Nico Anklam is a lecturer in art theory at the Institute of Art Research and Aesthetics of the University of the Arts in Berlin. He studied art history, cultural studies and aesthetics in Berlin, London and as a Fulbright Scholar in New York. At the Bologna.Lab of Humboldt University Berlin he taught art of the 20th century in Germany and Europe. His research interests lie in strategies of South African concept art around 1990 and Fluxus and Fluxus related practices in Northern and Northeastern Europe.
He has published catalogues and contributions for monographs in magazines such as African Arts (MIT Press) and SAVVY art.contemporary.african, including texts on artists such as Nevin Aladag, Sarkis, Timm Ulrichs and Kendell Geers.
He conceived exhibitions as a guest curator with institutions like Kunsthal 44 Møen (Denmark), The Rietveld Pavilion (The Netherlands), Bruch und Dallas (Germany), YEARS (Denmark), Malmö Art Academy (Sweden) and Velferden with Rogaland Kunstsenter (Norway). As part of the curatorial program for research network CPR he was as a research resident in Finland and Estonia in 2015.
Most recently he worked on a performance project around Fluxus composer Henning Christiansen that opened in Denmark and Norway in 2016 with further stops to come in Sweden in 2017.
Ellen Blumenstein, born in Witzenhausen, Germany, lives and works in Berlin. She has been chief curator of the KW Institute for Contemporary Art, Berlin since January 2013. In her first year, she realised the exhibitions “Relaunch”, “Kader Attia: Repair. 5 Acts” and “Real Emotions: Thinking in Film”, as well as launching comprehensive public programmes and professional partnerships. In her second year she premiered the first solo exhibitions in Germany of artists Ryan Trecartin, Kate Cooper, Channa Horwitz and Elin Hansdóttir. Before KW, she was an independent curator, member of the curatorial collective THE OFFICE and founder of the project space Salon Populaire. Between 1998-2005 she worked as a curator for KW Institute for Contemporary Art, where she realised the exhibition project "Regarding Terror: The RAF-Exhibition" (with Klaus Biesenbach, Felix Ensslin, 2005). Since, she curated the exhibition "Between Two Deaths" at ZKM in Karlsruhe (with Felix Ensslin, 2007), and in 2011 she curated the Icelandic Pavilion at the Venice Biennial (Libia Castro and Ólafur Ólafsson).
Ricarda Ciontos was born in Hermannstadt, Romania, and moved to Heidelberg in 1978. She studied at the University of Music and Performing Arts in Saarbrücken. Ciontos has lived and worked as an actress in Vienna, Stuttgart, Frankfurt, Bochum and Bucharest. Since 2002, she has been based in Berlin. In 2006, she established the Nordwind Festival, which soon became one of the major platforms for the Nordic performing arts in Europe.
Nordwind, an interdisciplinary platform for the Nordic arts and culture, acts as a network, co-producer and discoverer. Nordwind’s aim is to raise the profile of Nordic and Baltic artists, theatre and culture-makers in Germany and to introduce them to an international audience, to embrace and share new artistic impulses as well as to promote a Europe-wide exchange between Germany and the Nordic and Baltic countries.
Power Ekroth (SWE/NO) is independent curator, critic, as well as an editor based in Berlin. She is founding editor of the recurrent publication SITE and an Art Consultant for KORO, Public Art Norway. She has published frequently in Artforum.com, Contemporary, Flash Art, Frieze and many other international magazines. During 2012 and 2013 she curated the Momentum Biennial, Moss, Norway, and in 2013-14 held an interim position as external curator at Telemark Kunstnersenter, Skien, Norway. Her curatorial vision is to initiate a change of mindset within the viewer: to mediate art that entails visions, ideas, dreams and phantasms, which thus formulate a meta-structure of reality.
