Residentials 1979 - 2009

2009

Mareike Bernien, D-Hamburg (*1979)
Dani Gal, D-Berlin (*1977)
Isa Rosenberger, A-Wien (*1969)
Charlotte Moth, F-St. Quen (*1978)
Tillmann Terbuyken, D-Hamburg (*1978)
Andrea Pichl, D-Berlin (*1964)

2008

Vahram Aghasyan, AM-Yerevan (*1974)
Bettina Allamoda, D-Berlin (*1964)
Thomas Baldischwyler, D-Hamburg (*1974)
Carsten Fock, D-Berlin (*1968)
Falke Pisano, NL-Amsterdam (*1978)
Mirjam Thomann, D-Berlin (*1978)
Taocheng Wang, CN-Shanghai (*1981)

2007

Katja Eydel, D-Berlin (*1969)
Patrick Rieve, D-Hamburg (*1971)
Astrid Korntheuer, D-Offenbach (*1979)
Hannu Karjalainen, FIN-Helsinki (*1978)
Eske Schlüters, D-Hamburg (*1970)
Susanne Pomrehn, D-Berlin (*1962)

2006

Bankleer: Karin Kasböck, D-Berlin (*1969) & Christoph Leitner, D-Berlin (*1968)
Shannon Bool, D-Frankfurt a.M. (*1972)
Liz Craft, USA-Los Angeles (*1970)
Tea Mäkipää, FI-Helsinki / D-Weimar (*1973)
Katrin Mayer, D-Hamburg (*1974)
Özlem Sulak, TR-Istanbul (*1979)
Annette Weisser, D-Berlin (*1968)

2005

Nevin Aladag, D-Berlin (*1972)
Ulla von Brandenburg, D-Hamburg (*1974)
Judith Hopf, D-Berlin (*1969)
Dani Jakob, D-Berlin (*1973)
Kerim Seiler, CH-Zürich (*1974)
Alex Tennigkeit, D-Berlin (*1976)

2004

2003

2002

2001

2000

1999

1998

1997

1996

1995

1994

1993

1992

1991

1990

1989

1988

1987

1986

1985

1984

1983

1982

1981

1980

1979

Olivia Berckemeyer, D-Berlin (*1968)

The inherent contradiction between romanticism and violence is the central moment, which Olivia Berckemeyer addresses in her sculptures and drawings. Berckemeyer treats themes such as violence, patriotism, and fascistic being in tune with nature, as well as the kitsch and triteness hidden behind the romantic surface with a certain sense of irony. In the past years, she has chosen motifs taken from expeditions to the Arctic and to high mountains; more recently, she has focused on hunting motifs - horses, riders, and dogs. In doing so, she tries to draw again attention to the often forgotten sublime of nature.

Yvette Brackman, DK-Kopenhagen (*1967)

Yvette Brackman started working in the artistic field in the nineties. In particular she is dealing with auto erotical forms, female representation in the fashion sector, as well as their structure of materials, surfaces and sections.

The group exhibition "Female Perversions" in Berlin/Mitte, organised by halle_für_kunst Lüneburg e.V., from 30th of October until the 2nd of November 1998, presented younger works of the two New York artists Yvette Brackman and Mary Beth Edelson.

Barbara Breitenfellner, D-Berlin (*1969)

Barbara Breitenfellner's works are installations that examine the relationship between inner and outside space and the viewer. The combination of used objects, which - regarded individually - are completely harmless and ordinary, creates a worrying and disturbing atmosphere. The greenhouse, that shows "Film (non-réalisé)" accommodates an assemblage of 35-mm films, a film editing table, a collection of carnivorous plants in preserving jars and aquariums, watering hoses, time switch clocks, and other things. These objects can hardly be discerned, however, through the milky plastic wall of the greenhouse. Only at one spot, where the column of the gallery runs through the roof of the greenhouse, is a view possible. What can be seen is fragmented and distanced and makes the spectator a voyeur penetrating into this strange world with his or her gaze.

