Instagram Hikaye Kaydet

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

HGB Magazine 3 – Bruchstücke, Leerstellen, Blinde Flecken. Rechte Kontinuitäten an Kunsthochschulen und die Leipziger Akademie im Nationalsozialismus

Angesichts des gegenwärtigen Erstarkens rechtsextremer Bewegungen in Deutschland und weltweit, stellt sich auch an Kunsthochschulen die Frage nach der Geschichte des Nationalsozialismus mit neuer Dringlichkeit. Welche Möglichkeiten gibt es, künstlerisch und wissenschaftlich forschend mit fragmentierten Überlieferungen, Leerstellen in Archiven und blinden Flecken in der Geschichtsschreibung zur eigenen Institution umzugehen? Welche Formen lassen sich finden, um aus Bruchstücken Bilder zu machen, die nicht nur den Komplexitäten historischer Konstellationen, sondern auch der Unabschließbarkeit von Erinnerungsarbeit Rechnung tragen und für Kontinuitäten bis in die Gegenwart sensibilisieren? Die dritte Ausgabe des HGB Magazine greift Fragestellungen auf, die in Seminaren an der HGB Leipzig und der Kunsthochschule Kassel zu rechten Kontinuitäten an Kunsthochschulen verhandelt wurden. Neben Aufsätzen, die gegenwärtige völkisch-nationalistische Tendenzen in historische Kontexte setzen und ideologische Muster untersuchen, werden erste Ergebnisse der Recherchen zur Geschichte der HGB zwischen 1933 und 1945 vorgestellt und in eine Chronologie eingebettet, die diese in Beziehung zur nationalsozialistischen Politik und vorrangig kulturellen Aktivitäten in Leipzig setzt. Exkurse zu verwandten Initiativen in Dresden, Halle und Wien, zum Stand der Forschungen im Museum den Bildenden Künste Leipzig sowie zu früheren Projekten in der HGB, ergänzen die Darstellungen. Drei künstlerische Positionen vervollständigen als Ergebnisse der Seminare das Magazin.  

Redaktion: Julia Blume @juliasofieblume Nanne Buurman und Julia Kurz @yuuleekaa

Grafisches Konzept und Design: Emil Kowalczyk @emil.kowalczyk und Merle Petsch @merlepetsch

Leipzig, 2026, 228 Seiten, 235 × 325 mm
Schutzgebühr: 15 €, HGB-Beschäftigte: 10 €, (HGB-)Studierende: 5 € 
Das Magazin ist am HGB-Stand auf der @leipzigerbuchmesse (Halle 5, D101) und am Buchmesse-Samstag auf der @itsabook_leipzig erhältlich.

𝘎𝘰 𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘰𝘥𝘴
𝘓𝘢𝘺 𝘥𝘰𝘸𝘯 𝘢𝘯𝘥 𝘥𝘦𝘤𝘢𝘺

🍊🍊 guarding the billboard at the annual exhibition of @bauhaus_uni Weimar in 2025.

Intro for the billboard exhibition by students taking part in the research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze

Display workshop held with @merlepetsch

𝘎𝘰 𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘰𝘥𝘴
𝘓𝘢𝘺 𝘥𝘰𝘸𝘯 𝘢𝘯𝘥 𝘥𝘦𝘤𝘢𝘺

🍊🍊 guarding the billboard at the annual exhibition of @bauhaus_uni Weimar in 2025.

Intro for the billboard exhibition by students taking part in the research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze

Display workshop held with @merlepetsch

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

In June 2025 @merlepetsch and I held a workshop at @bauhaus_uni Weimar.

The workshop was part of the artistic research project PostCompost—Forest Reset, led by Christian Doeller @christiandoeller and Klaus Fritze @klausfritze @pflanzfabrik which investigates the transformation of the Thuringian forest landscape. The students created projects across different media, such as photography, video, and sound, capturing a landscape in a moment of transition.

Starting from the theme of the billboard, we collectively questioned what we wanted to address, how the message can be emphasised through material use, which parts of the construction could be utilised as a display, and how the billboard could be activated through other means.

