Calendar

Participating artists:
Tobias Kurpat, Maha Kim, Zhengke Sun

Period (opening hours):
12:00–20:00 | 12:30 Introduction

Venue:
HGB, Raum 2.34

Partner:
The project is co-financed by the European Union and is funded by tax revenue in accordance with the budget approved by the Saxon State Parliament.

HGlitchB is the online, interactive version of the HGB. Using detailed scans, visitors can explore the university building in a playful way, play games and projects created by HGB students, watch recorded lectures from the (Un)Learning Digitalities programme, and access further information about key facilities. HGlitchB can be tested in the exhibition, and individual elements from HGlitchB are also brought back into the physical space. HGlitchB was developed within the context of the Game Lab, supervised by Tobias Kurpat with participating students.

Presented as part of (Un)Learning Digitalities – Programme on the Practice and Theory of the Digital. Organised by the Office for Digital Teaching (Eliza Goldox, Juness Beshir and Fabian Lehmann).

Participating artists:
Edited by: Juness Beshir, Academy of Fine Arts Leipzig | Contributions: Juness Beshir, Danielle Brathwaite-Shirley, Andreas Broeckmann, Cripto Sirenas, Nina Davies, Anna Ehrenstein, HUNITI GOLDOX (Eliza Goldox, Areej Huniti), Franziska von Hasselbach, Aymeric Mansoux, Orhun Mersin aka kekik, Joana Moll, Mark Mushiva, Shusha Niederberger & Heiko Schmid, Ana Teixeira Pinto, Tiara Roxanne, Total Refusal (Leonhard Müller, Michael Stumpf, Robin Klengel), Yağmur Uçkunkaya, Clemens von Wedemeyer, Günseli Yalcinkaya

Venue:
HGB Bibliothek

Partner:
The project is co-financed by the European Union and is funded by tax revenue in accordance with the budget approved by the Saxon State Parliament.

“(Un)Learning Digitalities. Reading the Temporary, Scripting the Imaginary” brings together 19 contributions at the intersection of art, research and theory.

The publication examines the digital not as a fixed technological field, but as a contested space of imagination, infrastructure, memory and social practice. The collected texts, conversations and artistic contributions open up different perspectives on digital presents and possible futures.

To mark the launch, the concept and contents of the publication will be presented together with authors and artists. The programme includes an introduction by Juness Beshir, a conversation with Marie Walser, a reading by Anna Ehrenstein, a screening by HUNITI GOLDOX (Eliza Goldox & Areej Huniti), and a panel discussion with Andreas Broeckmann, Joachim Blank and Dieter Daniels.

The publication will be released in August 2026 by transcript Verlag, available free of charge via Open Access (PDF) and as a limited-edition printed version for purchase (€29 | Orders: www.transcript.de). A digital preview of the publication will also be available at the presentation event.

Presented as part of (Un)Learning Digitalities – Programme on the Practice and Theory of the Digital. Organised by the Office for Digital Teaching (Eliza Goldox, Juness Beshir and Fabian Lehmann).

Venue:
Galerie Von & Von
Königstraße 5
90402 Nürnberg

Sophie Constanze Polheim (1st prize, Hamburg University of Fine Arts/HGB Leipzig), Aung Lin Htet (2nd prize, Städelschule, Frankfurt) and Li Jiacheng (3rd prize, Städelschule, Frankfurt) have won the Playground Art Prize awarded by the Nuremberg gallery VON&VON.

The works of the three prize winners will be presented to the public this summer, from 2 July to 28 August 2026, in a curated group exhibition at the VON&VON gallery in Nuremberg.

Since 2016, the PLAYGROUND exhibition series has offered emerging artists the opportunity to present their work for the first time within the professional setting of a gallery. This creates a platform that not only provides visibility but also facilitates entry into the art world.

Venue:
Art Exhibition Hall. Kunsthalle der Sparkasse Leipzig
Otto-Schill-Straße 4a
04109 Leipzig

A particular form of portraiture is the self-portrait. It resembles a dialogue with one’s own self, in which one’s identity can be explored and potential roles tried out. By choosing photography as the medium, temporality and the relationship between documentation and fiction take on particular significance in this photographic genre.
In this discussion, Piotr Baran, Harry Hachmeister and Edgar Leciejewski explore the challenges inherent in the photographic self-portrait and how one’s own identity plays a part in the construction and reception of self-portraits.

Moderated by Christin Müller, freelance curator and author, Leipzig.

No registration required. Admission is free.

