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Dearests 💚🩷 I am immensely grateful to share that my first solo show in Berlin, Deixis & Needs — opens in one month from today and Künstlerhaus Bethanien, 11.06.2026, 7pm, Kottbusser Straße 10, 10999 Berlin. I have been dreaming towards this for a long time. So happy to be working with @sylv_inski & I hope to meet you at the show! Till then, I’m in studio mode. 🪁

Looking forward to the second session of the Crip Art Histories reading group online on Monday with writer and curator Sylvia Sadzinsky @sylv_inski ! Register via the link in my bio. We will be discussing what queering and cripping means in curatorial practice and with reference to artistic interventions into exhibition spaces.

@arthistorysta @ah_sta_students

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

Some things take time – so I am all the more delighted that this article, which I wrote what feels like an eternity ago (2021? 2022?), has now been peer-reviewed and published.
In it, I position queer-feminist curating as an affective practice that manifests itself particularly in negative affects. I refer to two exhibitions that I curated during my time at Galerie im Turm in Berlin: “Fat Femme Furious” by Julischka Stengele and “You Make Me Very Hungry/Und ich hab schon wieder Hunger” by Lisa Holzer.
It’s so nice that feminist theorist and pioneer in this field, Jennifer Tyburczy, has written a commentary on it. 🫶

Also in this issue: a feature and short reflection on the group exhibition “pornotopia revised” which Sarah Held and I curated in 2022 at Kunsthalle Exnergasse in Vienna, as well as great contributions by Iz Paehr, Magdalena Kallenberger, MELT (Ren Loren Britton & Iz Paehr), William J. Simmons and further comments by Simon Strick and Elke Krasny.

Thanks to editor Friederike Nastold and Oliver Klaassen for initiating and supporting the process 💕

gender<ed> thoughts Jg. 1/2026 - Queering Minoritarian In_Visibilities in Art and Visual Culture Renegotiated. Sonderausgabe 2. edited by Friederike Nastold in collaboration with Oliver Klaassen

- Open Access via https://www.gendered-thoughts.de/fileadmin/user_upload/genderedthoughts_01_2026_Special_Issue_2.pdf

OPENING
Weirder, Taller, Uglier, Louder – Feral Possible around Karl-Marx-Straße and Carrer Cobalt

18/02/2026, from 6 PM

Weirder, Taller, Uglier, Louder – Feral Possible around Karl-Marx-Straße and Carrer Cobalt is the third exhibition within the overall project Louder, Taller, Uglier, Weirder – Learning from Weeds.

For this stage at Bärenzwinger, new works take root. Artist Ran Zhang @distant_hat invited artist duo Lolo & Sosaku @loloysosaku to collaborate on creating a weedy environment within a space marked by a particular history of control and domination, both in its current role as an exhibition venue and its past as a bear pit.

Louder, Taller, Uglier, Weirder – Learning from Weeds is a curatorial project comprising four exhibitions and a series of events that appear as “sprouts” across the city over the course of the project.

Guest-curated by Anaïs Senli @anais_senli, Lorena Juan @lopecado, Sonia Fernández Pan @sf_pan and Sylvia Sadzinski @sylv_inski

Join us at 6 PM for welcome words by the Bärenzwinger team and a curatorial introduction by the guest curators. Afterwards, stay for (hot) drinks and music.

Graphic Design: Tessa Curran @lotsofbroth

...And the weeds keep growing! 🌱
This time, we have put together a screening programme at Galerie im Turm that presents a different film every week starting this Wednesday during the opening times of @galerie_im_turm Mon-Fri 12-18h, Sat-Sun 14-19h.

11.2.-15.2.2026
Marta Popivoda @marta.popivoda
Landscapes of Resistance, 2021, 95 min.

16.2.-22.2.2026
Crystal Z Campbell @crystalzcampbell
Makahiya, 2024, 10:23 min.

23.2.-1.3.2026
Ellinor Aurora Aasgaard & Zayne Armstrong @maybeellinor @zaynearmstrong
Los Tres Puntos, 2025, 45 min.

