Archive Exhibitions


Exhibitions 2017 until today    |    Exhibitions until 2016


Violet Dennison
Chapter Four: Disappointment
8 June – 21 July 2019


Violet Dennison deals with the dynamism and fragility of complex technological and biological systems. Her installations refer to ecosystems and infrastructures that permeate and shape our lived environments in ways that often go unnoticed. Kunstverein Freiburg will display Dennison’s first institutional solo exhibition in Germany. In these artworks – created especially for the exhibition – the artist works with coding techniques, as well as methods of information storage and transfer. She continues her sculptural examination of incomprehensible systems and their material manifestations, hacking technologies, combining high-tech with the occult. In a world increasingly determined by digital megastructures, in which biospheres and infospheres merge into one another, Dennison investigates possibilities of self-expression, as well as communication and interaction with such systems.


The exhibition is supported by:

BW      carl-schurz-haus



Sat, 08.06.2019, 3 pm
Talk with Violet Dennison and Rindon Johnson

Thu, 27.06.2019, 7 pm
Curator´s tour Heinrich Dietz

Tue, 02.07.2019, 7 pm
An evening with Chaos Computer Club Freiburg (CCCFr)

Sun, 07.07.2019, 2 – 4 pm
Children´s workshop
(with registration)

Tue, 09.07.2019, 7 pm
Occult Technologies
Panel discussion with Eberhard Bauer, Wolfgang Fach and Andreas Fischer from the Institute for Frontier Areas of Psychology and Mental Health (IGPP)

Thu, 11.07.2019, 7 pm
Public tour

Opening night

Fri, 07.06.2019, 7 pm
Introduction, Heinrich Dietz, Director

Opening hours

Tue–Sun 12 am 6 pm,
Wed 12 am–8 pm, Mon closed
Open on Whit Monday

Entrance: 2 €/1,50 €
Tue free, members free


“no hours left for else”
A collection
presented by Eva Barto and Sophie Bonnet-Pourpet
22 March – 05 May 2019

no hours left for else Invitation Card : Arrival gift (for latecomers) - Two pieces of eel.

The Kunstverein Fre>iburg dedicates this exhibition to a figure who has developed a singular and marginal practice of offering. For this first appearance and after two years of research in France and Japan, Eva Barto and Sophie Bonnet-Pourpet present “no hours left for else”, a monographic collection.

The show features about thirty selected belongings, implements, strategies and things offered or planned to be so. The overall reveals, under elements of a certain oddness, a whole apparatus both obsessive and critical, a way of living. We see the collection getting tinged with ambiguities, refined according to the seasons and sometimes falling into contradictions.

The differentiated practice of giving displayed by the collection convokes and twists the concepts traditionally associated to the gift economy. Thereby, some of the elements are striving to describe specific ownership conditions, such as contractual givings, negotiated profits, relative obligations, hosting issues, shared properties, time loans, debts to be honoured … By summoning addresses, transferability and (dis)possessions, the exhibition agitates the gesture of the artist and the philanthropist in a thought of production, circulation and acquisition of art.

With the kind support of the Bureau des arts plastiques of the Institut français and the French Ministry of Culture.

Research made possible by the support of Mécènes du Sud:

Mécénes du sud

Culinary support:



The Kunstverein Freiburg is sponsored by:

Stadt Freiburg        Sparkasse Freiburg       BW Kultur


Fr, 22.03.2019, 9 pm
I give, therefore I am
Talk with Ryoko Sekiguchi

Sun, 07.04.2019, 2 – 4 pm
Children’s Workshop (registration required)

Thu, 11.04.2019, 7 pm
Curator’s Tour with Heinrich Dietz

Thu, 25.04.2019, 7 pm
Guided Tour

Su, 05.05.2019, 3 pm
Talk with Eva Barto and Sophie Bonnet-Pourpet

Opening night

Fri, 22.03.2019, 7 pm
Introduction: Heinrich Dietz, director
Eggs – Eels – Leaves.
9 pm, I give, therefore I am
Talk with Ryoko Sekiguchi

Opening Hours

Tue – Sun, 12 am – 6 pm Wed,
12 am – 8 pm, Mon closed
Open on Good Friday and during the Easter holidays
Entrance: 2 € /1,50 €
Thursdays free, Members free



Berthold Reiß
25 January–10 March 2019

Over the past decades, Berthold Reiß has created an exceedingly independent body of work that is both visual and conceptual. Defined by clear contours, his images develop from pictogrammatic visual symbols and ornamental structures. In addition, Reiß composes texts that linguistically investigate the relationship between concept and image, between thought and and perception. Following phenomena and fractures in the history of images and ideas, Reiß moves from the contemporary and modern eras, through Romanticism and the Enlightenment, returning time and time again to antiquity. His exhibition Exemplar pursues the double meaning of this word with latin root, meaning at once both copy and original. An exemplar can refer to something, or stand alone as an individual item, the meaning of which must first be interrogated in its own right. It can be the execution or the blueprint, representative or individual. Alongside a wall painting and a selection of new watercolour works, Reiß presents a spacial display, which, through images and text, shows the exhibition Exemplar as a draft.

The exhibition is sponsored by:


The Kunstverein Freiburg is sponsored by:

Stadt Freiburg        Sparkasse Freiburg       BW Kultur

Events Programme

Thu, 31.01., 19:00
Curator’s Tour with Heinrich Dietz

Sun, 10.02., 14:00 – 16:00
Children’s Workshop (registration required)

Thu, 14.02., 19:00
Guided Tour

Sat, 23.02., 15:00
Visuelle Zeichensysteme (Visual Sign Systems) Lecture by Daniela Stöppel. Following this, a Talk with Berthold Reiß and the Launch of his book, Antinomia.

Opening Night

Fri, 25.01., 19:00
Introduction: Heinrich Dietz, director

Opening hours

Tue–Sun, 12 am–6 pm
We, 12 am–8 pm, Mon closed
Entrance: 2 € /1,50 €
Thursdays free, Members free


Regionale 19
Talk to me
23 November 2018 – 6 January 2019

stranger still, elia navarroElia Navarro, The Stranger and the white noise, Filmstill, 2016.