Period (opening hours):
Thu–Fri 3pm–7pm, Sun 3pm–5pm

Venue:
KV - Verein für zeitgenössische Kunst Leipzig
Kolonnadenstrasse 6
04109 Leipzig

“2094” is an installation combining drawings, assemblages, glass sculptures, and traces of dust and zinc powder. Each day, the artist activates the installation through a solo performance. The narration interweaves different historical temporalities: the Russian invasion of Ukraine in 2022, the Stalinist repressions of 1937, and the collapse of the Soviet Union in 1991. The work does not aim to compare different forms of violence, but rather addresses the long-term consequences of colonial and state violence across generations.

The performative part is based on the artist’s family history: in a poetic narration in English and Russian, she recounts the story of her great-grandfather, who was executed in 1937. Between the spoken text fragments, wordless vocal passages from Mozart’s “Requiem — Lacrimosa” are performed.

The exhibition is presented as part of the diploma project at HGB Leipzig at KV.
Open from 3 July 2026 until 6 July 2026.
The opening is on 3 July at 6 pm.

The performance lasts approximately 15 minutes and takes place every day.
3 July — 7 pm
4 July — 3 pm and 6 pm
5 July — 3 pm
6 July — 7 pm

Period (opening hours):
Saturdays 2 pm–6 pm and by appointment

Venue:
Kunstraum Ortloff
Jahnallee 73
04177 Leipzig
www.ortloff.org

Starting from scenes from everyday life or images that emerge from dreams, Noeul Kim develops new images through a process of reduction, gradually stripping away lines and forms. Moving between abstraction and figuration, her work explores space, structure, gesture, and the rhythms that arise through their relationships within the pictorial field. 

Venue:
HGB entrance hall
Wächterstraße 11
04107 Leipzig

Partner:
The project is co-financed by the European Union and is funded by tax revenue in accordance with the budget approved by the Saxon State Parliament.

(Un)Learning to Gather transforms the Ex-Café and the courtyard into a collective space of resonance. Audio-visual performances, artistic contributions and DJ sets combine presentation with a communal finale. Blurring the lines between exhibition, performance and celebration, an open format emerges that focuses on exchange, presence and temporary forms of coming together.

14:00 Opening of the Animation Exhibition with the class of Prof. Jörg Ernert and additional student works (Container)
15:00 "Beach Holiday ’26" Lecture Performance by Mio Al Hashimy (Ex-Café)
16:00 Surveillance – TouchDesigner Performance by Gabriel Corredor Aristizábal, Ehsan Azali, Hyeyun Lee, and Ksenia Sova (Ex-Café)
18:00 Closing Remarks by Agnes Wegner, Eliza Goldox, and Juness Beshir (Courtyard)
18:15 DJ Set by Banu & Ihab Khelfa (Courtyard)

Held as part of (Un)Learning Digitalities – Programme on the Practice and Theory of the Digital. Organised by the Office for Digital Teaching (Eliza Goldox, Juness Beshir and Fabian Lehmann).

Participating artists:
Hyerin Eom, Yana Zschiedrich, Nataliia Oliferovych, Juliane Jaschnow & Stefanie Schroeder and others

Period (opening hours):
Mon–Fri 3pm–8pm, Sat/Sun 12pm–8pm

Venue:
Werkleitz
Große Ulrichstraße 13–15
06108 Halle (Saale)

With *Sooner or Later*, Werkleitz launches an exploration of the theme of time. In doing so, we address current issues of intergenerational justice and futures that are slipping away. From the evocation of a turning point in history, through the conversion of our energy reserves into months, weeks and days, to expiring deadlines or talk of having to work longer, the theme of time is attracting fresh attention. Against this backdrop, it is important to us to ask many people how they themselves think about time.

Well ahead of the start of the Werkleitz Festival 2026, we are issuing this call: we are seeking 100 artworks on the theme of time. From the submissions, we are now presenting an impressive selection of artistic works, including films, photographs, poems, textile objects, audio pieces, paintings and sculptures. Furthermore, together with eight tandems, each comprising a younger and an older adult, we are venturing into the experimental field of intergenerational dialogue. The pairs also discuss their ideas about time and the future during their regular meetings. They will share their insights at the Werkleitz Festival. The curated film programme for ‘Sooner or Later’, expanded to include screenings for children, will be presented at the Puschkino.

The Agency for New Beginnings (AfA) will be presenting its annual theme, ‘Generations’, at the Werkleitz Festival 2026.