For the annual exhibition, the students created a continuously evolving billboard, covering and commenting on each other’s work throughout the duration of the exhibition, connecting the display to their experience of a landscape in transition.

Thank you Christian and Klaus for the invitation and all the students for this exciting weekend!

Photos 6—11 by Christian Doeller

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

My 2025 fan moment standing next to Michael Ballack’s THIS, THAT, OR THE OTHER at Bozar 🍅🍅🍅

Little recap from the build-up of the Baldessari exhibition, some graphic design snippets and bald heads.

w/ @joriskritis and @office
On view until February 1st @bozarbrussels

brussels beauties 🍊

brussels beauties 🍊

brussels beauties 🍊

brussels beauties 🍊

brussels beauties 🍊

brussels beauties 🍊

brussels beauties 🍊

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Last day of Ma Yansong @madarchitects Architecture and Emotion at @nieuweinstituut 🌪️ today.

Happy I could join @joriskritis for the exhibition graphics and be part of this mad 🤡 adventure.

With @tijnvandewijdeven @emily.wijns and @susan.olmi 🥠

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Few spreads of the book we made in early 2025 and an exhibition view of our presentation at the Academy of Fine Arts Leipzig.

“A Matter of Space is centered around 28 terms, referring to methods and ideas from architectural practice and theory. The literal space of the book becomes a playground in which the objects move and relate to the spatial conditions both defined by the built environment and the book’s material characteristics.”

230 × 310 mm
56 pages
Indigo printed on 350 g/m² paper
2025

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Transforming our space into a publication back in January.

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

Digital archive for “Apariciones” by Paula Ábalos@paula.abalos shown @z.i.m.m.t Leipzig, 4.-20.7.25

Apariciones explores transitional states of consciousness between wakefulness and sleep. It examines the gap between measurable data collected in a dream laboratory and the lived experiences of participants, while exploring the blurred boundaries between reality and imagination. The research for this project has been done in collaboration with neuroscience researcher Teresa Campillo-Ferrer from the Donders Centre for Cognitive Neuroimaging at Radboud University (Nijmegen), where Ábalos participated as a study subject.

The website apariciones.net hosts a non-hierarchical archive related to research material, texts, sketches, artworks, and exhibitions views.

Design by @emil.kowalczyk and @_paulinamohr

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

1933–1945HGB.
@hgbgallery
3.–26.6.2025

The exhibition “1933–1945HGB” attempts to provide an insight into the history of the @hgbleipzig (then the Academy of Graphic Arts and Book Trade) during the National Socialist era.

Research into the history of the HGB has been met with incomplete records. An archive of the university was not kept continuously. Particularly in times of political upheaval, documents were arbitrarily and deliberately destroyed and carelessly handled. The documents from the period between 1933 and 1945 are particularly fragmentary, so numerous secondary sources must be used to reconstruct the events. Research in the archives and library of the HGB, the state archives in Leipzig and Dresden, the digital collection of the @leobaeckinstitute in New York and a review of current thematic literature form the basis for the material in the exhibition. Excerpts and reproductions from documents, archive holdings and journals will provide an insight into this chapter of the institution’s history in chronological order. (hgb-leipzig.de)

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: Anna Breit @anabreit
Typeface: Reform Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

A few pictures setting up the exhibition 1933–1945HGB @hgbgallery in June 2025.

Research and editing: Julia Blume
Graphic design: Emil Kowalczyk and Merle Petsch
Vitrine exhibition: @anabreit
Typeface: Reform-Grotesk by @forgotten_shapes

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch

📖The booklet 📖 for the Walter Tiemann Prize 2024 ❤️ with insights into the award-winning books of @eliaserkan, Joachim Bartsch, Timo Grimberg @thi__o, @ceciliamuuurgia (arc) #arcgestaltung, @sabo_day, @haller_brun, @linegry, @sophiakrayc, @astridseme, @_tatjanasturm, @rudyguedj, @edwinvangelder, @boyvereecken, @antoine.begon, @ranawassef and @katarromanxado. Many thanks to #DruckhausSportflieger for the print and production as well as to @fedrigoni.deutschland for supplying the paper.

Design by @emil.kowalczyk and @merlepetsch