TALK TO ME. Whether in private or in public, dialogue is an essential component of interaction and knowledge transfer. Via identifiable semiotic systems, rhetoric devices, as well as other idiosyncratic dynamics and invisible indicators, a permanent transfer of information takes place. As part of the Regionale 19, the exhibition Talk to me displays works that engage with different forms of dialogue. In doing so, the collected works reflect on social structures and explore the interactive, sensual and digital possibilities of two-way communication. Handwriting takes on a life of its own as oversized objects, the pause oscillates between isolation and confrontation, emotions are transformed into digital signals, smells convey individual sensations and materials become resonating bodies for the soundscape of our everyday lives. Every artwork displayed represents a distinct examination of the possibilities of unconventional communication varieties.

Artists: Anja Braun, Liesel Burisch, Juliette deFrance, Fabio Luks, Elia Navarro, Frédéric Pagace, Maeva Rosset, Nicole Schmid, Anna Schwehr, Ambra Viviani, Michel Winterberg

Curators: Ann-Kathrin Harr & Maria Sitte

regionale 19


The Kunstverein Freiburg is sponsored by:

Stadt Freiburg        Sparkasse Freiburg       BW Kultur


Thu, 29.11.2018, 19:00 Guided tour with the curators

Tue, 04.12.2018, 19:00
Discussion with the artists

Thu, 13.12.2018, 19:00 Performance by Juliette deFrance Sun,

16.12.2018 Regionale Bus Tour

Thu, 20.12.2018, 19:00 Guided tour with the curators

Sun, 06.01.2019, 14:00 -16:00
Children’s workshop (registration required)

Opening Night

Fri, 23.11.2018, 20:00
Introduction: curators Ann-Kathrin Harr and Maria Sitte

Opening Times

Tues–Sun 12:00 –18:00, Wed 12:00 –20:00.

Closed between 24.12 and 26.12. 2018, as well as 31.12.2018 and 01.01.2019

Entry: 2 € /1,50 €, free entry on Thursdays, members free.

Regionale 19 Bus Tours

Sat, 01.12.2018 From Basel to Strasbourg via Mulhouse Sun,

09.12.2018 From Freiburg to Weil am Rhein, Riehen, Hégenheim and Basel

Sat, 16.12.2018 From Basel to Freiburg


Walking Through Clear Water in a Pool Painted Black
Exhibition with Louise Bozelec, Dominic Michel, Gerome Gadient, Till Langschied, Noemi Pfister und Fabio Sonego
Institut Kunst HGK FHNW Basel
Friday, 16.11. – Sunday, 18.11.2018, Finissage Sunday, 18.11.2018, 5 pm

walking through clear water in a  pool painted black





Fr, 16.11.2018, 7 pm

Reception: Heinrich Dietz
Introduction: Alice Wilke, Marion Ritzmann and Steven Schoch


Opening hours

Sa und Su, 12 – 6 pm
price: 2 €/1,50 €
members free


Su, 18.11.2018, 5 pm



Amy Lien & Enzo Camacho
陰府 (Shady Mansion)
14 September – 28 October 2018

lien & camacho, construction site © Amy Lien & Enzo Camacho, 2018

“陰府” (shady mansion) is a Chinese term for hell. For their exhibition of that title at the Kunstverein, Amy Lien & Enzo Camacho construct a subterranean park for an unlivable future. Their DIY rendition is based on The Lowline, a proposed project that would make spectacular use of solar technology in order to funnel sunlight underground to support plant life. It has been proposed to be built in New York’s Lower East Side, a neighbourhood that is currently undergoing drastic gentrification.

Lien & Camacho’s installation, which transforms the entire exhibition space, entwines heterogeneous cultural references and posits sustainability and development as competing claims on an imagined future. A scenario is sketched in which the progressive marketization of social spaces extends into the afterlife. In transferring the underground park from New York City to Freiburg, Lien & Camacho ask how these ideas might discourse with the desires of the “Green City”. The exhibition at Kunstverein Freiburg is their first institutional solo show in Germany.


The exhibition is supported by:

BW      carl-schurz-haus


The Kunstverein Freiburg is supported by:

Stadt Freiburg      Sparkasse Freiburg     BW Kultur


Sat, 15 September 2018, 2 pm
Artist Talk with Harry Burke, Amy Lien & Enzo Camacho

Thu, 20 September 2018, 7 pm
Guided Tour with curator Heinrich Dietz

Fri, 28 September 2018, 6 pm
Right to the City
Symposium with Bertold Albrecht, Heinrich Dietz, Jürgen Reuß, Stefan Rost, Frauke Stablo, Klaus Theweleit, Tomas Wald.

Sun, 30 September 2018, 2 – 4 pm
Children’s Workshop (registration is required)

Thu, 18 October 2018, 7 pm
Guided Tour


Fri, 14 September 2018, 7 pm
Introduction, Heinrich Dietz, Director

Opening hours

Tue–Sun, 12 am–6 pm
Wed, 12 am–8 pm, Mon closed
Wed, 3 October 2018 open

Entrance: 2 € /1,50 € Thursdays free, Members free


New Noveta
with Vindicatrix
18 May – 01 July 2018

New Noveta is the collaboration between Keira Fox and Ellen Freed. Their multidisciplinary practice combines sound production, installation and costume design with bodily action and dance. New Noveta’s eruptive performances channel psychic struggles in opposition to daily patterns of conformity and societal suppression. Within their gruelling choreographies the performers bodies become seized by panicked drive reflecting the imposed weaponization of peoples time and emotion through enforced labour, they simultaneously display high pace body force, whilst contravening with erupting emotional, mental and physical distress as they proceed. They project this through various guises that change with each performance, taking on new subjects and styles through costume and dramatization.

For their exhibition at the Kunstverein Freiburg New Noveta collaborate with the musician David Aird aka Vindicatrix on a new composition with live vocalizations, and artist Louis Backhouse will design costumes. On the opening night during their theatrical performance New Noveta will ritualistically activate their protean installation.