>>> To the festival programme

Participating artists:
Sabina Lapteanu, Yevheniia Maior, Felix Mahlknecht, Veronika Aktanova, Janne Steinhardt, Florence Schmid, Felix Ebersbach, Salwa Wittwer, Sei Yasukawa, Qiuning Zhu, Sophie Storch, Gesa Maaß, Sangyi Lee

Venue:
Frommannstraße 6, 04317 Leipzig


Invitation from the Riedel class to the next class exhibition "Geisterbahn" Come around and bring your friends along!

Period (opening hours):
Thu. 14-19 h

Venue:
foma studios
Käthe-Kollwitz-Str. 13
04109 Leipzig

The diploma exhibition brings together a group of works that reflect on the study of painting itself and the process of creating a picture. The title refers loosely to the art-historical formula "The good Lord is in the detail", but shifts it in the direction of a challenging ambivalence. In a series of self-portraits, Eliane Diur examines how a "finished" painting develops from an initial sketch and what this process reveals about her own self-image as a painter.

Period (opening hours):
Tuesday–Saturday, 12 noon–6 pm

Venue:
Tapetenwerk Halle C01
Lützner Str. 91
04177 Leipzig

Between the algo-rythm of acceleration and the subversive act of pause, the question arises of how to reclaim our agency within rigid frameworks.

Participating artists:
Jungfrau, Alias, Pollux, İrem Özkürkçü

Venue:
Ost-Passage Theater
Konradstraße 27
04315 Leipzig
ost-passage-theater.de/

In a conversation with her brother, Jungfrau discovers how her own trans identity can be a way to heal the grief over her own death. The play “Spaziergang” forms the conclusion of the three-part work “Geburt der Jungfrau” and is accompanied by performances and text works by Alias, Pollux and İrem Özkürkçü.

Doors open: 7pm, start: 8pm
Duration: 90 mins
Prices: €8–€12, bookings at karten@ost-passage-theater.de

Venue:
Werner Vogel Schulzentrum
Hans-Marchwitza-Straße 12
04279 Leipzig


The HGB Choir is touring Leipzig again this summer! The HGB Choir meets weekly and sings pieces from various genres. Everyone is welcome, regardless of previous musical knowledge. Choir director: Christopher Bell

Period (opening hours):
Fri.: 16:00-22:00, Sat: 14:00-21:00, Sun.: 12:00-18:00

Venue:
Academy of Fine Arts Leipzig
Wächterstraße 11
04107 Leipzig

From 17 to 19 July, the HGB is hosting its Graduation Exhibition. Visitors can look forward to exhibitions throughout the academy building. There will be more final-year projects on display than ever before: around 90 graduates from the Painting/Printmaking, Photography, Book Design/Graphic Design and Media Art courses will be presenting exhibitions in 20 rooms, organised by the graduates themselves in collaboration with Ilse Lafer (curator).
On the opening day, the HGB will also be celebrating its traditional summer festival, which this year is being organised by students from the System Design class.

Admission is free; everyone is warmly invited!

Venue:
Museum für Druckkunst Leipzig
Nonnenstraße 38
04229 Leipzig

In the exhibition “Reflected – Perspectives on Contemporary Etching” (20 June 2026 – 30 August 2026), students and lecturers from the Braunschweig University of Fine Arts, the Weißensee Academy of Art Berlin and the Academy of Graphic Arts and Book Design Leipzig will present around 50 contemporary works in the field of intaglio printing.

As part of the exhibition, talks will be held on three Sundays. On each occasion, you’ll have the chance to meet three of the artists behind the works. What drives them, and how do they go about their work? Do they harbour any studio secrets, and how time-consuming is the process of creating etchings? There will also be an opportunity to strike up a conversation with the artists yourself.

• 19 July: Friedrich Drescher, Lilith Queisser and Johanna Sander
• 16 August: Leon Friederichs, Lukas Gerbaulet and Maria Ondrej
• 30 August: Eileen Helm, Miriam Jehle and Robert Schmiedel

Participation is free of charge; you only pay the standard museum admission fee.

Booking required: info@druckkunst-museum.de or +49 341/2 31 62-0

With the emergence of woodcut printing in the early 15th century, copperplate engraving in the middle of the century and, finally, etching shortly before 1500, printmaking developed into an art form in its own right. With figures such as Johannes Gutenberg (c. 1400–1468), inventor of letterpress printing with movable type, and the exceptional woodcut and etching artist Albrecht Dürer (1471–1528), Germany can look back on a centuries-old tradition of printmaking.