Recent projects include High on Low-Life, Telemark Kunstnersenter, 2014, Skien, Norway; Six Impossible Things Before Breakfast, Momentum Biennial 2013, Moss, Norway; The Turku Biennial 2013; IDYLL (co-curated with Karolin Tampere, Ellen Friis, Æsa Sigurjónsdóttir and Laura Boxberg/Eeva Holkeri/Silja Lehtonen/Johanna Lehto-Vahtera); The Nordic Pavilion in the Dak'Art Biennial, Into the Rabbit Hole, Dakar, Senegal 2012 (a residency and exhibition, co-curated with Marita Muukkonen); Nordic Art Today: Conceptual Debts, Broken Dreams and New Horizons at Etagi, St Petersburg 2011 (co-curated by Kari Brandzæg, Birta Guðjónsdóttir, Simon Sheikh, Anna Bitkina and Aura Seikkula); FAMES: Family Vaudeville (2010/2011) at DARB 1718, Cairo, Egypt (a residency and exhibition co-curated by Juan-Pedro Fabra Guemberena).
www.powerekroth.netWith an interest in conceptualising the medium and history of exhibitions and the artistic and curatorial practice, she has conceived and conducted theoretical workshops, such as the 7th Berlin Biennial Young Curators' Workshop “Curating in Times of Need" (2012); moderated several artists’ talks; and lectured, such as the seminar “Contemporary Latin American Art through Exhibitions (1945-today): Questions, Debates, Politics and Aesthetics”, at the Universität Heidelberg (2015).
Born in Greenland in 1975, Ivalo Frank has lived in several countries and now resides in Berlin and Copenhagen. Holding a MA in Philosophy and Social Science from Lund University in Sweden, she works as an artist and festival director.
Frank has made films in various countries such as Bosnia, China and Greenland and the content range from post-war portraits and post-colonial perspectives to in-depth interviews with citizens from the former DDR. Her films are shown in academic, art and film contexts world-wide, e.g. at the Humboldt University of Berlin, Louisiana Museum of Modern Art and IMC gallery, New York.
Selected for numerous international film festivals, Frank’s work has been included in CPH:DOX and the International Film Festival of Cinematic Art a.o. She has won a number of awards a.o. the Honorable Mention Award, Los Angeles International Film Festival and Best Documentary Award, London Underground Film Festival.
Having contributed to numerous publications, including Kritik (Gyldendal) and Asian Art Newspaper, Frank is the director of Greenland Eyes International Film Festival, the largest festival on contemporary Greenland, celebrated last at the Smithsonian Institution in Washington D.C.
Kordula Fritze-Srbic is independent curator living and working in Berlin and artistic coordinator of GROSSES TREFFEN at the Nordic Embassies in Berlin since 2013.
She studied Performance Art and Contemporary Dance in Berlin and at ArtEZ art academy Arnhem, Netherlands, and Art History as well as Theatre, Film and Media Studies at the University of Vienna.
She was guest curator at Kunstverein Göttingen where she curated “Ring-Pass-Not, Lea Porsager” (2015); “Moment!”, 2015; “Cluster – Viktoria Binschtok”, 2015; “When You Light A Lantern In The Summer Night Many Strange Things Come Flying – Kirstine Roepstorff”, 2014; and “movement matters”, 2014. For the Berlin Art Week 2015 she was artistic coordinator of “XCHANGE - Project Space Festival Berlin”. In 2013 she was curator of the exhibition and performance series „Water– Nuno Vicente”, and assistant curator for “Enten-Eller /Either-Or” at Kunsthallen Nikolaj, Copenhagen, Haus am Waldsee Berlin. She co-curator the group exhibition “Faraway, So Close!” at Fichtebunker Berlin in 2012.
At Node Center for Curatorial Studies Berlin she was curator in residence 2012.
In Vienna she was project consultant for art institutions and festivals such as KÖR – art in public space, WUK – Theater/Tanz, Jaccuzzi – some days of performance, music and public, and WIEN MODERN – festival for contemporary music. She worked for the dance and performance festival ImPulsTanz, where she managed the first EU prize „Pris Jardin d'Europe“ for young choreographers, 2008, and was jury member for the Studio Grant District Berlin 2014 and Certamen Coreografico Madrid 2008.