The exhibition is promoted by:

UK ace_british council logo


The Kunstverein Freiburg is supported by:

Stadt Freiburg      Sparkasse Freiburg     BW Kultur


Tue, 22 May, 7 pm
Entgrenzter Wettbewerb. Zum unternehmerischen Selbst
Talk between Ulrich Bröckling and Gregor Dobler

Thu, 24 May, 7 pm
Guided Tour with Heinrich Dietz

Tue, 29 May, 7 pm
Bodies, Capitalism, Movement, Emotion
Lecture and Talk with Nina Power

Thu, 14 June, 7 pm
Guided Tour

Wed, 27 June, 7 pm
Talk with Marion Mangelsdorf

Su, 01 July, 2–5 pm
Children’s performance workshop
(registration is required)


Fri, 18 May, 7 pm
Performance New Noveta
Introduction, Heinrich Dietz, Director

Opening hours

Tue–Sun, 12 am–6 pm
We, 12 am–8 pm, Mon closed

Entrance: 2 € /1,50 € Thursdays free, Members free


Aaron Angell
Heat-Haze Theatre
23 March – 6 May 2018

Aaron Angell is known mainly for his ceramic sculpture. He is interested in the idiosyncrasies and the history of the medium, and its simulative and poetic qualities. He explores ceramics as a pragmatic method of image production, involving a large amount of material research and experimentation at his London studio, Troy Town Art Pottery. Angell is interested in hobbyist cultures, non-canonical histories, marginal methods of image-making, poetic thought, and utopian design. He describes the process by which he produces images in his work as ‘composting’.

Working more directly and instinctively than usual, all of the works in this exhibition were produced in the space of six weeks. In the lower gallery, six sculptures recall fantastic biotopic architecture, engine blocks, and underground systems. They are made from thrown and assembled parts, and glazed with a series of shino glazes. In the upper gallery, Angell presents new hinterglasmalerei pictures. Working half-blind, on the reverse of the picture plane, he allows composition and colours to be only estimated, drawing parallels with the somewhat unempirical method by which his ceramics are produced.

The exhibition is promoted by:

UK ace_british council logo


The Kunstverein Freiburg is supported by:

Stadt Freiburg     BW Kultur      Sparkasse Freiburg


Sat, 24 March 2018, 12 am
Artist Talk with Aaron Angell

Sun, 8 April 2018, 14–16 Uhr
Su, 8 April 2018, 2–4 pm
Children’s workshop
(registration is required)

Thu, 12 April 2018, 7 pm
Guided Tour with curator Heinrich Dietz

Thu, 26 April 2018, 7 pm
Guided Tour

Sat, 5 May 2018, 3 pm
Paradoxien des Öffentlichen
Lecture Hans-Jürgen Hafner


Fri, 23 March 2018, 7 pm
Introduction, Heinrich Dietz, Director

Opening hours

Tue–Sun, 12 am–6 pm
We, 12 am–8 pm, Mon closed

Entrance: 2 € /1,50 € Thursdays free, Members free


Hans-Christian Lotz
26 January – 11 March 2018

The work of Hans-Christian Lotz addresses the supposed norms of everyday life. For all the familiarity of its elements and milieus – current technologies, information systems or generic objects – his installations are characterised by a calculated inaccessibility.

Lotz’s exhibition in Kunstverein Freiburg sketches the skeleton of a barren world of glass facades, fractals, ideologies and hallucinating source codes. At the centre of this is a video installation with an interactive mechanism, which is conversely employed to create an effect of concealment. Methods of encryption and abstraction become part of a reflexion on the specifically historical practice of exhibiting, and the possibility of its non-anthropocentric future. Consequently, the distance between the exhibited and the potential addressee is extended so far that the human observer is completely removed from this relationship.

The exhibition is promoted by



The Kunstverein Freiburg is supported by

Stadt Freiburg     BW Kultur      Sparkasse Freiburg


Thu, 15 February, 7 pm
Guided Tour with curator Heinrich Dietz

Thu, 22 February, 7 pm
Guided Tour

Sun, 4 March, 2 pm–4 pm
Children’s Workshop (registration is required)

Sun, 11 March, 3 pm
Reading with Hans-Christian Lotz



Fri, 26 January 2018, 19 pm Introduction: Heinrich Dietz, Director

Opening hours

Tue–Sun, 12 am–6 pm
Wed, 12 am–8 pm, Mon closed

Entrance: 2 € /1,50 € Thursdays free, Members free


Regionale 18
Liquid Fertilizer
24 November 2017 – 07 January 2018

Liquid Fertilizer is formed through the decomposition, reprocessing and synthesis of organic components or mineral salts. The rich nutritional complex supports synergetic processes, change and growth. Different organisms, species, substances, forces work in conjunction, decay, transform, liquefy, shape and develop complex spatiotemporally situated habitats. Not only does Liquid Fertilizer serve to control, accelerate and optimise growth and productivity as the essential elixir of agricultural industry: it can create new structures, unleash potential or trigger devastating catastrophes.

Contributing artists: Angela Cerullo & Giorgio Bloch, Karin Borer, Dorota Gawęda & Eglė Kulbokaitė, Marie Matusz, Mia Sanchez, Yanik Soland, Lara Steinemann, Katinka Theis, Mona Zeiler

Regionale 18

The Kunstverein Freiburg is sponsored by:

Stadt Freiburg     BW Kultur      Sparkasse Freiburg


Thu, 7 December 2017, 7 pm, Guided tour

Thu, 14 December 2017, 7 pm, Artists in Conversation, with Yanik Soland, Angela Cerullo & Giorgio Bloch

Sun, 17 December 2017, 1 pm Bus tour of the Regionale

Thu, 21 December 2017, 7 pm
Guided tour

Sun, 07 January 2018, 2–4 pm Children’s workshop (registration is required)

Opening Night

Fri, 24 November 2017, 7 pm
Introduction: Heinrich Dietz und
Ann-Kathrin Harr, curators

Performance: Yanik Soland

Opening hours

Tue –Sun 12–6 pm, We 12–8 pm,
closed 24–26 December 2017 ,
31 December 2017 and 1 January 2018

Entry: 2 € /1,50 €
Free entry on Thursdays, Members free


15 September – 29 October 2017

In 1922, under the slogan ‘immortalism and interplanetarism’ the Moscow bio-cosmists demanded nothing less than the immediate elimination of the temporal and spatial limits of human life. They follow in the footsteps of Russian philosopher Nikolai Fyodorov (1829–1903). He speculated about the abolition of mortality and the resurrection of all humans by the technology of art under the auspices of a state becoming a museum. Fyodorovs ideas influenced theorists, scientists and activists in pre- and early soviet times. The cosmists share the belief in a rational evolution of mankind, finding its completion in the overcoming of death and the conquest of space.

