Summer/autumn program 2024

June 14–August 11, 2024
Part Time Commitment Series. Chapter 1–4. Labour, Time, Resources, Solidarity

otc—Observant Thick Conversation (Rahel grote Lambers, Alexander Klaubert, Francis Kussatz, Julia Lübbecke), Arbeitslabor (Susanne Beck, Karen Modrei, Julia Richter), Verena Hägler & Nicola Reiter, Klasse für Quereinstieg/ Artists Pedagogy AdBK München (Sofia Gold, Nikolai Gümbel, Judith Hagen, Sophie Kindermann, Luisa Koch, Angelika Lepper, Jonas Rall, Mirja Reuter, Ivo Rick, Ursula Rogg, Adrian Sölch, Matt Wiegele).

How do we use our time? What is the relationship between the time and resources required to earn a living, and the opportunities and demands for social, cultural, and political participation? The Part Time Commitment Series investigates the role of work in our current and future models of society. Beginning June 13, the question of how time is allocated to various activities on a daily basis (which also includes a biographical perspective) is examined in four chapters. Where are the boundaries and contradictions between social engagement, self-employed work, dependent wage labour, political engagement, cultural production, self-care and self-sufficiency? What is the relationship between working collectively or as a group and the sustainable use of resources and solidarity-based cooperation? The chapters are conceived as open-ended installations, working laboratories, and shared spaces for research, discussion and exchange. Curated by Lisa Britzger. Learn more.

September 6–October 19, 2024
Dirty Care
Artists: Cordula Schieri, Marios Pavlou, Sophia Köhler, Tanja Hamester, Silvia Gardini, Carolina Cappelli, Nora Byrne

Dirty Care is a transdisciplinary format by international FLINTA* artists that addresses the spectrum of protection. The term Dirty Care, as coined by Elsa Dorlin, describes a form of care arising from personal experiences of oppression and the consequent need for self-defence. In order to feel safe in society FLINTA* often has to take up this form of care-work. “Dirty care” therefore means being nice and caring out of fear of being threatened or hurt. The artists will work with local collaborators to develop a format that deconstructs and reconstructs, (re)appropriates, and rethinks concepts of protection, transforming Lothringer 13 Halle into a space for sculptural, installational, and performance intervention. Curated by Tanja Hamester.

September 6–October 13, 2024
Sophia Mainka: Notes on Roommates (a dog, a parrot, a whale and a canal)

We participate in nature and nature participates in us: in her art practice, Sophia Mainka has always been open to strange encounters with animals, plants and minerals. The work created during her stay at the Fondation Fiminco in Paris deals with the coexistence of different species within an urban space. Parrots fly across the city, a whale swims up the Seine and dogs walk on paved streets. Mainka responds ethologically, allowing the animal encounter to affect the way she acts.

Notes on Roommates is a series of video sculptures. To produce her fictitious gathering of animals, she builds a room for them: industrial material is bent into organic shapes and upholstered with fabrics featuring botanical patterns. Here we see her become dog, her painted fists becoming paws; we see her as the whale, in the murky river water, rising up to breathe. Curated by Magdalena Wisniowska (GiG Munich).

November 29, 2024–February 2, 2025
Nina E. Schönefeld: NO FUTURE HOPE

Nina E. Schönefeld works as an interdisciplinary video artist. The future scenarios in her work are closely linked to current political, ecological, and social issues. The video installation NO FUTURE HOPE revives radical activism in response to our increasingly disillusioned times, portraying a spirit of rebellion, defiance, and a profound yearning for radical change. In addition to the installation, the exhibition features five separate video works from 2020 to 2024. Schönefeld’s practice addresses the political shift to the right in Europe and the threat to the freedom of the press. She uses the alienation of post-apocalyptic cinematic aesthetics to tell site-specific, actual stories, revealing their hyperstructures. Curated by Dîlan Z. Çapan & Gina Penzkofer (Habibi Kiosk, Münchner Kammerspiele)

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