2.3.-8.3.2026
John Smith @theotherjohnsmith
Being John Smith, 2024, 27 min. 

9.3.-15.3.2026
Laura Nitsch @theofficialnitsch
Violett, 2022/2023, 29 min.

Curated by Anaïs Senli, Lorena Juan, Sonia Fernández Pan, Sylvia Sadzinski

@anais_senli @lopecado @sf__pan @galerie_im_turm

Thank you to @thisisfranimfran and Carlotta Gonindard Liebe 💚

Graphic Design @lotsofbroth

From today, this year-long project officially begins to grow 🌱
I hope you join us along the way while we will be learning from weeds 🌿

Inspired in an intuitive and visceral way by weeds, Louder, Taller, Uglier, Weirder – Learning from Weeds / Von Unkraut lernen is a curatorial project composed of events we call sprouts and exhibitions that unfold with different — and perhaps irregular — rhythms.

Spanning nearly a year, the project begins today at Xanadu in Neukölln, before opening its first exhibition at Kunstraum Kreuzberg/Bethanien this Friday. From this initial moment, many more sprouts will appear across the city and in various project spaces, along with three further exhibitions at Galerie im Turm in Friedrichshain, Bärenzwinger in Mitte, and Galerie im Körnerpark in Neukölln.

We start with a direction to follow and the curiosity to discover what grows next: how and where will the weeds that give life to this project take root? Sometimes they stay close to the plant world; at other times, they extend far beyond it — turning weeds into a shared spirit that resists domestication

Louder, Taller, Uglier, Weirder – Learning from Weeds / Von Unkraut lernen

15 Oct 2025, 19:30 at @xanadu_berlin
Eve Tagny: Of Roses [how to embody the layers of time] (2021) Film Screening and Artist Talk (in English)

18 Oct 2025 - 11 Jan 2026 at @kunstraumkreuzberg
Opening 17 Oct 2025, from 17:00, Welcome 19:00

With
Cosima zu Knyphausen, Dana Lorenz, Daniela Medina Poch, Danila Lipatov & Karen Zimmermann, Diana Policarpo, Harry Hachmeister, Ian Waelder, Jesse Darling, Maya Saravia, Nicolas Pelzer, Nona Inescu, Paloma Contreras Lomas, Pablo Fernandez Zapata, Rosanna Graf, Rubén Grilo, Sybille Neumeyer, virgil b/g taylor

Curated by Anaïs Senli, Lorena Juan, Sonia Fernández Pan, Sylvia Sadzinski

@anais_senli @lopecado @sf__pan

Graphic Design @lotsofbroth

What is language and how do we create meaning?
I wrote a text for this great book, How to Do Things with VALIE EXPORT, edited by Katharina Müller, Eszter Kondor, and Michael Loebenstein from the Austrian Film Museum.

In my text, “Schnitte, Risse und Bewegungen. Behinderte Stimmen und widerspenstige Sprachen /Cuts, Tears, and Movements
Disabled Voices and Rebellious Languages“
I examine the two film works Das Unsagbare Sagen [Saying the Unspeakable] (1992) and I turn over the pictures of my voice in my head (2008) and interpret them as intersectional feminist and anti-ableist. I analyze the significance of voice, language and body and the concept of cripping in EXPORTs works – a critical process that shatters linguistic structures and breaks down normative practices of communication and language. 👅

The book is available in German and English and I have major fangirl moments when looking at the list of contributors.

How to Do Things with VALIE EXPORT
Edited by Katharina Müller, Eszter Kondor, Michael Loebenstein
Spector Books
Leipzig 2025

With contributions by Erika Balsom, Monika Bernold, Christa Blümlinger, Sabeth Buchmann, Silvia Eiblmayr, VALIE EXPORT, Sabine Folie, The Golden Pixel Cooperative, Ulrike Hanstein, Caroline Heider, Gabu Heindl und Drehli Robnik, Elfriede Jelinek, Gertrud Koch, Ira Konyukhova, Sophie Lewis, Vrääth Öhner, Sylvia Sadzinski, Hedwig Saxenhuber, Jul Marian Schadauer, Ashley Hans Scheirl, Inna Shevchenko, Elisabeth Streit und Tom Waibel, Nadya Tolokonnikova, Renée Winter, David Wittinghofer, and the editors.

