Morten Bjerre, Melina Brass, Leila Brinkmann, Julia Gerke, Markus Heller, Brigita Kasperaitė, Kevin Koen, Nora Langen, Merlin Maximilian Meister, Sophie Constanze Polheim, Kay Lotte Pommer, Yashar Shirdel
in Zusammenarbeit mit Joachim Blank und Anna Raczynska
Di & Do–So 10-18 Uhr; Mi 12-20 Uhr; Feiertage 10-18 UhrVenue:
MdbK - Museum der bildenden Künste
Marianne Fiedler, Emilie Mediz-Pelikan or Philippine Wolff-Arndt - The names of these women have disappeared from the collective memory today. Together with 31 other women artists, they exhibited their works at the Saxon-Thuringian Industrial and Commercial Exhibition (STIGA for short) in Leipzig in 1897. But how did they get to an exhibition visited by 400,000 people at a time when art studies were reserved for women? How did they hold their own despite constant accusations of dilettantism?
At the MdbK, new attention will be paid to the exhibited women artists - underestimated at the time and forgotten today.
At the invitation of Marian Reisinger (MdbK Leipzig), the Installation and Space class has developed an intervention and spatial installation that functions as a scenographic display and at the same time points to the structural discrimination against female and non-binary artists* that continues into the present.
If you need me, I'm (still) in the basement! (2022)
We, the artists of the class Installation and Space of the Academy of Fine Arts Leipzig, have developed an intervention and spatial installation in a continuous process and collaborative exchange. While the Kunstmuseum turns its gaze to STIGA, we turn our gaze to the Kunstmuseum. What happened during this time, up to this moment, the present?
The institution shows art and at the same time legitimizes it, promoted and paid as a cultural representative of the city. But who is represented here?
We entered the archives of the MdbK, sifted through the works on display and past exhibitions. The results of this research clearly resonate across the floor.
We "broke open" the hermetic glass façade of the museum and connected the exhibition space in the basement with the urban space. Is only the blurry pane still separating us from what we wanted to make visible?
Or do we already see it and just don't look?Therefore, the MdbK itself as an exemplary institution in the art world and the visibility of FLINTA*s in the museum are questioned here. The images shown in the exhibition open our obstructed view and make us ask: What networks do we form and how do we want to use our position to climb the ladder through research, learning and exchange? Or are we stuck in the basement?
Time for a manifesto!