Herzlich Willkommen! Die alte Feuerwache Wolfen hat sich in unser Festivalzentrum verwandelt! Einst waren hier Feuerwehrleute in Bereitschaft, jetzt bevölkern Künstler:innen, Beteiligte aus Bitterfeld-Wolfen und Besucher:innen das Gebäude, um die brennenden Fragen des Festivals zu diskutieren und miteinander ins Gespräch zu kommen.

Wir eröffnen das große Wasserbecken und die Wasserrutsche auf dem Vorplatz der Feuerwache. Badesachen einpacken – denn alle dürfen rutschen! Grußworte gibt es vom Oberbürgermeister Armin Schenk, dem Schirmherren der diesjährigen Festivalausgabe, und Patrice Heine, Geschäftsführer des Chemiepark Bitterfeld-Wolfen, der die Projekte des Kulturpark e.V. von Anfang an maßgeblich fördert.

Danach, ab 16.30 Uhr, startet das Festivalteam in einzelnen Gruppen in den Kunst-Parcours und bietet unterschiedliche Führungen zu den Kunstwerken an.

Hussein Nassereddine’s performance orates stories of bygone poetry, and of poets whose jaws would appear brimming with marble. The reading is set in a metaphorical garden of fountains where Nassereddine narrates improvised fabulations with specific historical references mirroring the existing link between the Arabic language, poetry and water.

During the performance, Nassereddine invite the audience to contemplate wandering during desert nights where sea waves wash over poets’ bodies, and then turn into silver shimmering atop ponds, foreseeing the glimmer on the surface of rivers, alongside which kingdoms and their luscious gardens would come to be built centuries later. Tears turn to ponds, and ponds dissipate over time. Nothing remains but the wet voice of the poet, and librarians’ records held in dry books, and historians’ reports written on papers.

Free admission.
Language: Arabic With English Subtitles
Duration: 35 minutes

Doors open at 7:00 PM. First performance starts at 7:30 PM, second at 9:00 PM

Hussein Nassereddine’s work originates from a practice around language that builds fragile monuments rooted in collective histories and resources of poetry, ruins, construction and image-making.

Curator: Irfan Hošić
KRAK Center for Contemporary Culture (Hamze Hume bb, Bihać)
May 11 – September 11, 2024.
Opening of the exhibition: Saturday, May 11, 2024, 8:30 p.m.

T&TO by the Zagreb sculptor Ivan Fijolić is a sculpture in which the famous Antun Augustinčić monument dedicated to Josip Broz Tito and the portrait of his wife Jovanka Broz are recognized at first. With a simple strategy of combining the incompatible, that is, by including different and opposing elements, namely Tito’s body and Jovanka’s head, Fijolić creates a new interpretive field of fluid and elusive character. Due to the juxtaposition of conflicting “signs”,  T&TO causes a kind of surprise and shock effect in the observer. 

Pointing to the post-modern character of contemporary sculpture and raising the general question of the perception of sculpture in public space in our environment, the temporary placement of Fijolić’s sculpture in the immediate vicinity of the KRAK center in Bihać opens up a set of often postponed questions concerning the legacy of Yugoslav socialism, the memorial heritage of the NOB- and what she commemorates. Such a sequence is particularly interesting in the context of the unfinished transition of Bosnian society, within which, due to the political and ideological ruptures of the 1990s, there was an extensive revisionism of historical narratives.

However, Fijolić does not make a direct dedication to Josip Broz – his focus is on Augustinčić’s sculpture that represents him. Instead of Tito’s, the artist places Jovanka’s head and thus seems to want to present Tito in a way that he is not. And while in the descriptive aspect it is not really about Tito, in the symbolic aspect it really is. Hence the name T&TO as a play on sounds and the sign “et” (lat.) which in South Slavic languages ​​denotes the conjunction “i”, and in Fijolć’s case takes on a conceptual meaning. With this, the artist expands the field of interpretation of the work to include its name – Tito’s name is spelled differently by the artist, but it is still read as “Tito”.

His T&TO is part of a wider body of works called Neo NOB, which are inspired by the history of the national liberation struggle from the 1940s, but also by the monuments that formed the visual language of the political opinion of a generation. 