Thank you @katharinam9 and @austrianfilmmuseum 🫶

@valieexportfoundation

What is language and how do we create meaning?
I wrote a text for this great book, How to Do Things with VALIE EXPORT, edited by Katharina Müller, Eszter Kondor, and Michael Loebenstein from the Austrian Film Museum.

In my text, “Schnitte, Risse und Bewegungen. Behinderte Stimmen und widerspenstige Sprachen /Cuts, Tears, and Movements
Disabled Voices and Rebellious Languages“
I examine the two film works Das Unsagbare Sagen [Saying the Unspeakable] (1992) and I turn over the pictures of my voice in my head (2008) and interpret them as intersectional feminist and anti-ableist. I analyze the significance of voice, language and body and the concept of cripping in EXPORTs works – a critical process that shatters linguistic structures and breaks down normative practices of communication and language. 👅

The book is available in German and English and I have major fangirl moments when looking at the list of contributors.

How to Do Things with VALIE EXPORT
Edited by Katharina Müller, Eszter Kondor, Michael Loebenstein
Spector Books
Leipzig 2025

With contributions by Erika Balsom, Monika Bernold, Christa Blümlinger, Sabeth Buchmann, Silvia Eiblmayr, VALIE EXPORT, Sabine Folie, The Golden Pixel Cooperative, Ulrike Hanstein, Caroline Heider, Gabu Heindl und Drehli Robnik, Elfriede Jelinek, Gertrud Koch, Ira Konyukhova, Sophie Lewis, Vrääth Öhner, Sylvia Sadzinski, Hedwig Saxenhuber, Jul Marian Schadauer, Ashley Hans Scheirl, Inna Shevchenko, Elisabeth Streit und Tom Waibel, Nadya Tolokonnikova, Renée Winter, David Wittinghofer, and the editors.

Thank you @katharinam9 and @austrianfilmmuseum 🫶

@valieexportfoundation

What is language and how do we create meaning?
I wrote a text for this great book, How to Do Things with VALIE EXPORT, edited by Katharina Müller, Eszter Kondor, and Michael Loebenstein from the Austrian Film Museum.

In my text, “Schnitte, Risse und Bewegungen. Behinderte Stimmen und widerspenstige Sprachen /Cuts, Tears, and Movements
Disabled Voices and Rebellious Languages“
I examine the two film works Das Unsagbare Sagen [Saying the Unspeakable] (1992) and I turn over the pictures of my voice in my head (2008) and interpret them as intersectional feminist and anti-ableist. I analyze the significance of voice, language and body and the concept of cripping in EXPORTs works – a critical process that shatters linguistic structures and breaks down normative practices of communication and language. 👅

The book is available in German and English and I have major fangirl moments when looking at the list of contributors.

How to Do Things with VALIE EXPORT
Edited by Katharina Müller, Eszter Kondor, Michael Loebenstein
Spector Books
Leipzig 2025

With contributions by Erika Balsom, Monika Bernold, Christa Blümlinger, Sabeth Buchmann, Silvia Eiblmayr, VALIE EXPORT, Sabine Folie, The Golden Pixel Cooperative, Ulrike Hanstein, Caroline Heider, Gabu Heindl und Drehli Robnik, Elfriede Jelinek, Gertrud Koch, Ira Konyukhova, Sophie Lewis, Vrääth Öhner, Sylvia Sadzinski, Hedwig Saxenhuber, Jul Marian Schadauer, Ashley Hans Scheirl, Inna Shevchenko, Elisabeth Streit und Tom Waibel, Nadya Tolokonnikova, Renée Winter, David Wittinghofer, and the editors.