Today, it is the art colleges in particular that are passing on this heritage whilst also providing new impetus. In their workshops, students receive comprehensive training in both classical and experimental intaglio techniques – from drypoint, line etching, aquatint, vernis mou, reservage, mezzotint and schabaquatint, as well as techniques such as screen printing on printing plates or photography-based processes such as cliché verre or photogravure, right through to interfaces with the digital world. The training programmes at the universities in the three participating federal states are fundamentally the same, yet there are subtle, discernible differences.

The workshop leaders – Maria Ondrej from the Braunschweig University of Fine Arts, Pedro Boese from the Weißensee Academy of Art in Berlin, and Robert Schmiedel from the Academy of Graphic Arts and Book Design in Leipzig – joined forces with Katharina Walter from Leipzig Museum of Printmaking, came up with the idea of launching a cross-university exhibition project. The aim is to highlight the diversity and quality of training in the field of etching whilst simultaneously shining a spotlight on emerging artists. Eight to ten students from each university are invited to take part.

At the same time, the project is a first step towards sustainably strengthening common ground and collaboration between the institutions, highlighting differences whilst also providing new impetus. The collaboration is an important contribution to keeping intaglio printing alive as part of the intangible cultural heritage.

The results, centred on the theme ‘Reflected – Perspectives on Contemporary Etching’, will be made accessible to the public at various venues across Germany. The exhibition will open at the Museum für Druckkunst in Leipzig.

Further planned exhibition venues are:

• HBK University Gallery (27 October – 13 November 2026)
  Johannes Selenka Platz 1, 38118 Braunschweig
• Galerie Alte Feuerwache (25 November 2026 – 17 January 2027)
  Marchlewskistraße 6, 10243 Berlin
• Städtische Galerie Wolfsburg (4 December – 31 December 2026)
  Schloßstraße 8, 38448 Wolfsburg

Participating artists:
Deniz Ilhan, Mathilda Köhler, Lucia Graf, Johanna Dembinski

Period (opening hours):
Summer party and opening: 24 July from 3.00 pm until late

Venue:
Klub Portitz
Wodanstr. 18B
04349 Leipzig

“That is what people call those who see themselves.” With this footnote, Jean Paul coined a word in 1796 that has remained untranslated to this day: Doppelgänger. It stems from a culture that always regarded a strange likeness as a threat.

In German mythology, the Doppelgänger was regarded as a bad omen, a harbinger of illness and death. Some believed the spirit sought to offer advice; others thought it sought to instil evil thoughts. To this day, film and television draw almost exclusively on this second interpretation: as a threat, as an adversary.
However, the relationship with one’s own double was not always quite so threatening. In Rome, for example, upon the death of Emperor Septimius Severus in 211 AD, a likeness was fashioned in his image, dressed in his robes and laid upon his bed. For almost seven days, the court re-enacted his death, even though the emperor had long since passed away. The doppelgänger assumed the final public role of his original, for a human being can die. An institution cannot.
What the doppelgänger signifies today remains just as multifaceted. The exhibition “Doppelgänger” at Klub Portitz presents four artistic interpretations of this motif: digital images by Deniz Ilhan, oil paintings by Mathilda Köhler, ceramic objects from Lucia Graf’s series ‘Sleepy Shells’, and a selection from Johanna Dembinski’s research project ‘The Catfish in Bed’ on superstitions and myths surrounding shadows, likenesses and omens.

Text: Lucas Loh

Venue:
Museum für Druckkunst Leipzig
Nonnenstraße 38
04229 Leipzig

In the exhibition “Reflected – Perspectives on Contemporary Etching” (20 June 2026 – 30 August 2026), students and lecturers from the Braunschweig University of Fine Arts, the Weißensee Academy of Art Berlin and the Academy of Graphic Arts and Book Design Leipzig will present around 50 contemporary works in the field of intaglio printing.

As part of the exhibition, talks will be held on three Sundays. On each occasion, you’ll have the chance to meet three of the artists behind the works. What drives them, and how do they go about their work? Do they harbour any studio secrets, and how time-consuming is the process of creating etchings? There will also be an opportunity to strike up a conversation with the artists yourself.

• 19 July: Friedrich Drescher, Lilith Queisser and Johanna Sander
• 16 August: Leon Friederichs, Lukas Gerbaulet and Maria Ondrej
• 30 August: Eileen Helm, Miriam Jehle and Robert Schmiedel

Participation is free of charge; you only pay the standard museum admission fee.