Ivan Fijolić belongs to the middle generation of sculptors on the Zagreb scene, who built his artistic language on references to popular culture, humor and intertextuality. In Bosnia and Herzegovina, he remained famous for the sculpture dedicated to Bruce Lee in Mostar, the installation of which in a politically tense environment was supposed to humorously open the issue of monumental plastic in the public space of a divided city. 

The exhibition in KRAK takes place as part of the Bihać Architecture Week program with the theme Memory in Transition, with the support of the Robert Bosch Foundation. 

On Wednesday, the Fotograf Gallery will host a lecture by Geert Goiris organized in collaboration with FAMU ❣️Come get a glimpse into the mysterious world of this artist at 7 pm! We look forward to seeing you 🫂

KVOST is very pleased to announce Magdalena Ciemierkiewicz as this year’s recipient of the KVOST Scholarship and the Claus Michaletz Preis 2024, endowed with 10,000 euros. The artist was selected from 132 applications.

The Polish artist Magdalena Ciemierkiewicz (1992*) addresses the unique culture of the Ukrainian-Polish border region at the intersection of different national, religious and ethnic identities. She carefully and poetically addresses their often repressed and forgotten histories. In her works, which include video, sound, textiles and installations, she incorporates authentic traditional patterns and objects into a contemporary context. Some of her works revolve around the Stryvihor Museum, which was founded in Przemyśl in 1932 to represent the marginalized Ukrainian folk art of the region. After the museum was forced to close in 1945, its collection went to Polish institutions and is still not accessible to the public today. Magdalena Cierniekiewicz reinterprets the exhibition and brings it out of its obscurity.

Magdalena Ciemierkiewicz was born in Subcarpathia (PL) and lives in Jarosław. She is a graduate of the Academy of Fine Arts in Warsaw (2016) and the History of Modern Art at the Institute of Art of the Polish Academy of Sciences (2020). She is currently a PhD candidate at the Academy of Fine Arts in Warsaw.

This year, the jury consisted of Monika Branicka (art historian and curator), Dr. Christine Heidemann (collection curator for contemporary art and dependent foundations at the Berlin Stadtmuseum), Thomas Florschuetz (artist), Nathalie Hoyos and Rainald Schumacher (curatorial team with a focus on Eastern and South Eastern Europe), Dr. Silke Manske and Corinna Reuter (Secco Pontanova Foundation) and Stephan Koal (curator and director of the art association).

In addition to the KVOST scholarship – an artist residency in Berlin followed by a solo exhibition at KVOST during Berlin Art Week 2024 – Magdalena Ciemierkiewicz will receive the Claus Michaletz Preis, which is endowed with 10,000 euros. In memory of the publisher and founder of the Secco Pontanova Foundation, the prize has been awarded to artists from Eastern Europe since 2020. The full amount of the prize money goes to the scholarship holders.

“Like most of my generation, I was brought up on the saying: ‘Satan finds some mischief still for idle hands to do.’ Being a highly virtuous child, I believed all that I was told, and acquired a conscience which has kept me working hard down to the present moment.”

Bertrand Russell, In Praise of Idleness, 1935

Jovana’s project is focused on the question of values around work. When does work bring value and meaning, vs. when is it turned to meaningless overworking, sophisticated slavery? Sociology offers two definitions of work: through an anthropological lens, as a conscious, purposeful practice by which a human produces itself as a cultural and historical being; on the other hand, in an economic context, work is the production of material goods or professional social services in a way that meets basic human needs and the needs of the one who is doing the work.

This double meaning, two sides of the same coin, points to the function of work in the construction of a cultural framing: that a human can only become a historical being by producing material or non-material commodities for oneself and others. We are already imprinted with this notion from early childhood on, through all the thoughts and phrases around work, with which we are brought up, and which Jovana finds in literature as well as in memories of her own childhood: ‘Oj, lenjosti, gora si od bolesti’, her mother uttered frequently; in translation: ‘Alas, laziness, you’re worse than sickness.’