Thank you @katharinam9 and @austrianfilmmuseum 🫶

@valieexportfoundation

What is language and how do we create meaning?
I wrote a text for this great book, How to Do Things with VALIE EXPORT, edited by Katharina Müller, Eszter Kondor, and Michael Loebenstein from the Austrian Film Museum.

In my text, “Schnitte, Risse und Bewegungen. Behinderte Stimmen und widerspenstige Sprachen /Cuts, Tears, and Movements
Disabled Voices and Rebellious Languages“
I examine the two film works Das Unsagbare Sagen [Saying the Unspeakable] (1992) and I turn over the pictures of my voice in my head (2008) and interpret them as intersectional feminist and anti-ableist. I analyze the significance of voice, language and body and the concept of cripping in EXPORTs works – a critical process that shatters linguistic structures and breaks down normative practices of communication and language. 👅

The book is available in German and English and I have major fangirl moments when looking at the list of contributors.

How to Do Things with VALIE EXPORT
Edited by Katharina Müller, Eszter Kondor, Michael Loebenstein
Spector Books
Leipzig 2025

With contributions by Erika Balsom, Monika Bernold, Christa Blümlinger, Sabeth Buchmann, Silvia Eiblmayr, VALIE EXPORT, Sabine Folie, The Golden Pixel Cooperative, Ulrike Hanstein, Caroline Heider, Gabu Heindl und Drehli Robnik, Elfriede Jelinek, Gertrud Koch, Ira Konyukhova, Sophie Lewis, Vrääth Öhner, Sylvia Sadzinski, Hedwig Saxenhuber, Jul Marian Schadauer, Ashley Hans Scheirl, Inna Shevchenko, Elisabeth Streit und Tom Waibel, Nadya Tolokonnikova, Renée Winter, David Wittinghofer, and the editors.

Thank you @katharinam9 and @austrianfilmmuseum 🫶

@valieexportfoundation

A Brave(r) Space is a facilitated space in which challenging conversations on social justice issues are encouraged. Brave(r) Spaces go beyond the idea of teaching-learning processes as mere safe(r) spaces and encourage constructive, if sometimes uncomfortable, conversations and learning moments.

In the recently published volume “Media, Arts, Design Education+: Inclusive Articulations And Practices” edited by Dirk Reynders, I outlined in a short epilogue/postface why we might need more brave spaces and moments of shared (un-)learnings in art education.

Thanks for the invitation, Dirk! @dirk_reynders

“Media, Arts & Design Education+ explores the dynamic intersection of arts education and global diversity, offering insights into how inclusive and innovative educational practices are reshaping the field. This volume features contributions from international scholars and practitioners, examining how arts education evolves in response to societal shifts, digital innovation, and the growing need for inclusivity. Through critical discussions and case studies, the book highlights the transformative potential of arts education in fostering social change, promoting equity, and addressing global challenges such as sustainability and cultural sensitivity.
(…)
Media, Arts & Design Education+ serves as both a critical analysis and a practical guide for educators, students, and professionals, advocating for systemic change in arts education. Through this exploration, the volume aims to contribute to the ongoing dialogue on building a more equitable and inclusive future for arts education worldwide.“

A Brave(r) Space is a facilitated space in which challenging conversations on social justice issues are encouraged. Brave(r) Spaces go beyond the idea of teaching-learning processes as mere safe(r) spaces and encourage constructive, if sometimes uncomfortable, conversations and learning moments.

In the recently published volume “Media, Arts, Design Education+: Inclusive Articulations And Practices” edited by Dirk Reynders, I outlined in a short epilogue/postface why we might need more brave spaces and moments of shared (un-)learnings in art education.