Today developments in artificial intelligence and biotechnology fuel transhumanist utopias of eliminating the temporal limits of human life. It comes as no surprise that Calico – the Califoria Life Company a subsidiary of Alphabet Inc. – set itself the business objective to prolong human life. Yet, whereas Russian cosmists regarded the achievement of human immortality as a collective, ‘common task’ many current transhumanist aspirations are aimed at self-optimisation.

The exhibition Immortalismus (Immortalism) brings together works by contemporary artists that open up different perspectives on visions, technologies and ideologies to overcome death. It takes the utopian ideas of Nikolai Fyodorov and the Russian avant-garde movement of the cosmists as a historical starting point.

Artists: Ivana Bašić, Harm van den Dorpel, Cécile B. Evans, Pakui Hardware, Lina Hermsdorf, Kitty Kraus, Oliver Laric, Dominik Sittig, Anton Vidokle, Tchelet Weisstub

In the context of Russische Kulturtage
Logo Russische Kultur Tage

promoted by Kulturstiftung des Bundes

Kulturstiftung des Bundes

coordinated by Zwetajewa Zentrum
Logo Zwetajewa           


The exhibition is promoted by:

Logo Baden Württemberg   Mondrian Fund



Sat, 16 September, 3pm
Gutes Sterben – Falscher Tod / Immortalismus Guided tour with Heinrich Dietz and Finn Schütt, the tour begins at the Museum für Neue Kunst  

Wed, 20 September, 7pm
Werden wir irgendwann ewig leben? Lecture and discussion with Dr. Oliver Müller, Freiburg University, Philosophy Department, Excellence cluster BrainLinks-BrainTools, partner: Museum für Neue Kunst

Thu, 5 October, 7pm
Guided tour  

Wed, 11 October, 7pm
Artists talk with Lina Hermsdorf and neuroscientist Prof. Dr. Stefan Rotter, Bernstein Center Universität Freiburg, Exzellenzcluster BrainLinks-BrainTools  

Sun, 15 October, 2pm
Children's workshop (registration is required)  

Tue, 17 October, 7pm
„Sterbliche aller Länder, vereinigt euch!” – Russische Projekte zur Überwindung des Todes, 1900–1930. Lecture by Dr. Michael Hagemeister, Ruhr-University in Bochum, Institute of East European History  

Sun, 29 October, 3pm
Curator's tour with Heinrich Dietz


Fri, 15 September, 7 pm
Introduction: Heinrich Dietz, director

Opening hours

Tue–Sun, 12 am–6 pm
Wed, 12 am–8 pm, Mon closed
Day of German Unity (open 03.10.)
Entrance: 2 € /1,50 € Thursdays free, Members free


Site Visit
24 March– 23 July 2017


A site visit is usually part of an exhibition planning: An artist visits a location regarding a prospective exhibition. Based on this ritual the Kunstverein Freiburg invites guests and combines this with shifts of certain time and space parameters of its exhibition programmes. It is less a format of an inventory more of a futures draft: It asks what could be, and focuses on potentialities of artistic practices and presentations from a future perspective.

At present our view into the future seems concealed. Instead of an opening to the unknown evaluated forecasts and techniques to manage the hereafter only seem to extend the presence. The format Site Visit evolves in the charged relationship of a seemingly eternal presence tending to disaster and an open, desirable future. Regarding the activities of the Kunstverein Freiburg, the future could be planned and organized by using the limited budget to use the hall in a proven manner for exhibitions and accompanying programmes. Even on the background of pragmatic considerations and Excel sheet arithmetics Site Visit is an experiment to break the routines and to reshape the facts by exploring possibilities.

Artists and other guests are invited whose works could be relevant for the activities of the Kunstverein Freiburg both for future exhibitions and regarding the possibilities of presenting and discussing art. One focus lies on artistic practices which include cooperation and self-organisation or are (re-)connecting their own conditions and modes of circulation. Like a site visit the invitation focuses on the future concerning something that could be realized by the Kunstverein Freiburg up to something seemingly totally utopian or fictitious. During their usually multi-day visit the guests receive an impression of the institution and its circumstances. At the same time the format allows the visitors and members of the Kunstverein to get to know the guests and to gain an impression of their work, issues and ideas.

The guests are asked to bring along something. It could be a work in progress, a prototype, an uncompleted or an in situ work. The contribution can but must not relate to the Kunstverein or an aspect of it, it could also be a free speculation on the future. Every visit is connected with an event in an open form: performance, conversation, excursion, lecture, hiking ... Instead of realising an exhibition planned in advance with every visit, the events and materials can proliferate into the unknown.

Harm van den Dorpel develops the website for Site Visit with online contributions of the individual guests. The artist duo It’s Our Playground creates the adaptable and extendible display unit Framework for the spatial presentation of the different contributions. During the life span of Site Visit the office of the Kunstverein will be transferred to the exhibition hall. Thereby the persons and the processes behind the planning of the exhibitions will become partly visible. Most importantly the visitors and the team of the Kunstverein team can come together in conversation. In this way the office that works on future projects after the opening of an exhibition will be relocated into the presence of the exhibition hall.


Louise Guerra
Further Futures, Chapter 20
Saturday, 22 July, 7 pm

stone_roses_3 further futures, chapter 20, louise guerra 2017 „I want to move" she said, and started twirling at the strings that tied their robe to the tree. „I don't", she said, and kept on staring at the stupid robo-screen. A sense of disappointment spreads similar to that of the small child that reaches for the flowing stream of water to grab it like a rope. They began to collect the water in small vessels and place them in rows on the edge of the bathtub...

Further Futures is a fictitious exhibition, which is yarned as a narration into the room during the evening. The artist collages and discusses some extracts of her chapters in her performative exhibition for Site visit.

Louise Guerra is an artist, curator and lecturing tutor. She was founded 2013 in Bale. A general survey is located here:

The event occurs in the context of the Freiburger Museumsnacht.
Entrance Freiburger Museumsnacht:
Advance sale / with Museums-Pass-Musées 8 €
Box office 10 €

Free entrance for members of the Kunstverein Freiburg with a members card. Don´t forget Your members card.