Pierre Granoux (*1963, Gap, France) is a Berlin-based conceptual artist, curator and founder of the project space LAGE EGAL. He studied in Ecole des Beaux-Arts in Nîmes, France, before moving to Germany in 1996 and establishing his independent curatorial and artistic practice, situated between Dadaism, appropriationism and the tradition of text-based art. Besides co-founding LAGE EGAL project space in 2010 and serving as its artistic director and mediator since 2012, Pierre Granoux also actively participates in international solo and group exhibitions in Germany, France, Luxembourg and Brasil, amongst others. His works are also included in numerous private and public collections.
LAGE EGAL is an artist-run project space for production and exhibition, founded in May 2010. It works with the mechanisms of presentation and art market in an experimental and playful way, aiming to provoke and engage in discussion. LAGE EGAL houses a studio, an office, a workshop, a warehouse and various showrooms, in which production and mediation of art is characterized by a cohesion between critical irony and distance. LAGE EGAL also regularlv organizes off-site exhibitions and involves numerous guest curators, who are given complete creative freedom in their projects. The space is also focused on artist’s books, editions and multiples, constantly questioning the original, the copy, the duplicate and the series. As a non-market-oriented, experimental space, LAGE EGAL aims to give artists the opportunity to show their work outside the commercial and institutional mediations.
Christopher Hewitt has been involved in areas of performance art and interdisciplinary art for the past 20 years, working as a curator, teacher, facilitator and very occasionally as a performance artist himself. After nearly 10 years of being based in London, which included working as the Director of Live Art at the Institute of Contemporary Arts, he went on to set up the ‘Crossing Borders’ performance art degree programme at the Turku Academy of Art in Finland. He is currently based in Berlin where he organises the performance art publication project liveartwork.com, which includes the publication of the liveartwork DVD series and the ongoing video documentation of international performance art events.
Fatima Hellberg is curator and artistic director of Künstlerhaus Stuttgart. She has curated exhibitions and projects in institutions including the ICA, London; Tate Modern and CCA Wattis Institute for Contemporary Arts, San Francisco. Hellberg was previously curator at London-based arts organisations Cubitt and Electra. She contributes to Texte Zur Kunst, Frieze, Afterall and other independent journals and is a visiting lecturer at the Critical Studies Programme, Sandberg Institute, Amsterdam.
Janke Klok is Henrik-Steffens-professor at the Humboldt-Universität zu Berlin sinve 2014. Her PhD dissertation Det norske litterære Feminapolis 1880-1980. Skram, Undset, Sandel og Haslunds byromaner – mot en ny modernistisk genre appeared in 2011. Her research interests include biographical, intercultural, urban and gender studies and literary representations of the Arctic. She has translated novels and poetry by classic and contemporary Norwegian authors, is editor of the academic journal TijdSchrift voor Skandinavistiek and the literary series Wilde Aardbeien [Wild Strawberries]. She participates in the networks Beyond Horizons in Cultural Transfer Studies and SocTat [= Studies on Cultural Transfer and Transmission] (University of Groningen), Helsinki Literature and the City Network (University Helsinki), Northern in Europe – Europe in the Northern (University Oslo);, Exploration, Exploitation, Exposition. The Gendered Heritage of the Arctic & Antarctic (University of Tromsø).
Some recent publications: Kalte Kulturen und die arktische Ewigkeit in Deutschland (2016); “Fra by til by. Den kvinnelige kulturformidlerens dynamikk. En linje fra Camilla Collett til Godelieve Laureys”. In: Nooit het Noorden kwijt. (2016); Battles and Borders. Perspectives on Cultural Transmission and Literature in Minor Language Areas (2015); Strindberg in Transition, Special Issue Tijdschrift voor Skandinavistiek (2015); “Ibsen in Dutch Theatres and the Sustainability of Nora”. In: Ibsen and World Drama(s). Nordlit Nr 34 (2015); Noorse auteurs in Nederlandse vertaling 1741-2012. Een bibliografie/Norske forfattere oversatt til nederlandsk 1741-2012. En bibliografi (2013).