Thanks for the invitation, Dirk! @dirk_reynders

“Media, Arts & Design Education+ explores the dynamic intersection of arts education and global diversity, offering insights into how inclusive and innovative educational practices are reshaping the field. This volume features contributions from international scholars and practitioners, examining how arts education evolves in response to societal shifts, digital innovation, and the growing need for inclusivity. Through critical discussions and case studies, the book highlights the transformative potential of arts education in fostering social change, promoting equity, and addressing global challenges such as sustainability and cultural sensitivity.
(…)
Media, Arts & Design Education+ serves as both a critical analysis and a practical guide for educators, students, and professionals, advocating for systemic change in arts education. Through this exploration, the volume aims to contribute to the ongoing dialogue on building a more equitable and inclusive future for arts education worldwide.“

A Brave(r) Space is a facilitated space in which challenging conversations on social justice issues are encouraged. Brave(r) Spaces go beyond the idea of teaching-learning processes as mere safe(r) spaces and encourage constructive, if sometimes uncomfortable, conversations and learning moments.

In the recently published volume “Media, Arts, Design Education+: Inclusive Articulations And Practices” edited by Dirk Reynders, I outlined in a short epilogue/postface why we might need more brave spaces and moments of shared (un-)learnings in art education.

Thanks for the invitation, Dirk! @dirk_reynders

“Media, Arts & Design Education+ explores the dynamic intersection of arts education and global diversity, offering insights into how inclusive and innovative educational practices are reshaping the field. This volume features contributions from international scholars and practitioners, examining how arts education evolves in response to societal shifts, digital innovation, and the growing need for inclusivity. Through critical discussions and case studies, the book highlights the transformative potential of arts education in fostering social change, promoting equity, and addressing global challenges such as sustainability and cultural sensitivity.
(…)
Media, Arts & Design Education+ serves as both a critical analysis and a practical guide for educators, students, and professionals, advocating for systemic change in arts education. Through this exploration, the volume aims to contribute to the ongoing dialogue on building a more equitable and inclusive future for arts education worldwide.“

A Brave(r) Space is a facilitated space in which challenging conversations on social justice issues are encouraged. Brave(r) Spaces go beyond the idea of teaching-learning processes as mere safe(r) spaces and encourage constructive, if sometimes uncomfortable, conversations and learning moments.

In the recently published volume “Media, Arts, Design Education+: Inclusive Articulations And Practices” edited by Dirk Reynders, I outlined in a short epilogue/postface why we might need more brave spaces and moments of shared (un-)learnings in art education.

Thanks for the invitation, Dirk! @dirk_reynders

“Media, Arts & Design Education+ explores the dynamic intersection of arts education and global diversity, offering insights into how inclusive and innovative educational practices are reshaping the field. This volume features contributions from international scholars and practitioners, examining how arts education evolves in response to societal shifts, digital innovation, and the growing need for inclusivity. Through critical discussions and case studies, the book highlights the transformative potential of arts education in fostering social change, promoting equity, and addressing global challenges such as sustainability and cultural sensitivity.
(…)
Media, Arts & Design Education+ serves as both a critical analysis and a practical guide for educators, students, and professionals, advocating for systemic change in arts education. Through this exploration, the volume aims to contribute to the ongoing dialogue on building a more equitable and inclusive future for arts education worldwide.“

ACRE is pleased to present (un)critical proximity (the pleasure of the text) a project by Michał Leszuk in curatorial collaboration with Sylvia Sadzinski.

The book, as we know it, is a paradoxical object—at once finished and unfinished, open yet closed. In the second iteration of (un)critical proximity (the pleasure of the text), the book undergoes a radical transformation: no longer a mere vessel of words, it becomes an event, a site of encounter, an unfolding. To queer the book is to interrogate its boundaries—to liberate it from the tyranny of completion, the myth of singular authorship, and the violence of linearity. It is to situate the book in the realm of the fluid, the porous, and the participatory.

With contributions by: #KajsaDahlberg, Samuel Haitz @samuelhaitz , Céline Mathieu @cm.celinemathieu , Dana Lorenz @d_a_n_a_ore , #JohannesPorsch & Robin Waart @robinwaart

Private View 28th of February 6-9pm
28th of February to 29th of March
Thursday to Saturday 3-7pm
& by appointment info@acrestudios.cc

Supported by Projektfonds Kulturförderung Friedrichshain-Kreuzberg and the Federal Ministry Republic of Austria for Art, Culture, Civil Service and Sport (BMKÖS).