Sven Daemen, D-Berlin (*1960)

„My projects and installations work with the theme of mimetic and orientation. An anthology of mimetically procedures came into being, which is dedicated, in rising differentiation, to the multitude of aspects of perception. My special interest is the perception. In my installations I aim to catch the branches of perception, therefore creating traps or irritations which are able to question the memory and the actual perception.“

Hans-Christian Dany, D-Hamburg (*1966)

Hans-Christian Dany, geboren 1966. Mitherausgeber der Zeitschrift "Starhip" (Berlin) und des Buches "dagegen dabei" (Hamburg 1998). Im Frühjahr 2001 erscheint "Auf dem Weg zu einem Umweg" im Kölner Salon Verlag.

Thibaut de Ruyter, F-Lille (*1972)

Thibaut de Ruyter is an architect and is also working as music critic, DJ and contemporary artist. His working procedure is characterised by getting to know a location, discovering unusual or everyday matters and reflecting altogether under architectural, artistic, musical or literary points of view and afterwards present the result in form of an installation. Starting point of his interest in Bleckede is the literary work of Arno Schmidt. You are able to study his written fixation of his experience with Schmidt under www.a-schmidt.org.

Besides he is teaching and writing for several reviews of architecture, contemporary art and movies.

Raphaël Grisey, F-Paris (*1979)

Raphaël Grisey’s photographs and installations are concerned with exposing the various layers and the complexity of places, with locating and visualising history. He does so with the Berlin photo works from 2002. For this work, Raphaël Grisey collected together with Frédéric Bouchet photos, pictures and objects in Berlin based on texts of the historian and anthropologist Emmanuel Terray. All of them are testimonies of a past history and linked to collective and historical memories. Ones living space consists of rooms with own and foreign structures and values, which can be differentiated into built and symbolic rooms that superimpose on each other and in this way create the picture of experienced reality. The question remains who in which way is responsible for the definition in the analysis of places.
The artist by no means takes on an outside position from where he can gain a matter-of-fact overview of what he observes, but rather retains a fair amount of scepticism towards the supposed neutrality of documenting.

Peter Heber, D-Hamburg/Hannover (*1956)

Peter Heber, Jahrgang 1956, hat an der Hochschule für Bildende Künste in Hamburg studiert und dort 1997 das Arbeitsstipendium der Hansestadt erhalten. Arbeiten des Malers waren im Rahmen des Siemens Kulturprogramms 2000 vom 4.9. - 24.11.2000 im IFZ Feldafing zu sehen. Peter Heber lebt und arbeitet in Hamburg und Hannover.

Elmar Hess, D-Hamburg (*1966)

Elmar Hess, in his works, equates a fantasy cascade of historical events with individual drama. In his film the KRIEGSJAHRE Hess captures national socialism and and the allied war strategies of World War II. His newest project, FREEDOM IS NOT FOR FREE, deals with a love relationship which ends before the tribunal of a human rights commitee.

Bianca Hobusch, D-Hamburg (*1970)

„In my earlier works I considered art historical themes and art works. Since December 1996 I am working on photo series‘ in which I skim off different techniques from the image reservoir of art history and cultural history, especially from European art history, thus combining them with my own techniques. I question the historical meaning. With my photography I question the characteristics of the methodical-scientific or art scientific view by visualising subjective points of views of art and its location. Views are created which seem to be taken from the image world of memories and dreams.”

Annette Hollywood, D-Braunschweig (*1969)

Annette Hollywood poses critical questions regarding both the mutability of reality as well as notions of identity and representation. Assuming an artistic posture which melds self-reflexivity to a sly sense of humour, Hollywood recycles media phenomenon flipping the screen between artist, audience and artwork and thus creating multi-layered narratives which question the boundary between what is real and what merely fictive or perceived.

"mach dir ein Bild von Annette Hollywood" was the name of the exhibition from Annette Hollywood at halle_für_kunst Lüneburg e.V. in co-operation with Künstlerstätte Bleckede, starting 1st of March until 12th of April 2001.

Katharina Jahnke, D-Köln (*1968)

Katharina Jahnke is working with symbols and phenomenons from the pop and trivial world. She is sampling fragments of the broad spectrum concerning soap operas over music to fan souvenirs and with that technique she is forming these different elements to a complex story(history). Her field of themes varies, “Semi-Desperadoes”, the hospital “cobra hopital” or , “Ford Mustang”, but still it is always reflecting a breeze of greatness in its banality.

Mette Kit Jensen, DK-Kopenhagen (*1962)

Mette Kit Jensen strives to "establish a beginning of a poetic history" with the use of atmospheric inferences in architecture or the interior. The Danish artist says "My artistic work concentrates on installations in the public space". She leaves the viewer the liberty to ignore her installations, to notice them, or to step into dialogue with them.