Sigurd Larsen is a Berlin based Danish architect working within the fields of architecture and furniture design. He has a master degree from The Royal Academy of Fine Arts, School of Architecture in Copenhagen and previously been employed at OMA-Rem Koolhaas in New York, MVRDV in Rotterdam and Topotek1 in Berlin.
Sigurd Larsen founded the design studio in 2009 and recently completed several single-family houses in Denmark and a series of loft rooms at Michelberger hotel in Berlin. His furniture is available in stores and galleries in Berlin, Copenhagen, London, Zürich, Helsinki, Porto, Istanbul and 12 other cities.
The work of the design studio combines the aesthetics of high quality materials with concepts focusing on functionality in complex spaces.
From 2016 Sigurd Larsen is Professor at BAU International University in Berlin where building design and visual communication is explored through teaching and research.
From 2011 till 2017 Sigurd Larsen is assistant professor at University of the Arts, Berlin where he teaches architectural design with Professor Enrique Sobejano, co-founder of Nieto Sobejano Arquitectos.
Is Senior Lecturer at School of Global Studies, University of Gothenburg and holds a PhD from the same university in History of ideas (an analysis of the negritude movement). Between 2013–2016 she hold a position as assistant professor Department for Arts and Cultural Studies, University of Copenhagen. During the years 2010-2012 she was coordinating Critical Heritage studies, University of Gothenburg. Earlier she has been teaching at University of Gothenburg (at dep. of history of ideas, fine arts, gender studies) and at University West (in cultural studies).
She is now engaged in a research project, funded by the Swedish research Council, The futures of genders and sexualities. Cultural products, transnational spaces and emerging communities, where she has been focusing on the role of secularity in current debates on nationhood, equality, civil society and progress. Her last project was Frictions, fractures and cultural resilience of Swahili coastal towns focusing on euroamerican aesthetic and social interventions in sites in the third world in the name of World Heritage, and its impact on the daily lives of the inhabitants of these sites.
Among earlier projects, museums, translation studies, critical perspectives on canon, gender, queer, postcolonial studies, the negritude movement has been in her focus.
She has published on African and migrant literature, fine arts, photography, postcolonial theory, critical heritage studies, museums, urban studies, gender and queer issues, race and ethnicity studies, whiteness, canon.
Nora Mayr (b. 1982) is a Berlin-based curator and co-director of the independent exhibiton space insitu. She studied Art History and Science of Communication at the Univerisity of Vienna and Utrecht University, and wrote her master thesis on the topic of art interventions in public space. Following a half-year trainee programme for emerging curators and cultural producers, at Künstlerhaus Bethanien Mayr moved to Berlin in 2008. Since then she has been realizing different curatorial projects and worked as coordinator of the International Studio Programme at the Künstlerhaus Bethanien from 2010 - 2013. In 2012 she founded the art space insitu with her colleagues Marie Graftieaux, Gilles Neiens and Lauren Reid. Additionally Mayr co-founded the Project Space Festival Berlin, which had been realized for the first time in August 2014.
insitu is a non-profit space for contemporary art in Berlin, founded in November 2012. The two-room souterrain is located at Kurfürstenstrasse 21-22, in the middle of the new gallery district of Berlin-Schöneberg. For its inaugural year insitu realized the exhibition cycle I with seven episodes dealing with fundamental questions surrounding the production of art: from the blank wall of the studio, to the jungle of the art market. For its program cycle II (2014) insitu aimed to be a catalyst to form relationships, networks and connections. For Cycle III (2015) insitu develops group exhibitions as fictional characters. Each exhibition will provide insitu’s visitors with an intimate encounter with the character, creating the feeling that one not only just met a new person but entered into their private world.