Booking required: info@druckkunst-museum.de or +49 341/2 31 62-0

With the emergence of woodcut printing in the early 15th century, copperplate engraving in the middle of the century and, finally, etching shortly before 1500, printmaking developed into an art form in its own right. With figures such as Johannes Gutenberg (c. 1400–1468), inventor of letterpress printing with movable type, and the exceptional woodcut and etching artist Albrecht Dürer (1471–1528), Germany can look back on a centuries-old tradition of printmaking.

Today, it is the art colleges in particular that are passing on this heritage whilst also providing new impetus. In their workshops, students receive comprehensive training in both classical and experimental intaglio techniques – from drypoint, line etching, aquatint, vernis mou, reservage, mezzotint and schabaquatint, as well as techniques such as screen printing on printing plates or photography-based processes such as cliché verre or photogravure, right through to interfaces with the digital world. The training programmes at the universities in the three participating federal states are fundamentally the same, yet there are subtle, discernible differences.

The workshop leaders – Maria Ondrej from the Braunschweig University of Fine Arts, Pedro Boese from the Weißensee Academy of Art in Berlin, and Robert Schmiedel from the Academy of Graphic Arts and Book Design in Leipzig – joined forces with Katharina Walter from Leipzig Museum of Printmaking, came up with the idea of launching a cross-university exhibition project. The aim is to highlight the diversity and quality of training in the field of etching whilst simultaneously shining a spotlight on emerging artists. Eight to ten students from each university are invited to take part.

At the same time, the project is a first step towards sustainably strengthening common ground and collaboration between the institutions, highlighting differences whilst also providing new impetus. The collaboration is an important contribution to keeping intaglio printing alive as part of the intangible cultural heritage.

The results, centred on the theme ‘Reflected – Perspectives on Contemporary Etching’, will be made accessible to the public at various venues across Germany. The exhibition will open at the Museum für Druckkunst in Leipzig.

Further planned exhibition venues are:

• HBK University Gallery (27 October – 13 November 2026)
  Johannes Selenka Platz 1, 38118 Braunschweig
• Galerie Alte Feuerwache (25 November 2026 – 17 January 2027)
  Marchlewskistraße 6, 10243 Berlin
• Städtische Galerie Wolfsburg (4 December – 31 December 2026)
  Schloßstraße 8, 38448 Wolfsburg

Venue:
Museum für Druckkunst Leipzig
Nonnenstraße 38
04229 Leipzig

In the exhibition “Reflected – Perspectives on Contemporary Etching” (20 June 2026 – 30 August 2026), students and lecturers from the Braunschweig University of Fine Arts, the Weißensee Academy of Art Berlin and the Academy of Graphic Arts and Book Design Leipzig will present around 50 contemporary works in the field of intaglio printing.

As part of the exhibition, talks will be held on three Sundays. On each occasion, you’ll have the chance to meet three of the artists behind the works. What drives them, and how do they go about their work? Do they harbour any studio secrets, and how time-consuming is the process of creating etchings? There will also be an opportunity to strike up a conversation with the artists yourself.

• 19 July: Friedrich Drescher, Lilith Queisser and Johanna Sander
• 16 August: Leon Friederichs, Lukas Gerbaulet and Maria Ondrej
• 30 August: Eileen Helm, Miriam Jehle and Robert Schmiedel

Participation is free of charge; you only pay the standard museum admission fee.

Booking required: info@druckkunst-museum.de or +49 341/2 31 62-0

With the emergence of woodcut printing in the early 15th century, copperplate engraving in the middle of the century and, finally, etching shortly before 1500, printmaking developed into an art form in its own right. With figures such as Johannes Gutenberg (c. 1400–1468), inventor of letterpress printing with movable type, and the exceptional woodcut and etching artist Albrecht Dürer (1471–1528), Germany can look back on a centuries-old tradition of printmaking.

Today, it is the art colleges in particular that are passing on this heritage whilst also providing new impetus. In their workshops, students receive comprehensive training in both classical and experimental intaglio techniques – from drypoint, line etching, aquatint, vernis mou, reservage, mezzotint and schabaquatint, as well as techniques such as screen printing on printing plates or photography-based processes such as cliché verre or photogravure, right through to interfaces with the digital world. The training programmes at the universities in the three participating federal states are fundamentally the same, yet there are subtle, discernible differences.