Angela Jerardi & Antonia Lotz
Future activity, or how to compost an art institution
Sat, 8 July, 3pm

stone_roses_3 Christoph Westermeier, 30 May 2015 (Simone Nieweg, Wirsing, Steinhagen, 1990), 2015, © Christoph Westermeier / VG Bild-KunstPlease join us for a consideration of digestion and decay, and the potential therein for regeneration and transformation. Can we put something together and ask the worms to join us? Componere is simply to put together – so is compost simply an arrangement? But then, humble, that lowly word, comes from humus. It helps us remember that when we compost, we make with. It helps us see that we are always making with. What happens when we compost something? If a polyphony of microbes, fungi, and nightcrawlers eat potato peels and carrot tops, giving the gift of rich humus, cannot modernist art institutions compost themselves into something anew?

Angela Jerardi (* 1979, USA) is an independent curator and writer currently living in Amsterdam. Antonia Lotz (* 1979, Germany) is Generali Foundation Collection Curator at the Museum der Moderne Salzburg. Together they curated Neither here nor there, neither fish nor fowl at Schloss Ringenberg and at the Museum für Gegenwartskunst Siegen in 2015.

The event will be held in English.


Mirak Jamal & Santiago Taccetti
Stoneroses #7
Saturday, 1 July, 3 pm

stone_roses_3 Stoneroses #3, Grunewald, Berlin, 2015“Held at the Grunewald forest of Berlin, the first three iterations of Stoneroses (2014 and 2015) consisted of disseminated works by invited artists in an intervened public space. The project summoned pieces left hidden in covered and to-be-discovered shades, and bound by an orally-led tour facilitated by us. With each walk, sites were visited in altered states, making each relation a one-of-a-kind experience. These paths cut through unprecedented pastures, and each tour entailed new encounters in transformative seasons, and forecasted a set of works that were at times found removed, eaten, grown, or in slow decomposition of their material make-up.

It has been an ongoing project with updates of new invitees. The mapping of the public spaces spanned to include works left to evolve in parallel to each other – autonomous though under one eco-system. Artists mined the landscape over time, creating a project with no walled barriers, no temporal endings, and only to be experienced through our announced tours. After three iterations in Berlin's Grunewald, the project was then taken to outside hosts with new rosters; held in Stockholm, and hosted by Minibar; in Bern hosted by Riverside, and finally at Cabaret Voltaire through Manifesta in Zurich (all in 2016)..

For the seventh iteration of our collaborative project, and as part of Site Visit, we invite a local audience to Kunstverein Freiburg from where we will embark on a hike out of the confines of the exhibition space. After an initial introduction and gathering of our attendees, we will converge towards selected pit-stops. At each one, we will have a hanging of particular banners from each previous outtake of Stoneroses with their corresponding anecdotes; scanning over a spectrum of locations, and mirroring works under seasonal changes.” (Mirak Jamal & Santiago Taccetti)

Stoneroses is a project by Santiago Taccetti (* 1974, Argentina) and Mirak Jamal (* 1979, Iran).

The tour will be held in English.

In collaboration with the Embassy of Canada:
Botschaft Kanada


Dominik Sittig
Monkey Memoir
Thursday, 22 June , 7 pm

Sittig Monkey Memoir Dominik Sittig, Monkey Memoir, 2017 There is a crater on the planet Mercury that is named after the famous Spanish artist Dalí. Dalí also wandered into one of Federico Fellini's dreams and informed the director that the time had come for him, the dreamer, to exchange the Vatican's symbol to that of his own, that is Dalí's signature. Thereafter, the Spaniard began to sing with the voice of a little girl about how beautiful the life of a filmmaker actually is. That was 1975. How did it come about? And what could it mean, that as a child Freddie Mercury was called Farrokh Bulsara, but as a young man he wanted to be preferably Mark Sheridan, Elvis Presley und Marlene Dietrich all in one. What does Groucho Marx have to do with it all? And what about Casanova? And why are they all, already dead? Precisely this and other questions are traced by my talk at the Kunstverein Freiburg: „Monkey Memoir … I remember … the present … death, yes, and … love… yeeeah…“ (Dominik Sittig)

Following a long break – his last lecture performance being in 2012 – Dominik Sittig (* 1975, Germany) presents a new lecture. Alongside paintings his work is based on texts presented in lectures and books. Sittig's investigation is directed towards the past, personal impressions, memories, and the seemingly familiar continuing up until kitsch, but in the end it brings one to fundamental questions that address the production and viewing of art.


Susanne M. Winterling
Pandora’s Box
Conversation with Wolfram Burgard
Saturday, 17 June, 3 pm

Susanne Winterling © Susanne M. Winterling 2017 With Pandora's Box Susanne M. Winterling has created a forum that allows her to come into conversation with cultural professionals, activists, theorists and scientists; an intertwined metabolic system, that not only feeds Winterling's work but has become a part of her artistic practice.

The dialogues revolve around themes that deal with social communal living and forms of solidarity, as well as questions arising from current crises and technological developments. For her Site Visit, Winterling initiated a conversation with Wolfram Burgard about the development of autonomous robots, the social implications and the potential ethical consequences of such intelligent, technical systems.

Wolfram Burgard is a professor at the Department of Computer Science at the Albert Ludwigs University in Freiburg, where he leads the research lab for autonomous intelligence systems and is also the speaker for the Freiburg University Cluster of Excellence BrainLinks-BrainTools. He ranks highly amongst the prominent experts in mobile robots and has received many awards and distinctions for his research contributions in the field of autonomous robotic navigation. In the Freiburg Cluster of Excellence BrainLinks-BrainTools life sciences and engineering come together to work on the development of medical technologies that can be directly integrated with the nervous system.

The relationship between human subjectivity, technosciences and eco systems has consistently been the focus of Winterling's work. Technical appliances such as touch screens or interfaces are placed parallel to biological phenomenon such as the bioluminescence of particular types of plankton, thus questioning the supposed polar opposites of nature and technology or corporeality and virtuality.


Stephan Dillemuth
Corporate Rokoko
Saturday, 27 May, 3 pm

stephan dillemuth Stephan Dillemuth, The Hard Way to Enlightenment, installation view, Secession 2012 Photo: Oliver Ottenschläger The civil project is coming to an end and with it enlightenment ideals such as democracy and the public sphere: we are living in a corporate rococo. Does art appoint the jesters within it all, does it form the tip of the creative industry's armed forces or create tranquil habitats within the recesses?

