susanne Husse, he has developed ‘dissident desire’ at District (Berlin). ‘Mutant Matters’, produced together with S.T.I.F.F., was commissioned by SAVVY Contemporary (Berlin) and presented at ar/ge Kunst (Bolzano). At the moment, Sandoval is developing project ‘Spaces of Anticipation’ with Emanuele Guidi for EACC and ar/ge Kunst.
Amelie Wedel has been curator and project manager at Grimmuseum, Berlin since 2012. She studied art history and comparative literature at Free University Berlin and at University of Edinburgh. In 2013, she was awarded the daad research grant to New York City where she completed her final thesis on space interventions and alternative art spaces in the 1970s. She was curator-in-residence at Flux Factory, New York City and responsible for the exhibition “Lights in the Gloaming” by Emi Nishiwaki. In recent years, she has been working on interdisciplinary productions (“Is Maybe” with Angela Schubot, Jared Gradinger and Mark Jenkins, HAU), publications and exhibitions (including “On off moments”, Grimmuseum, 2013; “Im Verschwinden Halten”, Sophiensaele, 2008; Croy Nielsen, 2010).
Grimmuseum is an exhibition space located in the former premises of the Luise Grimm Museum in Kreuzberg. It was founded in 2010 with the aim of creating an interdisciplinary platform for national and international artists. Since then, Grimmuseum has worked with over 400 artists and curators and presented more than over 60 projects. Lately, Grimmuseum focuses on the production of new works by emerging artists and the presentation of solo exhibitions, undertaking all curatorial and administrative tasks, as well as documentation, financing, the organisation of supporting programs, publications etc. The institution functions as an open, accessible and process based exhibition space, facilitating artistic production and giving space for research, ideas and experimentation.