The workshop leaders – Maria Ondrej from the Braunschweig University of Fine Arts, Pedro Boese from the Weißensee Academy of Art in Berlin, and Robert Schmiedel from the Academy of Graphic Arts and Book Design in Leipzig – joined forces with Katharina Walter from Leipzig Museum of Printmaking, came up with the idea of launching a cross-university exhibition project. The aim is to highlight the diversity and quality of training in the field of etching whilst simultaneously shining a spotlight on emerging artists. Eight to ten students from each university are invited to take part.

At the same time, the project is a first step towards sustainably strengthening common ground and collaboration between the institutions, highlighting differences whilst also providing new impetus. The collaboration is an important contribution to keeping intaglio printing alive as part of the intangible cultural heritage.

The results, centred on the theme ‘Reflected – Perspectives on Contemporary Etching’, will be made accessible to the public at various venues across Germany. The exhibition will open at the Museum für Druckkunst in Leipzig.

Further planned exhibition venues are:

• HBK University Gallery (27 October – 13 November 2026)
  Johannes Selenka Platz 1, 38118 Braunschweig
• Galerie Alte Feuerwache (25 November 2026 – 17 January 2027)
  Marchlewskistraße 6, 10243 Berlin
• Städtische Galerie Wolfsburg (4 December – 31 December 2026)
  Schloßstraße 8, 38448 Wolfsburg

Venue:
Libken e.V.
Böckenberg 15 - 17
17268 Gerswalde
www.libken.de

The week-long, interdisciplinary summer academy in Libken is an invitation to live and work together as artists, detached from familiar surroundings and structures. This is the ninth year that the Summer Academy has taken place in the Libken artists' residence, a prefabricated building with a large garden in the Uckermark countryside.

The theme of this year's summer academy is The collective space and the I - an approach using the artistic practices of ceramics, photography, painting, performance, text and dialogue. How do we want to and can we work and act artistically today in a time of cultural cutbacks, war, climate crisis and social polarisation?

The summer academy at the Libken artists' residence sees itself as a laboratory, experimental space and collective place to think and work in the Uckermark - in the countryside of eastern Germany. In a region characterised by ruptures, reinterpretations and contradictory social experiences.

Concept and organisation: Sophia Kesting in cooperation with Susanne Kim and Katharina Reinsbach

More information...

Period (opening hours):
Tue–Fri: 2 pm–7 pm, Sat–Sun and public holidays: 12 noon–6 pm

Venue:
gfzk - Galerie für Zeitgenössische Kunst Leipzig
Karl–Tauchnitz–Str. 9-11
04107 Leipzig
gfzk.de

Heidi Specker’s exhibition marks the latest stage in her long-term artistic exploration of the life and work of the Jewish photographer Aenne Biermann (1898–1933). Based on public and private collections, the memories of descendants, as well as historical research into the Biermann family’s story of flight, Heidi Specker reconstructs a history shaped by the political upheavals of the twentieth century.

Aenne Biermann was a prominent figure in Gera’s urban society, a cosmopolitan centre of modernist culture during the 1920s. In just a few years, the autodidact became an important representative of avant-garde photography. She wore her hair short, in a “gentlemen’s cut”, and had her study designed by one of the most fashionable architects of her time. Her photographs reflect the principles of the “New Vision” movement, combining close observation of the everyday environment with unconventional perspectives on people and objects.

Heidi Specker approaches the life and work of Aenne Biermann, engaging with her both artistically and on a personal level. Loss plays an important role in this process. Biermann’s career ended abruptly with her premature death after an illness. A large part of her photographic estate was seized by the National Socialists or is considered lost. Over the course of her artistic research, Specker travelled to Gera, Trieste and Vienna, and made contact with Aenne Biermann’s grandchildren. Through a series of juxtapositions, she reinterprets the photographer’s themes and compositions, appropriating and translating them into the present. Two video works recount important stages in her search: In Amnesia Gera, Heidi Specker contrasts Gera’s once cosmopolitan urban life with the present-day marches organised by right-wing groups. In Wien Vienna, she explores the significance of material traces for memory. Together with the design duo BLESS, she developed a specific exhibition architecture and an edition inspired by the historical furnishings of Aenne Biermann’s “ladies’ room.”

A German-language publication accompanies the exhibition, featuring texts by Heidi Specker and Ronya Othmann, as well as contributions by Claudia Tittel, Daria Brasca, Anneliese Schallmeiner and Albena Zlatanova.

Venue:
Academy of Fine Arts Leipzig
Wächterstraße 11
04107 Leipzig


More information will follow.