Kerstin Kartschner, GB-London (*1966)

In Kerstin Kartscher's drawings different time zones are interacting simultaneously. It concerns the freeing of the pictorial space as statement and acts for visual fictions, illusions or visionary moments.

Hannes Kater, D-Hannover (*1960)

Hannes Kater is translating the world into his own language and is talking about delimitation and removal in his drawings. He is developing image programs – which are not linear readable networks from symbols – for spaces, which are either drawn realistically on the walls of the rooms (drawn and/or projected) or processed as virtual computer simulation. He is working with the method of the automated drawing, in which he is starting out to observe the figure which is coming into existence and uses that, as well as the derived picture- and drawing treasure as a source for his drawings. Kater is practising a drawing “data processing” of material, which is developing it’s own microcosms in free association.

Mari Susanne Kollerup, D/DK-Hamburg (*1965)

Mari Susanne Kollerup is painting. At the moment she is leaving all landscapes to the horses. She is painting horses in forests, in the rain, in storms, with the sunset, halfway in the fog or dust.

Pauline Kraneis, D-Berlin (*1970)

Pauline Kraneis uses the designs of the citizens as an insperation for her work. She transforms the motifs of private living spaces and the urban external world into ornamental signs. In her work she extracts familier objects from their context and creates a new formation with opens a thought area of individual interpretation.

Manfred Kroboth, D-Hamburg (*1966)

"I work with sound as material within the contemporary art", says Kroboth. "An important aspect of the work is the production of a feeling 'finding-yourself-in-between' or the transition, which connects the ordinary with the unexpected experience." In his work the viewer is creating the sounds with his or her movement or positions.

Tilman Küntzel, SE-Stockholm (*1959)

Tilman Küntzel is working in the sound-art field, within the intermediate areas of fine art and music. His work deals with the interaction of sound and light as well as with the different ways of perception, which sound and light require.

Stefan Panhans, D-Hamburg (*1967)

Stefan Panhans' photographs and videos are tightly interwoven in current interfaces of subject, representation, economic instrumentalisation and media power.
The photo series "Red Light, White Sands, Black Palms" from 2002 consists of taken by chance photographs, capturing the protagonists in poses, attitudes and styles copied from media idols. The apparently inartistic of the photographs give away that the skillfull stylisation rather lies on the side of the motives than the artist, yet it is about the true copy of a preceding picture of the subject.

Nana Petzet, - (*1962)

Nana Petzet, geboren 1962, schlägt eine Brücke zwischen (Natur-) Wissenschaft und Kunst. Studiert hat sie in München und Hamburg. Ihre Arbeit umfasst nicht nur Ausstellungen und Publikationen, zuletzt "Sammeln Bewahren Forschen, Deutschlands drittes Müllentsorgungssystem" im Katalog "today tomorrow" (Hamburg 1999), sondern auch Vorträge und Seminare, im Jahr 2000 etwa in Reykjavik.

Peter Pommerer, D-Berlin (*1968)

Wall drawings, drawings and objects are Peter Pommerer’s mediators. His favourite motive is the elephant, which he is drawing without tail. His works are reflecting various interconnections and the conscious appropriation of different, intertexual levels presented in form of image inventions. His raw models among others are Henri Rousseau, Henri Matisse and Jean-Michel Basquiat.

Reinigungsgesellschaft: Martin Keil, D-Dresden (*1968) & Henrik Mayer, D-Dresden (*1971)

"The Reinigungsgesellschaft is an artistic group at the interface of art and society. Reinigung (cleaning) is a process of renewal. Gesellschaft (society) stands for teamwork and the social context." (RG)
Their sociological enquiries on rather scientific level take place inside and outside of the art field. In their projects they interact and communicate with different groups that can be assigned to certain postions in the social context.
In their works the RG uses photography, video, sculpture, and Internet as media, to pick out the possible combination between art and labor or art and economics as a central theme. From their perspective, artistic strategies could serve to solve problems in other fields of society as well.