For Stephan Dillemuth's (* 1954, Germany) Site Visit the Kunstverein will become an academy. An artist speaks about artistic research and a goat is sketched, it is the model and left in peace it eats and walks about. Perhaps it does not understand what is being said and is also not bothered by it.

Dillemuth questions the societal role and political potential of artistic works. Long before big-data analytics, Dillemuth tackled issues surrounding technological and societal surveillance, the exploitation of privacy, and the privatisation of the public sphere. He sets our economised society of control against the artistic practice of bohemian research. This type of subjective, improvised research is inquisitive, it has no fixed expectations and is unpredictable. It defies its framework, is self-organised and collaborative. Dillemuth describes it as “self-imposed research, research within life, into life and through life.”

Please bring pencils and paper for nude drawing.


Chus Martínez
Nicht in die ferne Zeit verliere dich,
Den Augenblick ergreife, er ist dein.

Wednesday, 17 May, 6 pm

Chus MartinezDirected towards the future, Site Visit breaks open and hybridises the exhibition programme of the Kunstverein Freiburg. But what could new rhythms and rituals that challenge our thinking, nourish us, and bring us together look like? What would it be like to become a machine or a turtle? Do we need to cut through the conceptions of a linear time that moves from the past into the future?

During her site visit Chus Martínez initiates a conversation about the need for new rituals, the role of fables, different words, and the meeting of many bodies. The music and the evening are designed and performed by Severine Christen, Desiree Nüesch, Yanik Soland, Inka te Haar and Adrian Eiserlo..

Martínez (* 1972, Spain) is the Head of the Institute of Art at the Academy of Art and Design in Basel. Previously she worked as the Chief Curator at El Museo del Barrio, New York (2012–2013), as the Head of the Curatorial Department of dOCUMENTA (13) (2012) and as the Director of the Frankfurter Kunstverein (2005–2008).


Aaron Angell
Roman Seal Matrix Forgery Demonstration
with poems by Lucy Mercer
Thursday, 11 May, 7 pm

Aron Angell Aaron Angell, 2017 Aaron Angell (* 1987, UK) works in numerous media, including reverse glass painting, ceramics, and other sculpture. With a great interest in the particularities of his material he creates maquette-like sculptures for larger environments, which will never be constructed. Angell turns his attention to non-canonical history, simulative or dishonest materials, and literary references including but not limited to the novels of Peter Vansittart and the poems of D.M. Black. His work brings together visual worlds from these diverse areas of interest and merges them into a new whole, a process he describes as composting. At the same time Angell is running Troy Town Art Pottery a radical, psychedelic ceramic workshop for artists.

During his site visit event Angell will demonstrate how to copy a Roman seal matrix used to seal a letter. The letter contains a poem by Lucy Mercer (* 1988, UK) that will be read during the performance. Angell’s demonstration serves to illustrate how an ancient method of authentication and encryption can be forged and circumvented. The demonstration is followed by a screening of the British science fiction thriller ‘The Final Programme’ (1973). A contemporary critic, cited on Wikipedia, describes the film as ‘an almost unmitigated disaster,’ with ‘an ending so inane that you will want your money back even if you wait and see it on television.’


Amy Lien & Enzo Camacho
Thursday, 4 May, 7 pm

Amy Lien und Enzo Camacho Amy Lien & Enzo Camacho Photo: Ilya Lipkin Amy Lien (* 1987, USA) & Enzo Camacho (* 1985, Philippines) have been collaborating since 2009, initially between New York and Manila, which has set the conditions for a practice that attempts to feed back certain fissures in globalized exchange. They maintain a restless flexibility with regards to material processes, less concerned with the interplay between established artistic mediums (sculpture, photography, painting, performance, etc.) than with the interplay between physical materials, living bodies, and information. 

During their site visit they will present a video project on which they have been working since 2012. It takes as its starting point the 1979 experimental melodrama 'Palermo oder Wolfsburg', directed by the German filmmaker Werner Schroeter. That film traces the story of an impoverished young Sicilian man who, after migrating to Germany, finds employment and a new life at the Volkswagen factory in Wolfsburg, until a thwarted romance with a young German woman leads him to murder two German men. Lien and Camacho appropriated this film as a psychologically-loaded lens through which to investigate the themes of transnational movement, labour, trade, and cultural difference into the present day, suggesting also how artist bodies are moved and circulated by these broader economic forces. The rough cut includes footage shot in Palermo, Wolfsburg, Manila, Singapore, and recently Yiwu and Shanghai, and is edited to a looped audio sequence from the original film.


Pakui Hardware
Hesitant Hand. Automated Efficiency
Thursday, 27 April, 7 pm

Pakui Hardware Pakui Hardware, Hesitant Hand, 2017. Exhibition View at National Gallery of Art, Vilnius. Photo: Andrej Vasilenko Pakui Hardware is the label that Neringa Černiauskaitë (*1984, Lithuania) und Ugnius Gelguda (*1977, Lithuania) run together. They investigate the interaction of materials, technology and bodies as well as the economical forces behind them. Their arrangements, consisting of synthetic materials that can also include organisms or machines, encourage speculative visions of the future. Within these visions, natural and artificial increasingly merge into each other and man is merely one of many participants. Such post-human scenarios are central to their lecture-performance Hesitant Hand. Automated Efficiency.

Over the past years we have been gradually delegating our routine tasks to our tools: the private environment and the industry is becoming increasingly automated, when people both at home and at work act among programmable non-human beings. In contemporary theory this automation was named a fourth technological revolution, when machines operate with each other in a network without a visible human intervention. Mechanical human work is substituted here by the robotic choreography, while the man took more virtual role in the system by being responsible for programming and providing connectivity and energy supply for their automated colleagues. It is an autonomous ecosystem, a post-human collective which is rapidly expanding by including more and more mechanical beings.


Berthold Reiß
Saturday, 22 April, 3 pm

Berthold Reiß Berthold Reiß, Paradies, Oil on Canvas, 120 x 85 cm, 2017 In 1928, when discussing the Orient Wilhelm Worringer spoke of “the finite only in the infinite”. The murals that Berthold Reiß drafted as prototypes in 2017 present tangible forms on a dark background.Paradies (Paradise) offers up this counterfactual perspective as communication. In 2010 Angelika Neuwirth described the paradise that can be found in the Koran as “the restoration of lost communication".