Solvej Helweg Ovesen a curator and author, born in Hillerød, Denmark, 1974. She lives and works in Berlin and Copenhagen. She was educated at De Appel Curatorial Training Program, Amsterdam and holds a MA in Fine Arts, Cultural Studies and Communication from Copenhagen University and Humboldt University of Berlin.
Currently she is the artistic director of GROSSES TREFFEN, a yearly networking event where Nordic artist via an open call are selected to meet Berlin-based curators at the Nordic Embassies in Berlin. She is also working on a group exhibition at the Karen Blixen Museum in Nairobi, Kenya, and in Rungstedlund, Denmark, 2015.
She recently curated the wall painting project »How Far Away is the Horizon?« in public space in collaboration with CKU Images Festival, Copenhagen-Holbæk, 2013 DK, as well as the group exhibition »Enten-Eller / Entweder-Oder« on the occasion of the 200th anniversary of Danish Philosopher Søren Kierkegaard, at Kunsthallen Nikolaj, 2013 Copenhagen, and Haus am Waldsee, 2013 Berlin. She also co-curated »The Eye is a Lonely Hunter« – 4. Fotofestival Mannheim Ludwigshafen Heidelberg together with Katerina Gregos, 2011 DE, and the group exhibition »Never Odd or Even – a text spaced exhibition« at Grimmuseum in Berlin, 2011 DE, and at Museum of Contemporary Art in Roskilde, 2012 DK. She continuously collaborates with the Grimmuseum as an author and curatorial advisor.
Solvej Helweg Ovesen is board member of the festival organisation Golden Days in Copenhagen, a jury member of DZ Bank Künstler Stipendium 2013, selector of Van Bommel van Dam Price, Venlo, Van Bommel van Dam Museum 2013-2019 and selector of the Celeste Art prize 2014.
Sophie Prager was born in Rome and grew up in West Germany. She has been living and working in Berlin since 2005.
After studying Art History and the Science of Journalism and Communication at the Free University Berlin, Sophie Prager worked for seven years at the Guido W. Baudach contemporary art gallery in Berlin. There, as gallery director, she pushed the gallery’s development towards a more international alignment. She realized a variety of exhibitions, catalogs and represented the gallery at international art fairs.
Since 2015, Sophie Prager is director of the Salon Dahlmann exhibition space and the Miettinen Collection. She has organized and curated several exhibitions over the past year, among others with the Finland Institute Berlin and with various free curators. All exhibitions were accompanied by a fringe program and two publications were developed and released. Salon Dahlmann and the Miettinen Collection promote Finnish artists and provide a platform on which they can show their work in an international context.
Salon Dahlmann | Miettinen Collection
Salon Dahlmann is named after Hildegard Dahlmann, the last owner of the house and was founded by Timo Miettinen a Finnish art collector. Timo Miettinen has established in Salon Dahlmann a link to Berlin’s tradition of salon culture, which originally emerged in the close vicinity of the gallery in the West Berlin district surrounding Kurfürstendamm. The Salon presents an eclectic program, presenting a range of different formats that include exhibitions, concerts, performances and workshops. One of the main focuses of Salon Dahlmann is to show Finnish artists in an international context. Salon Dahlmann curates its own shows out of the Miettinen Collection, but also works with external curators and invited artists.
Heiko Pfreundt is part of the team of artists that runs the weekly shows at Kreuzberg Pavillon in Berlin every Saturday. He originally created Kreuzberg Pavillon as an artistic script for self-institutionalization for everyone and to introduce a certain rhythm of collective decisions. He graduated as a designer and makes decisions in the artist-run project spaces Kreuzberg Pavillon in Berlin and Tor 13 in Bremen. During the week he teaches students of fine arts and media aesthetics at the University of Bremen, where he’s currently researching the origin of contemporary forms of exhibitions in terms of body politics and socialization.