#keksesüsswaren #acrestudios #projectspace #projektraum #acrelibrary

Last summer, among (too) many other things, I was thinking about how time, representations and (infra-)structures can be queered and cripped within artistic exhibition practices.

The text I squeezed out of my head and which takes exhibition projects by Eva Egermann @evaegermann, MELT (Ren Loren Britton & Iz Paehr) @meltionary and Julischka Stengele @studio.stengele as a basis for analysis is now part of this wonderful volume "Queer Exhibition Histories", edited by Bas Hendrikx @hasbendrikx at @valiz_books_projects

Thank you for the invitation, your trust and patience, dear Bas, as well as Valentina Iancu @valentinaiancu.airam 💘

QUEER EXHIBITION HISTORIES
By Bas Hendrikx (ed.)

With contributions by: Tawanda Appiah @tawandaspinach , Aaron Betsky @aaronbetsky , Boudry/Lorenz @boudrylorenz , Övül Ö. Durmuşoğlu @ovulundesi , Aleksandra Gajowy @aleksandragajowy , Jessica Gysel @jessicagysel , Bas Hendrikx @hasbendrikx , Halyna Hleba @gglya , Kateryna Iakovlenko @kasia_ia , Valentina Iancu @valentinaiancu.airam , Katrin Kivimaa, Rían Kearney, Leonida Kovač, Léon Kruijswijk @ leopoldardinio , Élisabeth Lebovici @le_beau_vice2 , Edwin Nasr @upandcommie , Peaches @peachesnisker , Katarina Pirak Sikku, François Piron @francoispiron , Rebeka Põldsam, Karol Radziszewski @karolradziszewski , Sylvia Sadzinski @sylv_inski , Sara Salminen, Airi Triisberg, Eugenio Viola @eugenioviola_official , Simone Wegman, Liang-Kai Yu @yuliangkai

Book design: Lotte Lara Schröder @termsofcircumstance

Last summer, among (too) many other things, I was thinking about how time, representations and (infra-)structures can be queered and cripped within artistic exhibition practices.

The text I squeezed out of my head and which takes exhibition projects by Eva Egermann @evaegermann, MELT (Ren Loren Britton & Iz Paehr) @meltionary and Julischka Stengele @studio.stengele as a basis for analysis is now part of this wonderful volume "Queer Exhibition Histories", edited by Bas Hendrikx @hasbendrikx at @valiz_books_projects

Thank you for the invitation, your trust and patience, dear Bas, as well as Valentina Iancu @valentinaiancu.airam 💘

QUEER EXHIBITION HISTORIES
By Bas Hendrikx (ed.)

With contributions by: Tawanda Appiah @tawandaspinach , Aaron Betsky @aaronbetsky , Boudry/Lorenz @boudrylorenz , Övül Ö. Durmuşoğlu @ovulundesi , Aleksandra Gajowy @aleksandragajowy , Jessica Gysel @jessicagysel , Bas Hendrikx @hasbendrikx , Halyna Hleba @gglya , Kateryna Iakovlenko @kasia_ia , Valentina Iancu @valentinaiancu.airam , Katrin Kivimaa, Rían Kearney, Leonida Kovač, Léon Kruijswijk @ leopoldardinio , Élisabeth Lebovici @le_beau_vice2 , Edwin Nasr @upandcommie , Peaches @peachesnisker , Katarina Pirak Sikku, François Piron @francoispiron , Rebeka Põldsam, Karol Radziszewski @karolradziszewski , Sylvia Sadzinski @sylv_inski , Sara Salminen, Airi Triisberg, Eugenio Viola @eugenioviola_official , Simone Wegman, Liang-Kai Yu @yuliangkai

Book design: Lotte Lara Schröder @termsofcircumstance

Last summer, among (too) many other things, I was thinking about how time, representations and (infra-)structures can be queered and cripped within artistic exhibition practices.