In the introduction to his artistic practice (3pm) Berthold Reiß presents his work as public art. Some of his sculptures represent monumental buildings that, without the changing of public spaces themselves, are unthinkable in the public sphere. That these sculptures appear only as illustrations underscores this possibility.

In contrast to this, the exhibition itself is made up of original artworks from other artists. They remain present in Site Visit and stand for a real beginning. Berthold Reiß relates to Robert Crotla, Sebastian Dacey, Mani Hammer and Anne Rößner in a different manner to that of his public art. This reference stretches from living together to opposition.

An excursion (4pm) transfers an impression of unity found within the Orient to Freiburg. In Turkey, Berthold Reiß exhibited 'Üçüncü, Das Dritte (The Third)' at the 2014 Sinop Biennale. What is this third that connects a glass window from the middle ages with a modern fashion store?

The artist's talk Paradies (6pm) displays the European appropriation of Islam as a perspective within which the project of modernity re-emerged anew. With regard to the speech itself, Ayşe Polat's comment “It is like an abstract picture”, made in reference to another talk held by Reiß in Istanbul, is befitting. This particular talk will also be made available as part of Site Visit in the form of the publication relief.


Harm van den Dorpel
Some things that work in one decade don’t work in the next, so mark it down as a noble idea that failed.
Wednesday, 12 April, 7 pm

site visit Screen Shot 2016-12-01 at 21.22.49.tif Screenshot of
Courtesy: the artist

Harm van den Dorpel (* 1981, Netherlands) is one of the key players in the so-called „Post-Internet art” movement. One major aspect of his work, which consists of digital and traditional media, can be described as collaboration with algorithms. He has conceived a series of Web-exhibitions, as well as the non linear social network site deli near info. In addition to this, he also runs the blockchain-based online-gallery left gallery.

Harm van den Dorpel will present an artist's talk about change, disappointment and hope. As a child of the eighties, he grew up with the increasing expectations of the messianic potential of digital technology. All information for all (all of the time and for free), everybody and anybody could be famous and all content would be equally important. 

These promises pointing to an increased dematerialisation of daily life (a fluid change of identity), of professional life (the paperless office), and of art (from concept art to net art) did not reach their utopian realisation. Or did we reverse them or did they get reversed to their opposite?

To what extent have these supposed technical liberations been caused and prevented by economic mechanisms? What implicit ideology was at work, disguised as progress?


Lukas Quietzsch, Philipp Simon
Buffet der guten Zwecke
Thursday, 6 April, 7 pm

Quietzsch und Simon

Lukas Quietzsch, Philipp Simon, buffet of good causes, 2017

Lukas Quietzsch (* 1985, Germany) and Philipp Simon (* 1987, Germany) work independently from one another using imagery, objects, material and space or by working with texts. In their joint exhibition projects, they play authenticity signals and alienation mechanisms off against each other. In doing so, they cultivate contexts that go beyond commonly used strategies in artistic positioning. Since 2014, together with Monika Senz, they have been running the exhibition space LISZT ( in Berlin.

For Site Visit Quietzsch and Simon have planned an intervention that involves not only the Kunstverein's office within the exhibition hall, but also the upper level's surrounding balustrade. This places an intimate and personal area in direct contrast to an inaccessible and functional organisation. In a joint reading the artists will attempt, through a mixture of narrative and contemplation, to fill the seemingly interchangeable and hollow forms and figures which they positioned in the space. Within the texts themselves, the insinuated bipolar model in the spatial setting is turned against itself.

“...It is important for us to give you an impression of how we understand the site visit, not only as part of our own work but also as an experiment. One of our main interests is the act of working together, but ultimately the visualisation and creation of new frames within another frame. In this particular case, the Kunstverein, in combination with your own curatorial idea in relation to Site Visit, to present artistic references and methods in a more organic, processable and progressive manner. We want to build a frame that allows for a multitude of perspectives in regard to these themes and starting points – a buffet of good causes. (Lukas Quietzsch and Philipp Simon in an e-mail to Heinrich Dietz on 21.03.2017)


It’s our Playground
Framework, Standpoint
Friday, 24 March 2017, 7 pm

It´s our playground It‘s our Playground: Bildunterschrift: It's Our Playground, Reconstructive Memory Exhibition View, Galerie Valentin, Paris, 2016 Photo: Grégory Copitet, 2016 Courtesy Galerie Valentin, Paris

It’s Our Playground (IOP) was formed in 2009 by Camille Le Houzec (* 1986, France) and Jocelyn Villemont (* 1986, France). IOP’s productions mainly take the form of exhibitions, Internet projects, display or installations, using curating as a medium. They pursue an uninhibited reflexion around modes of presentation, exhibition devices and the influence the Internet has on contemporary production. IOP curated the SWG3 gallery in Glasgow and is running the website and online exhibition space . A matter of key importance in their work is the relationship between physical presence and online circulation of artworks.

For Site Visit, IOP have developed the exhibition display Framework, which provide free standing and flexible frames for the presentation of the various artistic contributions. The model-like units seize upon an issue relating to physical exhibitions, that of installation views, which through their digital circulation have come to take priority as a means of reception. Even though the artistic contributions displayed are connected with a concrete place or site visit within the Kunstverein Freiburg, Framework creates a (photographic) background that offsets its location. It is as if these contributions are not quite there yet or already on their way into digital circulation. On the exhibition's opening night IOP will be using these presentation elements as the background for their performance Standpoint. Together with the Kunstverein's exhibition photographer Marc Doradzillo IOP will document artefacts from their investigation of the Kunstverein Freiburg. Through this act of documentation they will transfer these objects, that relate to and reflect the Kunstverein, from their physical context into a free floating virtual existence.