The biggest part of this work was developed during the residence period at AIR InSilo (Hollabrunn, Austria) between February 13 and March 18, 2024. Jovana based her research on the ‘crosswords’ between the thoughts and sentences around work, which shape our values of work and our need to create, and the ones that restrain us and keep us in a pointless workaholic state of mind. Furthermore, it explores the virtues of leisure, often regarded as the contrary of work; it should bring quality to life, as the time when we can reassess the reasons why and what we are doing, but is more and more gnawed away by a social demand for self-optimization through fitness and wellness, which again serve to enhance our productivity. The research was done through reading and interviews with local artists, starting from the Serbian diaspora, on the topic. The research outcomes are rendered as a final big-scale ‘crossword’ displaying the interwoven imprint of work (un)conditioning our individual and collective mindsets – in the form of a physical flag with selected and sewn keywords and expressions of labour, excerpted from the interviews*.

Jovana Blagojević and Ksenia Yurkova and Martin Breindl (AIR inSilo)

Join us on April 24 at the long, cozy dining table with 30 reserved spots at the C*SPACE factory loft or a shared culture & dining experience!

Our first co-host and moderator of the evening is the artist and podcaster Patrycja Rozwora @patrycja.rozwora, who will guide through the night together with Katya Romanova @kat_romanova, a socio-cultural practitioner, passionate food lover and initiator of this new format at C*SPACE.

What’s on the table for the night?

🥟Interactive presentation of the Kitchen Conversations Cookbook: Homey Recipes from Artists by Patrycja Rozwora @patrycja.rozwora. The Cookbook is a collection of home recipes by guests of the Kitchen Conversations podcast – about contemporary art from and about ‘Eastern Europe’.

🥟Screening of short film Parcelpaedia (2020) by Moldovan visual artist Marina Sulima @_marinasulima – one of the participants of the Cookbook.

🥟Guided dinner conversation and a moment to connect with inspiring people, accompanied by delicious, home-made Georgian food.

Entry includes food (main vegetarian dish, one welcome drink, tea) and cultural program.

🗓️ April 24, Wednesday
🎟️Ticket price*: 35€, limited solidarity tickets for 25€. Limited spots available.

information and tickets are here: https://linktr.ee/cspaceberlin

Screening and talk by Angelika Ustymenko and Alex King


This documentary offers an intimate perspective on the Russia-Ukraine war through the eyes of Ukraine’s queer community – who are resisting Russia’s invasion but also fighting for equality within their own society. Before the full-scale invasion, the subversive collective Rebel Queers would defy the heteronormative and patriarchal world that so suffocated them by scrawling slogans on the walls of Kyiv including “Queer Sex,” “Make Queer Punk Again,” and “Be Queer, Do Crime, Hail Satan.” The driving force behind Rebel Queers is Angelika Ustymenko, a non-binary and neurodivergent artist and filmmaker. When their country and their community came under attack, they resolved to document the experiences of queer Ukrainians during wartime. On the first anniversary of the full-scale invasion, Ustymenko began a new phase of their documentary project, collaborating with Huck Docs to collect queer soldiers’ reflections after a year of war and exploring the many forms of queer resistance.

in conversations with Czech photographer and educator, Libuše Jarcovjáková

Her distinctive work was first shown to a wide audience at Les Rencontres d’Arles in 2019, when Libuše was already in her 60s. Since then, her black and white analogue photographs depicting islands of freedom in a grey, communist Czechoslovakia have attracted much international attention. Today her work is often compared to the work of American icon Nan Golden. 

As a tribute to Libuše’s work, Czech filmmaker Klára Tasovská has created a film based on her photographs and diary entries entitled ‘I’m Not Everything I Want to Be’, which has just premiered at this 74th Berlinale Film Festival. 

Listen here: https://linktr.ee/kitchenconversations or wherever you get your podcasts!

March 16—31, 2024

Figures of dissent are taken from Armenian, Jewish, Ukrainian, Greek, Turkish, Belarusian folklore. For Ukrainian folklore, and the folklore of national minorities, as well as other peoples who lived next to us between great empires, transformation is not humanization, but an attempt to find a place for those whose lives have become impossible due to structural violence, nature and history become a paradise and a place of memory for the excluded. Transformation into a tree or a mermaid is an act of disagreement with violence and injustice.

Kateryna Lysovenko is an artist. Her media are monumental painting, painting, drawing and text. Kateryna is engaged in the study of the relationship between ideology and painting, the production of the image of the victim in politics and art, from antiquity to the present day. Lysovenko looks at painting as a language that can be instrumentalized or liberated. Before the full scale invasion lived and worked in Kyiv, Ukraine. Now based in Vienna.

Image: Arachne, 2024

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