With more than 80 exhibitions and 500 artists, Kreuzberg Pavillon has emerged since September 2010 to one of Berlin’s most active, independent non-profit project spaces with regular shows each Saturday. The team behind Kreuzberg Pavillon prosecutes active networking and sustainable exchange with artists, initiative persons, activists and further artistic and social projects in and outside Berlin. The open process in this field of interests complies with the desire of all participants to establish the pavilion as a model for an interesting, inclusive system of contemporary art. In 2013 Kreuzberg Pavillon won the prize for project spaces and initiatives from the General Administration for Cultural Affairs, Berlin.
Maria Veie has an iconological approach to curating, and has developed site specific projects in Norway, Germany, France, the Netherlands, USA and Hong Kong.
In 2008 she established Galleri Maria Veie as a test-ground of language and audience approach for commercial galleries. From 2009 - 2013 the project was connected to a permanent location in Oslo, developing solo shows by young Norwegian and Oslo-based artists. In 2016 the project opened a new permanent location in the rural branch in Skogn, with pop-up projects in other cities, eg. `Abegsang des Posthauses´ together with the Norwegian vocal ensemble Trondheim Voices and the Berlin-based artist Goro Tronsmo during Berlin Art Week.
Since 2013 she´s been in charge of the Photography workshop Oslokids and TOMROM, a collaboration between the arts associations in Vestfold County. Among the commissioned works were the wall painting `Black View from Above` by Anders Sletvold Moe, the street game `Horror vacui`, and `This is what creates the seasons and the passing of the year, and that rules over all visible things`, a performance by Marianne Heier. After the last Oslokids-workshops for the city of Oslo in 2014 she took on a project on behalf of Eidsvoll municipality, and presented a pilot artist residency at the hydropower plant Eidsvoll Verk in collaboration with Mathiesen Eidsvold Værk ANS, Akershus County, Cycle Music and Art Festival (IS) and the University of Toronto (CA).
In addition to her expertise as an art historian and entrepreneur she has a background from university politics. Sandvik was elected President of the Student Parliament at the University of Oslo (UiO) in 2005, and represented the students at the Research Council, Faculty of Humanities, UiO, Board of Advisors, BA and MA-programme of Archeology, Art History and Conservation, Chairwoman of Negotiations, and finally as board member of Baroniet Rosendal. Since 2007 she has been Art Editor of the journal Minerva.
Asia contemporary art platform NON Berlin's founder Ido Shin was born in Seoul, South Korea and graduated from the Department of Industrial Design in Seoul and after, Architecture of ‘Technical University in Berlin.’ He is a registered architect in the ‘Berlin Chamber of German Architects.’ Shin began his career at the ‘Hadi Teherani Architects’ and has carried out various projects including Suncity urban planing of Bangalore, India, domestic architecture projects and hotel projects both in Seoul, Korea and Berlin, Germany. He also extended his work in scenography and diversely participates in collaboration projects with artists. Since 2011, he has been establishing the network of Asian artists in Berlin to carry out various experimental projects. After founding NON Berlin in 2014, Shin has been actively engaged in organizing public discussions and discourses in the Asia-Europe contemporary art scene and has also directed various exhibitions and projects. The most notable exhibition Shin curated at NON Berlin is the Asian Art Show 2016, a 13-week consecutive exhibition project with 16 contemporary artists from 7 different Asian countries.
He is the co-founder and Artistic Director of Agora Collective and is the mind behind AFFECT, Agora’s flagship artistic residency. Agora is interested in investigating the development of relational artistic practices, experimental methods of group work and interdisciplinary processes. It is also known for its artistic approach to food. Part studio, part laboratory – Agora's kitchen has become a place where notions of collaboration, self-organisation and sustainability are put into practice.
Tizzi´s projects have received the support from Creative Europe, Nordic Culture Fund, Nordic Culture Point, Goethe Institut Kuala Lumpur and São Paulo.
He holds a Bachelor of Arts and Communication at University of São Paulo.