New Noveta
Friday, 24 March 2017, 8 pm

new noveta New Noveta Bildunterschrift: New Noveta, Fateful, 2017, Photo: Louis Backhouse, 2017 New Noveta is a collaborative project from the London-based artists Ellen Freed (* 1988, Sweden) and Keira Fox (*1984, UK). Their multidisciplinary performances connect sound recording and production, props and costumes in combination with installation building and live body action/dance. The work is engrossed in ideas of social and political conformity and methods in which to channel day to day anxiety and mental and emotional struggle. Within the eruptive performances, the entire proceedings as well as the performer's bodies appear to be seized by panic, by urgent yet seemingly aimless action. It is as if the pressure of exploitation and success within our high-performance driven society is completely out of control. At the same time, New Noveta also presents instances of support and empathy within these moments of catastrophic loss of control. For the opening of Site Visit New Noveta will present their new performance Fateful:

Locked into the repeated loops
The banal content of the drive
Reconstruct ourselves through the stress
"weakness" "illness" "pacification" "power"

Guests / Programme

Fri, 24 March, 7 pm
New Noveta, Fateful
It’s Our Playground, Standpoint

Thu, 6 April, 7 pm
Lukas Quietzsch, Philipp Simon, Buffet der guten Zwecke

Wed, 12 April, 7 pm
Harm van den Dorpel, Some things that work in one decade don't work in the next

Sat, 22 April, 3 pm
Berthold Reiß, Paradies with works by Robert Crotla, Sebastian Dacey, Mani Hammer, Anne Rößner

Thu, 27 April, 7 pm
Pakui Hardware, Hesitant Hand. Automated Efficiency

Thu, 4 May, 7 pm
Amy Lien & Enzo Camacho, oder

Thu, 11 May, 7 pm
Aaron Angell, Roman Seal Matrix Forgery Demonstration
With poems by Lucy Mercer

Wed, 17 May, 6 pm
Chus Martínez, Nicht in die ferne Zeit verliere dich, den Augenblick ergreife, er ist dein with works by Severine Christen, Desiree Nüesch, Yanik Soland, Inka te Haar and Adrian Eiserlo

Sat, 27 May, 3 pm
Stephan Dillemuth, Corporate Rokoko

Sat, 17 June, 3 pm
Susanne M. Winterling, Pandora’s Box

Thu, 22 June, 7 pm
Dominik Sittig, Monkey Memoir

Sat, 1 July, 3 pm
Mirak Jamal & Santiago Taccetti, Stoneroses #7

Sat, 8 July, 3 pm
Angela Jerardi & Antonia Lotz, Future activity, or how to compost an art institution

Sat, 22 July, 7 pm
Louise Guerra, Chapter 20, Further Futures


From Fri, March 24th
Harm van den Dorpel,, Website
It’s Our Playground, Framework, Display Units


Fri, 24 March, 7:30 pm
Introduction: Heinrich Dietz, director

Art education

From Fri, 24 March
Office of the Kunstverein in the exhibiton hall

Thu, 1 June, 7 pm
Personal guided tour (director) and discussion

Thu, 13 July, 7 pm
Guided Tour

Sun, 7 May, 2 pm
Die Jungen Wilden – Workshop for kids

Opening hours

Tue–Sun, 12 am–6 pm
Wed, 12 am–8 pm, Mon closed

Easter Holiday and Whit Monday open

Entrance: 2 € /1,50 € Thursdays free, Members free


20 January – 5 March 2017

We are Blockadia*Tiefsee. We are a temporarily collective, a meandering group of artists and curators. We meet each other, collect, discuss and present materials, ideas, words, images, objects. The hub of our conversations is the engagement with all that surrounds us influenced by new technologies, economic and ecological powers and transformations. We ask for possibilities of self-organization, the voluntary disposition and independent accountability of frugality, solidarity and empathy – and practice the implementation in material, substance, object, space and installation. Every meeting causes new processes and methods to change our code of practice and creations. Some part of this was showcased in the project space Tiefsee (Deep Ocean) in Offenbach and a greater part of this is complemented and documented on .

The exhibition presents the works of Mia Bencun, Martin Dörr, Jaewon Kim, Johannes Lenzgeiger, Petra Metzner, Wagehe Raufi, Sarah Schweizer, Dennis Siering, Jakob Stoeger, Anna-Lisa Theisen, Linda Weiß, Lynn Weyrich. Zu den weiteren Mitgliedern des Kollektivs zählen Fred Besier, Nadja Büttner, Lea Klemisch, Magali Laurent, Ulrike Markus, Robert Schittko, Stefan Thürck, Moritz Urban. The project was initiated by Susanne M. Winterling and is accompagnied by Antonia Lotz.

The exhibition is sponsored by:

Supporting Program

Wednesday, 1 February at 7 p.m. Public guided tour by the director Heinrich Dietz

Saturday 18 February 2017, 11-12 a.m. Yoga in the Kunstverein (pre-registration is required).

Sunday, 5 March at 2 p.m.
"Die jungen Wilden" – Kids workshop (filing recommended)


Friday, 20 January at 7 p.m.
Introduction: Heinrich Dietz

During the opening the sculptural installation community create tree is activated by a performative flashmob of the Blockadia*Kollektiv.

Opening hours

Tu – Su 12 p.m. – 6 p.m.
We 12 p.m. – 8 p.m.
Mo closed

Entrance fee: 2 €/1,50 €
Thu free, members free


Owen Gump
The Narrows
20 January – 5 March 2017

Owen Gump, Mustang, No. 1, 2015, SW Photo on Baryt paper, © Owen Gump, Courtesy BQ, BerlinThe black and white photographs of Owen Gump (*1980, Kentfield, Kanifornien, USA) can be viewed within the tradition of American landscape photography. In his topographic investigations of the American West, the landscape appears as a stage for human expansion and as material for ideological formations. In his new series The Narrows, exhibited for the first time at the Kunstverein Freiburg, Gump examines a state-subsidized industrial park near Reno, Nevada, where large corporations and high-tech companies—including the world’s largest internet server farm—have opened. The building complexes with their geometric structures appear as a science fiction set against the stark, empty forms of the desert. In this sense, Gump’s photographs could document the ruins of the future, within which the spheres of influence of homo oeconomicus are continuously spreading.

Supporting Program

Wednesday, 1 February at 7 p.m. Public guided tour by the director
Heinrich Dietz

Sunday, 5 March at 2 p.m. at 2 p.m.
"Die jungen Wilden" – Kids workshop (filing recommended)

Wednesday, 15 February at 7 p.m.
Art salon with Dr. Stefan Gronert, curator of photography and media, Sprengel Museum Hannover


Friday, 20 January at 7 p.m.
Introduction: Heinrich Dietz

Opening hours

Tu – Su 12 p.m. – 6 p.m.
We 12 p.m. – 8 p.m.
Mo closed

Entrance fee: 2 €/1,50 €
Thu free, members free