The text I squeezed out of my head and which takes exhibition projects by Eva Egermann @evaegermann, MELT (Ren Loren Britton & Iz Paehr) @meltionary and Julischka Stengele @studio.stengele as a basis for analysis is now part of this wonderful volume "Queer Exhibition Histories", edited by Bas Hendrikx @hasbendrikx at @valiz_books_projects

Thank you for the invitation, your trust and patience, dear Bas, as well as Valentina Iancu @valentinaiancu.airam 💘

QUEER EXHIBITION HISTORIES
By Bas Hendrikx (ed.)

With contributions by: Tawanda Appiah @tawandaspinach , Aaron Betsky @aaronbetsky , Boudry/Lorenz @boudrylorenz , Övül Ö. Durmuşoğlu @ovulundesi , Aleksandra Gajowy @aleksandragajowy , Jessica Gysel @jessicagysel , Bas Hendrikx @hasbendrikx , Halyna Hleba @gglya , Kateryna Iakovlenko @kasia_ia , Valentina Iancu @valentinaiancu.airam , Katrin Kivimaa, Rían Kearney, Leonida Kovač, Léon Kruijswijk @ leopoldardinio , Élisabeth Lebovici @le_beau_vice2 , Edwin Nasr @upandcommie , Peaches @peachesnisker , Katarina Pirak Sikku, François Piron @francoispiron , Rebeka Põldsam, Karol Radziszewski @karolradziszewski , Sylvia Sadzinski @sylv_inski , Sara Salminen, Airi Triisberg, Eugenio Viola @eugenioviola_official , Simone Wegman, Liang-Kai Yu @yuliangkai

Book design: Lotte Lara Schröder @termsofcircumstance

How does curating create community?
When can artistic/curatorial practice disrupt entrenched forms, formats and infrastructures?

In search of possible answers to these and many more questions, Chris E Vargas, Dot Zhihan Jia, Helena Reckitt, Jamila Prowse, Sylvia Sadzinski, Taey Iohe and Vera Hofmann met in several collaborative and individual writing sessions. The text, including its voids, is an invitation for other theorists and practitioners to think about curatorial and artistic forms of togetherness, critique and (un)learnings. Feel free to work with, adapt, grapple with the questions in your specific contexts! We’d be happy if you share your findings with us.

magazine + archive yearofthewomen.net
published by Vera Hofmann and Schwules Museum
funded by Stiftung Kunstfonds

#queeringinstitutions #institutingotherwise #institutionalcritique #commoning #queercurating #quietradicals #queeringmuseums #queermuseum #kuir #feminist #feministcurating #infrastructure #curatorialactivism

Spätestens seit Sara Ahmeds “Feminist Killjoy” ist klar, dass Stören feministisch, produktiv und subversiv sein kann (immer wieder nice, das auch vor den Feiertagen noch mal zu verinnerlichen🔥).

Der Sammelband „Queerulieren - Störmomente in Kunst, Medien und Wissenschaft“ untersucht Praktiken des Störens und ihre unterschiedlichen Dimensionen (mikropolitisch, intentional, künstlerisch-medial, rezeptiv und epistemologisch).

Und ich durfte mit einem kurzen Beitrag zum Thema „que(e)rulierend kuratieren“ ein bisschen mitstören.

Danke, Oliver Klaassen @oliver.klaassen und Andrea Seier für die Einladung und eure tolle und wichtige Arbeit 💝

QUEERULIEREN
Störmomente in Kunst, Medien und Wissenschaft
(Neofelis Verlag)

Mit Beiträgen von Cornelia Bartsch, Marie Sophie Beckmann, Ulrike Bergermann, Andrea Braidt, Kerstin Brandes, Jakob Claus, Antke Antek Engel, FIFTITU%, Anke Fischer, Natascha Frankenberg, Alexander Henschel, Linda Hentschel, Katharina Hoffmann, Susanne Huber, Oliver Klaassen, Katrin Köppert, Renata Kutinka, Ursula M. Lücke, Nanna Lüth, Patricia Mühr, Friederike Nastold, Helene von Oldenburg, Barbara Paul, Sylvia Pritsch, Rahel Puffert, Claudia Reiche, Annika Lisa Richter, Sylvia Sadzinski, Pia Schlechter, Andrea Seier, Sophie Sexon alias Boris Gay, Andrea Sick, Véronique Sina, Lüder Tietz, Wiebke Trunk und Tobias Vogt.