Sandra Schäfer, D-Karlsruhe (*1970)

The viewers of Sandra Schäfer’s video works view something very different then what they see on Television for example. In her video "Die Unsichtbare Dienstleistung" (2000) she filters erotic connotations from documentary material where one observes the discussions and communication gaps between vistors of exhibition booths and the female fair assistants. She reveals and stresses the feelings of her subjects with the technique and gesture of confrontation in cinematic cutouts.

Bettina Sefkow, D-Hamburg (*1955)

Bettina Sefkow is questioning the form of representation in the print media and is analysing different aspects of perception. She is working on photographs apart from their original purpose and is conducting them into an artistic context, so that the hidden structures of power and attention are revealing.

In co-operation with Bezirksregierung Lüneburg and halle_für_kunst Lüneburg e.V. she will exhibit her some of her photographs in the rooms of the Bezirksregierung Lüneburg. The exhibition is called "Bettina Sefkow: Bild Politik - Ensemble für Lüneburg auf zwei Ebenen", starting 8th of February until 1st of March 2002.

Maki Tamura, USA-Seattle (*1973)

Maki Tamura makes scroll paintings and videos, both of which are inspired by eastern and western printing, painting and performance techniques. Her works unites such divergent influences as Japanese wood block and ukiyo-e prints, Indonesian hand-printed textiles, East and Southeast Asian painting, as well as 19th and 20th-century Japanese and western children's book illustrations.

During her scholarship in Bleckede she was exhibiting her work at halle_für_kunst Lüneburg e.V. from the 18th of May until the 29th of July. The exhibition has been produced with a catalogue that was also called "Maki Tamura - From A Distant Land".

Barbara von Wienskowski, D-Hamburg

Barbara von Wienskowski collects: memories, photos and stories, drawings and quotations. Fragments of partly lost, partly disparate connections, searching for new links and a place in the order of the things. Their confrontation changes the biographic context and generates perspectives of an underlying identity; she designs references, without covering brakes.

Simon Wachsmuth, D-Berlin (*1964)

With his works, which range from hand drawings to installations including computer animations, Simon Wachsmuth blurs the borders between reality and virtual reality.
When he uses data to generate rain - digital rain - then we recognise it as a natural phenomenon, even though the rain produced by pure technology. Simon Wachsmuth makes it clear that we are situated at a point of transition implying the change of our perception. We are on the verge of being able to interpret virtual objects as real things. It becomes possible to evoke the same feelings by means of technologically produced effects as through reality. The opposition technology - nature is to a certain extent no longer in force.

Mark Wehrmann, D-Hamburg (*1970)

In his work Mark Wehrmann utilizes drawings, videos, and space installations to capture his observations in the urban scene. In his most recent photo series he captures the prevention of Skateboarding at public buildings and protests the loss of a public area.

Jens Wolf, D-Berlin (*1967)

Jens Wolfs paintings are characterized by the sudden interruptions in a clearly stuctured geometrical colour fields. Clearly defined colour surfaces are defined by sharp edged outlines or color contrasts. The neatly and tidily surfaces are interrupted by form lap, shifts, crossing, motive refractions as well as colour stains, with this technology the substrates of his picture appear as "objet trouve".

Florian Zeyfang, D-Berlin (*1965)

Florian Zeyfang is using the field of popular media as a tool for his projects. Integrating his work in that field of cultural mass production makes it possible to review his works in several ways. He is examining the influence of modern engineering and technology of picture arrangements as well as the perception of pictures. Zeyfang, for example, produced a series of video clips called „A-Clips“, together with other artists, which where screened during the commercial brakes of cinema films. These short video clips contained statements about contemporary politics. In comparison with the presentation of political topics in mass media these clips differed in representation of opinion and style.

Ella Ziegler, D-Berlin (*1970)

The interventions of Ella Ziegler are based on a sharp perception of her environment. She observes and recognizes particularities that are negligibilities for others, and she develops a concept that brings out the particularities to those who walk as she does through their life keeping their eyes peeled. "Hotelroom" e.g. will only incidentally be discoverd by a guest or a cleaner. Ziegler has reconstructed her hotel room inside the safe that was below the wardrobe of her room in the Ramada Hotel, Hamilton, Canada. She has locked the safe and on the day of her departure she has returned the key to the reception. The interventions are documented in slides and short descriptions. These documentations together with the interventions build up her work. By means of artist's talks, books or collages she mediates her intention to the viewer who not often might have the possibility to experience her temporary interventions directly.