Spätestens seit Sara Ahmeds “Feminist Killjoy” ist klar, dass Stören feministisch, produktiv und subversiv sein kann (immer wieder nice, das auch vor den Feiertagen noch mal zu verinnerlichen🔥).

Der Sammelband „Queerulieren - Störmomente in Kunst, Medien und Wissenschaft“ untersucht Praktiken des Störens und ihre unterschiedlichen Dimensionen (mikropolitisch, intentional, künstlerisch-medial, rezeptiv und epistemologisch).

Und ich durfte mit einem kurzen Beitrag zum Thema „que(e)rulierend kuratieren“ ein bisschen mitstören.

Danke, Oliver Klaassen @oliver.klaassen und Andrea Seier für die Einladung und eure tolle und wichtige Arbeit 💝

QUEERULIEREN
Störmomente in Kunst, Medien und Wissenschaft
(Neofelis Verlag)

Mit Beiträgen von Cornelia Bartsch, Marie Sophie Beckmann, Ulrike Bergermann, Andrea Braidt, Kerstin Brandes, Jakob Claus, Antke Antek Engel, FIFTITU%, Anke Fischer, Natascha Frankenberg, Alexander Henschel, Linda Hentschel, Katharina Hoffmann, Susanne Huber, Oliver Klaassen, Katrin Köppert, Renata Kutinka, Ursula M. Lücke, Nanna Lüth, Patricia Mühr, Friederike Nastold, Helene von Oldenburg, Barbara Paul, Sylvia Pritsch, Rahel Puffert, Claudia Reiche, Annika Lisa Richter, Sylvia Sadzinski, Pia Schlechter, Andrea Seier, Sophie Sexon alias Boris Gay, Andrea Sick, Véronique Sina, Lüder Tietz, Wiebke Trunk und Tobias Vogt.

Spätestens seit Sara Ahmeds “Feminist Killjoy” ist klar, dass Stören feministisch, produktiv und subversiv sein kann (immer wieder nice, das auch vor den Feiertagen noch mal zu verinnerlichen🔥).

Der Sammelband „Queerulieren - Störmomente in Kunst, Medien und Wissenschaft“ untersucht Praktiken des Störens und ihre unterschiedlichen Dimensionen (mikropolitisch, intentional, künstlerisch-medial, rezeptiv und epistemologisch).

Und ich durfte mit einem kurzen Beitrag zum Thema „que(e)rulierend kuratieren“ ein bisschen mitstören.

Danke, Oliver Klaassen @oliver.klaassen und Andrea Seier für die Einladung und eure tolle und wichtige Arbeit 💝

QUEERULIEREN
Störmomente in Kunst, Medien und Wissenschaft
(Neofelis Verlag)

Mit Beiträgen von Cornelia Bartsch, Marie Sophie Beckmann, Ulrike Bergermann, Andrea Braidt, Kerstin Brandes, Jakob Claus, Antke Antek Engel, FIFTITU%, Anke Fischer, Natascha Frankenberg, Alexander Henschel, Linda Hentschel, Katharina Hoffmann, Susanne Huber, Oliver Klaassen, Katrin Köppert, Renata Kutinka, Ursula M. Lücke, Nanna Lüth, Patricia Mühr, Friederike Nastold, Helene von Oldenburg, Barbara Paul, Sylvia Pritsch, Rahel Puffert, Claudia Reiche, Annika Lisa Richter, Sylvia Sadzinski, Pia Schlechter, Andrea Seier, Sophie Sexon alias Boris Gay, Andrea Sick, Véronique Sina, Lüder Tietz, Wiebke Trunk und Tobias Vogt.